Culture Evolution
The evolution of culture flows through a number of different dynamics. I want to look into each one of these dynamics as they behave individually and interact with each other to generate large-scale cultural evolution. The primary activity of every human being is the formation of "meaning architectures". A meaning architecture is a system for predicting and controlling ones circumstance to achieve a satisfactory condition. The content of "satisfactory condition" and the strategies for prediction and control are highly variable and their movement is both one of the primary consequences of and drivers of cultural evolution. This is because our actions are all always determined by our "meaning architectures" (in combination with our capabilities and actual circumstances).
I. The bio/developmental individual
Every meaning architecture starts on our specific and general biological inheritance. Taking the lead from Antonio Damasio, I break this into three sections: the Emotions, Feelings and Neuro-Cognitive structures. Emotions are fully autonomic physical responses to physical stimuli - fight or flight, pain, etc. Feelings are what you are aware of when you are aware of an Emotional state - they are a kind of "short-hand" or "compression" of a highly complex whole-body neuro-chemical event into a relatively simple typology. Which can then be linked with the neuro-cognitive complex of memory, signal processing, and attention to generate the fundamentals of a "meaning architecture". We are able to assess our "state" according to roughly granular "feelings" that can be evaluated into more or less satisfactory - based entirely on the emotional mix that is associated with those feelings and the connection of that emotional mix to action. All of this, of course, is bio-evolutionary. Our internal signaling mechanisms around the need for food (feeling "hungry") are adequate to move us to acquire food with increasing urgency as we approach starvation. The same for all of our basic biological functions (sleep, mating, waste disposal, etc.). And when we adequately deal with the "problem" we feel "happy", or at least "sated" or "satisfied". We have a set of patterns that we are able to identify, a set of heuristics that link those patterns to our internal states, a set of action-strategies that can predictably lead to changes in our state to a more satisfactory position. If we feel the need to urinate, we urinate and we feel better. Done and done. At least until you need your diaper changed.
It all begins here, but of course, it all begins with a human infant who, among many things, is notably undeveloped and for whom the world is a "bloomin, buzzin, confusion". And as any parent knows, while all kids are human beings with the same basic needs, they all also are hard wired with an amazing amount of particularity. A loud sound that would send one infant screaming might put another to sleep. One kid might hate the taste of lukewarm water, another might require water warmed to room temperature. Therefore there is an enormous amount of trial and error involved in forming even the most rudimentary "meaning architecture". Cry, scream, whine, coo. Feel bad, then feel hungry or tired, or with a soiled diaper. The biological inheritance provides us with the basic machinery necessary to build effective meaning architectures, but for the first three months or so, it is a lot of more or less random searching across a highly particular set of cause-effect dynamics before some basic models and strategies can be put in-place. But they do get put in place - already with a wide variety of individual variance both in terms of content (what kinds of behaviours lead to what kids of results) and in terms of efficacy (predict and control) Touch a hot stove once and you can be sure that something was learned, but it might take two touches to really learn the lesson and it would be a unique kid who touched the same hot stove three times.
To be sure, this first-person trial-and-error modality is operating throughout life as a means of feedback into the meaning architecture, but usually by the 3rd month or so, it begins to be supplemented by another key mechanism: modeling based on other peoples perceived experiences. If mommy screams and holds her hand when she touches the hot stove, my meaning architecture is going to be working overtime trying to ascribe a cause to the feelings of alarm that are generated in me by that experience. What happens is that the events and objects in your meaning architecture begin to be able to transfer their valence to other events and objects in your experience based on their relationship with them. We may never have experienced using a razor to shave, but watching daddy use it every day invests the object (and the act) with a certain potency and value that plays two roles. On the one hand, it teaches us how to shave - a strategy of use when we have the need to use it. But on the other hand, it links that object (the razor) with the whole complex of feelings associated to the experience of "father" and to "father shaving" that has a surplus value all its own. In the end it all comes down to emotions and feelings and if daddys razor, mommys voice or the smell of grandmas cookies can generate a "satisfactory condition" then we have yet another strategy in our portfolio of "predict and control".
The power of this mode of learning should never be underestimated. An enormous amount of our meaning architectures are influenced by this mode, particularly as it ramifies and develops throughout life. Everything that is more "important" in your meaning architecture commands more of your attention and is, therefore, more capable of influencing your actual experience out of your potential experience. If for some reason, yellow is your favorite color (maybe your moms favorite dress was yellow, or some stuffed animal, or a favorite cup, or just the color itself just worked for you) then for the rest of your life, yellow things are going to get just that little spin - a little bit more attention in the field of view, a little bit more mind-share when trying to puzzle them out, etc. If that girl you lust after gives you a Velvet Underground album, you will spend hours trying to figure out just what the hell is going on with these people that they are so interesting to her that she selects them out of the universe of all possible things to give to you. Pass by it on the shelf, and maybe the yellow bananna jumps out and you happen to buy it. Or maybe you like blue and you end up somewhere else entirely.
We should also layer into this mode the entire strategy of "fitting in" and "being part of something". Its one thing to look to someone's reaction to something to get a hint of how you should react to that same thing. But in addition, you might look to their reaction because you want to curry their favor (or at least avoid their displeasure). If daddy breaks the belt out every time you put on mommys shoes, your meaning architecture is going to ascribe some intense (although certainly noisy) attention and value to *that*.
Wrapped, warped, twisted and turned we carve our meaning architectures out of the fabric of experience always seeking to be able to predict and control our circumstances to achieve a satisfactory condition. There is a reason why many people look back with fondness on the last years of childhood - by ten or so, a kid in a relatively healthy and static environment has their game wired. They understand how to achieve satisfaction in their environment. And then puberty kicks-in and the whole game changes.
The third mode is "drama": the deliberate effort to use artfully crafted experience to generate meaning architecture consequences. This runs the gamut from the "after school special" to the "bible reading" to the "fairy tale" to the "story on grandpa's knee about courage on the battlefield" and even lessons taught in the classroom. A good teacher uses both the second and the first modes to maximize the attention and valence of the drama he is presenting - be it math or economics or literature. The story of how to catch a fish told by the beloved wise grandfather around a roaring fire in the mysterious dark will carve deeply into the meaning architecture where the same drama droned in a 50's education film voice might be entirely un-noticed. But mileage may vary and usually some variation on the message gets through. If mom preaches politeness but is in fact quite rude, you can be sure that some lesson will be imprinted on the meaning architecture.
This is where media becomes interesting. The deliberate intentions of The Dukes of Hazard drama on your meaning architecture are quite simple: pay attention for 30 minutes every week. But while they might not have intended to do anything more than that, they couldn't help it. First off, meaning architectures are zero sum - if you are paying attention to Daisy Duke, you aren't paying attention to something else (say your math homework, or playing baseball). Plus, by tapping into the internal mechanisms of your meaning architecture in order to ensure that you do, in fact, pay attention they are triggering the very mechanisms of your feelings and neuro-chemical system that identify what is "important" and, as a consequence, any patterns, lessons or value structures that are in that drama will tend to get more credit than they ordinarily would. This is why a generation of kids know with a resolute certainty that when you have just escaped a madman and his dead body is lying on the floor a gun inches from his untwitching fingers, you don't walk away, you don't collapse into relieved sobbing, you shoot the fucker a couple more times "just in case."
You live your life, from birth to death, absorbing experiences and continually adjusting your meaning architecture to achieve prediction and control of your circumstances to deliver a satisfactory condition. As you experience more and as your circumstances change, everything is complexified. At first just being able to urinate was satisfactory. But pretty quickly you realized that urination into a dirty diaper wasn't going to cut it for long - so both your definition of "satisfactory condition" and your strategies for accomplishing your goals will change. First you cry, then you learn how to discretely signal the need for a diaper change. Then (holy grail) you learn how to use the potty and a whole new level of prediction and control has been achieved.
I should note that while my story has been entirely focused on the level of the discrete human being, the concept of prediction and control tied to satisfactory condition is the driver for *any* enduring system (e.g. a genotype) - albeit through different mechanisms - and the human piece of that larger story is only a piece. This helps to ameliorate the recognition that (as a biological human being) at the end of the day, you will never be better off than when you were nursing at your mothers breast as an infant.
II. Cohorts and Generations.
So far, the primary carrier of "culture" is the individual human being who is "enculturated" through his mode 1, 2 and 3 experiences as he lives his life within a given culture. Indeed, Carrol Quigley defines a "culture" entirely by reference to the fact that individuals within the culture have more experiences with the culture than they do without it. Thus, by design or by simple statistics, the fundamental thumbprint of the culture is left on the individual - who then by interacting with other individuals imprints the culture on those other individuals.
This is of course a matter of "more and less". Texas culture is different from Massachusetts culture and a member of each participates in a larger "American" culture precisely and only to the extent that they share certain experiences in common *that lead to comparable "meaning architectures."* So there is certainly a spatial dimension to culture. But there is also, and more profoundly, a temporal dimension. I don't think that I go out on a limb to say that the percentage of experiences that were in common between Texan and Bostonian teenagers in 1970 was much higher than that in 1870. Thus, when we talk about "culture" we have to be careful to look at the temporal dimension of its evolution - and when we do we discover that there are interesting large-scale patterns. And in the 1980's when Neil Howe and William Strauss did this, they noticed some very interesting patterns in Anglo-American culture. Specifically, they noticed three things of progressively more profundity (albeit also of progressively more speculative character).
First, they recognized that if we think of culture as a coherent thing that is able to engender consistent meaning experiences on a population over space and time, then it isn't much of a stretch to note that "cohorts" of individuals who were born and went through the same bio-developmental stages at roughly the same time, will share a common sub-culture within the larger culture. Something like the spatial differences between Texas and Boston, but possibly with much more impact. If you were born between 1961 and 1984, you shared an entire complex of "meaning" experiences with your cohort that separate you significantly from those who came before and after you. Although mileage will vary based on geography and personal specifics, GenXers don't really know what a Hippie is - but know *exactly* what a Punk is. We remember before cable but not before TV. We have very strong memories of Reagan but not of Johnson and none at all about Kennedy and his assassination (compared to the folks born earlier who remember exactly what they were doing when Kennedy was shot). We emulate Dr J or Magic or Larry or maybe Michael Jordan, but not Pete Maravich or Bill Bradley or Bill Russell. We remember riding bikes without helmets and driving in cars without seatbelts, but not hitch-hiking across the country (safely) or hanging out at the soda shop (or whatever the heck kids in the 50's really did). The differences between cohorts are deep and the similarities are striking.
Second, they began to notice a typology - that cohort (generational) differences weren't just a random sample of whatever the culture happened to have to give. Taking a card from Jung (or perhaps from non-linear dynamics) they identified certain cultural attractors that seemed to appear in the cycles between generations. Specifically, they identified Heroes, Artists, Prophets and Nomads. Each of whom is most fundamentally characterized by the kind of cultural thumbprint that dominated their formative years.
Artists are the children of cultures in crisis. With wars raging and economies collapsing, the children of crisis suffer a typical set of meaning experiences: intense connection to family combined with sharp divides between adults who huddle and whisper about Important and Momentous events and the children they try to protect from the chaos raging around them; they see the next older cohort (their brothers, uncles and family friends) making stark personal sacrifices for the collective benefit; they see the community eliminate almost all difference and dissension as it comes together to survive the crisis (or falls apart altogether). They become sensitive, inclusive, managers of complexity and defenders of fair play who champion pluralism and are known for their skills and creativity.
Prophets are the children of a cultures "golden age". The crisis overcome, the culture turns to rewarding itself for its sacrifices and tries to make sure that its children "have it better than we had it". Lavished with attention, autonomy and a culture made safe and placid, they become the individualists and defenders of principle. They didn't live through the crisis, but they lived among the real-life Heroes who did and they form unrealistic expectations of the color and shape of real people and real life. They tend to see things as clear-cut and to value personal expression. As they move out of childhood and begin to rub directly against the gray and black of the real world, they become passionate crusaders and revivalists of values (frequently in passionate conflict with one-another).
Nomads are the children of a culture going through an "awakening". When a culture turns inward and begins to critique its own institutions and to pit its values (and sub-cultures) against one-another. Parenting is at its low ebb as are all the institutions of consistency and order - leaving Nomad children to fend for themselves. As the culture tears into itself around them (and as adults focus more and more on their own self expression and personal fulfillment) Nomads learn that there are winners and losers in life - and that virtue has little to do with the distinction. They learn that if you don't take care of yourself, no one else will and they have the lowest respect for institutions or grand values of any of the types.
Heroes are the children of a culture in decline (an "unraveling"). As the passion of an awakening passes and the culture reacts against the low state of "childhood" that resulted from the decades of awakening, Heroes are subjected to a new rigor. New efforts are made to give them structure and new rules are put in place to ensure that they live up to their "potential". Having experienced the negative consequences of weak institutions, they tend to have maximum faith in the necessity of institutions for a well governed society. Tightly monitored and measured as kids - but performing much better than the cohorts that preceeded them, they are exceptional performers, but lack creativity outside the box. Being born in the aftermath of an awakening, they tend to be the first generation to fully incorporate the new values constructed in the awakening - and also tend to have a technical virtuosity with the wave of technology that came out of the awakening.
Third, they noticed that the feedback loop between "culture" and "people" implied that a typology of cohorts, combined with the steady constancy of human developmental patterns to form a simple cycle of "cultural" types: A crisis gives birth to Artists and is followed by a golden age (if it is survived at all) which gives birth to Prophets (with Artists aging into the Young Adult category). As the Prophets age, they begin to criticize their culture's deep values and foment an awakening - into which are born a generation of Nomads. As strong (even hubristic) civic-minded Heroes die off and are replaced by conciliatory (and largely bureaucratic) Artists who are pushed hard by the Prophets below them who are surging into positions of power and authority in the culture, the culture begins its long unraveling into increasingly divided and competing "values" camps and a generation of Heroes are born. The rise of the Prophets to the highest levels of power in the culture, combined with the rise of Nomads into the implementer role and Heroes into the young adult category presents fertile ground for a deep crisis - as contradictions and problems that arose out of the unraveling (or were left unaddressed during the unraveling) finally can no longer be plastered-over and "rock bottom" is finally hit. If the culture survives and solves the underlying challenges of the crisis, a new Artist generation will be born and the culture will return to a golden age.
Such is their narrative and they have traced the specifics of their cycle of "turnings" from the 1300's in England through to the present day with enough actual prediction and predictive power to convince me to take the overall architecture seriously. But, even if you take the large-scale cycles with a bag of salt, the underlying concept of "cohort" cultural coherence and the implied cycling of culture through successive waves of such cohorts makes an enormous amount of sense and resonates closely with lived empirical experience.
What they fail to do, however, is to have any theory of enculturation. They lack the first part of my narrative - simply waiving their hands at the specifics of "what" culture is and how "cultural values" are encoded into the individuals that carry and express them in the recursive function that is "culture". In the context of "meaning architectures" the theory becomes more robust and interesting. Strauss and Howe point out that if you look at the media of different turnings you see that golden ages are characterized by things like Leave it to Beaver and Father Knows Best while Awakenings see their fair share of Exorcists and Taxi Drivers. At a surface level, this connects the dots. But think about meaning architectures and think about the differences between the "moral lessons" implicit in the A-Team, Knight Rider, Dallas and Happy Days and something like Buffy the Vampire Slayer, Veronica Mars, Lost and The Office. You can trace the actual evolution. The former are all created by Boomers and reflect their "meaning architectures" (by design or unconsciously). Notably, the characters lack depth or backstory, the form is simple and unreflective and the roles that are available and actions that lead to success and failure are (more or less) of a kind. Comparatively, the more contemporary media is universally characterized by much deeper characters and intuitive backstory, substantially more complex role modeling and action-success formulas and an almost cheeky playing-with the form itself. This is not to compare apples and oranges but to *diagnose* at a much more sensitive level the specific content of the "experience field" of the 1960s - 1980s that generically crafted meaning architectures in both creatives and audience to enable this kind of media.
There is a cyclicality here, but it is a de-centered one that is more of a spiral and quite possibly an off-kilter one. While it certainly seems that we have faced a crisis every 80 years or so for the past six centuries, no crisis has really resembled the others except in the most abstract (mathematical) form.
III. Technology
Overlaid on the developmental paths of individuals and the generational cycles are larger scale forces that either cycle at much longer intervals or have an entirely different shape. There certainly seem to be "technology waves" which are characterized by a period of intense innovation across a number of domains (including massive cross fertilization of ideas from different domains), followed by a period scaling and entrepreneurship, followed by a period of consolidation and "oligopoly" followed by a period of "scale expansion" and then decay that gives rise to another period of innovation. Riding alongside these movements are frequently *enormous* changes in the conditions and shape of the material social field (population flows, demographics, architecture and materials). Compare the cycle of "industrialization" that cut through the victorian age and then the cycle of "mass production" that cut through the 20th century. Notably, except for newspapers, virtually *all* truly mass media occurred in the 20th century and, most of that was back-loaded. I'd make a strong assertion that the "meaning" of that kind of dislocation can't be truly digested by a culture until after a major crisis. Which is to say that in part the nature of the crisis of the 20th Century was the internalization and capitulation of the basic functions of mass media and the crisis opening the 21st century is about the mastering of mass media and the internalization and capitulation of the basic functions of distributed interactive media.
But all of this is part of the continuing dynamic of technological evolution. Whether it proceeds by fits and starts or a relatively smooth curve or whatever, it seems manifest that technology has been proceeding from a less complex and potent to a more complex and potent position "since the beginning" and that this movement drags cultural evolution with it. The steam engine gives rise to the rail road. The rail road completely changes the dynamic of space which rips the rural asunder and hypertrophies the urban. The culture can't help but get carried away on this torque. The fact of generational dividing lines just increases the pull of technological change: one generation is relatively dumbfounded and powerless, the next generation is already fully in the grips of a post railroad dynamic and the 3rd generation is almost entirely unaware that there was anything different. I've long been a big believer that most "human" decisions take place as an optimization scheme within a milieu. Technology, more than most anything else, can optimize within a milieu, but it can also (and frequently does) change that milieu itself - dramatically altering the context in which meaning architectures operate and playing a key role in the tectonic plate fractures that facilitate a crisis.
There are a lot of theories of "progress" in evolution - Tielhard de Jardin's being the most honest and compelling - but in the area of technology, the vector seems pretty straightforward. I think this is largely due to the double push of massive economies of scale (once you have invented the steam engine the cost of invention for the next version drops close to zero) and to the fact that technology is closely tied to energy acceleration (it is a beast that knows well how to feed itself). We've gone from human power to animal power to wood steam to coal steam to diesel steam to diesel electric and unless we fall off a cliff (entirely possible) you can imagine fusion electric (either solar or local) as the next logical step. Each increasing wave of potential energy pushes through the technological system driving ever more complexity and power (in the sense of prediction and control) and warping the field of play for cultural evolution. A meaning architecture that stays caught in the turbulence will become increasingly incapable of prediction and control or of achieving a satisfactory condition.
IV. Culture Conflict
One of the reasons why it is hard if not impossible to get off of the technology curve mouse wheel is the basic rule that "any society that more effectively incorporates knowledge and creativity to predict and control their environment will out compete its less effective neighbors". Its all well and good to develop a long-term stable society wherein people can build effective meaning architectures and have a stable sense of meaning and control - but when your less happy neighbor invents the machine gun, your own placidity will be shattered quite quickly. This doesn't even have to require any form of direct violence - the US has done as much to jack-up other cultures through export of object and affect as Britain did through military empire. Like it or not, the rule "evolve or die" seems to apply at the cultural level as much as at any other level.
In the end, its all about meaning - the ability to predict and control your circumstance to achieve a satisfactory condition. The key recognition comes when you allow the mouth to swallow the tail and realize that a "satisfactory condition" has to be recursive: the ability to predict and control your circumstance to achieve the ability to predict and control your circumstance to achieve a satisfactory condition. The only plausible strategy is to elevate - in much the same way that media has begun to elevate and become aware of is terms - and to capture the entire dynamic as part of your meaning architecture. To make cultural evolution (and as it turns out "evolution itself") the circumstances that you predict and control. Thus, rather than evolving within culture - reactively adopting to the changing landscape - evolving a culture that makes cultural evolution its primary object. A culture that is aware of itself as a culture and with a technology that is adequate to the problem of prediction and control of cultural evolution itself.
This then becomes a very quick process: first the culture that is most best able to achieve that objective can out-compete its less self aware rivals in the same way that homo sapiens out competed neanderthal; second the result of this competitive winnowing (which by no means has to end up with one "winner") comes up against the ultimate wall: entropy itself. The biggest risks to a self-aware culture are ennui, malaise and suicide.
As a side note, my gut tells me that the right architecture is based on fractal self-similarity: a successful meta meaning architecture is composed of smaller scale successful meaning architectures that are constructed in the same way. That is, a successful self-aware culture is composed of successful individuals. Success here defined the way it always have been - they are able to construct a meaning architecture that enables them to predict and control their circumstances to achieve a satisfactory condition.