‘The Future is an Open Future.’ Cultural Studies at the End of the ‘Long Twentieth Century’ and the Beginning of the ‘Chinese Century.’

Notes for a Presentation: Historical Social Science as a Science of Culture

Creative Industries: fashion versus reason

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I propose to associate the recent approaches to the economics of identity (Akerlof and Kranton, Davis) with the social network model of creative industries developed by Potts, Cunningham, Hartley and Ormerod. This implies that the latter just highlights a special case of the more general phenomenon that all economic activity is simultaneously involved in the process of agent identity formation. This conclusion is further supported by adding a third theoretical pillar, the theory of status goods. Status orders and agent identities appear to be major determinants of the nature of economic systems, resulting in contingent boundaries between systemic categorizations of production and consumption, or notions of productive processes versus non-productive ones. From that perspective, the major novelty in the emerging creative economy, viewed as a new kind of economic system, is the structural change of the social networks, which become less hierarchical and more integrated, resulting in the endogenization of identity formation. Changes in the agent identity trigger the further evolution of the economic system. This is mainly a move from an elitist and politically controlled system of the production of identities to a democratic and self-organized one, which is institutionally reflected in the increasing “marketization” of culture as a surface phenomenon. This relates to the ongoing debates over the redefinition of fundamental economic activities in the creative economy, such as viewing consumption as an essential part of the production of cultural goods.</abstract>

Identity Economics and the Creative Economy, Old and New

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This paper argues that the definition of cultural science depends on the definition of creative industries. The problem, however, is that unlike the definition of evolutionary economics, complexity science and new cultural studies, which are also elements of cultural science, the creative industries suffer multiple non-commensurable definitions. These are reviewed and analytic implications for the definition of cultural science are examined.</abstract>

Creative industries &amp; cultural science: A definitional odyssey

Social network analysis of non-economic rules

Creative Destruction : Lessons for Science and Innovation Policy from the Rise of the Creative Industries – Day 1 Session 2

Science and Innovation Policy and the New (and Old) Economics of Creativity

<abstract xmlns="http://www.w3.org/1999/xhtml">

There is a large and rapidly increasing literature which analyses social networks for which substantial amounts of quantitative data are available. Further, there is a growing and related literature on what is referred to by economists as ‘information cascades’ on such networks.
However, there is little discussion of the specific events which lead to either the creation of a network in the first instance, or of how a network which is latent in terms of its awareness evolves into a network on which individual behaviour/beliefs are actually altered.
In this paper, we describe the process of emergence and evolution of a historical cultural and social network across which the opinions and behaviour of individuals were influenced. We also illustrate how empirical networks can be reconstructed relying principally on information contained in qualitative, historical sources.
The specific example we use is religious belief in England in the 1550s. We describe how the burnings of Protestant leaders by the Catholic Queen Mary (1553-1558) created a set of martyrs which was decisive in increasing support not just for Protestantism compared to Catholicism, but which led to the rapid disappearance of rival Protestant factions.
The network of awareness of key religious leaders already existed prior to Mary’s accession to the throne. But her actions converted this into a network on which individual beliefs were affected, in this case decisively for English history.</abstract>

Emergent Scale-free Social Networks in History: Burning and the Rise of English Protestantism

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Cultural Science

A hallmark of human civilization has been to see ‘culture’ as a defining feature of humanity, epitomized in approaching the ‘humanities’ as the study of culture. Cultural Science: A multidisciplinary journal for the study of more-than-human culture radically breaks with this tradition and extends the domain of the study of culture beyond the human, both in the dimensions of multi-species and machine culture, and by considering all forms of cultural hybridization in a more-than human world. ‘Cultural Science’ investigates structures, interactions, and processes of cultural systems at all levels of analysis and scales of application. It approaches culture as a semiotic medium integrating creative processes in the biosphere, anthroposphere and technosphere as constitutive layers in the life of planet Earth.  ‘Cultural Science’ promotes inter- and transdisciplinary methodological pluralism, reaching from the classical sciences such as biology or ecology to established approaches in the social sciences and the humanities and beyond, venturing into posthumanist alternatives that investigate more-than-human forms of cultural creativity, diffusion, and tradition. ‘Cultural science’ endorses theoretical innovations that stand in line with coevolutionary theories bridging the natural and the human sciences and with novel views on agency and materiality that pursue ontological unification of human and non-human domains of meaning. It encourages active dialogue with science and technology studies, evolutionary and institutional economics, cultural evolution studies, biosemiotics, complexity science, or network analysis, specifying the ‘uses of culture’ from personal meanings to planetary platforms and systems of meaning. In doing so, we assign a crucial role to culture as medium of more-than-human action meeting the existential challenges of the Anthropocene.  ‘Cultural Science’ looks forward to publishing new work that may be critical, analytical and/or empirical, but is most often dialogical; interested in the production and translation of new ideas and knowledge, especially across perceived and disputed borders between systems, groups, and identities as well as academic disciplines.  Contributions to the journal transcend specialist topical foci while remaining on the firm ground of the respective disciplinary methodologies. Exemplary topical fields include:    The study of non-human cultures in the biosphere and the role of naturecultures in the interactions between humans and non-humans;  The role of digital media in the emergence of naturecultures; Explorations of human cultural creativity mediating biosphere and technosphere. Investigations into the emerging forms of cultural creativity of Artificial Intelligence.  Research on interspecies media of cultural expression, such as interspecies art and play.  New theoretical approaches to coevolution and cocreation of cultural media in the more-than-human world.    Journal history  Cultural Science Journal was launched in 2008 as part of the research program of the ARC (Australian Research Council) Centre of Excellence for Creative Industries and Innovation, and John Hartley’s ARC Federation Fellowship. It published 14 issues between 2008 and 2016, before transferring to Ubiquity Press where it continued until 2021. In 2021, the journal moved on to a new home at the Cultural Data Analytics Open Lab (CUDAN) Tallinn University, Estonia. The editors-in-chief were Indrek Ibrus and Maximilian Schich. The journal is now published on the Sciendo platform, a subsidiary of De Gruyter. In 2023, the journal moved on to its third transformation, while remaining on the Sciendo platform, with new editor-in-chief Carsten Herrmann-Pillath, and a second editorial office at the Max Weber Centre for Advanced Cultural and Social Studies at Erfurt University, Germany, working in tandem with the Tallinn offfice.  Building on the work of Raymond Williams, ‘Cultural Science 2.0’, as it was framed by founding editor John Hartley, sought advances not only in the micro-contexts of culture, but also in systematic and general processes and the mutually conditioning relationships of micro, meso and macro contexts. Hartley and colleagues (Jason Potts, Lucy Montgomery, Carsten Herrmann-Pillath, Paul Ormerod and others) launched an effort aimed at conceptualising and studying such relationships systematically. The journal worked towards transdisciplinary frameworks linking the study of culture with evolutionary and institutional economics, complexity science and other evolutionary approaches to creative change.  This work has been pathbreaking, feeding into new approaches and further studies into evolutionary processes in media markets and cultural industries internationally (emergent fields of media innovation studies, cross-innovation systems, open publishing and so on). At the same time, parallel approaches have emerged linking the study of culture with other disciplines especially evolutionary biosciences, but also mathematics, physics, data science and network science, etc., resulting in novel and epoch making approaches such as cultural analytics, cultural evolution studies, computational humanities and social science, etc. ‘Cultural Science’, it can be argued, is evolving into an intensely dialogic, multidisciplinary and an ‘explosively’ (to use a Juri Lotman’s term) evolving domain.With the third transformation, Cultural Science 3.0, the journal further expands its reach, redefining and co-creating cultural science in the Anthropocene, embracing cutting edge developments in the posthumanist movement, while keeping its roots in emphasising the coevolutionary systems-based approach to culture explored since 2008.In this dynamically developing context, Cultural Science: A multidisciplinary journal for the study of more-than human culture wants to provide an arena where the relevant dialogues are held, where centuries of humanities-based knowledge on culture’s forms, languages and systems of meaning can meet the most contemporary scientific methods, where new questions are asked, where novel conceptualisations can meet or emerge from rigorous empirical or analytical work.　  Archiving  Sciendo archives the contents of this journal in Portico - digital long-term preservation service of scholarly books, journals and collections.  Plagiarism Policy  The editorial board is participating in a growing community of Similarity Check System's users in order to ensure that the content published is original and trustworthy. Similarity Check is a medium that allows for comprehensive manuscripts screening, aimed to eliminate plagiarism and provide a high standard and quality peer-review process. 

Cultural Science

Volume 1 (2008): Issue 1 (January 2008)

‘The Future is an Open Future.’ Cultural Studies at the End of the ‘Long Twentieth Century’ and the Beginning of the ‘Chinese Century.’

Draft: Not to be cited

Notes for a Presentation: Historical Social Science as a Science of Culture

Creative Industries: fashion versus reason

Identity Economics and the Creative Economy, Old and New

Creative industries & cultural science: A definitional odyssey

Volterra

Social network analysis of non-economic rules

Creative Destruction : Lessons for Science and Innovation Policy from the Rise of the Creative Industries – Day 1 Session 2

Science and Innovation Policy and the New (and Old) Economics of Creativity

Emergent Scale-free Social Networks in History: Burning and the Rise of English Protestantism

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