Cool,funky and creative? The creative class and preferences for leisure and culture

It is a core element in Richard Florida’s popular theory on growth to be able to attract the creative class to a geographical area. But Florida is not very specific on which kind of amenities are important for attracting and keeping the creative class. The purpose of this paper is to analyse which kind of cultural activities the creative class is actually using. Which kind of cultural activities does the creative class use more intensively than other groups in society? This paper presents new empirical results on preferences for leisure and culture. Richard Florida’s theory can be, and has been, criticised – especially on the issue of causality. The analyses presented in this paper show that being part of the creative class has an independent and significant role in explaining preferences for leisure and culture.     

Creative shifts and directions

The availability and “readiness” of culture as a mode of governmental control makes cultural policy a matter of great importance in any contemporary society. This is true not only in liberal democracies with established arts councils or cultural policies, it is also proactively pursued by a technologically advanced yet illiberal regime like Singapore, eager to position itself as the global “Renaissance City” of the twenty‐first century. What this “renaissance” model entails remains highly cryptic, not least because cultural terms and political markers are often elusive, but also because the very concept of “cultural policy” shifts along with the political and economic tides in Singapore. Drawing on a rarely cited essay by Raymond Williams, this article offers an historical look at cultural policy in Singapore – from its first articulation in 1978 to its present standing under the rubric of “creative industries” (2002). It considers some of the problems encountered and the societal changes made to accommodate Singapore’s new creative direction, all for the sake of ensuring Singapore’s continued economic dynamism. This article contends that cultural policy in Singapore now involves extracting creative energies – and economies – out of each loosely termed “creative worker” by heralding the economic potential of the arts, media, culture and the creative sectors, but concomitantly marking boundaries of political exchange. In this regard, culture in Singapore has become more than ever a site for governmentality and control.     

John Stuart Mill’s Political Pessimism

John Stuart Mill devoted much of his life to developing a ‘science of morality’ to enhance the social, moral and intellectual character of individuals and society as a whole. His liberal aspirations included the reform of legal and political institutions according to utilitarian principles and consistent with personal liberty, and the development of a diverse and creative culture. Paradoxically, Mill, the liberal optimist, was also a pessimist about achieving these goals. This article argues that Mill’s pessimism reveals an intellectual depth and forthright political realism about England’s parliamentary democracy and the political and cultural consequences of growing affluence and social equality. Mill’s critiques of liberalism and socialism in their original emergence point the way to explaining why his ideas remain provocative and profoundly illuminating in contemporary debates concerning multiculturalism and human rights.     

和谐文化建设呼唤公共道德理性

＂和谐＂既是反映社会良性运行的重要标志,也是一种理想社会生活方式的文化表达。构建和谐社会需要和谐文化的理性支持,要通过思想道德的整合来形成核心价值体系,把和谐文化建设的价值导向融入到社会生活实践之中,为促进社会和谐奠定具有公共道德理性的文化基础。     

论杜维明对“文化中国”的思考

美籍华裔学者杜维明自20世纪90年代以来对"文化中国"的命题进行了思考,提出了诸如"三个意义世界"、"公众知识分子与公民社会"以及"文化中国与儒家传统"等命题.杜维明对"文化中国"的思考有着深厚的历史感和文化蕴涵,不仅显现了当代新儒家"返本开新"的理念,而且也为21世纪中国社会的发展和中国文化的走向从新儒家角度提供了一家之言.尽管杜维明对"文化中国"的论证富有创意,但对这一问题的阐述仍留有广阔的思考空间,它为我们进一步研究当代新儒家在新世纪的文化诉求提供了样本.     

Cultural actors as agents of generating social co-presences within the place: Istanbul’s contemporary art scene

This paper builds on the designation of cultural actors’ actions as a decisive factor in the emergence of urban patterns of art-driven social co-presences in Istanbul. It contributes to the creative city debate from the perspective of community development by incorporating the contemporary arts into urban social space making efforts. Methodologically, the locations of art organizations in the contemporary arts scene of Istanbul are approached as an urban pattern of art driven social co-presences that resulted from the ‘collective action’ in which a multitude of cultural actors are involved. We find that the clusters of art organizations serve as multidimensional social interactions among artist communities. There are, however, inefficiencies in spreading this interactive networking throughout different social segments. Research findings conclude that the cultural actors as agents of generating social co-presences within the place, are not effectively contributing to the society’s social coherence, particularly in terms of creating links with disadvantageous neighbourhood residents.     

Re/placing Native Science: Indigenous Voices in Contemporary Constructions of Nature

Since the earliest days of the European Enlightenment, Western people have sought to remove themselves from nature and the ‘savage’ non‐European masses. This distancing has relied upon various intellectual techniques and theories. The social construction of nature precipitated by Enlightenment thinking separated culture from nature, culture being defined as civilised European society. This separation has served to displace the Native voice within the colonial construction of Nature. This separation has also served as one thread in the long modern ‘disenchantment’ of Westerners and nature, a ‘disenchantment’ described so adeptly by Adorno and Horkheimer (1973 ). Unfortunately though, this displacement is not only a historical event. The absence of modern Native voices within discussions of nature perpetuates the colonial displacement which blossomed following the Enlightenment. In his book entitled, Native Science, Gregory Cajete describes Native science as ‘a lived and creative relationship with the natural world ... [an] intimate and creative participation [which] heightens awareness of the subtle qualities of a place’ (2000, 20). Perhaps place offers a ‘common ground’ between Western and Indigenous thought; a ‘common ground’ upon which to re/write the meta‐narrative of Enlightenment thought. This paper will seek to aid in the re/placement of modern Native voices within constructions of nature and seek to begin healing the disenchantment caused through the rupture between culture and nature in Western science.     

论青海藏族传统文化与社会主义核心价值体系的和谐发展

青海藏族的传统文化作为中华文化的重要组成部分具有独特的文化思想基础,在价值追求、思想道德教育功能和社会文化功能方面与社会主义核心价值体系具有一致性,促进青海藏族传统文化与社会主义核心价值体系的和谐发展对于构建社会主义和谐社会具有重要意义。     

创造阶层与城市可持续发展

随着知识经济的发展和经济全球化,人才资源(人力资本)成为第一资源,以人为本,重视人力资本特别是创造型人才并发挥其创新作用,是城市可持续发展及竞争力的根源和保证。创造阶层理论为城市可持续发展发现了新道路。创造阶层的兴起将深刻地影响城市的可持续发展,中国城市应当采取措施兴起创造阶层。城市可以通过规划建设提高人居环境质量、增加城市便利性,通过制度创新扩展人的自由、提供创新的制度环境,而积累人力资本特别是兴起创造阶层,从根本上增强城市可持续发展能力。     

北京美术产业对地方文化的嵌入性程度分析

北京十一五规划指出北京将大力发展文化产业,尤其是文化创意产业。美术是文化产业中最具有创意色彩的产业部门,北京是中国最重要的美术产业中心,近5年来出现了一批美术创意产业集中区。本文使用近十多年来国外经济地理学家频繁使用的嵌入概念分析北京的美术产业。本文所采用的嵌入概念更强调KarlPolanyi的观点,以北京三个主要美术产业区798艺术区、宋庄画家村、观音堂文化大道为研究地点,通过分析实地访谈资料、艺术家和画廊的网站资料,探讨企业和艺术家在作品风格、市场定位、企业分布、企业制度等方面是如何嵌入北京地方制度文化和意识形态文化的。本文认为在把握嵌入程度,避免过度地方化的程度上有待未来讨论。     

CLASS OR COMMUNITY? MARX,THE RUSSIAN COMMUNE,AND CONTEMPORARY CRITICAL THEORY

This article explores the relationship between class and community through a discussion of peasant struggles and the commune during the Russian Revolution. Doing so, we show how Marx's class‐oriented reflections on community can help us to understand the role that the peasantry plays (or should play) in processes of social transformation. This enables us, first, to understand the relevance of communal forms for Marx, who believed that communitarian ways of life were crucial for overcoming a value‐based society. It is, in fact, a mistake to divide Marx's intellectual trajectory into two periods: a categorical Marx, who authored Capital and critically analyzed the classical theory of value, and a phenomenological, empirical Marx, who in the last years of his life abandoned writing Capital and focused instead on studying the Russian peasantry. Second, it enables us to discuss new externalist visions, such as postcolonial and decolonial theories, which postulate that the subordination of contemporary peasant communities is rooted in epistemology, culture, and local power relations. These theories are related to the old social‐democratic canon, which conceives of social classes as preconstituted entities and of capital as a parasitic externality that is incommensurable with social dynamics. The experience of the Russian peasantry calls into question all externalist and ontological perspectives.     

Cultural Economy: Achievements,Divergences, Future Prospects

This paper reflects on two decades' scholarship in geography on cultural economy, assessing strides made against some of the expectations of early proponents. Cultural economy continues to be a polysemic term. In some quarters, it refers to a type of economic geography into which matters of ‘culture’ are absorbed. This work frequently focuses on the empirics of the so‐called ‘cultural and creative industries’. Others see cultural economic research as an opportunity to move beyond the epistemological constraints of ‘culture’ and ‘economy’, questioning their status as foundational categories. This latter approach has been used in a broader set of empirical projects encompassing technology, knowledge, and society. Contrasting threads of cultural economic research have helpfully moved geographical scholarship beyond paradigmatic limitations, but jostle somewhat uncomfortably within existing (and increasingly specialised) disciplinary and subdisciplinary fields. The risk is that by questioning the categorical underpinnings of much specialised research, cultural economy struggles to ‘belong’ in the increasingly coded and compartmentalised university setting. I conclude with a discussion of future prospects. Some measure of vitality could be achieved through incorporation of a cultural economy perspective into the pressing issues of climate change, human sustenance, and urban infrastructure planning. These are issues for which the polysemy of cultural economy could prove constructive, transcending technocentric market ‘fixes’ and bland assumptions about how best to ‘green’ our cities – promoting instead ethnographic interrogations of how humans access, use, exchange, and value financial and material resources as moral and social beings.     

Driven by drink: The role of drinking in the political economy and the case of Early Iron Age France

The practice of drinking alcoholic beverages has several characteristic important social roles in traditional small-scale societies, particularly in terms of political economy. Cross-cultural survey of ethnographic data reveals that drink is very frequently a fundamental social artifact which plays an integral role in implementing the social relations expressed and created through hospitality. This intimate association with the institution of hospitality, and its frequent ritual and symbolic significance, imbue drinking with a potent social value which is important in its many economic and political roles. It is widely employed in the work-party feast as a mechanism of labor mobilization, and in the implementation of both institutionalized political authority and the informal power associated with leadership in societies without specialized political roles. Moreover, drinking can have a profound influence in producing changes in social relations, and consideration of drinking patterns can be very informative about society and culture in general. The relevance of this anthropological perspective on drinking to the analysis of archaeological data is demonstrated through a model which offers fresh insights for the interpretation of a specific archaeological problem: the process of trade and culture contact between the Greek and Etruscan states and the indigenous peoples of Early Iron Age France.     

Michael Polanyi's Social/Political Order: Design for a Society of Explorers

Abstract

Michael Polanyi's fascinations throughout his lifetime were threefold: (1) science—specifically physical chemistry; (2) philosophy—specifically epistemology and ontology; and (3) political society, understood, in the British tradition, to include economics. In developing his recommendations for political society, Polanyi draws broadly upon insights and even concepts from his experiences and reflections in both science and philosophy. His search for meaning in all of his philosophical works provides for him the definition of what he considers the most important human endeavor and is that which the political order must strive to encourage and protect. In addition, the gratification he found in the collegiality and conviviality of scientific research, conducted most productively in what Polanyi identified as “societies of explorers,” suggested to him the diverse groups—as in science, “polycentrically” ordered—and engaged in all kinds of productive activities that came to represent, for him, the grassroots source of a society's creative vitality. Having come to appreciate the necessity of freedom for scientific discovery, freedom became a paramount value in the model he proposed for political society. But this freedom, he realized, had to operate within the boundaries of legal and moral constraint if it was not to dissolve into the oppressions of anarchy. So we find in Polanyi's model of political society a dynamic very similar to that which he had developed in his epistemology: an indwelling of tradition for the purpose of social stability but also a “breaking-out” of established ways to engage in creative endeavors. Similarly, as Polanyi had recognized higher and lower “orders” of existence in his ontology that were necessary for the “emergence” of more comprehensive and novel entities, “greater than the sum of their parts,” he provided for a similar vertical, or qualitative, “layering” in his social order. These insights, and more, that Polanyi draws from his scientific and philosophical reflections in the process of constructing his model of a political society are what I attempt to develop in this essay.     

Creative geographies of ceramic artists: knowledges and experiences of landscape,practices of art and skill

This paper argues for a conception of art as an embodied and creative material practice. It draws on research conducted with seven professional ceramic artists who deal with landscape in their work to explore their processes of art-making through interview and (filmed) observation. It demonstrates the distributed range of embodied and relational more-than-artistic practices which inform how landscape is encountered, known and ultimately represented. It argues that artists’ self-expression in art is based upon material, social and political knowledges which interweave in artists’ lives. By studying ceramicists’ making this paper demonstrates both the non-conscious skill and the conscious technical knowledge needed to make art. It shows chance to have a triple role in practices of making, as something to work alongside, to work against and to draw on as a creative resource. This paper both argues for and demonstrates the value of an approach to art-making that frames it as a complex of both conscious, socio-cultural, technical knowledges and non-conscious skills which together (in)form works of (ceramic) art.     

网络文化的社会方言研究

方言是社会交际的工具,社会的发展是方言发展的根本原因和基本条件。网络方言也同样是随着网络信息社会的出现而产生的,本文就网络方言产生的原因、本身特点以及发展趋势进行了探讨。针对网络方言研究背景,从网络文化社会方言的发展现状及特点入手,提出网络语言正在成为一种新的社会方言并从其简略化、图形化、符号化和时尚化等方面分析了当前社会文化发展的新趋势,从而证明也只有在对社会全面关注和考察基础上才能发现社会语言的变化。     

创造性的经营--论稻盛和夫的经营策略

不断创新,保持独特性,是京瓷成功的重要原因。本文从技术、对外合作、市场开发等方面探讨了京瓷的创新。企业要创新,就应该不断地进行细微的改进。稻盛和夫的创新思想与日本传统的商业文化有密切联系。为使企业具有创造性,稻盛和夫主张矫正日本过度的集团主义,建立健全的市民社会。     

网络文化对青少年的影响之分析

网络文化是人类社会发展到信息时代而出现的新文化。网络文化具有高科技、高时效、开放性、交互性、虚拟性等特征。随着信息网络技术的高速发展,网络文化作为一种全新的文化形态和价值观念,对人们的社会生活产生着重要的影响,尤其是对青少年的身心健康产生着重要影响。因此,加强对网络媒体的建设和管理,加强对青少年的教育和引导,确保网络文化的健康发展,是我们当前所面临的一项崭新课题。     

Re-analysing the Baining: The Mytho-Poetics of Race,Gender and Art

This article criticises primitivist caricatures of the Baining in Melanesia as a society that lacks exegesis, symbolic logics, religion, structures of power and control, and even an interest in play. The mytho-poetics of gender and procreation in Mali Baining society are documented by focusing on how art and sexuality are traced onto each other. The formative power of painting, barkcloth, dancing masks, netbags and music are merged with the formative power of women. Art and sexuality are made to inform each other's generative potential, and even each other's aesthetic charm. These fertile mytho-poetic practices also underpin Mali political practices. Mali indigenous identity is celebrated as local control over the original powers of creation, which continue to reside in the earth, in the local landscape and, above all, in that which underpins all creation, women's procreative bodies with their creative potential to bring forth something new. The Mali localise creative processes so as to empower and revalue themselves within a culture of resistance to the hegemony of colonialism, modernity, settlers and regional ethnic elites.