The creative citizen unbound introduces the concept of 'creative citizenship' to explore the potential of civically-minded creative individuals in the era of social media and in the context of an expanding creative economy. Contributors examine the value and nature of creative citizenship, not only in terms of its contribution to civic life and to social capital but also to various and more contested definitions of value, both economic and cultural.

It is only since global media and digital communications became accessible to ordinary populations – with Telstar, jumbo jets, the pc and mobile devices – that humans have been able to experience their own world as planetary in extent. What does it mean to be one species on one planet, rather than a patchwork of scattered, combative and mutually untranslatable cultures? One of the most original and prescient thinkers to tackle cultural globalisation was Juri Lotman (1922-93). On the Digital Semiosphere shows how his general model of the semiosphere provides a unique and compelling key to the dynamics and functions of today’s globalised digital media systems and, in turn, their interactions and impact on planetary systems. Developing their own reworked and updated model of Lotman’s evolutionary and dynamic approach to the semiosphere or cultural universe, the authors offer a unique account of the world-scale mechanisms that shape media, meanings, creativity and change – both productive and destructive. In so doing, they re-examine the relations among the contributing sciences and disciplines that have emerged to explain these phenomena, seeking to close the gap between biosciences and humanities in an integrated ‘cultural science’ approach.

Series Information:
New Accents

This book is available as open access through the Bloomsbury Open Access programme and is available on www.bloomsburycollections.com. Cultural Science introduces a new way of thinking about culture. Adopting an evolutionary and systems approach, the authors argue that culture is the population-wide source of newness and innovation; it faces the future, not the past. Its chief characteristic is the formation of groups or 'demes' (organised and productive subpopulation; 'demos'). Demes are the means for creating, distributing and growing knowledge. However, such groups are competitive and knowledge-systems are adversarial. Starting from a rereading of Darwinian evolutionary theory, the book utilises multidisciplinary resources: Raymond Williams's 'culture is ordinary' approach; evolutionary science (e.g. Mark Pagel and Herbert Gintis); semiotics (Yuri Lotman); and economic theory (from Schumpeter to McCloskey). Successive chapters argue that: -Culture and knowledge need to be understood from an externalist ('linked brains') perspective, rather than through the lens of individual behaviour; -Demes are created by culture, especially storytelling, which in turn constitutes both politics and economics; -The clash of systems - including demes - is productive of newness, meaningfulness and successful reproduction of culture; -Contemporary urban culture and citizenship can best be explained by investigating how culture is used, and how newness and innovation emerge from unstable and contested boundaries between different meaning systems; -The evolution of culture is a process of technologically enabled 'demic concentration' of knowledge, across overlapping meaning-systems or semiospheres; a process where the number of demes accessible to any individual has increased at an accelerating rate, resulting in new problems of scale and coordination for cultural science to address. The book argues for interdisciplinary 'consilience', linking evolutionary and complexity theory in the natural sciences, economics and anthropology in the social sciences, and cultural, communication and media studies in the humanities and creative arts. It describes what is needed for a new 'modern synthesis' for the cultural sciences. It combines analytical and historical methods, to provide a framework for a general reconceptualisation of the theory of culture - one that is focused not on its political or customary aspects but rather its evolutionary significance as a generator of newness and innovation.

At the heart of this book lies a reappraisal of humanities research and its use in understanding the conditions of a consumer-led society. This is an open, investigative, critical, scientific task as well as an opportunity to engage with creative enterprise and culture. Now that every user is a publisher, consumption needs to be rethought as action not behavior, and media consumption as a mode of literacy. Online social networks and participatory media are often still ignored by professionals, denounced in the press and banned in schools. But the potential of digital literacy should not be underestimated. Fifty years after Richard Hoggart's pioneering The Uses of Literacy reshaped the educational response to popular culture, John Hartley extends Hoggart's argument into digital media. Media evolution has made possible the realism of the modern age journalism, the novel and science not to mention mass entertainment on a global scale. Hartley reassesses the historical and global context, commercial and cultural dynamics and the potential of popular productivity through analysis of the use of digital media in various domains, including creative industries, digital storytelling, YouTube, journalism, and mediated fashion. Encouraging mass participation in the evolutionary growth of knowledge, The Uses of Digital Literacy shows how today's teenage fad may become tomorrow's scientific method. Hartley claims the time has come for education to catch up with entertainment and for the professionals to learn from popular culture. This book will stimulate the imagination and stir further research.

Using compelling examples and analysis, this open access book How We Use Stories and Why That Matters shows what the New York Shakespeare Riots tell us about class struggle, what Death Cab for Cutie tells us about media, what Kate Moss's wedding dress tells us about authorship, and how Westworld and Humans imagine very different futures for Artificial Intelligence: one based on slavery, the other on class. Together, these knowledge stories tell us about how intimate human communication is organised and used to stage organised conflict, to test the 'fighting fitness' of contending groups - provoking new stories, identities and classes along the way. This book guides the reader through the tangled undergrowth of communication and cultural expression towards a new understanding of the role of group-mediating stories at global and digital scale. It argues that media and networked systems perform and bind group identities, creating bordered fictions within which economic and political activities are made meaningful. Now that computational and global scale, big data, metadata and algorithms rule the roost even in culture, subjectivity and meaning, we need population-scale frameworks to understand individual, micro-scale sense-making practices. To achieve that, we need evolutionary and systems approaches to understand cultural performance and dynamics. The opposing universes of fact (science, knowledge, education) and fiction (entertainment, story and imagination) - so long separated into the contrasting disciplines of natural sciences and the humanities - can now be understood as part of one turbulent sphere of knowledge-production and innovation. The ebook editions of this book are available open access under a CC BY-NC-ND 4.0 licence on bloomsburycollection.com. Open access was funded by Knowledge Unlatched.

At the heart of this book lies a reappraisal of humanities research and its use in understanding the conditions of a consumer-led society. This is an open, investigative, critical, scientific task as well as an opportunity to engage with creative enterprise and culture. Now that every user is a publisher, consumption needs to be rethought as action not behavior, and media consumption as a mode of literacy.

Online social networks and participatory media are often still ignored by professionals, denounced in the press and banned in schools. But the potential of digital literacy should not be underestimated. Fifty years after Richard Hoggart's pioneering "The Uses of Literacy" reshaped the educational response to popular culture, John Hartley extends Hoggart's argument into digital media. Media evolution has made possible the realism of the modern age journalism, the novel and science not to mention mass entertainment on a global scale.

Hartley reassesses the historical and global context, commercial and cultural dynamics and the potential of popular productivity through analysis of the use of digital media in various domains, including creative industries, digital storytelling, YouTube, journalism, and mediated fashion. Encouraging mass participation in the evolutionary growth of knowledge, "The Uses of Digital Literacy" shows how today's teenage fad may become tomorrow's scientific method. Hartley claims the time has come for education to catch up with entertainment and for the professionals to learn from popular culture. This book will stimulate the imagination and stir further research.

Series Information:
New Accents

Taking inspiration from Richard Hoggart's classic The Uses of Literacy, John Hartley considers the usefulness of both television and television studies. He re-reads the history of broadcast TV's earliest moments, tracing the critical reception television has received from the 1930s to the present. Uses of Television asks 'improper questions' about what television, and TV Studies too, have been for: about the effect of the vast, unknowable audience on television; about the role of television in promoting 'cultural citizenship' by means of 'transmodern teaching'; and about the effects of knowledge produced in the formal study of television.
Via a consideration of neglected aspects of media and domestic history, from the 1930s film Housing Problems to Clarissa Explains It All, from the fridge to Umberto Eco's daughter, Hartley argues that this much-maligned medium can be reassessed in a more positive light. 'Democratainment' and 'do-it-yourself citizenship' are the latest manifestations of a civic and cultural education that TV performs even as it entertains.

eBook available with sample pages: 0203024877

How does television function within society? Why have both its programmes and its audiences been so widely denigrated? Taking inspiration from Richard Hoggarts classic study The Uses of Literacy, John Hartleys new book is a lucid defence of the place of television in our lives, and of the usefulness of television studies.
Hartley re-conceptualizes television as a transmodern medium, capable of reuniting government, education and media, and of creating a new kind of cultural teaching which facilitates communication across social and geographical boundaries. He provides a historical framework for the development of both television and television studies, his focus ranging from an analysis of the early documentary Housing Problems, to the much-overlooked cultural impact of the refrigerator.

"The Politics of Pictures" searches for the public in the realm of media, where citizens are now literally represented on screen and page. John Hartley investigates popular media reality, showing how pictures and texts are powerful political forces in their own right. He embarks on a wide-ranging and sometimes bizarre journey of discovery, using an amazing variety of primary texts to explore the way publics have been created, and the political uses of media audiences.
"The Politics of Pictures" is a history of looking, from Aristotle to TV audiences, from the invention of photography to the meaning of picnics, from "Leviathan" to synchronized swimming, Dr. Johnson to the sexualization of war. Its unconventional approach is designed to show how popular reality looks to itself, and how its peculiar forms and connections actually challenge some venerable political and philosophical truths.

The Politics of Pictures is a history of looking from Aristotle to the meaning of picnics. Hartley investigates popular media reality, showing how pictures and texts are powerful political forces in their own right.