have long since died. Even living artists might not benefit directly from museum exhibitions if their canvasses belong to someone else.
Figure 4.2 Modified Cultural Diamond.
A final advantage of a diamond with an embedded distribution node is that it breaks the direct link, in the simple diamond, between art object and society. This link, unlike the others, is not a true link but a metaphorical one, and reminds us of the flaws of over‐simplified reflection and shaping arguments. In other words, the cultural diamond suggests that links between art and society can never be direct, as they are mediated by the creators of art on the one hand, and the receivers of it on the other. It critiques reflection and shaping approaches by pointing out, from the production side, that artistic conventions and production techniques, not to mention artists, influence the content of artworks, and the filtering effects of distribution systems determine which cultural products reach audiences. It critiques reflection and shaping approaches from the consumption side, by reminding us that cultural products are received by a variety of different audiences, not by “society,” and that people vary in what types of cultural products they consume and in what meanings they take from them. It demonstrates that sociologists are interested in studying the production and consumption of art. But the new diamond also preserves the society node, to indicate that sociologists continue to be interested in the relationships, albeit mediated ones, between art and society.
Part IIA
The Cultural Diamond
The Production of Culture
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