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Rating: 
Summary: An Analysis of Tyler Cowen's Creative Destruction
Review: Book Review For: Dr. Nicholas Capaldi
Loyola University New Orleans, Louisiana
BA705 Business Ethics-Spring 2004 In Tyler Cowen's Creative Destruction, he addresses the viability of diverse culture in a rapidly expanding global market economy. Most specifically, he focuses on "the particular aspects of culture consisting products which stimulate and entertain us." Cowan defines the following: "music, literature, cinema, cuisine, and visual arts, as the relevant manifestations of culture." The book attempts to answer, by his own account, the age-old question "dating back at least far as Greek civilization: Are market exchange and aesthetic quality allies or enemies?" He proposes that market economies and cross cultural trade have catapulted societies throughout history by facilitating the spread of scientific ideas, creative arts, and enabling isolated cultures to experience a "richer menu of choice" The author offers extensive detail concerning alternative arguments throughout the book as well as the fact that, as in all things, there are opportunity costs associated with each view and some resulting in tragic outcomes.
Cowen qualifies himself on this subject by defining his approach according to his "background as an economist" and his relevant studies of the "scholarly literature and diverse experiences as a cultural consumer", rather than an analysis based on a "single path of specialized study." He outlines his argument that the global economy fosters positive influences on the world's culture by subsequently analyzing the following three "primary lessons":
1. The concept of cultural diversity has multiple and divergent meanings.
2. Cultural homogenization and heterogenization are not alternatives or substitutes; rather, they come together.
3. Cross cultural exchange, while it will alter and disrupt each society it touches, will support innovation and creative human energies.
Cowan begins with the concept definition of cultural diversity as it can be understood in multiple contexts. He explains that diversity is not a single concept. First, "diversity within a society refers to the richness of the menu of choice in that society." The most fragile cultures, with respect to technology, also tend to respond in an explosive fashion to the introduction of new ideas and technologies. They have proven to adapt these technologies and innovations in ways their trading partners never anticipated.
Secondly, Cowan states, "Many critics of globalization focus on diversity across societies comparing whether each society offers the same "menu of choice" and whether societies are becoming more similar," through the process of globalization. He notes that generally, "diversity across societies is a collectivist concept because it does not consider the choices faced by an individual." A libertarian would allow "individuals to create their own meaning." For the purpose of Cowan's argument, libertarians foster individual creativity which is agreed by most to be the backbone of culturally diverse arts.
Limitations placed by government, or activists for that matter, on the market of exchange can significantly alter the outcomes, possibly even the survival of, poorer cultures. Cowan believes that poorer cultures especially, should be allowed to participate in cross cultural trade, even at a social cost, in order to experience the "gains from trade" with outside cultures. As Adam Smith argues in his, Wealth of Nations.., "the best vehicle for innovation is a free market system." Cowan's argument borrows from Smith's ideas and appropriately applies this concept to his claim that cultural diversity requires innovation for the survival of those poorer cultures which would otherwise cease to exist in the long run. As the adaptation process of the new technologies an innovations occur within a poorer culture; it becomes interwoven with aspects borrowed from foreign cultures. Cowan defines this concept later as "synthetic culture."
Synthetic culture refers to the fact that pure societies are mostly obsolete. For example, "The original ideas and inspirations of tribal groups of Zaire have been commodified, and shaped into new synthetic forms, for the purpose of courting outside markets Cowan retorts that the same "defenders of diversity decry the passing of previous cultures and implicitly oppose diversity-over-time," without regard to the necessity of innovations for survival. Cowan's argument has remarkable semblance to that of Cass Sunstein's "Paradoxes of the Regulatory State" where Sunstein argues that "redistributive regulation harms those at the bottom of the socioeconomic ladder." Here, Sunstein points out that often times regulations have "perverse effects" which serve opposite to the activist intended agendas. Likewise, Cowan argues that those who defend cultural diversity for the sake of "creative purity" will, if successful, risk eliminating the cultures they claim to be defending.
Cowan's final "primary lesson" states that "Cross-cultural exchange brings about value clashes that cannot be solved scientifically, in the short term. In the long run however, any "disruptions and alterations will inevitably support innovation and creative human energies." The whole world has a broader menu of choice (from participating in cross-cultural exchange) but older synthetic cultures must give way to newer synthetic cultures." Cowan states, "As we might expect from cross cultural contact, it supports greater diversity of identity, or ethos, within each society while limiting diversity across societies. As identities move closer together, they cease to make artistic production distinct in varying locales." Cowan claims however, that these ethoses are replaced inevitably by a greater number of partial "niches."
Cowan concludes that "Modernity allows us to enjoy the diversity of the world to a very high degree, relative to the previous ages, even when it undercuts that diversity in some regards. The mere fact exists that change will produce serious disappointment for individuals who seek to preserve particular markers of cultural identity." Cowan states "that it is not obvious (nor reasonable) why markers from the past should have more normative force than other possible markers." So, "Are market exchange and aesthetic quality allies or enemies?" Cowan believes that not only are market exchange and aesthetic quality allies, but they are also interdependent and make the whole world better off. Cross cultural exchange broadens cultural diversity across cultures and its influences within some cultures may even save them from extinction.
Rating:
Summary: An Analysis of Tyler Cowen's Creative Destruction
Review: Book Review For: Dr. Nicholas Capaldi
Loyola University New Orleans, Louisiana
BA705 Business Ethics-Spring 2004 In Tyler Cowen's Creative Destruction, he addresses the viability of diverse culture in a rapidly expanding global market economy. Most specifically, he focuses on "the particular aspects of culture consisting products which stimulate and entertain us." Cowan defines the following: "music, literature, cinema, cuisine, and visual arts, as the relevant manifestations of culture." The book attempts to answer, by his own account, the age-old question "dating back at least far as Greek civilization: Are market exchange and aesthetic quality allies or enemies?" He proposes that market economies and cross cultural trade have catapulted societies throughout history by facilitating the spread of scientific ideas, creative arts, and enabling isolated cultures to experience a "richer menu of choice" The author offers extensive detail concerning alternative arguments throughout the book as well as the fact that, as in all things, there are opportunity costs associated with each view and some resulting in tragic outcomes.
Cowen qualifies himself on this subject by defining his approach according to his "background as an economist" and his relevant studies of the "scholarly literature and diverse experiences as a cultural consumer", rather than an analysis based on a "single path of specialized study." He outlines his argument that the global economy fosters positive influences on the world's culture by subsequently analyzing the following three "primary lessons":
1. The concept of cultural diversity has multiple and divergent meanings.
2. Cultural homogenization and heterogenization are not alternatives or substitutes; rather, they come together.
3. Cross cultural exchange, while it will alter and disrupt each society it touches, will support innovation and creative human energies.
Cowan begins with the concept definition of cultural diversity as it can be understood in multiple contexts. He explains that diversity is not a single concept. First, "diversity within a society refers to the richness of the menu of choice in that society." The most fragile cultures, with respect to technology, also tend to respond in an explosive fashion to the introduction of new ideas and technologies. They have proven to adapt these technologies and innovations in ways their trading partners never anticipated.
Secondly, Cowan states, "Many critics of globalization focus on diversity across societies comparing whether each society offers the same "menu of choice" and whether societies are becoming more similar," through the process of globalization. He notes that generally, "diversity across societies is a collectivist concept because it does not consider the choices faced by an individual." A libertarian would allow "individuals to create their own meaning." For the purpose of Cowan's argument, libertarians foster individual creativity which is agreed by most to be the backbone of culturally diverse arts.
Limitations placed by government, or activists for that matter, on the market of exchange can significantly alter the outcomes, possibly even the survival of, poorer cultures. Cowan believes that poorer cultures especially, should be allowed to participate in cross cultural trade, even at a social cost, in order to experience the "gains from trade" with outside cultures. As Adam Smith argues in his, Wealth of Nations.., "the best vehicle for innovation is a free market system." Cowan's argument borrows from Smith's ideas and appropriately applies this concept to his claim that cultural diversity requires innovation for the survival of those poorer cultures which would otherwise cease to exist in the long run. As the adaptation process of the new technologies an innovations occur within a poorer culture; it becomes interwoven with aspects borrowed from foreign cultures. Cowan defines this concept later as "synthetic culture."
Synthetic culture refers to the fact that pure societies are mostly obsolete. For example, "The original ideas and inspirations of tribal groups of Zaire have been commodified, and shaped into new synthetic forms, for the purpose of courting outside markets Cowan retorts that the same "defenders of diversity decry the passing of previous cultures and implicitly oppose diversity-over-time," without regard to the necessity of innovations for survival. Cowan's argument has remarkable semblance to that of Cass Sunstein's "Paradoxes of the Regulatory State" where Sunstein argues that "redistributive regulation harms those at the bottom of the socioeconomic ladder." Here, Sunstein points out that often times regulations have "perverse effects" which serve opposite to the activist intended agendas. Likewise, Cowan argues that those who defend cultural diversity for the sake of "creative purity" will, if successful, risk eliminating the cultures they claim to be defending.
Cowan's final "primary lesson" states that "Cross-cultural exchange brings about value clashes that cannot be solved scientifically, in the short term. In the long run however, any "disruptions and alterations will inevitably support innovation and creative human energies." The whole world has a broader menu of choice (from participating in cross-cultural exchange) but older synthetic cultures must give way to newer synthetic cultures." Cowan states, "As we might expect from cross cultural contact, it supports greater diversity of identity, or ethos, within each society while limiting diversity across societies. As identities move closer together, they cease to make artistic production distinct in varying locales." Cowan claims however, that these ethoses are replaced inevitably by a greater number of partial "niches."
Cowan concludes that "Modernity allows us to enjoy the diversity of the world to a very high degree, relative to the previous ages, even when it undercuts that diversity in some regards. The mere fact exists that change will produce serious disappointment for individuals who seek to preserve particular markers of cultural identity." Cowan states "that it is not obvious (nor reasonable) why markers from the past should have more normative force than other possible markers." So, "Are market exchange and aesthetic quality allies or enemies?" Cowan believes that not only are market exchange and aesthetic quality allies, but they are also interdependent and make the whole world better off. Cross cultural exchange broadens cultural diversity across cultures and its influences within some cultures may even save them from extinction.
Rating: 
Summary: the economics of culture
Review: Cowen's book is one of the few books to
discuss free trade in the context of
cultural goods. easy and fun to read.
No economics background needed.
You will learn a lot about
the history of different cultural goods, including
persian rugs and the successful
movie industry in India (Bollywood).
simply great!
Rating:
Summary: Better than Hoan Chau's review
Review: If you're at all interested in this book, ignore Hoan Chau's review. How does Cowen know Mexicans enjoy the choices available at Wal-Mart? Simple, they shop there and keep it in business. You don't have to like Wal-Mart (I sure don't) to recognize that it doesn't coerce anyone into its store. In an impoverished country like Mexico, it brings in more goods at lower prices than were previously available, thus improving people's standard of living.
On creativity: Cowen isn't writing a philosophical treatise on creativity, so if he ignores the "external influences" on it, that's not a just criticism. But it's surprising that someone could read this book and miss the point: Cowen is arguing that the creativity of others is an external influence on an individual's creativity, so the value of global exchange is that our creativity is stimulated by contact with other country's cultural goods.
Consider the U.S. without Chinese or Mexican food (or, in my case, the nightmare of not having Thai food). Consider the U.S. without the influence of African music. No spirituals, no jazz or blues, no "Graceland" by Paul Simon. Consider how popular Jackie Chan is, not to mention the more respectable Chinese films such as "Crouching Tiger, Hidden Dragon." If you're more highbrow, consider the absence of Mozart or Paganini. Imagine no access to Sun Tzu's "The Art of War" or the Tao Te Ching, or the Boddhisatva.
In short, Cowen's point is that the global exchange of cultural goods enriches our lives. Efforts to restrict globalization will restrict the flow of these goods, impoverishing us all in ways that are hard to measure in dollar terms, but are easily understood in terms of cultural vivacity and creativity.
And, importantly, contrary to popular wisdom, America isn't exerting cultural hegemony--the Disneyfication of the world is overstated (easy to do when we have such jarring sights as a McDonalds jammed next to Beijing's Forbidden City. But other countries, including developing countries, export their cultural goods to the U.S. This increases the value of their cultural traditions, making it beneficial for people to hang onto them.
Remember, it's individual people (you and me) making these choices. We don't choose them unless we believe we're benefitting. And while we will make mistakes, it's a bit hard to believe that almost all our decisions almost all the time are actually harmful to us. It's even harder to believe that a small group of elites--whether in government or the self-appointed protectors of culture--will be able to make better choices for us. In short, this book is also an argument for preserving individual liberty.
Rating: 
Summary: Worth Less Than Half The Paper It's Printed On
Review: The first half of the book sets up the author's main arguments on cross-cultural economic trade and the diversity of culture that ensues. This half offers a fair presentation of the history of cultural products and how they are linked across geographical boundaries, ranging from Navajo rugs and Indian textiles to Jamaican Reggae and African-American rhythm and blues. However, the last three chapters, or the latter half, consists of loosely linked arguments that are mainly left for the reader to patch together. The examples, moreover, are repetitive and are stated as "a matter of fact." In the end, the book is unconvincing because Tyler relies too much on this and his personal experience. I quote: "Individuals will have more to choose from than in the past, and they will be happy to have those choices. A brief visit to a Wal-mart in Mexico will confirm this truth" (p. 146). How does one gauge happiness of Mexicans? I have to visit Wal-mart in Mexico to see this 'truth'? Finally, the author gives too much credit to the power of creativity. He treats it as though there are no external influences on an artist's or musician's creativity. Thus, if there is one dominating idea that influences creativity, how diverse is creativity?
Rating:
Summary: really focuses on the globalization of cultures
Review: When I bought this book, I was expecting some economical theories especially on Shumpeter' 'Creative Destruction', but T. Cowen really emphasizes on the exposure of culture exchange in today's world.
He really gives good examples, that he explains in details (sometimes it is a bit repetitive).
In summary, I would say that it is a very interesting book to read on globalization because it shows a different aspect of it.
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