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Culture, Communication, and Creativity

Reframing the Relations of Media, Knowledge, and Innovation in Society

Edited By Hubert Knoblauch, Mark D. Jacobs and René Tuma

It is the premise of this volume that the rising importance of creativity in modern culture is related to dramatic changes in communication. In the last decades we have witnessed a revolutionary change in the ways we interact with one another. This transformation of the structure of communication is one of the most decisive aspects of the creativity of culture. The full aim of this volume therefore is to explore the resulting transformation in the relations of culture, creativity, and communication.


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V. Applied Studiesin Culture, Communication and Creativity


V Applied Studies in Culture, Communication and Creativity Highbrow, Omnivore, and Voracious Cultural Consumption Patterns in the Netherlands: An Explanation of Trends between 1975 and 2005 KOEN VAN EIJCK AND GERBERT KRAAYKAMP Introduction Cultural consumption patterns are rapidly changing. In this chapter, we will study how and why such change occurs to assess the role of culture and creativity in people’s lives. Cultural activity, either being an audi- ence member or being an amateur artist, can be considered a creative pursuit. But how has engagement in these creative pursuits developed during the last decades? And how are they patterned? To what extent do preferences for “highbrow” or “popular” creative or artistic products still imply different positions in the cultural space and, if not, what is it that cultural consumption patterns actually communicate to others? According to the empirical literature, rates of highbrow cultural participation are declining among younger cohorts (DiMaggio & Mukhtar, 2004; Van Eijck & Knulst, 2005). However, these findings do not indicate that cultural consumption is no longer linked to social background (Kraaykamp, 2002; Van Eijck & Bargeman, 2004; Fisher & Mattson, 2009; Chan, 2010). Nor do they imply that highbrow cul- ture has lost its potential as a form of symbolic capital (Kraaykamp & Van Eijck, 2010). Although the highbrow-popular distinction is still relevant as an organizing principle of taste (Van Eijck & Lievens, 2008; Bennett et al., 2009), it has been argued that not highbrow cul- ture in itself, but rather the combining of highbrow and popular cul- ture into a single,...

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