What is a scene?
Take for example an open mic scene. It might start with one cafe
having an open mic night one night a week. It's fairly successful,
and some of the people who attend would be willing to go to another
open mic night on a different night. So another cafe nearby starts
having an open mic night on a different night of the week.
If you go to one open mic, people there will talk about the other.
The best way to find out about open mics is to go to one and hear
from people where the others are. (In my experience, online directories
of open mics exist, but are poorly maintained / tend to be out of date
-- that's been true of San Diego, at least.)
Cafe 1 generally does not (or even could not) cause Cafe 2 to start
their open mic, and similarly has limited ability to shut down Cafe 2's
open mic.
Venues are quiet but important elements of scenes. You can have an
open mic in a cafe, at a beach, in a park, a student union -- but you
have to have it somewhere. And each venue has some influence over
what kind of open mic can be done there. If a venue is no longer
available (like a cafe goes out of business), then that disrupts the
scene. An open mic can move to a different venue, but people might
not follow.
Someone in the open mic scene might decide to put on a house show
that is mostly attended by people from the scene, a one-off event.
This isn't strictly speaking an open mic, but it's still part of the
same scene.
When I was attending UC Davis, there was a monthly open mic that
was led by a group of people, some students who were poets. I don't
know how organized their group was, but at least they always performed
a group poem at the start of the open mic nights -- they had to coordinate
at least a little in that. (So, an organization can put on regular
events.)
There weren't a lot of other open mics in Davis at that time, but
that particular open mic generated its own small scene. I was part
of a collaboration that came out of the open mic, made a song with
two other artists connected through the scene. The collaboration
was not caused by the open mic organizers as such, was something
independent that "arose emergently" from the open mic.
A church is more like an organism, while a scene is more like a
space or matrix that contains organisms. But like the Davis open
mic, a church itself functions as a scene, to some extent.
A scene can contain sub-scenes. For instance, the universal church
is not a single organization, but rather is a scene. But within
the universal church is "the set of churches or other Christian
social phenomena in San Diego County". I can't very practically
interact with Christian in-person things in Los Angeles (speaking
as a San Diegan), so the LA scene is mostly not directly relevant
to me. But it's certainly possible for me to hear about another
church in San Diego, to leave whichever one I might be attending
and go to it. It's certainly possible for me to say "I'm going to
go see what they have in LA" and visit, and then find a church
there. Or happen to hear of an LA church from someone in San
Diego, maybe someone who moved here for a job and left a church
they liked. But it's less likely than getting caught up in what's
happening in San Diego County.
(God's perspective on the universal church is that it is the body
of Christ -- not that it is merely a scene. A body has a deep
kinship and claim (whether manifested or not) to being one
interconnected thing. But scenes do not, not necessarily. (The cells
in a body differ though most of them share the same DNA. A
diseased body could be like a poorly-connected scene.))
Scenes have definitions to them, loose as they are. The
open mic scene is made up of open mics, and the people who meet each
other through open mics. A Christian scene is made up of Christians,
and the people who meet each other through the elements of the
Christian scene. In a sense, an open mic is part of one great scene,
for instance, the social life of San Diego or even the United States
or the world. The boundaries of scenes are fuzzy and can be continuous
with other scenes, both broader and less definite ones (San Diego's
open mic scene could be continuous with the overall social life of San Diego)
or narrower, more definite ones (and it could be continuous with the
local drum circle scene). If you are at an open mic, you are definitely
participating in the open mic scene. If you are at a house show and
everyone there is from the open mic scene and they all met each other
through the open mic scene, then you are part of the open mic scene.
But if there start to be non-open mic people at events, perhaps at some
level of non-open mic person attendance, they aren't really open mic
scene events.
A focal point (sometimes referred to as a "Schelling point") is a
solution that people tend to choose by default in the absence of
information (according to Wikipedia).
This is relevant when trying to coordinate people's actions.
Maybe someone explicitly sets up a focal point (informs people),
but once this is done, it just "floats" in the culture -- maybe is
hard to undo. Scenes involve focal points, perhaps more so
than organizations, because they don't provide explicit direction
to coordinate people.
An important basic focal point is "I'm going to go there [to a
particular event or venue] because other people go there." I go
"there" because I think explicitly "there are going to be people
there". But I also go "there" because I am in the habit of going
there. I rely on the habitual nature of others to feel like there
is a "there" (socially speaking, a populated space) to go to.
Something that is in the neighborhood of a focal point is the
"spirit" of a scene. A spirit is an animating breath, something with
both a power and a quality to it. Somewhat like a fuel: wood burns
differently than natural gas. Some spirits are contagious, and can
be caught within an organization or scene. The metaphor of a fire: the
coal can burn outside the fire, but burns out much sooner than if it
were among fellow coals in the fire. Spirits are a third reason (besides
habit and rational anticipation), that people decide to show up to (or
find themselves showing up to) specific events or group meetings
within a scene.
The definition of a scene selects a certain kind of person to be
a participant in it (for instance, the extent to which the label "Christian"
is taken up by a certain kind of person who then seeks the Christian
scene). Due to this, and other habits, expectations, and spirits,
people within a scene behave a certain way toward each other. Scenes
shape individuals in (hopefully) congruent ways, so that the
individual-to-individual interactions (those farthest from conscious
organization) are still affected by the fact of being within the
scene as a whole.
Are scenes really spaces where impersonal forces emergently generate
social interaction and culture? In a sense, no. Each thing is caused by a
consciousness. A consciousness that causes has preferences and will,
and in that at least minimal sense is a person. So somebody causes
each thing, including the basic actions occurring in a scene. These
actions may interact in ways that no one person foresaw or intended, but
the choice of personal beings was operative in everything.
God chooses some things and might run parts of the world in a
mechanistic, systemic way, but this is less true of social systems, which
are more under our own responsibility. Some features of scenes that
appear to be unchosen are the aftereffects of choices made in the past,
or the choice to not choose, or the preference to not choose. Scenes behave
differently when there are people making conscious choices in them versus
ones in which people choose not to choose or prefer not to choose.
Every element in a scene participates because someone chose to
participate, so without choice, there would be no scene.
Certainly one of the virtues of a scene is that it does not control
people, and another is that it is not subject to the life and death
cycle of an individual organization. It is good to choose not to
control scenes or their elements, to preserve the ability of
individuals to make choices and test their preferences against
reality. However, there are times when a person's agency is threatened by another member of a scene,
and then it can be justified for someone within the scene to exert
some kind of control against the other member (a group bans someone
from their events, for instance). A general goal for scenes (for people
thinking about scenes) can be agency-maximization.
The preceding three paragraphs together say something like: you have
to choose in order to do your part in developing a scene, but generally
it is best to not make other choices within a scene, to allow other
people to make their own choices. If you make very many choices for
other people in a scene, you start to turn it into one large organization,
instead of a scene.
So maybe I can try to define a scene, having given those examples:
A scene is an interconnected collection of essentially independent
elements of social life (events, venues, groups, individuals), and
their spirits and "institutions" (habits and expectations).
Individuals (individually or corporately) are
aware of other elements of the scene and have some ability to
interact with multiple elements, or to refrain from one element in
order to participate in another. So a scene can include loyalty
to one group, but also includes all the other possible groups,
and the pathways by which people can participate in other groups.
It tends to include features that seemingly nobody consciously chooses,
things that are "in the air". No one person or organization is
in control of a scene as a whole. Anyone can extend a scene, without
permission, simply by making an element known to people in the scene
that is fitting with the concept of the scene (Christianity, open mic
nights, etc.) or which mostly attracts people who primarily know each
other from the scene.