Name
Abstract | ||
|---|---|---|
The nature of what people enjoy is not just a central question for the creative industry, it is a driving force of cultural evolution. It is widely believed that successful cultural products balance novelty and conventionality: they provide something familiar but at least somewhat divergent from what has come before, and occupy a satisfying middle ground between more of the and too strange. We test this belief using a large dataset of over half a million works of fanfiction from the website Archive of Our Own (AO3), looking at how the recognition a work receives varies with its novelty. We quantify the novelty through a term-based language model, and a topic model, in the context of existing works within the same fandom. Contrary to the balance theory, we find that the lowest-novelty are the most popular and that popularity declines monotonically with novelty. A few exceptions can be found: extremely popular works that are among the highest novelty within the fandom. Taken together, our findings not only challenge the traditional theory of the hedonic value of novelty, they invert it: people prefer the least novel things, are repelled by the middle ground, and have an occasional enthusiasm for extreme outliers. It suggests that cultural evolution must work against inertia --- the appetite people have to continually reconsume the familiar, and may resemble a punctuated equilibrium rather than a smooth evolution. |
Year | Venue | DocType |
|---|---|---|
2019 | arXiv: Computation and Language | Journal |
Volume | Citations | PageRank |
abs/1904.07741 | 0 | 0.34 |
References | Authors | |
0 | 3 | |
Name | Order | Citations | PageRank |
|---|---|---|---|
| Elise Jing | 1 | 1 | 0.71 |
| Simon DeDeo | 2 | 50 | 12.81 |
| Yong-Yeol Ahn | 3 | 2124 | 138.24 |