Dreaming is a communicative activity between the most sensitive archive of the enregistered experience of life on the earth, the brain, and the most plastic medium for the discovery and practice of meaning, the mind or culture. Both love and war have been made on the basis of dreams, not to mention scientific discoveries. In ancient Greece dreams were medicinal parts of curative sleeping or "incubation" rites in the temple of Aesculapius, and many psychoanalytic physicians today still consider dreams as (...) possessing therapeutic potential. The ethnographic literature gives ample testimony to the great significance accorded to dreams by all of the world cultures. Dreams form a rich store of ethnographic evidence, and their indigenous interpretations can often illuminate the central issues and conflicts of a people otherwise hidden from obvious view. Given these facts, plus the physiological facts that the dream process itself involves deeply-rooted material brain functions, and that rapid eye movement, or REM, sleep, which is the key indicator of human dreaming, is shared by all mammals, it remains strange how little attention is given to dreaming as a formative aspect of human evolution and culture. -/- This essay addresses dreaming as a formative aspect of human evolution and culture by viewing dreaming as a borderland between biology and culture, a thoroughly social, yet private experience. Dreaming not only highlights the "cultic" roots of culture—the spontaneous impulse to meaning—but also illustrates one of the ways in which the technics of the biosocial human body itself form the primary source of culture. I show why dreaming, although private, is a thoroughly cultural, biological, communicative activity. -/- Culture and biology are often treated by social scientists as though they were oil and water, not to be mixed. I should inform the culture theorist at the start that I am fully aware of the assumed nature-culture dichotomy, and that I reject it. I do so not because I am a sociobiologist, quite the contrary, rather because I am a semiotician, and my studies of signs have led me toward a critical reconstruction of the concepts of nature and culture. In what follows I beg the reader's patience, since I will draw from diverse materials and project some speculative hypotheses in places in order to make my argument. -/- . (shrink)

The article opens with a brief discussion of the cultural economy of cities. A framework for investigating this phenomenon is then proposed, paying special attention to the interconnections between the system of production, its geographic milieu and the logistics of distribution. An overview of the structure and logic of the French film industry is laid out in which the fragmentation of production activities and labor markets is stressed. The policy system governing the French film industry is described in detail, and (...) the special role of the CNC (Centre National de la Cinématographie) is highlighted. The industry is then shown to be deeply interwined with the urban milieu of Paris, both in terms of its locational structure and its cultural dynamics. The final major section of the article deals with issues of industrial survival and competitiveness in the new global economy. It is suggested that French film policy needs to shift from a posture of defensive support of the industry to a more clearly articulated and aggressive concern with rebuilding market share in both the domestic and international arenas. (shrink)

The purpose of this theoretical article is to contribute to the analysis of knowledge and valuation in markets. In every market actors must know how to value its products. The analytical point of departure is the distinction between two ideal types of markets that are mutually exclusive, status and standard. In a status market, valuation is a function of the status rank orders or identities of the actors on both sides of the market, which is more entrenched than the value (...) of what is traded in the market. In a market characterized by a standard, the situation is reversed; the scale of value is more entrenched than the rankings of actors in the market. In a status market actors need to know about the other actors involved as there is no scale of value for evaluating the items traded in the market independently of its buyers and sellers. In a standard market it is more important to know how to meet the standard in relation to which all items traded are valued. The article includes empirical examples and four testable hypotheses. (shrink)

Social scientists are often interested in understanding how the dynamics of social systems are driven by the behavior of individuals that make up those systems. However, this process is hindered by the difficulty of experimentally studying how individual behavioral tendencies lead to collective social dynamics in large groups of people interacting over time. In this study, we investigate the role of social influence, a process well studied at the individual level, on the puzzling nature of success for cultural products such (...) as books, movies, and music. Using a “multiple‐worlds” experimental design, we are able to isolate the causal effect of an individual‐level mechanism on collective social outcomes. We employ this design in a Web‐based experiment in which 2,930 participants listened to, rated, and downloaded 48 songs by up‐and‐coming bands. Surprisingly, despite relatively large differences in the demographics, behavior, and preferences of participants, the experimental results at both the individual and collective levels were similar to those found in Salganik, Dodds, and Watts (2006). Further, by comparing results from two distinct pools of participants, we are able to gain new insights into the role of individual behavior on collective outcomes. We conclude with a discussion of the strengths and weaknesses of Web‐based experiments to address questions of collective social dynamics. (shrink)

The ability to dominate or exercise will in social encounters is often assumed in social theory to define power, but there is another form of power that is often confused with it and rarely analyzed as distinct: logistics or the ability to mobilize the natural world for political effect. I develop this claim through a case study of seventeenthcentury France, where the power of impersonal rule, exercised through logistics, was fundamental to state formation. Logistical activity circumvented patrimonial networks, disempowering the (...) nobility and supporting a new regime of impersonal rule: the modern, territorial state. (shrink)

This paper argues that an explanation of the role of aesthetic patterning in human action needs to be part of any “qualitative” social theory. It urges the social sciences to move beyond contextualism and to see art as visual, acoustic and other media that lead to heightened sensory perception and the coordination of feelings through symbols. The article surveys the argument that art provides a basic model of how the self learns to interact with external environments; and the complementary thesis (...) that art could be seen as integral to the emergence of systems of human knowledge, communication and economy. Ornamentation and stylization are advanced as two concrete devices through which human attention is captured and experience is ordered through aesthetic patterns. The conclusion is drawn that art offers the social sciences a meaningful account of the perceptual or “qualitative” dimensions of social interactions; and that this is much needed today. (shrink)

(2013). Sportworld. Sport, Ethics and Philosophy: Vol. 7, Sport and Art: An Essay in the Hermeneutics of Sport, pp. 30-54. doi: 10.1080/17511321.2013.761881.

This paper is an extended exploration of Mead's phrase the emergence of the novel. I describe and characterize emergent systems-complex dynamical systems that display behavior that cannot be predicted from a full and complete description of the component units of the system. Emergence has become an influential concept in contemporary cognitive science [A. Clark Being there, Cambridge: MIT Press], complexity theory [W. Bechtel & R.C. Richardson Discovering complexity, Princeton, NJ: Princeton University Press], artificial life [R.A. Brooks & P. Maes Artificial (...) life IV, Cambridge: MIT Press; C.G. Langton Artificial life III, Reading, MA: Addison-Wesley; C.G. Langton et al. Artificial life II, Reading, MA: Addison-Wesley), and robotics [S. Forrest Emergent computation, Cambridge: MIT Press]. I propose that novelty is a necessary property of emergent systems, and I'll explore a specific kind of emergent system: an improvisational theater ensemble. This is an example of emergence in a small social group, which I call collaborative emergence to emphasize several important contrasts with other complex systems that manifest emergence, such as connectionist networks and Alife simulations. (shrink)

In support of a lean and humble anthropology I discuss six key articles that provide indirect arguments for humility. In summary, these articles teach us that the terms of a discussion may be flawed and cannot be resolved by agreeing shared meanings (Gallie); we must accept limits on what we can know (Nagel); depictions, visual representations are potentially confusing, forms of translation across media types are ubiquitous; (Wolf); portraits are exemplary performances of the self, even the most casual depictions are (...) of the act of posing; (Berger); varying meanings may be associated with a single item, which may convey different things to different people in different places and at different times (Miller and Woodward); and that accounts of a social group and its ideas must encompass vagueness and inconsistency rather than present a misleading coherence and consistency (Favret-Saada). Together these provide reasons for developing a humble anthropology, one that recognizes its incompleteness and revisability. Keywords: Humility, sparsity, meaning, vagueness. (shrink)

Michael Burawoy’s recent book-length engagement with the sociology of Pierre Bourdieu constitutes, at root, a Marxist critique of its inability to conceive of the dominated as anything other than duped and submissive, despite this sitting uneasily with Bourdieu’s own research and political practice later in life. Burawoy wonders whether Bourdieusians will be able to recognise the limits of their master’s thought, and set about revising and extending it, in the same way as Marxists did of their own master. This article (...) responds by doing precisely that. After clarifying a different reading of misrecognition, symbolic violence and habitus, it draws out a Bourdieusian theory of social change and a ‘thicker’ conception of contemporary social orders that can accommodate or dissolve Burawoy’s arguments while maintaining fundamental separation from the Marxist project. (shrink)

We are living in the era of street art. Since Nick Riggle’s pivotal work on the definition of street art, several philosophers have addressed issues in the philosophy of street art. The goal of this paper is to summarize the literature. I consider the following matters, which have been at the core of philosophical discussions on street art: demarcation, value, illegality, and the ethical foundation of intellectual property (IP) protection. In answering the question ‘What is street art?,’ philosophers have generally (...) resisted skeptical approaches by developing a wide range of real and essentialist definitions of street art (Section 2). When considering street art’s value, I distinguish between aesthetic and non-aesthetic centered accounts. If the former focus on the aesthetic side of our experience of street art, the latter generally place emphasis on its activist nature and political significance (Section 3). In discussing the relationship between street art and illegality, I canvas different takes on the issue. If for some scholars illegality is either a necessary or sufficient condition for street art, philosophers tend to agree that it is neither, while not denying its relevance at the level of identity and authenticity (Section 4). Finally, I consider matters of IP protection of street art. On the one hand, copyright optimists defend the view that current IP legislations may very well have a positive impact on the promotion and preservation of street art. Pessimists, on the other hand, argue that an extension of copyright privileges to works of street art is likely to jeopardize the counter-cultural and rebellious nature of this urban art kind (Section 5). (shrink)

Sociologists increasingly draw on dual-process models of cognition to account for the ways context, cognition, and action interrelate. Drawing from 40 interviews with improvisers and observations from improvisational theater, I find that dual-process model scholarship is limited in three respects: It does not consider how cognition operates in situations where order and disruption are concurrent, it fails to realize there is interindividual variation in cognitive processing, and it underestimates the creativity emerging through automatic processes. Interactions in improv contain elements of (...) both order and disruption, and they place demands on automatic and deliberate cognition simultaneously. Improvisers respond to these competing demands through either automatic or deliberate thinking dispositions, which are engendered through explicit instruction, practical experience, and artistic commitments. These dispositions, in turn, shape creative decision-making, predicting interindividual differences in how improvisers respond to contingencies on stage. I conclude by discussing the implications for culture, cognition, and action. (shrink)

A study of culturally-embedded perceptual responses to aesthetic value indicates that learned perceptual capacities can secure compliance with social norms. We should therefore resist the temptation to draw a line between cognitive processes, such as perception, that can adapt to differences in physical environments, and cognitive processes, such as economic decision-making, that are shaped by social norms. Compliance with social norms is a result of perceptual learning when that same compliance modifies perceptible features of the physical environment.

In the late nineteenth and early twentieth century, rising rates of suicide were widely held to be indicative of a pervasive crisis of meaning. This article examines the response to the problem of...

Current conceptions of meaning and culture tend toward extreme forms of disembodied abstraction, indicating an alienation from the original, earthy meaning of the word culture. I turn to the earlier meanings of the word and why the “cultic,” the living impulse to meaning, was and remains essential to a conception of culture as semeiosis or sign-action. Culture and biology are often treated by social scientists as though they were oil and water, not to be mixed. I am fully aware of (...) the assumed nature-culture dichotomy, but I reject it, not because I am a sociobiologist, quite the contrary, but rather because I am a semiotician, and my studies of signs have led me toward a critical reconstruction of the concepts of nature and culture. In my perspective, culture is a living, social metaboly of signs, not limited to a convention but in transaction with the inmost recesses of the person, and with the qualitative, physical, and significant environment. The question is not whether culture is a “system” or not, but whether we shall continue to conceive of culture as an inert, mechanical system or code, incapable of self-critical cultivation, or as a “living system”--a way of living--fully open to contingency, spontaneity, purposive growth and decay. Putting the “cult” back into culture requires a reconception of the relations between human biology and meaning, and between non-discursive, non-rational reason and modern rationality. Such a reconception involves considering how the technics of the biosocial human body itself form the primary source of culture. (shrink)

First published in 1948, Frederick Antal’s Florentine Painting and Its Social Background was an important milestone in anglophone art history. Based on European examples, including Max Dvořák, it sought to understand art history’s relationship to social and intellectual history. When Antal, a Hungarian émigré, arrived in Britain in 1933, he encountered an inward-looking discipline preoccupied with formalism and connoisseurship; or, as he phrased it, art historians of ‘the older persuasion’ ignorant of ‘the fruitful achievements of modern historical research’. Despite its (...) considerable scholarship and erudition, Antal’s book was not warmly received, largely because he had used historical materialism to understand the production of art and the development of styles. Antal’s class-based account of the social position of the artist and the role of the patron in determining the emergence of early Renaissance styles was especially controversial. However, although Marxist analysis was used to challenge the assumptions of Anglo art history, it was not Antal’s intention to weaken art history’s disciplinary autonomy. With historical materialism, he sought to place art history on a firmer historical footing. Most importantly, this approach was compatible with the discipline’s Central European tradition, where art-historical scholarship was framed by questions of method and based on broad historical research. Without defending its more deterministic features, this article supports a re-evaluation of Antal’s book, as an important forerunner of interdisciplinary art scholarship. It considers why Antal’s legacy has not endured, despite the ‘social history of art’ enjoying widespread acceptance in English-speaking art history in later decades. (shrink)

The marketisation of heritage has been a major topic of interest among heritage specialists studying how the online marketplace shapes sales. Missing from that debate is a large-scale analysis seeking to understand market trends on popular selling platforms such as eBay. Sites such as eBay can inform what heritage items are of interest to the wider public, and thus what is potentially of greater cultural value, while also demonstrating monetary value trends. To better understand the sale of heritage on eBay’s (...) international site, this work applies named entity recognition using conditional random fields, a method within natural language processing, and word dictionaries that inform on market trends. The methods demonstrate how Western markets, particularly the US and UK, have dominated sales for different cultures. Roman, Egyptian, Viking and Near East objects are sold the most. Surprisingly, Cyprus and Egypt, two countries with relatively strict prohibition against the sale of heritage items, make the top 10 selling countries on eBay. Objects such as jewellery, statues and figurines, and religious items sell in relatively greater numbers, while masks and vessels sell at generally higher prices. Metal, stone and terracotta are commonly sold materials. More rare materials, such as those made of ivory, papyrus or wood, have relatively higher prices. Few sellers dominate the market, where in some months 40% of sales are controlled by the top 10 sellers. The tool used for the study is freely provided, demonstrating benefits in an automated approach to understanding sale trends. (shrink)

While numerous studies have shown diverse effects of rankings, rather little is known about their production. This article contributes to a broader understanding of rankings in society, and does so by focusing on underlying worldviews. I argue that the existence of a ranking and its concrete methodology can be explained by the producer’s paradigmatic assumptions about a world-to-be-ranked. Referring to the sociology of knowledge and studies on commensuration, comparisons, quantification and valuation, I provide a general heuristic to analyze this relation (...) between underlying worldviews and observational regimes through which order is constructed systematically. Presenting empirical results on a ranking for the most famous artists in the world, I show how the review device’s initial problem and its construction of order derive from consistent assumptions about contemporary art, its symbolic structures and its social embeddedness. These findings have implications for both research on rankings and sociology of the arts. (shrink)

Fashion design is a feminized occupation, but there is a widespread perception that gay male designers are advantaged in receiving awards, publicity, and praise. This article develops the notion of a “glass runway” to explain this inequality. First, using design canons and lists of award recipients, I show that men, especially gay men, receive more consecration than women. Second, I show how men and women are consecrated differently by analyzing the content of 157 entries in Voguepedia’s design canon and 96 (...) fashion media articles. Attributions of value and legitimacy construct a gendered image of the ideal fashion designer through discourses of art and culture that reinforce essentialist ideas about gender difference. Because cultural value is ambiguous, processes of valorization are shaped by gender essentialism, pushing male cultural producers down the glass runway and into the spotlight of fame, consecration, and legitimation. Finally, the case of fashion design offers insights into how intersecting inequalities can shape the glass runway. Gay designers experience both valorization and discrimination from intersections of gender and sexuality. (shrink)

Drawing on interviews with women and men musicians, this study examines women's overrepresentation in an instrumental specialty, the electric bass, in alternative rock music. Structurally, this phenomenon may be explained by the instrument's greater ease of learning and lesser attractiveness to men, yet women bassists frequently advance an alternative theory of “womanly” affinity. The entrance of women into rock bands via the bass may provide them with new opportunities and help legitimate their presence in a male-dominated site of artistic production, (...) yet it may simultaneously work to reconstruct a gendered division of labor and reproduce dominant gender ideologies. (shrink)

Recently, two prescription drugs have become salient to breast cancer prevention. With the advent of these drugs, referred to as “chemoprevention,” a mandate has emerged to classify certain women as high risk for breast cancer to determine a group of legitimate users of the drugs. This article examines the development and standardization of the model used to create such a group of high-risk women. The author argues that while the model remains uncertain and controversial, it has become the standard tool (...) for the many jobs associated with legitimizing chemoprevention use in the United States. It has become the assumed standard—shaping practices, identities, and definitions—through its organizational embeddedness in the multiple practices and public images of chemoprevention despite its uncertainty and widespread critique. (shrink)

Philosophical analysis of metaphor in the non-linguistic arts has been biased towards what I call the ‘aesthetic metaphor’: metaphors in non-linguistic art are normally understood as being completely formed by the work'sinternalcontent, that is, by its perceptual and aesthetic properties such as its images. I aim to unearth and analyse a neglected type of metaphor also used by the non-linguistic arts: the ‘artistic metaphor’, as I call it. An artistic metaphor is composed by an artwork's internal content, but also by (...) itsexternalcontent, which is provided by the work's artistic properties such as its history. The artistic metaphor has been gestured at but not afforded a considered analysis; I aim to do this. Identifying the artistic metaphor has at least two benefits. It shows how curation plays a role in generating metaphors in artworks, which has been overlooked, and it illuminates a potentially powerful tool to interpret and understand ‘conceptual’ art. (shrink)

This paper discusses how theories of definition and probabilistic theories of categorization could help distinguish between translation and adaptation, and eventually between translation and adaptation studies. Part I suggests readopting the common parlance definition of “translation” as the accurate rendition of the meaning of a verbal expression in another natural language, and “adaptation” as change that leads to better fit. Readopting these common parlance definitions entails categorical implications. The author discusses three parameters: whereas “translation” represents an invariance-oriented, semiotically invested, cross-lingual (...) phenomenon, “adaptation” refers to a variance-oriented phenomenon, which is not semiotically invested, and entails better fit. Part II discusses how theories of categorization could help distinguish between TS and LFAS. The study of the disciplinarization of knowledge involves epistemic and socio-political conditioners. This section concludes that medium specificity, i.e., the linguistic versus lit-film paradigm, plays a major role in separating TS from LFAS. Another player that deserves more attention is the Romantic as opposed to the Classicist value system. (shrink)

La llamada transición al paradigma digital está erosionando la autonomía del campo cultural que se había conseguido durante los siglos XIX y XX, subyugándolo a las dinámicas económicas y tecnológicas. Sin embargo, el discurso hegemónico tiende a interpretar esta como un proceso netamente positivo para la creatividad, centrando la atención en el aumento de la disponibilidad de recursos informativos y de herramientas para la creación. No obstante, un análisis desde las teorías y los conceptos de la sociología de la cultura (...) nos revela un balance más ambivalente. Si bien la noción de autoría y creación puede ser interpretada desde un punto de vista más cooperativo y relativista, es discutible que pueda ser eliminada. Además, si bien el análisis de la intermediación cultural debe tener en cuenta el papel más complejo y activo de los intermediarios, difícilmente se puede concebir el sistema cultural sin su existencia. En definitiva, el artículo se propone contrastar los discursos sobre la transición a lo digital con las teorías clásicas y contemporáneas de la sociología de la cultura para, de este modo, plantear futuras líneas de investigación sociológica sobre las consecuencias en los agentes y en la industria cultural en su conjunto. Con ello se pretende generar una perspectiva neutral que tenga en consideración los efectos sociales y sistémicos de la tecnología en la creatividad de los sectores culturales. (shrink)

The purpose of this brief article is to discuss the context and the political tensions that existed when women artists with Mexican roots invented a political Chicano art engagé at Los Angeles. We study the creations of Judithe Hernandez and Patssi Valdez, two artists with Mexican roots, who have challenged the codes of the dominant, patriarchal, and white art world of the United States since 1970. As artists, they become a symbol of professional success for women in the arts. They (...) developed personal art expressions and leg their own art vision of America, women, and community. They used streets, walls and displayed public performances. Nevertheless, the originality of this text relies on the analyses of some art pieces from their contemporary period. The text emphasizes the technical transformation of both legendary artists who gave up performance and mural art to develop personal and critical propositions about women condition and borders. This text uses methods of art history like image’s description and socio-anthropology methodologies like interviews to understand the singularity of these contemporary artworks. (shrink)

Pragmatism has recently gained ground as a theoretical perspective in sociology. The approach is not without its critics, however. One common charge is that pragmatism is oriented toward the micro and not well suited for the explanation of meso- or macro-level events, processes, or outcomes. In this paper—a review essay—I consider whether the charge has merit. I examine four studies that draw heavily on pragmatism and give some indication of its explanatory potential. Taken together, these studies suggest that pragmatism has (...) much to offer analysts of large-scale social phenomena. At the same time, key issues remain to be worked out. (shrink)

In Esa 12th Conference: Differences, Inequalities and Sociological Imagination: Abstract Book. European Sociological Association; Institute of Sociology of the Czech Academy of Sciences. pp. 59--60 (2015) .

This paper is a conceptual essay rooted in two basic observations. First, felt dignity—the subjective sense people have of their own autonomy and self-worth—ultimately emerges from, and is thus most evident in the connective space between people. Second, stories are everyday works of art that afford unique insight into the subtle complexities of the socio-emotional realities of work. Building on these observations, we describe how personal stories about episodes of interpersonal connections and disconnections at work—moments in which we feel mutual (...) appreciation and empowerment or a sense of separation and distancing from another—can help us better understand the felt experience of dignity at work. In attending to such personal stories as art, we become more attuned to their felt, aesthetic qualities, which then helps us develop a more holistic and visceral appreciation of how actors experience, make sense of, and claim felt dignity. In support of our ideas, we present a few illustrative story excerpts and briefly consider how a select few aesthetic qualities—the way the stories’ elements are configured, the stories’ acuity or sharpness, and their rawness—enhance the felt impact of the stories and help to remind us of their and the storytellers’ intrinsic value. (shrink)

The development of art marketing as a new field of management occurs in a context of great confusion as to what constitutes the very definition of art, one aspect of this confusion being nothing else but the confusion between art and marketing itself. This confusion leads to conflicts between those who consider that art should be defined by a clear aesthetic criterion and those who accept the absence of such a criterion as a legitimate consequence of the principle of freedom (...) which applies both to the creation of the artist and to the taste of the public. This state of confusion does not seem to be experienced in the same way in France where it has tended to be considered as a symptom of crisis in the world of art and in the United States where it has raised as a dominant force in contemporary art. Hence the confusion of art and marketing varies as a function of time (as shown by the emergence of a new field of management) and of space (as shown by the comparison of the French and American cases). It will be proposed that it is possible to account for these historical fluctuation thanks to an institutional approach based on the notion of system of legitimacy. We shall propose the essentially dynamic institutional foundations of modernity leading to the proliferation of innovations which consequences are ever more difficult to anticipate as a reason why, in America, philosophers coming from the analytic tradition found it meaningful to address questions such as “What is art” (Arthur Danto) or “When is there art” (Nelson Goodman”) expressing the need to go beyond pragmatism as expressed by John Dewey’s Art as Experience to promote a positive attitude towards contemporary art, while, in France confusion between art and marketing has been commonly considered negatively as the sign of the triumph of the most radical form of rhetoric, i.e. sophism. (shrink)

Scientists, humanists, and art lovers alike value art not just for its beauty, but also for its social and epistemic importance; that is, for its communicative nature, its capacity to increase one's self-knowledge and encourage personal growth, and its ability to challenge our schemas and preconceptions. However, empirical research tends to discount the importance of such social and epistemic outcomes of art engagement, instead focusing on individuals' preferences, judgments of beauty, pleasure, or other emotional appraisals as the primary outcomes of (...) art appreciation. Here, we argue that a systematic neuroscientific study of art appreciation must move beyond understanding aesthetics alone, and toward investigating the social importance of art appreciation. We make our argument for such a shift in focus first, by situating art appreciation as an active social practice. We follow by reviewing the available psychological and cognitive neuroscientific evidence that art appreciation cultivates socio-epistemic skills such as self- and other-understanding, and discuss philosophical frameworks which suggest a more comprehensive empirical investigation. Finally, we argue that focusing on the socio-epistemic values of art engagement highlights the important role art plays in our lives. Empirical research on art appreciation can thus be used to show that engagement with art has specific social and personal value, the cultivation of which is important to us as individuals, and as communities. (shrink)

Can matter, things, nonhuman organisms, technologies, tools and machines, biota or institutions be seen as creative? How does such creativity reposition the visionary activities of humans? This article is an elaboration of such questions as well as an attempt at a partial response. It was written as an editorial for the special issue of the Digital Creativity journal that interrogates the conception of Post-Anthropocentric Creativity. However, the text below is a rather unconventional editorial. It does not attempt to provide an (...) overview of the issue’s theme but, instead, samples it via a particular example. The idea of the issue was to think about post-anthropocentricism by considering (1) agents, recipients and processes of creativity alongside with its (2) purpose, value, ethics and politics. This article addresses the first subtheme by puzzling at the paradoxes of “field learning” and picks at the second by considering the texture of “automated beauty”. Both of these parts use chess for an example. The narrative on chess is intermitted by a section “on creativity” that attempts to contextualize the case-based discussion in the wider context and to consider motivations and implications. (shrink)

Despite some promising steps in the right direction, organizational analysis has yet to exploit fully the theoretical and empirical possibilities inherent in the writings of Pierre Bourdieu. While certain concepts associated with his thought, such as field and capital, are already widely known in the organizational literature, the specific ways in which these terms are being used provide ample evidence that the full significance of his relational mode of thought has yet to be sufficiently apprehended. Moreover, the almost complete inattention (...) to habitus, the third of Bourdieu’s major concepts, without which the concepts of field and capital (at least as he deployed them) make no sense, further attests to the misappropriation of his ideas and to the lack of appreciation of their potential usefulness. It is our aim in this paper, by contrast, to set forth a more informed and comprehensive account of what a relational – and, in particular, a Bourdieu-inspired – agenda for organizational research might look like. Accordingly, we examine the implications of his theoretical framework for interorganizational relations, as well as for organizations themselves analyzed as fields. The primary advantage of such an approach, we argue, is the central place accorded therein to the social conditions under which inter- and intraorganizational power relations are produced, reproduced, and contested. (shrink)

Sociology requires a robust theory of how local circumstances create social order. When we analyze social structures not recognizing that they depend on groups with collective pasts and futures that are spatially situated and that are based on personal relations, we avoid a core sociological dimension: the importance of local context in constituting social worlds. Too often this has been the sociological stance, both in micro-sociological studies that examine interaction as untethered from local traditions and in research that treats culture (...) as autonomous from action and choice. Building on theories of action, group dynamics, and micro-cultures, I argue that a sociology of the local solves critical theoretical problems. The local is a stage on which social order gets produced and a lens for understanding how particular forms of action are selected. Treating ethnographic studies as readings of ongoing cultures, I examine how the continuing and referential features of group life (spatial arenas, relations, shared pasts) generate action and argue that local practices provide the basis for cultural extension, influencing societal expectations through the linkages among groups. (shrink)

This paper engages with Manuel DeLanda’s Deleuze-inspired ‘assemblage theory’ from a perspective sympathetic to Pierre Bourdieu’s field theory. It first outlines DeLanda’s proposed new ‘philosophy of society’, focusing on his major works in this vein, and registers some scepticism as to its originality for sociology. It then introduces and responds to DeLanda’s critique of Bourdieu. Rather than simply reject assemblage theory outright, however, I draw on selected insights from DeLanda to push field theory in new directions. More specifically, I conceptualise (...) the interplay of fields and assemblages and use notions of ‘exteriority’ and ‘possibility space’ to help conceive individual plurality of social positioning and its effects for subjectivity and practice. (shrink)

The topic of this article is the relationship of street art to both the street and the artworld. I take it as significant that philosophers have turned their attention to “street art” and not, say, “urban outdoor art” or “site-specific art in urban settings.” The “street” in street art seems to imply more than a location or geographic modifier. I consider the further significance of the “street” in street art, and the view, argued or assumed, of the street when philosophers (...) discuss street art. My second target in this article is what I have called the “discontinuity thesis.” This is the idea, defended or assumed in some of the most important philosophical writing about street art, that street art represents a radical break with the artworld and is “antithetical” to it. I argue that the discontinuity thesis is mistaken, and that to understand the larger institutional context of street art we must examine the sociology of artworlds. Street art has followed a familiar process and pioneering street artists are best seen as “mavericks” in Howard Becker’s sense. I argue that seeing street artists in this way can help better understand and appreciate their work. (shrink)

One of the intriguing issues connected to power relations in the world of cinema that has yet to be adequately explored is what has happened over the years concerning the dominance and privilege of masculinity as signifying preferred social status. This qualitative study explores this subject based on transcribed semi-structured interviews with 13 award-winning Israeli directors over the age of 55. The research examines two questions: How has the film industry changed its relation to leading, award-winning film directors as they (...) grow older? And, what challenges confront the directors, in terms of their own self-perceptions? These questions capture the collisional intersection between hegemonic masculinity and ageism, because they examine the loss of power attributed to men in the film industry as they reach the second half of their lives. The findings led to the formation of a theoretical model of ageism within the cinematic industry, allowing for the dismantling of the different factors that create obstacles for directors as they get older. The four layers of the model are: arbitrary ageism, manifested in the demands of a rapidly changing industry in a changing world; passive ageism, expressed through encounters with negative attitudes; active ageism, reflected in preventing older directors from receiving funding and from screening their films; and self-ageism, manifested in the directors’ attitudes toward themselves. (shrink)

This paper aims to show that any account of how artworks lie must acknowledge (I) that artworks can lie at different levels of their content—what I call ‘surface’ and ‘deep’—and (II) that, for an artwork to lie at a given level, a norm of truthful communication such as Grice’s Maxim of Quality must apply to it. A corollary is that it’s harder than you might think for artworks to lie: Quality is not automatically ‘switched on’ during our engagement with art. (...) However, I show how a work’s curation and genre-membership can ‘switch on’ Quality, allowing artworks to lie at different levels. (shrink)

This article addresses the extent and ways in which gender inequality in the newspaper coverage of arts and culture has changed in France, Germany, the Netherlands, and the United States, 1955-2005. Through a quantitative content analysis, we mapped all articles that appeared in two elite newspapers in each country in four sample years 1955, 1975, 1995, and 2005. First, despite increasing women’s employment in arts and culture and a quantitative feminization of journalism, elite newspaper coverage of women in arts and (...) culture has hardly changed, making up about 20-25 percent consistently over the last 50 years. Second, our results show surprisingly few cross-national differences in the amount of the newspaper coverage devoted to women in arts and culture. Third, although women are underrepresented in the coverage of all artistic genres, there is some evidence of horizontal sex segregation—particularly in architecture and modern dance and fashion —as well as vertical sex segregation—in that attention to women has increased in “highbrow” genres that have declined in status. Finally, as the status of an actor type increases from laymen to artistic directors, the proportion of women decreases in newspaper attention to arts and culture. (shrink)

Gothic cathedrals like Chartres were built in a discontinuous process by groups of masons using their own local knowledge, measures, and techniques. They had neither plans nor knowledge of structural mechanics. The success of the masons in building such large complex innovative structures lies in the use of templates, string, constructive geometry, and social organization to assemble a coherent whole from the messy heterogeneous practices of diverse groups of workers. Chartres resulted from the ad hoc accumulation of the work of (...) many men. (shrink)

The fear of the other is the main focus of this paper, which analyse Tehran protest squares as inside-out spaces where the state attempts to maintain some form of control, and where the public attempts to occupy it. The fear of ‘others’ can lead to exclusion from the public space of those who are seen as threatening. This process of ‘otherness’ renders fear as an arena of conflict and highlights the political utility of fear by particular groups and individuals.

This paper is a conceptual essay rooted in two basic observations. First, felt dignity—the subjective sense people have of their own autonomy and self-worth—ultimately emerges from, and is thus most evident in the connective space between people. Second, stories are everyday works of art that afford unique insight into the subtle complexities of the socio-emotional realities of work. Building on these observations, we describe how personal stories about episodes of interpersonal connections and disconnections at work—moments in which we feel mutual (...) appreciation and empowerment or a sense of separation and distancing from another—can help us better understand the felt experience of dignity at work. In attending to such personal stories as art, we become more attuned to their felt, aesthetic qualities, which then helps us develop a more holistic and visceral appreciation of how actors experience, make sense of, and claim felt dignity. In support of our ideas, we present a few illustrative story excerpts and briefly consider how a select few aesthetic qualities—the way the stories’ elements are configured, the stories’ acuity or sharpness, and their rawness—enhance the felt impact of the stories and help to remind us of their and the storytellers’ intrinsic value. (shrink)

Artistic and scientific activities pertain to the world of ‘vocation’, which demonstrates a close relationship with recognition issues. Referring to recent trends in French, German and American sociology and political philosophy, this article addresses both the status of recognition in present-day sociology and the necessity of prizes in vocational activities. Grounded on two empirical surveys about literary and scientific prizes, it displays the various axiological problems raised by such a mode of recognition, as the ‘felicity conditions’ of this mode of (...) recognition have to ensure a feeling of justice and avoid envious reactions. On a more theoretical ground, the article aims to demonstrate the necessity for sociology to shift, first, from material to ‘symbolic’ or, rather, ‘intangible’ outcomes; second, from a concern with power and domination to a concern with interdependency; and third, from recognition conceived as egalitarian respect to recognition conceived as un-egalitarian esteem. (shrink)