Re-reading the darkest side of the story: creative industries, cultural work and the formation of young employees under the hegemony of late capitalism in Turkey

2021 ◽  
pp. 1-17
Author(s):  
Serhat Kaymas ◽  
Orhun Yakın
Keyword(s):  
Creative Industries ◽  
Cultural Work ◽  
Late Capitalism

The Aspirational Labor of an Academic

2017 ◽  
Author(s):  
Brooke Erin Duffy
Keyword(s):  
Social Media ◽  
Personal Identity ◽  
Social Practices ◽  
Creative Industries ◽  
Cultural Work ◽  
Ivory Tower ◽  
Work Output ◽  
Striking Resemblance ◽  
The Social ◽  
The Creation

This concluding chapter explains how the ideologies and social practices propelling the social media sphere bear a striking resemblance to contemporary academe. With its staid, ivory tower facade, the academy might seem far removed from the creative industries, a cluster of professions marked by an aura of bohemian cool. But it is much less of a conceptual leap to understand the creation and dissemination of knowledge as a form of cultural work. And many of the same venerated ideals—autonomy, flexibility, the perennial quest to “do what one loves”—seem to animate workers in both arenas. Indeed, academia is unique among professions that fuse the personal identity of their workers so intimately with the work output, which might well be said of the creative industries.

scholarly journals Culture is a meritocracy: Why creative workers’ attitudes may reinforce social inequality

2016 ◽  
Author(s):  
Mark Taylor
Keyword(s):  
Social Inequality ◽  
Public Interest ◽  
Creative Industries ◽  
Cultural Work ◽  
Cultural Reproduction ◽  
Web Survey ◽  
Cultural Workers ◽  
Creative Workers ◽  
Components Analysis ◽  
The Uk

This article investigates attitudes towards inequality among creativeworkers. In the UK, there is considerable public interest in access tocreative jobs, and a concern that these jobs are limited to those fromprivileged backgrounds. Moreover, both inequalities in cultural work andthe attitudes of cultural workers have been important areas of study forexisting research. Based on a web survey (N=2487), thisarticle investigates attitudes among creative workers, and finds that thecharacteristics that are most consistently associated with success bycreative workers are hard work and ambition, rather than structuralfactors, such privileged social origins, gender or ethnicity. Usingprincipal components analysis and regression, we show that there are threemain factors related to getting ahead, associated with reproduction,meritocracy, and education, and we show that those in the most privilegedpositions – broadly, the highest-paid white non-disabled men – are thosemost likely to deny an account of success in the creative industries associated with cultural reproduction. Weconclude that the attitudes held by creative workers, and who holds whichattitudes, make it unlikely that access to the sector and trajectories ofindividual progression within the sector will change.This paper has been submitted to a journal for consideration.

scholarly journals Co-operatives in the Cultural Industries

2015 ◽  
Vol 13 (1) ◽  
Author(s):  
Marisol Sandoval ◽  
Jo Littler ◽  
Robin Murray ◽  
Rhiannon Colvin ◽  
Sion Whellens ◽  
...  
Keyword(s):  
Cultural Production ◽  
Culture Industry ◽  
Creative Industries ◽  
Individual Responsibility ◽  
Cultural Work ◽  
Cultural Industries ◽  
Senior Lecturer ◽  
Birkbeck College ◽  
The Government ◽  
Cultural Commons

This podcast is a recording of a roundtable discussion on Co-operatives in the Cultural Industries, that took place at City University London on April 1, 2015, organised by Marisol Sandoval and Jo Littler. Speakers were Robin Murray, Rhiannon Colvin, Sion Whellens and Tara Mulqueen. The lives of cultural workers are complex and contradictory; often combining work satisfaction, pleasure and autonomy with job insecurity, low pay, long hours, anxiety and inequality.The roundtable discussed the potentials and limits of worker co-operatives as an alternative way of organizing cultural work. It explored how worker co-operation might contribute to new collaborative forms of cultural production; how they do, or might, strengthen a 'cultural commons'; and the role cultural co-ops play in the wider context of movements for workers' rights. Questions that were discussed include: To what extent can worker co-operatives be a means to confront precariousness and individualisation in work in the cultural sector? Do worker co-ops open up new possibilities for the collaborative production of cultural commons? What role can worker co-operatives play within a broader movement for creating more just, equal and humane cultural work and an alternative to capitalist economies? Where lies the boundary between neoliberal calls for self-help and individual responsibility and a radical co-op movement? What is the relation between worker co-ops and other forms of progressive politics such as the union movements, social protests and civil society activism? Can cultural co-ops contribute to reinventing the meaning and practice of work in the 21st century? About the speakers:Marisol Sandoval is a Lecturer at the Department of Culture and Creative Industries at City University London. Her research critically deals with questions of power, responsibility, commodification, exploitation, ideology and resistance in the global culture industry. Jo Littler is Senior Lecturer at City University London's Department of Culture and Creative Industries. Her work explores questions of culture and power from an interdisciplinary, cultural studies-informed perspective. Rhiannon Colvin after graduating in 2010 to find the world of work competitive and brutal, Rhiannon founded AltGen to empower young graduates to get together and create their own work. http://www.altgen.org.uk/ Tara Mulqueen is a PhD candidate at Birkbeck College School of Law. Her thesis concerns the development of legislation for co-operatives in the 19th century. Robin Murray is an industrial economist. He was Director of Industry at the Greater London Council (GLC) in the 1980s, and has been a Research Fellow at the University of Sussex, the Director of Development for the Government of Ontario and co-founder of Twin and Twin Trading. He is an associate of Co-operatives UK and author of Co-operation in the age of Google. http://www.uk.coop/ageofgoogle Sion Whellens is a member of the graphic design and print co-operative Calverts. As part of the Principle Six partnership, he also advises and supports co-ops in creative industries. http://www.calverts.coop

scholarly journals Hope labour and the psychic life of cultural work

2020 ◽  
pp. 001872672094077
Author(s):  
Ewan Mackenzie ◽  
Alan McKinlay
Keyword(s):  
Empirical Research ◽  
Creative Industries ◽  
Cultural Work ◽  
Psychic Life ◽  
Cultural Workers ◽  
North East ◽  
The North ◽  
Future Work ◽  
Conflicting Discourses

How do we understand the psychic life of cultural workers under neoliberalism? ‘Hope labour’ is a defining quality of a cultural worker’s experience, practice and identity. Hope labour is unpaid or under-compensated labour undertaken in the present, usually for exposure or experience, with the hope that future work may follow. Hope labour is naturalised by neoliberal discourses but not fully determined by them. Drawing upon empirical research investigating the ‘creative industries’ in the North East of England, we ask how hope labour is made meaningful and worthwhile for cultural workers positioned as entrepreneurial subjects, despite its legitimisation of power asymmetries. We develop Foucauldian studies of governmentality by addressing how cultural work is lived through neoliberal categories, demonstrating the conflicting discourses and relations to self involved in the constitution of entrepreneurial subjectivity. We make a novel contribution to an understanding of hope and precarity by illustrating how cultural workers begin to occupy the site of the entrepreneurial subject amidst conflicting configurations of hope, desire, anxiety and uncertainty.

Work and Play: Vagaries Surrounding Contemporary Cultural Production in Sydney's Dance Music Culture

2007 ◽  
Vol 123 (1) ◽  
pp. 123-137 ◽  
Author(s):  
Chris Brennan-Horley
Keyword(s):  
Social Relations ◽  
Cultural Production ◽  
Electronic Music ◽  
Research Direction ◽  
Creative Industries ◽  
Cultural Work ◽  
Dance Music ◽  
Music Culture ◽  
Music Scenes ◽  
Cultural And Creative Industries

Much recent research has documented how, under ‘creative’ capitalism, approaches towards work and types of work are changing. This paper extends this research direction, uncovering the discourses that influence conditions of work in one sector of the cultural industries: what can loosely be defined as the ‘dance music industry’. It examines the role that networking and social relations play in maintaining a music scene through which work opportunities are created. The paper also explores how attitudes toward work in this particular cultural pursuit are emblematic of wider shifts in working practices within the cultural and creative industries. The findings are based on interviews with various DJs and promoters within dance and electronic music scenes in Sydney. It is argued that the boundaries between work and non-work, and between ‘industry’ and ‘scene’, are porous for those engaged in this form of cultural production, with a need to further discuss the implications of these observations for the future of cultural work under advanced capitalism.

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