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1.
Normative cultural economy discourse on New York City embraces the creative industries as engines of job creation but neglects the quality of employment within them. This article sets out to both illuminate the precarious conditions of nonstandard workers in New York's vaunted creative sectors and identify emerging collective responses to precarity in this city. Three areas of labour activity are focused upon: fashion industry frictions, art world agitations, and independent worker initiatives. Under each of these headings, the article profiles two organizations that are variously exposing, resisting, and mitigating precarity among flexible labour forces in the arts, the media, cultural industries, and beyond. The discussion of these organizations is informed by interviews with some of their protagonists, by documents produced by the organizations, and/or by media coverage of them. Challenging the assumption that getting by in informal cultural labour markets obliges individual coping strategies, this article reveals scenes from a metropolitan laboratory of precarious labour politics. These initiatives are inklings of a recomposition of labour politics in which flexible workforces in creative industries are important participants.  相似文献   

2.
Focusing on the ‘talent pathways’ outlined in the 2008 Department of Culture, Media and Sport Creative Britain report, this article explores how different forms of creative agency are positioned to make a ‘contribution’ to the creative economy. Drawing on Paul du Gay's concept of personhood, case studies on digital gaming explore the formation of two forms of personhood – creative consumers and creative workers. Specifically, these forms of creative agency are analysed in terms of their connections on the ‘talent pathway’, and the transitions that see creativity and talent as inherent in all individuals and in need of channelling and directing. The creative-consumer case study unpacks the digital games industry strategy of enrolling fan-creators within their commercial operations. This case study reveals the increasing importance of co-production for the creative economy, and the extent to which diverse cultural practices are facilitated and positioned. Higher education Games Design courses will then provide the case study for examining how the creative-consumer can be positioned to make a productive contribution to the creative economy as a worker. Within this context, the formation of fans/students into a creative worker or industry-ready worker is evident. Through tracing different forms of creative agency and how they are connected to make a contribution to the creative economy, this article explores the governance of creative agency and economic subjects.  相似文献   

3.
ABSTRACT

This essay focuses on the relationship between culture and governance, exploring how the practice of government has invoked conflicts and crises in the Korean culture industries. The Park Geun-Hye regime used culture as a central engine to boost Korea's national economy by adopting the new slogan, ‘Creative Korea’, to embody the country's national values within the international community. However, the regime's constant emphasis on creative economies came under attack when it was discovered that the Ministry of Culture and Tourism abused its authority by censuring 9,473 artists who were critical of the regime. Through an analysis of journalistic interviews with artists, critics and cultural practitioners, this paper examines how the relationships of governmentality, culture and creativity have been negotiated in the process of regime change. In addition, this paper explores how the Korean Wave phenomenon – the transnational expansion of Korean popular culture – during the past two decades has reshaped the society's perception of the governor–governed relationship within the cultural sphere.  相似文献   

4.
This article discusses the role of creativity, graphic design innovations and tacit knowledge within advertising agency competition processes during the first half of the twentieth century. This period witnessed the arrival of the ‘advertising creative’: the artist-designer, whose output and tacit understanding of consumer tastes became key for the competitive advantage of agencies. Adapting Bourdieu's concept of the social field within which actors create and trade various forms of capital, I show how and why William Crawford's advertising agency in London became a pioneer in promoting the social, cultural and economic role of this new group of agency workers. I argue that Crawford's became the first advertising agency that carved out a unique position within a highly competitive market by defining its visual production and organisational identity entirely through notions of creativity. This places Crawford's at the heart of the emergence of a cultural economy for which creative skills are a paramount source of value creation.  相似文献   

5.
The paper argues that the paradigmatic shift from the sale of printed music to exploiting and managing musical rights that took place in music publishing during the early years of the twentieth century was due to the changing market rather than to changes in copyright law. On the one hand, copyright law was ineffectual in controlling piracy throughout the nineteenth century, and on the other hand, performing rights were ignored by music publishers for over 70 years; these points suggest that copyright was not the main reason behind the success of the industry. Rather than leading entrepreneurially (the current view of dynamism in the creative industries), publishers ‘followed the money’ and adapted their business models only when new streams of income from new forms of exploitation through sound recording, broadcasting and film became available as a result of exogenous technical progress. Publishers were locked-in to sales revenue as their business model, though when switching to the new business model of rights management took place, the costs seem not to have been greatly significant. The paper takes an historical approach to the development of music publishing viewed through the lens of present-day issues. The research has resonance for the transition from sales to licensing digital works that is taking place in the creative industries today and puts into perspective the relative significance of market forces and copyright law in the process.  相似文献   

6.
ART AS WORK     
This paper uses empirical work on a piece of performance art to think through the relation between ‘work’ and ‘art’, and by implication, ‘culture’ and ‘economy’. Beginning with the idea that the intelligibility of both is produced through similar forms of rule following and rule breaking, I suggest that this throws into question the empirical and historical novelty of the idea of the creative worker. As institutionalists have argued, the work of art is produced through its relation to various organizations, just as work organizations rely on creative rule bending and elaboration. Examples of contemporary art are enrolled in the argument along the way in order to suggest that we can find many insights into the nature of work, culture and economy in comparing the practices of artists with the practices of workers.  相似文献   

7.
THE PROPER COPY     
Efforts to make (and keep) knowledge public have provided a powerful counter-model to the recent expansion of exclusive intellectual property rights in such arenas as information technology, digital media, biological research, and pharmaceutical access. While sympathetic to the impulse to counteract the new ‘enclosures’ with knowledge made public, this essay critically interrogates some of the constitutive limits – in fact, the constitutive outsides – to these counter formulations. Paying particular attention to how public domain initiatives, like their strict intellectual property counterparts, also police the line between the proper and the improper copy, I argue that mechanisms for keeping knowledge public do not just circle the wagons against the predations of the Monsantos and Microsofts of the world. In their rhetorical and normative commitments to the proper copy, they also risk reproducing some of the same constrictions and exclusions that we tend to associate with (privatized) acts of enclosure itself. I explore this argument first in reference to creative commons and copyright, which can reproduce a strong ideological commitment to improvement – ‘innovation’ or ‘creativity’ – against the mere copy. What is the cost, I ask, of making the idea of improvement the price of admission not just to intellectual property claims, but to participation in newly ‘democratic’ public and common spaces of knowledge production? Second, I look to global pharmaceutical politics – specifically, regulatory efforts to improve access to cheaper copied and generic drugs in Argentina – to raise questions about the public domain's normative place in the continued expansion and harmonization of intellectual property regimes in the so-called global South. Together, these discussions suggest how the public domain and the commons, like their IP counterparts, can rhetorically and normatively expand and be secured against the improper copy.  相似文献   

8.
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9.
Abstract

Using sources from popular media, and ethnographic data collected from a university‐based urban design studio, I challenge Paul Virilio’s assertion that the modern human condition is dominated by a process of emotional synchronisation based on fear (the result, according to Virilio, of a collusion of technology and speed), and offer the analogous idea that contemporary consumer capitalism works toward a synchronisation of desire, operating, at least in part, through the ideologies and machinations of the idea of design. To do this, I analyse designerly approaches to problem‐solving as potential disciplining forces, or technologies of governmentality, which help to create order by manufacturing certain subjectivities like consumer, community member, or sense‐of‐place – subjectivities that are amenable to neo‐liberal notions of civil society in consumer‐capitalism. Ultimately, I argue that Virilio’s ‘art criticism of technology’, but also common critiques thereof, both depoliticise aesthetic judgement and work together toward the obfuscation of power within the symbolic economy of neo‐liberal consumer capitalism.  相似文献   

10.
The film Black Swan, directed by Darren Aronofsky, provides a fruitful context for thinking about Deleuze's conceptualisation of structural transformation as a ‘presubjective’ process involving a critical and creative politics of engagement. Nina is a young dancer who has just secured the lead role in the New York Ballet's new production of Swan Lake. This role not only requires her to dance the pure and innocent character of the White Swan – a role that mirrors Nina's character in real life, and for which she is well suited – but also as the seductive and darkly erotic character of the Black Swan, a role quite alien to Nina. The film traces Nina's desperate efforts to meet the demands of this doubled characterisation. Through new forms of engagement with her peers, she enters into a ‘becoming-swan’ that frees her from the restraints and constraints imposed by her existing self. While this transformative process enables her to realise aesthetic perfection in her art, this comes at a heavy price: Nina not only is creatively destabilised, but ultimately is destroyed by the transformation she endures. By considering this work of cinema in light of Deleuze's writings on cinema, on ‘becoming-animal’, and on ‘Porcelain and Volcano’, this essay reflects upon a crucial question underlying much of Deleuze's political thought: how is it possible to privilege radical subjective and social transformation, without these structures of necessary coherence also ‘cracking up’ and being destroyed in the process?  相似文献   

11.
ABSTRACT

In the contemporary organization of the economy, creativity and branding constitute two distinctive imperatives which generally point in different directions: the former towards newness and change, the latter towards continuity and recognisability. Numerous agents in corporate organizations thus face a conundrum of creativity versus branding, which is perhaps nowhere more pronounced than in the fashion business. Drawing on ethnographic fieldwork in a fashion company, I argue that these seemingly incompatible imperatives are inextricably entangled, as their paradoxical relation is solved, even dissolved, in a dynamic interplay between ‘a totemic logic’ and ‘an animist practice’. Thus, a dynamics of totemism and animism unites creativity and branding in the continual pursuit of uniqueness. While totemic and animist modalities are most commonly associated with non-western ontologies and perceived as mutually exclusive, I contend that they are also at work in contemporary commercial processes and that they are enmeshed in, and propelled by, each other. This suggests that these modalities operate together particularly when the making of distinctive identities is critical – as in economic competition today.  相似文献   

12.
Creative work has emerged at the core of the new economy and is primarily studied in the art and the media, music and advertising business. This article presents data from an ethnographic research with professional rock climbers. It argues that the production of work for sale by these climbers is a form of creative work. The thread of the argument is twofold. First, their work is inextricably intertwined and paced with highly creative activities. Second, it is anchored in a complex system of communication aiming for the production and dissemination of experiences through media production.  相似文献   

13.
The aim of this paper is to locate academics within the sights of critical labour studies, and, in particular, the contemporary interest in cultural workers. Despite a growing literature about – and in response to – the transformation of the University there have been few attempts to study academics as workers. This paper argues that there are a number of parallels between academic work and the much more well-documented experiences of work in the cultural and creative industries. The paper examines the increasing experience of precariousness among academics, the intensification and extensification of work, and the new modes of surveillance in the academy and their affective impacts. The aim of the article is to build on the critical lexicon of studies of cultural labour in order to think about academic work as labour and to generate new ways of thinking about power, privilege and exploitation. It argues for the need for a psychosocial perspective that can understand the new labouring subjectivities in academia.  相似文献   

14.
ABSTRACT

In this article, I discuss how changes in the economic infrastructure of mass consumption have changed the values and attitudes of consumer culture. By focusing on an online community of Israeli sex consumers and applying the theoretical framework of the prosumer economy, this article suggests its innovative potential for understanding the intersections of cyberspace, capitalism, and sex work consumption. Using the context of the dynamic cultural terrain of prosumerism, the article examines how commercial way of thinking is encouraged, understood, and adopted by sex consumers in the practice of purchasing sexual encounters and sharing them online. The main argument is that the online community of sex consumers has become a collaborative project in which consumers simultaneously produce and consume – that is, they become ‘prosumers’ and thus occupy positions of power within the capitalist market-place. They, therefore, not only responding to market rules but also producing them. I claim that the change in the nature of the community has impacted both the nature of online writing and the way clients perceive sex workers.  相似文献   

15.
ABSTRACT

This article explores the role of editorial playlists in Spotify’s streaming economy. In particular, it approaches Spotify’s playlists as container technologies – i.e. technical solutions that assemble, preserve, and transport music objects and thereby uphold logistical operations within the music industry. Such an approach seeks to complement previous research concerning playlists, which has often analyzed their emotional and affective dimensions but paid less attention to how playlists enhance calculative, mathematical, and logistical retail flows within the online music economy. On the one hand, the article considers how playlists – like containers in general – materialize principles of modularization and automation in ways that enhance control and remote oversight. On the other hand, it discusses how the playlist is far from a perfected means of measurement and control, and sometimes acts as an unruly transport device. Ultimately, the article shows how the playlist format occupies an uneasy position between order and disorder within the digital music economy which has not yet been fully accounted for in the context of music-oriented media studies.  相似文献   

16.
This paper provides an analysis of why many ‘stars’ tend to fade away rather than enjoying ongoing branding advantages from their reputations. We propose a theory of market overshooting in creative industries that is based on Schumpeterian competition between producers to maintain the interest of boundedly rational fans. As creative producers compete by offering further artistic novelty, this escalation of product complexity eventually leads to overshooting. We propose this as a theory of endogenous cycles in the creative industries.  相似文献   

17.
ABSTRACT

Issues of maintenance offer exceptional opportunities for advancing our understanding of how market-driven innovation can meet societal objectives for energy transitions. In this article, I present a case study of ongoing attempts by two spin-outs and one start-up to stabilise innovative socio-technical agencements – ‘customer journeys’ – designed to catalyse economic exchange of certain singular goods – energy retrofit products – in the Netherlands. This market-driven innovation relies on sustaining carefully crafted relationships of trust among supply-chain actants and homeowners. I mobilise the analytical lens of ‘care’ to show how the multiplicity of connections that form through socio-technical agencements – and function as a market – are tentative, contested, and unpredictable. Trust relationships are in a constant process of becoming through contestation and convergence among supply-chain actants. In doing so, I expose the precarious and arduous work involved in maintaining a market for singular public goods. This implies a knowledge politics as well: in a call to sensitise us, market scholars, to processes of maintenance integral to market-driven innovation for energy transitions I propose to advance Callon’s call to civilise markets by sharing troubled, though encouraging, care-infused market tales in an effort to counteract the storification of energy transitions as innovation fairy tales.  相似文献   

18.
ABSTRACT

This essay analyses two Singaporean graphic novels which represent the motivations and processes of creating and marketing cartoons, Sonny Liew's The Art of Charlie Chan Hock Chye (2015), a retrospective of the life and work of a fictional artist, and Troy Chin's ongoing autobiographical series, The Resident Tourist (begun in 2007). The analysis focuses on how Liew and Chin represent creative work and its relationship to Singaporean identity, focusing on how each negotiates one of the central contradictions of the creative industries in Singapore, the problem of how creativity can be conceptualised and practised within a society in which, for decades, pragmatism has been systematically valued and imagination devalued. There are three main ways in which both Liew and Chin construct, in very different ways, new creative worker and Singaporean identities which resonate with readers around the post-industrial world. The first is through subtle challenges to the Western, individualised ‘genius’ model of the creative worker. The second is through the creation of modes of address that encompass both Singaporean and non-Singaporean readers, and make all readers complicit in the project of constructing Singaporean identity. Third, both Liew and Chin reimagine the relationship between Singaporean and creative worker identities through simultaneously using and subverting the idea of national allegory.  相似文献   

19.
ABSTRACT

This article investigates how cultural businesses may facilitate contentious political activity in authoritarian contexts. Existing research in Western liberal democracies has shown the widespread political activism of actors in the cultural and creative industries. Whether such activism exists in authoritarian society, how it may differ in character and form, and what implications this will have for our understanding of relations between business, politics, and culture in authoritarian countries remain to be addressed. Drawing on data collected from 55 ‘independent bookshops’ in China, I illustrate how these organisations perform ‘cultural politics,’ a type of political participation in which actors employ mainly symbolic means to express social and political concerns. The organisations’ economic relations and conditions facilitate their efforts to create spaces in which contentious questions can be raised, sensitive topics explored, and alternative ideas expressed, despite the Chinese state’s political regulation of the cultural sphere. The finding of the economic embeddedness of cultural politics sheds new light on our understanding of the political economy of cultural businesses in contemporary China.  相似文献   

20.
The central argument in this paper is that actor-network theory (ANT) does not do ‘cultural economy’ symmetrically: it has had a lot to say about economy but much less to say about culture. This rejection of culture is ontological and epistemological: culture appears in ANT largely as an artefact of modernist thought rather than as an empirical aspect of agents' performances. And yet if ‘economy’ can be critiqued and reinstated as performative, so too can ‘culture’. To explore this, we focus on objects of concern that – unlike the financial markets that have formed the core of ANT-inspired thinking about the economy – are assembled by actors in and through what they themselves understand to be cultural materials, cultural calculations, cultural processes, cultural institutions. In such examples, ‘culture’ is continuously invoked and enacted by actors in constructing their actions, whatever critical sociologists might have to say about its ontological status. It seems paradoxical that a theoretical approach that makes sacrosanct the associations constructed by agents who assemble their own world, generally discusses ‘culture’ only from the point of view of critical epistemology. Bearing all this in mind, we argue that it is time for us to ‘reassemble’ the cultural.  相似文献   

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