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Chapter 11: Destructive Creativity: Arts in the Information Age 
 
What is 'cool' now isn't just an isolated piece of culture, but rather the result of a history of 'cool'. The future of humanities must begin to converge with art in order to bridge the gap. In other words, to be 'cool', older art forms must merge with more contemporary art forms. Society is currently so visually overstimulated that something needs to change just to get an idea from on mind to another.  Destructive Creativity refers to one approach, which is reassembling the past into the future.  It refers to the present aesthetic, mutation and remix culture. Creative Destruction is a slightly different approach.  Critiquing culture becomes an inherently edgy aesthetic. Tradition is linked to the avant-garde through the reappropriation of familiar things. Information is a new raw material, a form a currency. The chapter gives a history of destructive art, new art's need to reject or destroy the old to move forward. After pages and pages of examples of earlier works, the chapter gets to digital works.  Jodi works with the aesthetics of the internet, using a web browser as a frame.  Still, inside that frame, the text is made to look like an old DOS-based personal computer, acting as a reminder that contemporary art has at least some root in the past.  The self-destructive, self-activated behavior of the art is the formula for twentieth-century art.
 
This chapter seemly chronicles every step on the path to current existence of edgy art, which was tiresome to wade through, but certainly not useless. For every part of the current state of 'cool' that Liu describes, he provides several examples of the predecessors. Knowing more about the current state of art than the past and reading the chapter put everything into a perspective that wasn't necessarily any different, but is perhaps now more informed. What was noticeably missing from the discussion was the influence of an artist's contemporaries. Having not read the entire book, it is quite possible that Liu talks about it elsewhere, but regardless, talking about art with respect only to the past is ignoring half of what influences it.
 
Liu, Alan, 1953- . Laws of cool : knowledge work and the culture of information / Alan Liu. [0226486982 (cloth : alk. paper) ] Chicago : University of Chicago Press, 2004.
Call#: Van Pelt Library HM851 .L56 2004


Chapter 4: Culture and psychological mechanisms
 
This chapter talks about the science of culture as being a form of universal Darwinism--that is, that culture is subject to variation and evolves when certain variants are selected and preserved until another later variation. Culture is a creation of human minds, which learn associatively, therefore understanding culture requires a scientific understanding of how culture is spread. This is where memetics comes in. However, one problem is that there is no authoritative theory about the transfer of culture, so natural science is at somewhat of a loss.  The chapter goes into some detail about the relationship between the definition of culture and the science of culture. The less agreement in the science, the more important definitions become, otherwise everyone is essentially speaking a different language. For memetics, the definition of copying is particularly important.  How faithful to the original must something be to be considered a copy? Is imitation transmission, or is learning transmission? Imitaton, learning, and acquisition are all different kinds of copies.  Plotkin rejects the definition of a meme as  something passed on by imitation for four reasons: defining a meme as imitation is an oversimplification, requiring a meme to be imitable is unclear,  assuming thats imitation leads to greater copyinig fidelity is just wrong, and requiring high copying fidelity ignores the natural variation that causes memes to evolve. The last point mentioned is the distinction between surface memes and deep memes.  A surface meme, although dependent on larger memes for context, is narrow in scope, such as believing a certain store has the lowest prices around (obviously that could change if another store undercuts them one day.) A deep meme is a higher knowledge structure, usually embedded somehow in the culture itself.
 
The author's approach to the topic seems more to correct misinformation than define things concretely. In doing this he is perhaps leaving the door open for more discourse on how to define the term 'meme' and the science of culture.  The chapter seems more like a philosophical piece than a scientific piece, but as he says, that is basically the current state of memetics.
 
Darwinizing culture : the status of memetics as a science / edited by Robert Aunger ; with a foreword by Daniel Dennett. [0192632442 ] Oxford ; New York : Oxford University Press, 2000.
Call#: Van Pelt Library HM1041 .D37 2000


This article discusses how memes catch on (or don't) and their impact on culture. The first approach is looking at history as either a narrative or a science. The narrative must be plausible, but not predictable, to be interesting. So too is culture. The things that catch on don't follow a formula per se, but in retrospect they aren't completely out of the blue. The second approach is a comparison with evolution. In this view, it is the glitches that move things forward, not just the formula. The good will continue, the bad will be cast off. However, the line between good and bad is blurry at best, and the very nature of parasitic things like memes is to trick the hosts. The article gives the example of a person with a sweet tooth. If the candy tastes good enough to make the person forget about its negative impacts, it will persist, furthering both the good and the bad qualities of candy. Memes are selected unconsciously and consciously. Even in the case of meme-engineering, in which someone tries to create an idea that will catch on by mimicking what is popular, nothing can be predicted for certain. It doesn't necessarily matter how good an idea is (although it helps), but rather the unpredictable pull of many natural and cultural forces that decides the fate of a meme. Cultural evolution is thus not a direction, but a trend, and not necessarily a very definite trend.

The article touches on a lot of different possibilities, but its tone makes it easy enough to read and digest. The nature of taking the side of unpredictability is that no firm conclusions will be drawn, but the article still discusses numerous possibilities. The question Dennett repeats is "cui bono?" or "who benefits?" He doesn't give an answer, or perhaps the answer is that even if one could measure the benefits, they wouldn't necessarily inform anything beyond that.