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GEOG3063 CREATIVE ECONOMY > References > Flashcards

References Flashcards

1
Q

Ross (2008)

A

New economy in 1990s vs old economy – risk tolerant which tested employees with an endurance course of challenges rewarding their mettle and initiative and jackpot-style wealth

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2
Q

Jarvis and Pratt (2006)

A

Related to the possibilities of new technology for ‘working at a distance’

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3
Q

English-Lueck (2002)

A

Student blogger is a good example to explore the consequences of this spillover and embedding of work in the household economy

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4
Q

‘Technologies of the self’ reference

A

Foucault (1988)

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5
Q

Weedon (2004)

A

determine how one is perceived as ‘selves’ by ‘others’

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6
Q

“Risk management becoming fully embedded within the domain of individuals”

A

Mark Banks

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7
Q

Ross (2008) and genesis of culture

A

Since genesis of ‘culture’ in geography by Raymond Williams (1985) = never spoke of culture as a ‘form of labour’ – how people make a living out of culture → speak about issue I have of people not considering blogging as ‘work’

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8
Q

Watson (2012)

A

Project based working - expected to be part of a team that you don’t have interaction with because of working from a distance

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9
Q

Active networking description and reference

A

• Christopherson (2002, 2011) – active networking is crucial and ‘extra-curricular’ time to facilitate job i.e. need to go to events/etc

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10
Q
  • Work in coffee shops because I feel that ‘need to feel the ‘buzz’ of the city’
A

Drake (2003)

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11
Q
  • Hyman et al (2003)
A

highlights that work is not confined to the parametres of the ‘working day’ - not carried out in a vacuum and workers have a life into which these practices increasingly intrude (Perrons, 2003)

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12
Q

F2f work and local buzz etc is from

A

Grabher (2004)

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13
Q

Styles of the flesh

A

Warhurst (2009)

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14
Q

Entwistle and Wissinger (2006)

A
  • workers bodies are harnessed to sell the organisation’s image by literally by embodying it (so not just clothes but everything)
  • workers wanting to enter and succeed in particular aesthetic work have to commodify themselves

“Projection of personality” - makes reference to foucauldian studies on the ‘self’ and how particular discuses on the ‘enterprising self’ and ‘personality’ are productive ways of being

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15
Q

Wanting a flexible part-time job can be related to

A

Menger (1999)
argued that visual artists forgo earnings and incur employment risks because they are compelled to express their artistic creativity and need to be free of rigid schedules and constraints imposed by formal employment

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16
Q

Brown (2012)

A

Derive pleasure from performing even routine tasks to a high standard because they are central to the larger creative process

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17
Q

emotional labour

A

Hochschild (1983)

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18
Q

communities of coping reference

A

Korczynski (2003)

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19
Q

‘War of smiles’
Reference and description

-

A

Hochschild (1983)
- importance of coming on stage with energy, smiling at the audience and that body language is crucial to the performance as a whole

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20
Q

Charisma a key part of separating stars from other performers

A

Dean (2005)

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21
Q

entrepreneurs of the self

A

Rose (1991)

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22
Q

Notion of the self-managing, calculating, rational and ‘reflexive’ subject

A

(Giddens, 1991; Beck, 1992, 1994)

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23
Q

Bain (2001) case study

A

noted the attempt by some call centre employers in the USA to ‘train out’ certain accents deemed to be undesirable in their agents: highlighting how organisations aren’t only concerned with attitudes of employees but how they come across visually and aurally

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24
Q

emotional performance typically involves a complex combination of facial expression, body language, spoken words and tone of voice’.

A

Rafaeli and Sutton (1987)

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25
Q

materiality of work has changed – its weightlessness allows it to be performed anywhere

A

Jarvis and Pratt (2006)

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26
Q

Full music history

A

Hracs et al (2013)

Hracs (2012)

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27
Q

only the strategic survive: musicians working ‘harder’ by professionalizing and ‘smarter’ by re-specializing and getting help with creative and non-creative tasks from collaborators and contractors.

A

Hracs (2012)

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28
Q

Social –> connectivity change

A

Grabher and Ibert (2006)

Hracs (2010)

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29
Q

However, interviews confirm that coffee shops and third places remain popular spaces for ‘hanging out’ and interaction

A

Hracs (2016)

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30
Q

« Promiximity is great, but it has to be economically feasible »

A

Hracs (2016)

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31
Q

Immaterial labour

1) Reference
2) Description

A

1) Gill and Pratt (2008)

2) Series of activities that aren’t always thought of as work

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32
Q

Value the Pro - Blogger Moment

- reference

A

Ekinsmyth (2011)

- Work not a hobby

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33
Q

Ibert and Schmidt (2012)

A
  • Paper about acting
    work in several related and unrelated fields to generate income
  • Discuss how musical actors who are well-networked receive more relevant information earlier than less well-connected competitors and can access and react to a broader range of attractive opportunities more quickly
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34
Q

Jakob (2012) is all about

A

Crafting

  • and Durham Craft Market
  • started as a way to start a business but driven by an ‘incessant creative urge’ -practice of creative expression and emotional benefits
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35
Q

Vinodrai (2012)

A

All about NETWORKS

- Designers take adv of social and proof networks to access key info about job op, events etc

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36
Q

Bain (2005)

A

artists use networks to access emotional support

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37
Q

Ekinsmyth (2011)

A
  • All about mumpreneurs
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38
Q

Sennett (2008)

A

“the good craftsman is a poor salesman, absorbed in doing something well, unable to explain the value of what he or she is doing”

also that craftsmanship is ‘poorly understood’ when only seen as a set of manual skills

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39
Q

Work in ‘helpers’ is from..

A

Hauge and Hracs (2010

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40
Q

Connectivity working
- linking into…
and reflects the…

A

Grabher and Ibert (2012)

  • Just in time interactions
  • increasing professionalisation of indie producers
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41
Q

“Life labour”

1) Reference
2)

A

1) Adkins and Jokinen, 2008: 139
2) argue that Capitalist production now harnesses Life and thus ‘beyond the four walls and laboring activities of the conventional workplace’

42
Q

Jakobs (2013)

A

Craft is a form of labour that requires a high degree of manual dexterity and/or artistic skill

  • 3rd wave of craft - current resurgence counters the perceived homogenization of culture
43
Q

Most deficient skill with musicians is business acumen and strategic thinking

A

Hracs (2012)

44
Q

Corrosion of Creativity

A

McRobbie (2002)
- Time and energy that musicians dedicate to non-creative tasks diminishes their capacity to perform creative tasks (can’t be constantly working)

45
Q

“Creative conundrum”

A

Allocate time and energy to creative and non-creative tasks

46
Q

Cultural intermediaries

1) Reference
2) Origin reference

Function as ‘gatekeepers’
3) Reference

A

1) Hracs (2012)
2) Pierre Boudieu (1984)

3) Foster et al (2011)

47
Q

“digital production and distribution is said to democratize these processes through disintermediation and close the gap between production and consumption” reference

A

Foster and Ocejo (2013)

48
Q

Dilemma of Democratization

A

Hracs et al (2013)

e.g. with Etsy = much harder to be found and gain the attention of potential customers

49
Q

1) Exclusivity definition

2) reference

A

1) Entails exploiting the desire of sophisticated consumers to signal their individuality by finding and consuming unique products
2) Zukin (2004)

50
Q

Hyper commoditization of culture

1) Reference
2) Description

A

1) Currah (2003)

2) Saturates the marketplace = difficult to attract/retain the attention of fickle consumers

51
Q

Monopoly rents, differentiate products etc

A

Harvey (2001)

52
Q

Appadurai (1990) concept

A

‘fetishism of the consumer’
- superseded Marx’s original idea of fetishism of the commodity of detachment and now highlights it’s a ‘mask for the real set of agency’ which is the producter (perpetuated by the medium of global advertising → i.e. producer is a commodified pawn

53
Q

1) Branding depends upon…

2) Reference

A

1) “branding relies upon the identification, articulation and representation of signs and symbols inescapably entangled with their spatial context and connotations”
2) Andy Pike (2009: 624)

54
Q

Pierre Bourdieu’s work

A 
La Distinction (1984) - how one chooses to present one's social space to the world - one’s aesthetic dispositions—depicts one’s status and distances oneself from lower groups. 
- Highlights these are internalized at an early age and guide the young towards their appropriate social positions (class fractions)
55
Q

Chamberlin (1933) + Joan Robinson

A

‘Theory of monopolistic competition’

- came up with ‘product differentiation’ to nuance and update our understand of ‘real’ and ‘imagined’ exclusivity

56
Q

1) Old way of creating value

2) Reference

A

1) Value extrapolated from the kill required to produce or replicate them and sheer scarcity in the marketplace
2) Harvey (2001)

57
Q

Product pyramid

A
  • Tokatli (2012)
    has been created by the brand from the buzz of couture or fashion show excitement, will pass through product pyramid (Prorsum line) = expected that ‘real money’ will not come from top but from the masses of those who buy a Burberry trench coat in London for $1000 instead of $5000 at the show
58
Q

« Methodological Rationalism »

A

Simmel (1904)
- principle that everything interacts in the same way with everything else → believes that « fashion is a form of social relationship that allows those who wish to conform to do so while also providing the norm from which individualistic people can deviate »

59
Q

‘Conscious reshaping of the self’

A

Featherstone (1991)

60
Q

Author of their own lives through consumption

A

Tokatli (2012)

61
Q

‘Commodity fetishm’

A

Marx (1972)

- Desire to consume was considered a social need induced by capitalism - described as ‘animal functions’

62
Q

Capitalist production harnesses life and thus beyond « 4 walls of the conventional workplace »

A

Adkins and Jokinen (2008: 139)

63
Q

Value is increasingly determined by aestheticization, branding and marketing rather than by material and labor inputs

A

Gotham (2002)

64
Q

Zukin and Macguire (2004)

A

‘consumer culture’
- also provides a universal toolkit , a material and symbolic repertoire, for expressing collective identities →but also a tool for RESISTANCE (E.G. VEGAN CLOTHES/FOOD) and ‘doo rag’ worn by young men black and white in the US in early 2000s to represent a subcultural identity of rebellion or ethnic pride

65
Q

Holt (2002)

A

Brands that seem to embody prescriptions for how people should live their life is no longer appealing but they imagine that they buy branded products to pursue their own individual identity projects
→ consequently now expect that brand-owning firms should deliver creativity that stimulates their imaginations, and inspires and provokes them so that they can author their OWN lives → need ‘ghostwriting’ help

66
Q

self- monitoring or self-reflexive”

A

(Lash and Urry, 1994, pages 4–5)

67
Q

The opportunity to improve oneself through consumption

A

(Zukin and Maguire, 2004)

68
Q

Sennett (2008)

A
  • Many indep producers not only motivated by economic profit but rather a combination of emotional and monetary rewards
  • contemporary craftsmen guided by psychic rewards ranging from the intrinsic joy of creating a piece of art to the extrinsic peer recognition received for musical performance
69
Q

Arlene Davila (2001)

A

Social construction of latino identity
- demonstrates the importance of consumer culture for producing new ethnic identities (but not uniform might not have the same perceptions)

70
Q

Opportunity for collaboration (thanks to digital tech)

A

Hauge and Hracs (2010)

71
Q

‘modus operandi’
1) reference

2) Sony Walkman

A

1) du Gay et al (1997)
2) success came from innovation lower costs etc but also their ability to learn from consumer’s beheavour: production and consumption as a ‘cultural circuit’ rather than 2 poles which reflect/transform consumer’s behaviour

72
Q

Conspicuous Consumption

1) Reference
2) About

A

1) Veblen
2) In contrast to the individual’s static maximization of utility according to exogenous preferences (neoclassical theory of consumption), Veb’s evolutionary framework = preferences are determined socially in relation to positions of individuals in the social hierarchy → emulate consumption patters of other individuals situated at higher points in social hierarchy

73
Q

‘Attraction’ reference and ‘quality as a process’

A

Ilbery and Kneafsey (2000)

74
Q

Importance of first impressions

A

Marchand (1985)

75
Q

“Quality promise”

A

Janson and Waxell (2011)

  • determined by performance, projection and protection
  • Also highlights that quality is complex and subjective
76
Q

Identity determination: balance between group conformity and individuality

A

Hauge and Hracs (2010)

77
Q

Lorentzen and Hansen (2009: 819)

A

Experiences

  • success of a product is when consumer keeps a pleasant memory of their meeting with the product/service
  • Experiences
78
Q

Importance of customer service

A

Leslie (2015)

79
Q

‘Cultural capital’ boudieu

1) date

A

1) 1984

80
Q

Salon style world tours

A

Hracs, Jakob & Hauge (2013)

81
Q

Label fatigue

A

Goodman (2004)
- due to the introduction of more labels = power of claims and their ability to generate distinction/value is being eroded

82
Q

competitive isomorphism’

A
  • DiMaggio and Powell’s (1983)

- Fashion firms becoming increasingly similar

83
Q

‘Curation Nation’

A

Rosenbaum (2011)

84
Q

Curate latin derivation and reference

A

Latin verb ‘curare’, which means taking care and is traditionally associated with art and museum collections (Balzer 2014).

85
Q

1) “Curatorial culture” reference

2) Description

A

1) Cairns and Birchall (2013) @ annual conference in Portland
2) Regarding Apple’s newly introduced celebrity playlist feature in iTunes, he proposed the idea of a “curatorial culture” where a music industry traditionally polarised between makers and listeners would come to focus on an “unrewarded group in the middle: people with great taste in music

86
Q

1) Shirky (2010)
2) Ridley (2011)
3) Shirky (2011)

A

1) “Cognitive surplus”
- the connection and aggregation of humanity via the network also makes it possible to aggregate humankind’s time and energy to capitalise upon the opportunities the network makes available: a kind of collaborative creativity

2) Such accretion enables the “multiplication of labour”
3) we are living through the “shock of inclusion”

87
Q

Two examples of curating/rating blogs (2)

A

Pitchfork and Gorilla vs Bear

88
Q

Hracs & Jansson (2016)

A

All about landscape in flux with digital tools democratizing the tools of production etc and about some retailers remaining attractive consumption spaces

89
Q

Jansson and Power (2010)

  • also about place
A

Exclusive flagship stores to showcase

  • Sweden
90
Q

Pioneering works of consumption and identity (3)

A

Veblen ([1899] 1912), Simmel (1904) and Bourdieu (1984)

91
Q

Balzer (2014)

A

Describes how concept of curation is not new but in the contemporary digital and globalized marketplace for music, and other cultural content, curation is evolving, expanding and becoming integral to the creation and communication of values

92
Q

Shultz (2007)

A

All about clustering and how it facilitates the flow of specialized knowledge and info(Also from Storper, 1997)

93
Q

Netflix algorithm

A

Eli Pariser (2011)

94
Q

Curator Dave Pell from NextDraft newsletter

A
  • Less a traditional aggregator and more of a column with links → not just cut and pasting material but anchoring the news
  • People need some kind of algorithm to help them cut through the clutter and I’ve realized that, for some folks, I am that algorithm”
  • The next iteration of the web is going to be all about humans filtering information for each other. “Web 3.0: The Humans Strike Back.”
95
Q

Hracs & Jannson (2016) - Only the strategic survive

A

All about cultivating in-store experiences

- Effectiveness of curation depends on its QUALITIES and EFFECTIVENESS

96
Q

Hendricks (2015:10)

A
  • Visiting a store remains a ‘cultural experience’ → ‘ritual dimension to “walking into a store, picking up a record, touching it, going home and listening to it”
  • many contemporary independent record stores communicate their authenticity and value by curating their inventory
97
Q

Leslie et al (2015)

A
  • Study of independent fashion retail in Toronto
  • Reports that staging events in retail spaces provides opportunities to strengthen bonds with customers and generate distinction, value and loyalty
98
Q

Cairns and Birchall (2013)

A
  • Museums → acts as filters for cultural abundance – both in what’s included on show and the limited word count on exhibition texts
  • Loi de rarete
99
Q

the importance of trust and credibility

A

Maguire and Matthews (2014)

Webster (2015)

100
Q

Webster (2015)

A
  • Algorithms
101
Q

Examples of social news sites

A
  • Digg

- Delicious

102
Q

Content Curator

A

IMG (2009)

GEOG3063 CREATIVE ECONOMY (15 decks)

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