Stuart Hall's model of cultural encoding and decoding explains why the same cultural texts are read differently depending on social position — and why AI models must be understood as specific decoding instances.
"There is no intelligible discourse without the operation of a code." Stuart Hall, Encoding/Decoding (1980), p. 131
Hall argues against linear communication models: meanings are not contained in texts but produced through encoding and reproduced through decoding — or transformed. Three decoding positions are possible: dominant-hegemonic code, negotiated code, oppositional code.
The LLM model in HabitusMatch is not a neutral analysis machine — it decodes music lists from a specific cultural position determined by its training data. This position is primarily Anglophone, Western, urban, and academically educated. This is not a defect — it is an epistemological fact that must be made transparent.
The discrepancy between AI profile (decoding by the model) and self-image (decoding by the user) is empirically measurable. The HabitusMatch survey captures exactly this difference systematically — as triangulation instrument between decoding positions.
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Media content is ideologically encoded and can be decoded dominant-hegemonially, negotiated, or oppositionally. The audience's social position determines the reading.
Recommendation systems like Spotify or YouTube assume the encoding function and thereby reproduce existing genre boundaries and social hierarchies.
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Hall, S. (1973). Encoding and Decoding in the television discourse.
Mehta, A. et al. (2025). Who Gets Heard? ArXiv abs/2511.05953.
Morris, J. (2015). Curation by code. European Journal of Cultural Studies, 18, 446–463.
Morreale, F. et al. (2025). Reductive, Exclusionary, Normalising. TISMIR, 8, 300–312.
Werner, A. (2020). Organizing music, organizing gender. Popular Communication, 18, 78–90.