The forms of self‐control that arise in relation to the dominant articulations and the desires appealed to in advertising are sketched. There has been some dialogue in the road safety community about what counts as aggressive behaviour but these discussions often do not take into account the innate violence of the car itself and tend to consider only extreme behaviours as aggressive. The study highlights cultural differences and their importance in understanding the association between emotional processes and driving styles and the need to design culturally sensitive.
The racing articulations are connected to aggressive, competitive styles of driving, extending into competitive social relations and implicating an emphasis on aggressive individualism. The cultural factors of collectivism, information seeking behaviour, symbolism of masks, and previous experience with severe acute respiratory syndrome (SARS) emerged as themes driving the early adoption of personal protective behaviours within the Chinese-Canadian community during the first wave of COVID-19. Highlighting articulations of the car, particularly the dominant articulations of racing and rally driving evident in particular types of advertising, allows an examination of the destructive potential of particular driving cultures and also illustrates the meanings inscribed into the car, thus challenging its apparent neutrality. We argue that how the traffic safety community defines culture dictates courses of action taken in the effort to decrease fatalities, injuries, and property loss.
Drawing on a number of sources, including social and cultural accounts of mobility, such as those of Sheller and Urry and by Zygmunt Bauman, car advertising, and focus group discussions with young drivers, the violence of the car and its shaping influence in contemporary life are considered through an application of the idea of articulation from Grossberg. The aim of the article is to outline driving as a cultural practice drawing on the experiences of young people as described in focus groups in order to show how cultural research can. What is culture Can it change Who is involved in its construction In this chapter, we make the case for an explicitly theorized notion of culture.
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