Download Contemporary Identities of Creativity and Creative Work by Stephanie Taylor PDF

By Stephanie Taylor

Applying a cross-disciplinary method and analytic method, the e-book investigates the recent cultural meanings in mess around an artistic profession. It indicates how vintage beliefs of layout and the inventive arts, re-interpreted and promoted inside modern artwork faculties, validate the lived event of precarious operating within the international sectors of the artistic and cultural industries, but additionally give a contribution to its  Read more...

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Academic theories of the cultural and creative industries, in contrast, derive ultimately from a theory of the workings of capital, a focus which emphasizes the collective or social over the individual. The general inadequacy of this latter way of understanding people in general has long been acknowledged within the social sciences and has prompted subsequent theories of a more complex subject (Blackman et al. 2008). There are, however, variations in the way this starting point is developed with different implications for the theorization of the worker, as we discuss in Chapter 3.

Ivinson’s study illustrates this in detail and her discussion of the impact of her participants’ families makes clear the relevance of class. In related work, Juuti and Littleton have looked at the particular issues faced by young people attempting to take up the elite identity of a professional classical musician (for example Juuti and Littleton 2012). We return to these points of advantage and disadvantage in Chapter 7. Although Becker’s account mostly concerns the larger network of the art world rather than the people within it, his discussion also indicates the relevance of those people’s particular situations as sources of advantage and disadvantage.

123). 22 Contemporary Identities of Creativity and Creative Work The category of the cultural industries, referred to in the plural,6 was formulated to refer to the industries which produce such goods. The list of these industries is not fixed but they are generally taken to include entertainment, tourism, television, cinema, advertising, fashion and various forms of design. Some cultural industries are therefore part of the ‘knowledge economy’ (Gill and Pratt 2008) which is driven by computing and related new technologies.

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