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The sociological literature on creativity would suggest that collaboration between newcomers and more experienced members of an art world results in the fruitful combination of novelty and usefulness, though not without some conflict.
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Computational sociology leverages new tools and data sources to expand the scope and scale of sociological inquiry. It’s opening up an exciting frontier for sociologists of every stripe—from theorists and ethnographers to experimentalists and survey researchers. It expands the sociological imagination.
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Corporations gather massive amounts of personal data to predict how individuals will behave so that they can profitably price goods and allocate resources. This article investigates the moral foundations of such increasingly prevalent market practices. I leverage the case of credit scores in car insurance pricing—an early and controversial use of algorithmic prediction in the U.S. consumer economy—to unpack the premise that predictive data are fair to use and to understand the conditions under which people are likely to challenge that moral logic.
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This article reviews conceptualizations from three academic areas: the sociology of art, the psychology of creativity, and research on the cultural and creative industries. These are compared with findings from a critical discursive study with UK practitioners. The meanings and associations these maker artists attach to creativity are discussed as a practitioner concept. For the practitioners, the association of creativity with art carries a promise of transcendence and escape from ordinary life but also a potential challenge to their own entitlement and claims to a creative status.
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Are “hook up” apps leading to a new kind of dating culture on college campuses? Dating apps like Tinder and Bumble are have a different impact on the lives of college students versus older daters. Many students are using these apps to circumvent the romantic gatekeeping that campus party culture has long dominated.
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When hundreds of thousands of protesters filled the streets of Hong Kong this summer, central figures reportedly took no selfies, avoided Facebook and Twitter, installed prepaid SIM cards, stuck to secure messaging apps, and used cash instead of rechargeable subway cards or other cashless payments. It is not clear whether this will help them avoid “conspiracy to commit public nuisance” charges, which led to prison sentences for leaders of the 2014 Umbrella movement (including sociologist Kin-man Chan).
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Between 2008 and 2011, the dysfunctional North London line was improved and rebranded into a high‐quality, high‐frequency service: the London Overground. Great ambitions for regeneration came with this project: The improved line, running through deprived areas of East London, was expected to bring inward investment and to open access to new opportunities outside the borough to its residents.
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Positioning itself against arguments that claim that the Model Cities program (initially known as the 1966 Demonstration Cities and Metropolitan Development Act) was either an unmitigated failure, an attempt to co‐opt activists, or an effort to introduce the “carceral state” nationwide, this paper examines the implementation of Model Cities in a historically integrated suburb and argues that while the program was assuredly only a “limited success,” it did provide both funding and social space in which residents could forge intergenerational and cross‐racial alliances, as well as launch chal
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Music consumption imbues a city's neighborhoods with a character all their own, contributing to a vibrant and dynamic map of urban cultures. Brick‐and‐mortar music retailers remain an important site for this consumption, persisting despite challenges posed by digitization. But the landscape of contemporary cultural consumption has been shaped by urban inequality over time.
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Based on the case study of a Fringe theatre festival in a peripheral city in Israel, this article identifies and analyzes a moment of change in power relations between a peripheral city and the country's central city. It offers an alternative perspective to urban discourse, which analyzes art projects in peripheral cities as duplicating colonial relations. We adapted the Marxist concept of a class in itself and a class for itself, from the socioeconomic realm to the urban realm, by using Bourdieu's field theory as a link between the sociology of art and the urban realm.
