The Culture is a fictional interstellar post-scarcity society created by the Scottish writer Iain M. Banks and features in a number of his space opera novels and works of short fiction, collectively called the Culture series.
The Culture is composed primarily of humanoid aliens, artificial intelligences (A.I.), and a number of other sentient life forms. The A.I. intelligence covers a spectrum; simple programs performing a specific function (e.g. controlling spacesuits), human-equivalent drones and hyper-intelligent Minds who organise and oversee the society. Beyond scarcity, the Culture has no need for money; instead, Minds organise society to maximise the well-being of its citizenry. The protagonists, almost always humanoids, are generally those who have chosen to work for the Culture's diplomatic or espionage organs and interact with other civilisations whose citizens act under different ideologies, morals, and technologies.
The Culture generally has more advanced technology relative to most other civilisations it shares the galaxy with. Most of the Culture's citizens do not live on planets but in artificial habitats such as orbitals and ships, the largest of which are home to billions of individuals. The Culture's citizens have been genetically enhanced to live for as long as they desire and have modified mental control over their physiology, including the ability to introduce a variety of psychoactive drugs into their systems, change biological sex, or switch off pain at will. The Culture's technology is able to transfer individuals into vastly different body forms, although the Culture's standard form remains fairly humanoid.
The Culture holds peace and individual freedom as its core values. A central theme of the series is the ethical struggle it faces when interacting with other societies – some of which brutalise their own members, pose threats to other civilisations, or threaten the Culture itself. It tends to make major decisions based on the consensus formed by its citizens: in one instance, the entire population – a direct democratic vote of trillions – decided that the Culture would go to war with a rival civilisation. Those who objected to the subsequent militarisation broke off from the Culture, forming their own separate civilisation. Another hallmark of the Culture is its ambiguity; in contrast to the other interstellar societies and empires, it is more difficult to define both geographically and sociologically, and it "fades out at the edges".
Overview The Culture is a post-scarcity, egalitarian society which has overcome most of the physical constraints of life and created a stable society without the use of unnecessary force or compulsion. That being said, some citizens, including the extremely powerful artificial intelligences, Minds, sometimes engage in the manipulation of others. This includes influencing or controlling the development of alien societies through the group known as Contact.
The novels of the Culture cycle mostly deal with people at the fringes of the Culture: diplomats, spies, or mercenaries; those who interact with other civilisations, and who do the Culture's dirty work in moving those societies closer to the Culture ideal, sometimes by force.
Fictional history In this fictional universe, the Culture exists concurrently with human society on Earth. The time frame for the published Culture stories is from 1267 CE to roughly 2970 CE, with Earth being contacted around 2100 CE, though the Culture had covertly visited the planet in the 1970s in The State of the Art.
The Culture itself is described as having been created when several humanoid species and machine sentiences reached a certain social level, and took not only their physical, but also their civilisational evolution into their own hands. In The Player of Games, the Culture is described as having existed as a space-faring society for eleven thousand years. In The Hydrogen Sonata, one of these founding civilisations was named as the Buhdren Federality.
Society and culture
Economy The Culture is a symbiotic society of artificial intelligences (AIs) (Minds and drones), humanoids and other alien species who all share equal status. All essential work is performed (as far as possible) by non-sentient devices, freeing sentients to do only things that they enjoy (administrative work requiring sentience is undertaken by the AIs using a bare fraction of their mental power, or by people who take on the work out of free choice). As such, the Culture is a post-scarcity society, where technological advances ensure that no one lacks any material goods or services. Energy is farmed from a fictitious "energy grid", and matter to build orbitals is collected mostly from asteroids. As a consequence, the Culture has no need of economic constructs such as money (as is apparent when it deals with civilisations in which money is still important). The Culture rejects all forms of economics based on anything other than voluntary activity. "Money implies poverty" is a common saying in the Culture.
Language Marain is the Culture's shared constructed language. The Culture believes the Sapir–Whorf hypothesis that language influences thought, and Marain was designed by early Minds to exploit this effect, while also "appealing to poets, pedants, engineers and programmers". Designed to be represented either in binary or symbol-written form, Marain is also regarded as an aesthetically pleasing language by the Culture. The symbols of the Marain alphabet can be displayed in three-by-three grids of binary (yes/no, black/white) dots and thus correspond to nine-bit binary numbers.
Related comments are made by the narrator in The Player of Games regarding gender-specific pronouns, which Marain speakers do not use in typical conversation unless specifying one's gender is necessary, and by general reflection on the fact that Marain places much less structural emphasis on (or even lacks) concepts like possession and ownership, dominance and submission, and especially aggression. Many of these concepts would in fact be somewhat theoretical to the average Culture citizen. Indeed, the presence of these concepts in other civilisation signify the brutality and hierarchy associated with forms of empire that the Culture strives to avoid.
Marain itself is also open to encryption and dialect-specific implementations for different parts of the Culture. M1 is basic Nonary Marain, the three-by-three grid. All Culture citizens can communicate in this variant. Other variants include M8 through M16, which are encrypted by various degrees, and are typically used by the Contact Section. Higher level encryptions exist, the highest of these being M32. M32 and lower level encrypted signals are the province of Special Circumstances (SC). Use of M32 is reserved for extremely secret and reserved information and communication within Special Circumstances. That said, M32 has an air of notoriety in the Culture, and in the thoughts of most may best be articulated as "the Unbreakable, Inviolable, Holy of Holies Special Circumstances M32" as described by prospective SC agent Ulver Seich. Ships and Minds also have a slightly distasteful view of SC procedure associated with M32, one Ship Mind going so far as to object to the standard SC attitude of "Full scale, stark raving M32 don't-talk-about-this-or-we'll-pull-your-plugs-out-baby paranoia" on the use of the encryption.
Laws There are no laws as such in the Culture. Social norms are enforced by convention (personal reputation, "good manners", and by, as described in The Player of Games, possible ostracism and involuntary supervision for more serious crimes). Minds generally refrain from using their all-seeing capabilities to influence people's reputations, though they are not necessarily themselves above judging people based on such observations, as described in Excession. Minds also judge each other, with one of the more relevant criteria being the quality of their treatment of sentients in their care. Hub Minds for example are generally nominated from well-regarded GSV (the largest class of ships) Minds, and then upgraded to care for the billions living on the artificial habitats.
Serious prohibitions exist against harming sentient beings, or forcing them into undertaking any act (another concept that seems unnatural to and is, in fact, almost unheard of by almost all Culture citizens). As mentioned in The Player of Games, the Culture does have the occasional "crime of passion" (as described by an Azadian) and the punishment was to be "slap-droned", or to have a drone assigned to follow the offender and "make sure [they] don't do it again".
While the enforcement in theory could lead to a Big Brother-style surveillance society, in practice social convention among the Minds prohibits them from watching, or interfering in, citizens' lives unless requested, or unless they perceive severe risk. The practice of reading a sentient's mind without permission (something the Culture is technologically easily capable of) is strictly taboo. The whole plot of Look to Windward relies on a Hub Mind not reading an agent's mind (with certain precautions in case this rule gets violated). Minds that do so anyway are considered deviant and shunned by other Minds (see GCU Grey Area). At one point it is said that if the Culture actually had written laws, the sanctity of one's own thoughts against the intrusion of others would be the first on the books.
This gives some measure of privacy and protection; though the very nature of Culture society would, strictly speaking, make keeping secrets irrelevant: most of them would be considered neither shameful nor criminal. It does allow the Minds in particular to scheme amongst themselves in a very efficient manner, and occasionally withhold information.
Symbols The Culture has no flag, symbol or logo. According to Consider Phlebas, people can recognise items made by the Culture implicitly, by the way they are simple, efficient and aesthetic. The main outright symbol of the Culture is its language, Marain, which is used far beyond the Culture itself. It is often employed in the galaxy as a de facto lingua franca among people who don't share a language. Marain has a similar purpose to other constructed languages encountered in utopian and dystopian fiction including Pravic in The Dispossessed and Newspeak in Nineteen Eighty-Four.
Citizens
Biological The Culture is a posthuman society, which originally arose when seven or eight roughly humanoid space-faring species coalesced into a quasi-collective (a group-civilisation) ultimately consisting of approximately thirty trillion (short scale) sentient and sapient beings (this includes artificial intelligences). In Banks's universe, a good part (but by no means an overwhelming percentage) of all sentient species is of the "pan-human" type, as noted in Matter.
Although the Culture was originated by humanoid species, subsequent interactions with other civilisations have introduced many non-humanoid species into the Culture (including some former enemy civilisations), though the majority of the biological Culture is still pan-human. Little uniformity exists in the Culture, and its citizens are such by choice, free to change physical form and even species (though some stranger biological conversions are irreversible, and conversion from biological to artificial sentience is considered to be what is known as an Unusual Life Choice). All members are also free to join, leave, and rejoin, or indeed declare themselves to be, say, 80% Culture.