Abstract
The central argument in this paper is that actor-network theory (ANT) does not do 'cultural economy' symmetrically: it has had a lot to say about economy but much less to say about culture. This rejection of culture is ontological and epistemological: culture appears in ANT largely as an artefact of modernist thought rather than as an empirical aspect of agents' performances. And yet if 'economy' can be critiqued and reinstated as performative, so too can 'culture'. To explore this, we focus on objects of concern that - unlike the financial markets that have formed the core of ANT-inspired thinking about the economy - are assembled by actors in and through what they themselves understand to be cultural materials, cultural calculations, cultural processes, cultural institutions. In such examples, 'culture' is continuously invoked and enacted by actors in constructing their actions, whatever critical sociologists might have to say about its ontological status. It seems paradoxical that a theoretical approach that makes sacrosanct the associations constructed by agents who assemble their own world, generally discusses 'culture' only from the point of view of critical epistemology. Bearing all this in mind, we argue that it is time for us to 'reassemble' the cultural.
| Original language | English |
|---|---|
| Pages (from-to) | 161-177 |
| Number of pages | 17 |
| Journal | Journal of Cultural Economy |
| Volume | 7 |
| Issue number | 2 |
| Early online date | 22 Mar 2013 |
| DOIs | |
| Publication status | Published - 2014 |
Keywords
- actor-network theory
- brands
- creative industries
- cultural objects
- models