01/07/2026
The emergence of the "Global Cooperative Creative Economy" represents a fundamental paradigm shift in the model of cultural production. This new economic order within the creative industries serves as a revolutionary alternative, deeply rooted in the scientific philosophy of "cooperativism" and the principles of "Commons-Based Peer Production" (CBPP). The "International Cooperative for Arts, Sciences and Technology" (I COAST) serves as a vital institutional framework for this transition, as the cooperative creative economy finds its theoretical foundations in the rejection of the "atomistic individualism" that has dominated economic thought since the Enlightenment. Instead, it proposes a holistic and interactionist vision of human agency, sustained by a vast international network of creators and thinkers, where knowledge and creativity are understood as collective achievements rather than solitary pursuits. This philosophical shift serves as a cornerstone for understanding the association's mandate to maintain an "encyclopedic scope of action that transcends the constraints of its time."
The transition within the cultural and artistic industries from a competitive creative economy to a cooperative one requires a new "social ontology" that moves beyond the caricature of Homo economicus. The "old" economic model is based on an atomistic conception of human nature and a belief in market equilibrium as a "physics of social behavior." In contrast, the cooperative model is rooted in principles of complexity and evolution, viewing the community of those engaged in the consumption of culture and arts as a "Complex Adaptive System" (CAS). A critical distinction in this new ontology lies between systems composed of agents following individual adaptive strategies (CAS2) and systems that are adaptive as a whole (CAS1). The cooperative creative economy recognizes that pro-social and cooperative entities do not automatically emerge from individualistic competition, but rather require specific conditions for such emergence. The International Cooperative for Arts, Sciences and Technology is designed to facilitate this emergence by removing barriers to coordination and providing shared media for collaboration through "stigmergy"—a process wherein the actions of one member create the conditions that enable or reinforce the actions of another. This "relational agency" allows for the stabilization of patterns of "relational fit," where the collective transforms into an active, federated agent capable of coordinated action.
The International Cooperative for Arts, Sciences and Technology operates according to the economic model of "Commons-Based Peer Production" (CBPP). This model identifies non-market resources for information, knowledge, and cultural production that are managed as a public good (commons) rather than as private property. For any cooperative project to function effectively under this model, it must be structured according to key dimensions:
Modularity: The project must be divisible into components (federated units) that can be produced independently.
Granularity: The size of these units must be small enough to allow for varying levels of commitment. This "low-cost integration" ensures that both experts and occasional volunteers can contribute meaningfully to the collective whole.
Governance of the Commons: Peer production eliminates the need for hierarchical bureaucracies, relying instead on "participant-driven" working methods.
The current model of knowledge construction is often described as unsustainable, dominated by a publishing "oligarchy" that exploits authors and privileges the Global North. The "Knowledge Commons" approach proposed by the association serves as an antidote to these monopolies. By treating software, design, and scientific knowledge as immaterial resources held in common, the cooperative ensures that innovation is directed toward maximum quality and sustainability, rather than "planned obsolescence."
This "Open Cooperativism" model possesses inherent advantages over proprietary models, as it dissolves the fragmentation and marginalization often associated with the "Gig Economy." Through open-book accounting and transparent supply chains, the cooperative coordinates production based on collective needs to develop and expand its work, rather than based on market pricing.
Publishing and artistic cooperatives must overcome structural constraints such as undercapitalization and low risk tolerance. The association addresses this through a "federated" structure, where shared services allow small groups to achieve market leverage and economies of scale when purchasing technology or distribution services.
The resources of the association explicitly exclude proceeds from the sale of individual works by members, focusing instead on "collaborative works." This ensures that the organization remains a collective endeavor, where risks and benefits are shared proportional to patronage and contribution. Surplus funds are reinvested into the development of the cooperative, the establishment of capital reserves, or the support of new cultural and artistic activities.
The creative economy is increasingly recognized as a "strategic pillar" for 21st-century development. The association adopts the "Quintuple Helix Innovation Model," which integrates government, academia, industry, civil society, and the environment. This model operates in a framework that emphasizes:
Transdisciplinarity: Integrating diverse fields to address global challenges within the market of cultural and artistic production.
Social Responsibility: Ensuring that creative and scientific outputs serve the collective interest.
Heterogeneity: Valuing organizational diversity and the inclusion of "outsider" perspectives.
The association is composed of "Associate Members" who embrace the ideals of the cooperative spirit. Membership is approved by the Board, with dues adjusted based on the member’s country of residence to account for global economic disparities. This commitment to "intersectional equity" ensures that financial status is not a barrier to participation in the global creative economy.
I COAST
