Sociology of Arts II 2024-2025 Past Paper PDF

List of Terms -- Sociology of Arts II 2024-2025 **Week 1: Field Theory** 1. **Field of Cultural Production** = A subfield of the broader social field where art and culture are created, distributed, and consumed. It encompasses the power relations, struggles, and practices of agents (a...

List of Terms -- Sociology of Arts II 2024-2025 **Week 1: Field Theory** 1. **Field of Cultural Production** = A subfield of the broader social field where art and culture are created, distributed, and consumed. It encompasses the power relations, struggles, and practices of agents (artists, critics, institutions) that shape cultural value and legitimacy. 2. **(Social) Field** = A structured system of social positions and relationships where agents and institutions compete for power and resources. Each field operates according to its own rules and values, often in tension with other fields. 3. **Field Theory** = Bourdieu\'s [conceptual framework] that explains how fields operate as arenas of struggle, shaped by specific forms of capital, rules, and hierarchical structures. Fields are dynamic, with boundaries and relations continuously negotiated. 4. **Cultural Capital** = [Non-economic resources] like education, taste, skills, and cultural knowledge that confer social status and advantage. In the arts, this might include familiarity with certain genres or styles. 5. **Economic Capital** = [Material wealth and financial assets], which can be converted into other forms of capital, such as cultural or social capital, depending on the field 6. **Symbolic Capital** = [recognition, prestige, and legitimacy granted within a field]. In the arts, symbolic capital might be represented by critical acclaim or awards 7. **Social Capital** = the [network of relationships and social connections] an individual can mobilize for influence or support, often crucial for success in cultural fields 8. **Habitus** = the [ingrained habits, dispositions, and ways of thinking] shaped by an individual's social and cultural background. Habitus influences taste, behavior, and strategies within fields 9. **Sense Pratique** = the [practical sense or intuitive understanding of the "rules of the game"] within a specific field, allowing agents to navigate and act effectively 10. **Doxa** = the [unquestioned, taken-for-granted beliefs and assumptions that dominate within within a field]. In the arts, this might include the idea that certain practices are inherently more "artistic" or valuable 11. **Circle of Belief** = the [shared conviction among participants in a field (eg artists, critics, collectors) about the value and legitimacy of their cultural activities]. This belief sustains the field's operations 12. **Autonomous Pole** = the part of the cultural field where [art is created and valued for it\'s own sake], independent of market or external pressures. Here [symbolic capital dominates over economic capital] 13. **Heteronomous Pole** = the part of the cultural field where cultural production is more [closely aligned with economic or political forces], prioritizing [market success or external utility] 14. **Artistic Legitimacy** = the recognition of an artwork or artist as valid and significant within the field of cultural production, often [achieved through the accumulation of symbolic capital] 15. **Cultural Intermediaries** = agents who [mediate between cultural production and consumption], such as critics, curators and marketers, shaping public taste and perception 16. **Cultural Bankers** = prominent intermediaries or institutions that ["invest" in cultural production by endorsing, funding, or promoting certain works or artists], thereby influencing artistic legitimacy 17. **Restricted Production** = cultural production [aimed at a limited, often elite audience], typically prioritizing [symbolic capital over economic rewards] 18. **Large-scale production** = cultural production [aimed at a mass audience], often [driven by economic capital and external demands rather than symbolic prestige] 19. **Long-Term Production Cycle vs Short-Term Production Cycle** = long term has to do with the creation of cultural works with enduring value, often tied to the autonomous pole, while short term refers to production geared towards immediate commercial success, associated with the heteronomous pole 20. **Orthodoxy** = the [dominant beliefs and practices] within a field that maintain the status quo and reinforce established power structures 21. **Heterodoxy** = [challenges to the dominant beliefs and practices], often emerging from marginalized or innovative agents within the field 22. **Bourgeoisie** = the social class with [economic and cultural dominance], often shaping the values and practices of cultural dominance, often shaping the values and practices of cultural fields 23. **Industrial Art** = cultural [production shaped by industrial processes, emphasizing efficiency, replication, and mass consumption], typically aligned with the heteronomous pole 24. **Genetic Structuralism** = Bourdieu's approach to understanding cultural production by analyzing [both the internal structures of a field and it\'s relationship to broader societal structures] 25. **Space of Possibles** = the [range] of potential strategies, styles, or positions [available to agents within a field,] shaped by historical developments and current dynamics (the options) 26. **Objective Field Positions** = the structured locations within a field that agents or institutions occupy, determined by their [resources, capital, and strategies] 27. **Illusio** = the shared belief among agents in the field that their activities are meaningful and worthwhile. This belief sustains engagement and competition within the field **Week 2: Legacy of Field Theory** 1. **Globalization** = The process by which cultural, social, and economic practices [transcend national boundaries], creating interconnected networks of art production, distribution, and consumption. It reshapes artistic fields by introducing cross-cultural influences and global market dynamics 2. **Global Field** = a cultural field operating on a [global scale], where agents (artists, institutions) and their works [interact across national borders], influenced by globalized networks of production and symbolic exchange 3. **International Field** = a cultural field [shaped by relations between nations], emphasizing [national representation and cross-national collaborations in ar]t, such as international biennials or cultural diplomacy 4. **Transnational Field** = a field characterized by the [movement] of cultural goods, ideas, and practices [across borders, independent of national affiliations], often involving diasporic or hybrid cultural identities 5. **Supranational Field** = a field governed by [overarching structures or institutions that transcend individual nations], such as the EU's cultural policies or UNESCO's heritage programs, shaping global art and cultural practices 6. **Creative Industries** =  Industries that [focus on the production and commercialization of cultural and creative goods], such as film, music, art, and design, combining artistic value with market-driven imperatives. 7. **Industrial Art** = art [shaped by industrial production processes and mass-market demands, prioritizing replication, accessibility, and consumer appeal], often aligned with mainstream cultural production 8. **Alternative Production** = Artistic practices that operate [outside mainstream or commercial frameworks], often emphasizing innovation, community, or critique of dominant systems, and aligning with restricted cultural production. 9. **Mainstream Production** = art and cultural works that [conform to dominant commercial and aesthetic norms], often aiming for mass appeal and economic capital 10. **Corporatization** = the [influence of corporate structures, values, and practices on art] and cultural fields, often leading to the prioritization of profit and marketability over aritstic autonomy 11. **Horizontal Integration** = a strategy where an organization expands by acquiring or merging with other at the [same level] in the value chain, such as a gallery buying other galleries, to consolidate market power 12. **Vertical Integration** = a strategy where an organization controls [multiple levels of the value chain], from production to distribution, such as a studio owning both production facilities and exhibition spaces 13. **Infomediaries** = (to do with algorithm curation), entities that [curate and mediate information], including algorithm-driven platforms that organize and recommend cultural content to users based on data analysis and trends 14. **Algorithmic Recommendation Systems** = [digital tools powered by algorithms to curate and suggest cultural content] (eg films, music, artworks) to users [based on preferences, behaviors, and predictive patterns] 15. **Platformized Cultural Economy** = an economy where cultural production, distribution, and consumption are [dominated by digital platforms] (eg spotify and netflix), reshaping access and value creation through algorithmic curation 16. **Market Segmentation** = the [division of audiences] into distinct groups based on demographics, preferences, or behaviors, enabling targeted cultural production and marketing 17. **Singular Regime** = a framework where art is judged as [unique or incomparable], emphasizing its [symbolic and cultural capital over commodification] 18. **Legitimization** = the process by which art or artists gain [recognition and acceptance] within a cultural field, often through [endorsements] by critics, institutions, or cultural elites 19. **Adoration** = the [passionate, sometimes fanatical, veneration] of an artist, artwork, or cultural product, often fostering symboli c capital and cult-like devotion within a cultural field **Week 3: Boltanski and Thevenot** 1. **Value Regimes** = frameworks of [justification that determine how worth, legitimacy and value are assigned to objects, actions, or people] in specific contexts. Each regime is rooted in different principles and shapes the perception of art and culture 2. Inspirational Regime = values creativity, originality, and transcendence. Art and artists are celebrated for their ability to inspire and connect to higher ideals, emphasizing intrinsic value over practical utility 3. Civic Regime = focuses on collective wel-being, equality, and the public good. In art, this might prioritize works that foster social cohesion or promote civic engagement, often seen in publicly funded projects 4. Fame Regime = centers on visibility, recognition, and reputation. The worth of art is linked to it\'s capacity to attract attention and gain widespread acclaim, often through media or celebrity culture 5. Domestic Regime = emphasizes tradition, hierarchy, and trust. In art, this might highlight the role of lineage, heritage, or community ties, often seen in the value given to craft or family legacies in artistic production 6. Green Regime = prioritizes ecological sustainability and harmony with nature. Art under this regime often reflects environmental concerns or aligns with eco-conscious practices 7. Industrial Regime = grounded in efficiency, productivity, and technical expertise. Artistic value is assessed based on processes, standards, and measural outputs, as seen in industrial art or large-scale production 8. Market Regime = values competition, exchange, and profit. Art is treated as a commodity, and it\'s value is defined by market dynamics, such as pricing, sales, and demand 9. Connectionist Regime = focuses on networks, adaptability, and innovation. Art gains value through it\'s ability to connect people, ideas, or technologies, reflecting contemporary digital and globalized contexts 10. **Pragmatic Sociology** = an approach developed by Boltanski and Thévenot that examines how people [justify actions and resolve conflicts in social situations]. It highlights the role of value regimes and compromises in navigating disputes and differences 11. Intrinsic Value = the inherent worth of art, independent of market or external considerations, often tied to it\'s aesthetic, emotional, or intellectual significance 12. **Neoliberal Capitalism** = an economic system emphasizing market competition, privatization, and deregulation, where art often becomes a commodity, valued primarily through market and fame regimes 13. Compromise = the negotiation between conflicting value regimes to reach a temporary resolution. For example, balancing market demands with civic or inspirational ideals in artistic practices 14. Conflict = arises when value regimes clash, such as tensions between the inspirational regime (creativity) and the industrial regime (efficiency) 15. Higher common principle = a shared standard that transcends individual regimes, enabling resolution of disputes by appealing to universally recognized values, such as justice, truth, or sustainability **Week 4: Becker's Art Worlds** 1. **Symbolic Interactionism** = a sociological perspective [emphasizing the creation of meaning through social interactions]. In Becker's framework, art is seen not as the product of solitary genius but as a collective activity shaped by shared symbols, negotiations, and social roles 2. Art as collective action = art is created through collaboration among various individuals, including artists, technicians, managers, and audiences. Each contributes specialized skills and roles within the "art world," emphasizing the interconnected nature of artistic production 3. Elements in Art Making (9) = the key components required for creating and sustaining art 1. 1. 1. 1. 1. 1. 1. 1. 1. 4. Core Personnel = the primary creators of art, including artists, performers, and writers, who are directly responsible for the work's conception and execution 5. Support Personnel = individuals who facilitate the production and dissemination of art, such as technicians, managers, curators, critics, and even the audience, who help interpret and legitimize the work. 6. Types of artists = Becker categorizes artists based on their relationship to conventions and the art world: 1. 1. 1. 1. 7. **Conventions** = the shared rules, practices, and assumptions that guide artistic creation and appreciation. Conventions standardize processes, enabling collaboration and audience understanding, but can also limit innovation **Week 5: Actor Network Theory** 1. Science and Technology Studies (STS) = an interdisciplinary field exploring how science, technology, and society co-shape each other. In art sociology, STS examines how materials, tools, and technical processes influence artistic production and cultural meaning 2. Agency of Objects = objects (eg materials, tools, technologies) are seen as active participants, not passive tools, in networks of art-making. They influence outcomes and shape interactions, reflecting ANT's emphasis on the symmetry between human and non-human actors 3. Actor = any entity (human or non-human) that plays an active role in a network. In art, this could include artists, audiences, materials, institutions, or technologies 4. Network = [the web of relationships connecting actors] (both human and non-human). In art sociology, networks encompass artists, materials, institutions, and audiences, showing how these interactions shape the production and reception of art. 5. Material Semiotics = A methodological approach emphasizing the interconnectedness of material and symbolic elements. It examines how meanings arise through the relationships between objects, practices, and representations within a network. 6. Four Moments of Translation = Processes through which actors create, sustain, and stabilize networks: 1. 1. 1. 1. 7. **Co-production** = The [mutual] shaping of society and artifacts. In art, this [reflects how cultural values and artistic practices influence---and are influenced by---materials, technologies, and social norms.] 8. Mediation = The process by which actors (human or non-human) influence and transform interactions within the network. In art, mediation can involve tools, critics, or technologies shaping the reception or production of works. 9. Attachment = The bonds that actors (human or non-human) form within a network, which sustain their involvement. For example, an artist's attachment to a particular medium or a viewer's emotional connection to an artwork. **Week 6: Evaluation of Art** 1. Intrinsic vs Extrinsic properties of Art 1. 1. 2. Primary vs Secondary evaluation 1. 1. TAKEAWAYS - Howard Becker's conceptualization - Howard Becker's conceptualization focuses on art as collective action, emphasizing that art is created within \"art worlds,\" which are networks of individuals collaborating through shared conventions.  - These networks include core personnel (artists) and support personnel (critics, curators, technicians), all contributing to the production, distribution, and reception of art. Becker argues that art is a social process, shaped by conventions, resources, and cooperative activities rather than the isolated work of a solitary genius. - Heterodoxy vs heteronomy - Heterodoxy: refers to positions in the cultural field that challenge dominant (orthodox) norms, values, or conventions - Example in field: Avant-garde artists who reject traditional art forms or institutions, such as modernists critiquing classical art traditions. - Heteronomy: refers to the influence of external forces -\> such as market edmands, political pressures, or popular taste -\> on cultural production - Example: mass-market art or entertainment that priortizes economic capital over cultural or symbolic capital - Heterodoxy vs orthodoxy =\> represents internal struggles within the field for symbolic and cultural capital, where heterodox actors challenge dominant (orthodox) definitions of legitimate art - Autonomy vs Heteronomy: reflects tension between internal, field-specific criteria for artistic value (autonomy) and external influences (heteronomy) - Folk artists and the different artist types - Becker categorizes artists based on their relationship to conventions and the art world: - Maverick: artists who reject or innovate beyond existing conventions, working outside established art worlds - Integrated professional: artists who adhere to and excel within existing conventions, achieving recognition and stability - Folk: creators working within cultural traditions, often outside formal art institutions, producing for community or ritual purposes - Naive: self-taught artists without formal training or adherence to conventions, often operating outside mainstream art worlds - Long-term vs short term production cycles - Long term has to do with the creation of cultural works with enduring value, often tied to the autonomous pole, while short term refers to production geared towards immediate commercial success, associated with the heteronomous pole - - "Playing both sides of the field" - Mediation - Mediation = The process by which actors (human or non-human) influence and transform interactions within the network. In art, mediation can involve tools, critics, or technologies shaping the reception or production of works. - Actor network theory - Actor-Network Theory (ANT) examines how human and non-human entities (actors) interact within networks to produce outcomes. Developed in Science and Technology Studies (STS), it emphasizes the agency of objects, treating materials, tools, and technologies as active participants alongside people. ANT focuses on **networks** of relationships, the **translation** of roles and interests, and the mutual shaping (or co-production) of social and material aspects. In art, ANT highlights how artworks, materials, institutions, and audiences collaboratively shape artistic creation and meaning, moving beyond the notion of art as the product of solitary genius. - Autonomy - Cultural autonomy refers to the capacity of a cultural field, such as the arts, to operate independently from external influences, such as economic, political, or social pressures. It emphasizes the intrinsic values of creativity, innovation, and aesthetic expression, rather than prioritizing commercial or utilitarian goals. - Art world theory - Howard S. Becker\'s Art World Theory views art as a collective activity, involving collaboration among artists, support personnel (e.g., curators, critics, technicians), and institutions. It emphasizes the role of shared conventions, resources, and networks in shaping artistic production and meaning. Art is not created in isolation but within interconnected systems that define its value and legitimacy. - Theory of the field of cultural production - Pierre Bourdieu\'s theory views the art world as a social field where actors (artists, critics, institutions) compete to define and control cultural value. Success depends on forms of capital: cultural (knowledge), symbolic (recognition), and economic (financial). The field balances the autonomous pole (art for art's sake) and the heteronomous pole (market-driven art). This framework explains how artistic value and legitimacy are socially constructed through competition and institutional norms. The main theories one could pull from - **Field Theory (Bourdieu):** - Examines [structured social spaces] (fields) where actors compete for specific forms of [capital] (cultural, symbolic, economic, social) and [legitimacy], shaped by [power dynamics and internal rules] (doxa)[.] - **Legacy of Field Theory:** - Influences modern sociology by highlighting the [interplay between social structures], individual agency, and capital in fields like art, science, and politics.  - To do with trans/supra/etc national/global fields and production - **Pragmatic Sociology (Regimes) (Boltanski & Thévenot):** - Focuses on [how individuals justify actions using value regimes] (market, civic, fame, green industrial, domestic, inspirational, connectionist), which frame disputes and evaluations within different social contexts. - **Symbolic Interactionism / Art World Theory (Mead/Becker):** - Explores how meaning is created and negotiated through social interactions, emphasizing the role of shared symbols, language, and conventions in shaping behavior and identity. - **Actor-Network Theory (ANT) (Latour):** - Views human and non-human entities as actors in networks, emphasizing how their interactions and material agency shape outcomes in fields like art, science, and technology. Field theory (bourdieu), the legacy of field theory, pragmatic sociology (regimes, boltanski & thevenot), symbolic interactionism / art world theory (mead/becker), actor network theory (latour) Case study: Relating theory to Case Study: Rejects, the show for artists rebuffed by the Royal Academy **1. Field Theory (Bourdieu)** - **Field of Cultural Production**: The Royal Academy (RA) summer exhibition represents the field\'s dominant institution, setting standards for inclusion and value. The Rejects show challenges this dominance by showcasing works excluded from the RA. - **Autonomous vs. Heteronomous Poles**: The RA exhibits works that straddle these poles, as their selection process balances artistic legitimacy and public appeal. Conversely, the Rejects show leans towards the autonomous pole, emphasizing the artistic integrity of overlooked works. - **Symbolic Capital**: Being selected for the RA show brings prestige, while rejection implies a loss of symbolic capital. The Rejects show seeks to redefine this by creating symbolic value for excluded artists. - **Doxa**: The RA's selection criteria reflect the doxa of the art field, with its norms challenged by the Rejects exhibition. - **Habitus**: Artists like Hannah Pratt display a habitus shaped by rejection, yet they remain committed to their creative practices. **2. Art World Theory (Becker)** - **Art as Collective Action**: Shona Bland\'s initiative to create the Rejects show highlights the collaborative nature of the art world, involving gallerists, artists, and audiences to legitimize excluded works. - **Support Personnel**: Bland herself serves as support personnel, providing a platform for marginalized artists and redefining art world conventions. - **Conventions**: The RA adheres to established conventions, whereas the Rejects show challenges these norms, promoting diversity in artistic approaches. **3. Pragmatic Sociology (Boltanski & Thévenot)** - **Market Regime vs. Inspirational Regime**: The RA reflects market and fame regimes, given its influence on artists\' careers. The Rejects show emphasizes the inspirational regime, celebrating creativity and resilience. - **Conflict and Compromise**: The case study embodies the conflict between orthodox practices (RA standards) and heterodox responses (Rejects show). Bland's efforts represent a compromise, offering a space for overlooked art. **4. Actor-Network Theory (Latour)** - **Network**: The Rejects show creates a network connecting rejected artists, their works, and new audiences, reshaping their cultural value. - **Mediation**: Bland mediates between the RA's institutional rejection and public reception, transforming perceptions of artistic legitimacy. **5. Evaluation of Art** - **Intrinsic vs. Extrinsic Properties**: The RA's selection might emphasize extrinsic factors like artist reputation or market potential. The Rejects show foregrounds intrinsic qualities, such as creativity and technical skill. - **Primary vs. Secondary Evaluation**: The Rejects exhibition invites a primary evaluation of artworks, unmediated by institutional biases, while the RA show represents a secondary evaluation influenced by broader art world dynamics.