Creative Destruction: How Globalization Is Changing the World's Cultures

A Frenchman rents a Hollywood movie. A Thai schoolgirl mimics Madonna. Saddam Hussein chooses Frank Sinatra's "My Way" as the theme song for his fifty-fourth birthday. It is a commonplace that globalization is subverting local culture. But is it helping as much as it hurts? In this strikingly original treatment of a fiercely debated issue, Tyler Cowen makes a bold new case for a more sympathetic understanding of cross-cultural trade. Creative Destruction brings not stale suppositions but an economist's eye to bear on an age-old question: Are market exchange and aesthetic quality friends or foes? On the whole, argues Cowen in clear and vigorous prose, they are friends. Cultural "destruction" breeds not artistic demise but diversity.

Through an array of colorful examples from the areas where globalization's critics have been most vocal, Cowen asks what happens when cultures collide through trade, whether technology destroys native arts, why (and whether) Hollywood movies rule the world, whether "globalized" culture is dumbing down societies everywhere, and if national cultures matter at all. Scrutinizing such manifestations of "indigenous" culture as the steel band ensembles of Trinidad, Indian handweaving, and music from Zaire, Cowen finds that they are more vibrant than ever--thanks largely to cross-cultural trade.

For all the pressures that market forces exert on individual cultures, diversity typically increases within society, even when cultures become more like each other. Trade enhances the range of individual choice, yielding forms of expression within cultures that flower as never before. While some see cultural decline as a half-empty glass, Cowen sees it as a glass half-full with the stirrings of cultural brilliance. Not all readers will agree, but all will want a say in the debate this exceptional book will stir.

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.