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1.
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   

2.
Drawing on Pierre Bourdieu's theory of aesthetic judgment, this text offers an inductive account of financial reasoning inside a trading room. Driven to maximise bank profits, trading room operators do not find ‘one best way’. Rather they choose among several possible winning strategies: mathematical arbitrage, economic analysis, chartist analysis. These strategies differ sharply from one another in their conception of the market, method, proximity to scholarly knowledge, and legitimacy. We show that the choice of one method depends on a system of tastes and distastes that are both historical – depending on individuals’ social and educational background – and relational – depending on the individual's relative position within the trading room viewed as a field.  相似文献   

3.
The purpose of this article is to suggest a model of calculation in art markets based upon the work of Pierre Bourdieu and of actor-network theory. It will be argued that Bourdieu's concepts of capitals, economic, symbolic and cultural are useful for the specificity they lend to value making processes in the art market. However, actor-network theory's proposal of a distributed form of agency between humans and non-humans (e.g. calcualtion tools) is favoured here, posing a fundamental challenge to Bourdieu's notion of agency as resting solely at the hands of human agents. In order to understand the performance of calculation, this article explores the role of catalogues as an example of a market device in the Scottish auction market. It will be argued that the performativity of the catalogue cannot be fully understood without taking into account not only how it represents and enacts the value/s of aeshtetic objects, e.g. paintings, but also how this performance is mediated by its role as an aesthetic object.  相似文献   

4.
One line of criticism leveled against studies of markets inspired by the economization research program [Çal??kan, K. &; Callon, M. (2009) ‘Economization, part 1: shifting attention from the economy towards processes of economization’, Economy and Society, vol. 38, no. 3, pp. 369–398 and Çal??kan, K. &; Callon, M. (2010) ‘Economization, part 2: a research programme for the study of markets’, Economy and Society, vol. 39, no. 1, pp. 1–32.] is that their analytical priorities reflect an economics-centric perspective: they prioritize the study of market exchange itself and of agents promoting market framing, while leaving non-economic agendas and the broader contexts of markets both understudied and undertheorized. This weakness tends to be attributed to contingent analytical priorities, which can be remedied by extending the program’s focus without changing its theoretical tenets. This article, in contrast, suggests that these analytical priorities stem from a theoretical tension within the program, which is caused by the complete, instead of a selective adoption of the theoretical tools of the performativity agenda in the marketization program. As a result, while the program promotes the inclusion of non-marketizing agents through the notion of co-performation, its call to focus on those phenomena that agents qualify as ‘economic’ and on the making of market exchange delimits the analysis of non-marketizing agents to their helping/hindering effects on market framing. The solution proposed is to reassess some of the performativity-inspired tools of the program in favor of a more ANT-inspired approach to markets.  相似文献   

5.
ABSTRACT

Based on ethnographic fieldwork among young heterosexual middle-class couples living together in Warsaw and its suburbs, this article explores the role of their homemade accounting and budgeting spreadsheets in the manufacture of domestic economic life. We argue that such digital forms actively intervene in the representation, constitution, shaping, and performing of their respective households as calculative agencies and moralized domains. We present and analyse a case study of five couple's householding with software, and based on that analysis call for an extension of the current interest in the generative role of financial devices from markets to households.  相似文献   

6.
This article discusses value creation within the fields of cultural production. It departs from Bourdieu's field model, and seeks to develop it to fit unrestricted cultural production, for example television production. Bourdieu for the most part discussed the production of value (or forms of capital) in relation to fields of restricted cultural production, that is, within the fine arts (e.g. art, literature). Although one of his best known works dealt with television, one cannot say that he used the possibilities inherent in his own theory thoroughly enough to analyse this field of mass production. This article builds on recent discussions on the role of field theory in media studies, and seeks to contribute to the development of a theory of value production in fields of large-scale or unrestricted cultural production. It is argued that the conflation of commercial value with other kinds of value is more intense in the subfield of unrestricted cultural production, as production in this part of the field needs to obey outer demand in a way that production at the pole of restricted production does not.  相似文献   

7.
This essay is inspired by Benedict Anderson's theorisation that communities are products of collective imagination. Literature and cartography, as Anderson points out, exert considerable influence in marking the imaginary contour of a specific community. To Anderson's theorisation, this essay will add a few notes, suggesting that literary mapping and cartographic writing convey dialectic messages and thereby chart contending communities. Through an examination of Victorian adventure stories (The Coral Island, King Solomon's Mines and Kim), domestic novels (Wuthering Heights, The Way We Live Now and The Sign of Four), an imperial map and a fictional treasure map, this essay will unfold the ideological underpinnings of writing and charting, analyse the rhetoric of wish and anguish in both acts, and interrogate Britain's conflicting doctrines of global imperialism and insular nationalism. The ultimate aim is to argue that literary mapping, analogous to cartographic writing, captures a Britain that is at once an invincible empire flexing its muscle worldwide and a vulnerable island besieged by the Atlantic Ocean, Irish Sea, English Channel, and North Sea. Between Britain's wishes and anguish, Victorian writers sketch in their contemporaries' imagination a contour of the British Empire in which the centre itself is decentred.  相似文献   

8.
In this essay I propose a new reading of Michel Foucault's main thesis about biopower and biopolitics. I argue that organisation represents the neglected key to Foucault's new conceptualisation of power as something that is less political and more organisational. This unique contribution was lost even on his closest interlocutors. Foucault's work on power had a strong influence on organisation and management theory but interestingly not for the reasons I am proposing. In fact, although theorists in management and organisation studies have emphasised power in relation to discipline, control and subjectivity they have overlooked the transformative meaning of Foucault's organisation. His work on biopolitics has attracted opposition, too, as evidenced by the controversy sparked by Giorgio Agamben about Foucault's biopolitics. From Agamben's critique, it appears that Foucault's notions of politics and power do not allow a deconstruction of the violence of the concentration camp. However, a critical reading of Primo Levi's biographical narratives reveals the camp as a place where the prisoners’ ability to organise their daily lives secured survival. To make sense of Levi's revelation, I use John Dewey's notion of habits as forms of organisation and reconnect it to Foucault's organisation. A shared understanding of the objective conditions of human activity and experience highlights the similarities between Dewey's pragmatism and Foucault's pragmatic metaphysics. In the end, however, Foucault's metaphysical background has caught up with him, pushing him away from his own most radical proposal that organisation was the new form of power and the new substance of politics.  相似文献   

9.
This paper investigates the workings of institutional logics in practice, by focusing in particular on the interplay between material, practical and linguistic dimensions of practices. In other words, drawing on Bourdieu's sens pratique, the paper explores the logic of practice in the practice of logics through a six months full-time ethnographic study at Il Sole-24 Ore, the largest Italian financial newspaper, between 2007 and 2008. An original conceptual framework is developed to analyse how the logic of journalism is enacted vis-à-vis that of advertising in a setting in which an old technology for news production – print newspaper – coexists with a new one – website – and thus encounters between new and old technological possibilities make workings of institutional logics particularly visible. The findings point out different mechanisms of institutional work dealing with actions that, made possible by new technological possibilities, are potentially, but not necessarily classified as divergent from institutional logics.  相似文献   

10.
Analysing the work of Spanish composer Francisco López and the Belgian film maker Thierry Knauff's 2000 production, Wild Blue: notes à quelques voix, this paper aims to go beyond the Deleuzean methodology that it employs. Deleuze argues, in Difference and Repetition, that artistic production deploys an active form of repetition that creates difference in itself and not a banal Platonic form of repetition based on an originary identity. Finding this process at work in the texts studied, we argue that of vital importance in these works and (although it is not explicitly stated) in Deleuze's own theory here is a reflection on the concept of texture. In deploying an artistic form of repetition that is infused with a deep sense of texture, both López and Knauff distance their works from the documentary realm in which they appear to be grounded. This, however, only increases their potential political efficacy which, rather than working according to extensive and limited, therefore, principles, is transmitted via an intensive mode.  相似文献   

11.
Abstract

The establishment of the European Union, reunification of Germany, and Germany's extension of dual citizenship to immigrant minorities provided challenges to the country's understanding of itself as a nation. In negotiating these changes, debates on citizenship frequently centered on definitions of German culture. Using the concept of Leitkultur (guiding culture), conservatives argued that Germany should reject multiculturalism and stem immigration. This essay analyzes discourses on cultural policy in Germany through a contextual and textual analysis of the film Mostly Martha. In its alignment with aesthetic conventions of the art house food film, Mostly Martha participates in the debate on cultural citizenship and embodies changes in the German film industry that have moved German cinema toward increased commercialism. The film's main character, Martha, is transformed through an intercultural relationship and a trip to Italy. We argue that the film's citation of this well-known tradition of traveling south to redeem oneself and its treatment of ethnic “Otherness” engages in the Leitkultur debate and participates in the transition from national German to transnational cinema. Through the utopian treatment of Italian food, the film fetishizes cultural difference and reaffirms fixed constructs of nation and gender, thereby avoiding an explicitly politicized engagement with intercultural citizenship and identity.  相似文献   

12.
Abstract

This essay revisits the question of post-Shoah responses to cataclysm in light of the now-urgent question of transmission – the shift in mourning and memory between first-generation survivors and later generations. Offering a different but complementary analysis to those in trauma or memory studies, I argue that post-Shoah witness and testimony are acts of ‘irreconcilable mourning’. This sense of mourning departs from post-Freudian approaches that focus on closure. Instead, irreconcilable mourning is a non-totalising approach to loss that resists ‘redemption’ and instead necessitates an ongoing, creative, and critical response to loss. In the course of this argument, I examine first-generation accounts such as Primo Levi's and Elie Wiesel's to highlight the necessity and contingency of transmission by interrogating concepts such as the ‘unsayable’ and the remnant. I then focus on Art Spiegelman's second-generation Maus: A Survivor's Tale, bringing cross-generational questions of witness and testimony as acts of irreconcilable mourning into the fold of Marianne Hirsch's ‘postmemory’ and Edith Wyschogrod's heterological history-telling.  相似文献   

13.
Coming from a critical animal studies perspective, this essay develops an urgent challenge to what Zipporah Weisberg describes as the ‘largely depoliticized approach within animal studies’ (2009: 5), with a focus on the work of Donna Haraway. Drawing on grassroots activist literature and practice, the essay analyses some productive tensions between animal rights perspectives and the work of Haraway, which centre on their different strategies for challenging the symbolic and material role of animals within biocapitalism. This approach reinstates the value of activist praxis to animal studies, arguing that it has the capacity to unsettle the positioning of animals as biocapital more successfully than Haraway's own ethical project. Due to being at the heart of debates between Haraway and theorists from within critical animal studies, vegan activism illustrates an animal rights practice that can work to undermine the structures that render animals ‘legitimately’ exploitable: despite Haraway's arguments to the contrary. The work of activists involved in the Hori-zone, a temporary eco-village established as a protest camp near the 2005 G8 summit at Gleneagles, is used to explore how veganism can be used as a micro-sociological tactic to challenge the exploitation that pervades everyday life.  相似文献   

14.
Abstract

This essay focuses on how immigrant mothers and second generation interracial daughters construct, perform, and negotiate racial and ethnic hybrid identities. Placing my mother's experiences in dialogue with my own experiences, I (auto)ethnographically examine how we navigate our mother-daughter relationship and intercultural and interracial identities in relation to discourses of Asian American-ness. I identify three sites for identity formation: location, language, and the dialectical tension of assimilation-preservation. I argue that the enactment of a racial self is not always a conscious part of one's identity. Rather, we each enact racialized cultural identities that are contextually performed and continuously shifting.  相似文献   

15.
This paper aims to reflect on some key issues linked to the production of digital objects in business settings. In doing so, it problematizes current social science scholarship, which emphasizes the analysis of digital data and analytics, and reinforces the magnitude of its consequences and ‘data power’. The paper proposes making three corrective ‘movements’ that might enrich our approaches to how databases and analytics are assembled in business settings. The first movement involves the problem of ethnographic access to data-making practices. We propose taking seriously the issue of fabricating an ethnographic encounter where the process of making digital objects is exposed. The second movement concerns the visibility and the type of politics taking place in data practices. We argue for the need to displace attention from data impacts and results to the myriad of mundane practices and devices through which these objects are assembled. The third movement we suggest requires a focus on examining error and failure as key aspects of the manufacturing of consumer databases. Each of these movements is illustrated by ethnographic vignettes from a 9-month ethnographic experiment that involved participating in the first stages of the manufacturing of an online financial retail company's consumer database.  相似文献   

16.
Abstract

Both fans and critics of Lars von Trier's work would likely agree with his capacity to make his audience suffer. This essay canvasses the devices through which the suffering of women in von Trier's melodramas is rendered excruciating to watch. Drawing on Deleuze's influential account of masochism, the first part of the essay discusses how von Trier's film Dogville foregrounds the complicated relationship that suffering has with pleasure and power. The second part of the essay focuses on the temporal dynamics of melodrama and the creative ways in which Lars von Trier disturbs the rhythms of suffering on screen. In particular I argue that von Trier introduces intervals of ‘dead time’ that make the passage of time itself painful to the audience and that open up a larger cultural history of temporal disorder. This part of the essay looks back to von Trier's early experiments with time in Psychomobile 1: The World Clock (2000) and forward to more recent innovative play with time and movement in Melancholia (2011) to make the case for rethinking the temporal dimensions of mediated suffering and the significance of time in the work of Lars von Trier.  相似文献   

17.
ABSTRACT

Catherine Malabou's opinion of non-essentialist models of gender identity and art is unambiguous: in her words, they are ‘catastrophic’ to women and to artists (Malabou [2014]. ‘Sujet: Femme'. de(s)générations des féminismes 21, 29-38: 135). What, then, are the implications of Malabou's hallmark concept of ‘plasticity’ on theories of performativity? Has plasticity come to supplant performativity, just as Malabou believes that it has come to supplant Derridean writing? Or if, as Malabou suggests, philosophical concepts are inherently plastic, may we maintain that performativity was always already plastic? In the following article, I read Malabou's work on writing alongside her work on the feminine in order to question how plasticity and performativity might be examined together to theorise the ways in which the discursive and the material interact in the production of subjectivities. By highlighting the performativity at play within Malabou's own writing about the end of writing, I propose that her work challenges her claim that literature cannot deconstruct philosophy. In response to Malabou's anti-essentialist plastic theory of the essence of woman, I underline the parallels between performativity and plasticity and suggest that the two concepts overlap in their mutual configuration of identity and form as mutable and transformable.  相似文献   

18.

The recent narrative on museums as catalysts of innovation and growth considers their relations with other cultural and creative industries (CCIs) to be very important. We argue that most relations museums establish with CCI firms and institutions are unlikely to produce strong positive externalities that make the latter more innovative. To prove this claim, we propose a conceptual framework qualifying project-based and supply chain relations between museums and CCIs as either strong, moderate, or weak links, according to their potential in terms of knowledge spillovers from museums to CCIs. We apply this taxonomy to data collected from 261 Polish museums. Our findings indicate that strong links are outnumbered by moderate and weak ones. We then suggest that the traditional missions of museums, in particular education and conservation, need to be more thoroughly assessed in terms of their direct and indirect contributions in order to fully capture the impact of museums on innovation in the wider economy.

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19.
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20.
Abstract

This essay reads Rosi Braidotti's philosophical nomadism from a decolonial perspective with the goal of uncovering the irreducible colonial difference which underlies the Eurocentric ontological vision embedded in Braidotti's reading of Gilles Deleuze. In particular, I read Edouard Glissant in tandem with Deleuze through the notion of the ‘middle’, a key concept which grounds the three thinkers' ontology of multiplicity. To this end, I borrow Nelson Maldonado-Torres' Fanonian critique of Eurocentric ontology and show how Braidotti fails to escape from the trap of Eurocentrism due to her inability to capture the abyssal and totalitarian character of coloniality imprinted in the cry of the damné. Against Braidotti's simplistic misreading of Glissant as a future-oriented constructivist, I argue that the enigmatic trope of Relation in Glissant opens up at the middle space of groundlessness constituting the ontological edifice of the colonial subject: revealing the abyssal middle in which the ineffable experience of shared suffering never stops haunting the freeing knowledge of relation.  相似文献   

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