Emotional Dynamics, Dialogue, And Organizational Innovativeness Of Indonesian Private Tv Stations

Currently, researchers tend to suggest a socially based approach to address the challenge of innovation rather than an economic approach which often fails to address the challenge. This study examines the relationship between emotional dynamics as an independent variable, organizational innovativeness as the dependent variable, and dialogue as a mediator in Indonesian private television broadcasting institutions. Data is collected from 132 respondents who are creative workers at Indonesian private tv stations. Prior to hypotheses testing, this study conducted a factor analysis to check the construct validity of all variables under study. This study used multiple regression analysis to examine direct relationships and two-step hierarchical regression to examine mediating effect. The results show that emotional dynamics have a significant effect on organizational innovativeness and dialogue. The results also show that dialogue partially mediates the relationship between emotional dynamics and organizational innovativeness. This study found that organizational innovativeness can be achieved by those who apply: an open culture, a climate of discussion about new ideas, and a climate of mutual respect. The study also reveals that dialogue is a very important tool that mediates the relationship between open culture and organizational innovativeness. This study proposes that organizational age and the influence of national culture need to be considered for further research on social-based innovation. Keywords: emotional dynamics, dialogue, organizational innovativeness, Indonesian private tv stations

Testing Grounds and Launching Pads: Situating the Artist-Run Space Today

<p>My research is concerned with the formation of artists as creative subjects in an increasingly neoliberalised art world. This study examines to what extent does the artist-run space offer alternatives to current neoliberal orthodoxy in the art world. There has been little research to understand the lived experiences of emerging visual artists within neoliberalism. The thesis is located in museum studies but stretches beyond this field in an interdisciplinary approach to explore the complexity of what it means to both make art and self-organise. The thesis presents multiple case-study research into three New Zealand artist-run spaces; RM, Enjoy Contemporary Art Space and Meanwhile. Qualitative research brings the experiences of artist-run space participants to the fore through interviews, examining how they understand and articulate their involvement, negotiate tensions over power, and position themselves in an art world that seeks to enfold them in its own narratives. I analyse and discuss the findings through a series of connecting theoretical frameworks—assemblage theory, creative labour and governmentality—which together map the distinct practices that shape, and reshape, the artist-run space. My research contributes to literature on creative workers within neoliberalism, providing new knowledge about tactics and strategies deployed by emerging visual artists to carve space for their activities on their own terms. The thesis argues that while artist-run spaces are embedded in the mainstream through both networks of strategic reciprocity and funding imperatives, the nuances which define an individual artist-run space are both broader and messier than their increasingly formal structure suggests. The identity formation of the artists and creative workers whose hard work and passion keep artist-run spaces going is similarly compromised, confounding simplistic readings. I propose that the notion of ‘alternative’ is too binary an understanding to describe artist-run spaces within a time of neoliberalism, instead, this thesis seeks to complicate and problematise the term.</p>

Testing Grounds and Launching Pads: Situating the Artist-Run Space Today

<p>My research is concerned with the formation of artists as creative subjects in an increasingly neoliberalised art world. This study examines to what extent does the artist-run space offer alternatives to current neoliberal orthodoxy in the art world. There has been little research to understand the lived experiences of emerging visual artists within neoliberalism. The thesis is located in museum studies but stretches beyond this field in an interdisciplinary approach to explore the complexity of what it means to both make art and self-organise. The thesis presents multiple case-study research into three New Zealand artist-run spaces; RM, Enjoy Contemporary Art Space and Meanwhile. Qualitative research brings the experiences of artist-run space participants to the fore through interviews, examining how they understand and articulate their involvement, negotiate tensions over power, and position themselves in an art world that seeks to enfold them in its own narratives. I analyse and discuss the findings through a series of connecting theoretical frameworks—assemblage theory, creative labour and governmentality—which together map the distinct practices that shape, and reshape, the artist-run space. My research contributes to literature on creative workers within neoliberalism, providing new knowledge about tactics and strategies deployed by emerging visual artists to carve space for their activities on their own terms. The thesis argues that while artist-run spaces are embedded in the mainstream through both networks of strategic reciprocity and funding imperatives, the nuances which define an individual artist-run space are both broader and messier than their increasingly formal structure suggests. The identity formation of the artists and creative workers whose hard work and passion keep artist-run spaces going is similarly compromised, confounding simplistic readings. I propose that the notion of ‘alternative’ is too binary an understanding to describe artist-run spaces within a time of neoliberalism, instead, this thesis seeks to complicate and problematise the term.</p>

Hope and Creative Work in Conflict Zones: Theoretical Insights from Israel

This article contributes to the theorization of hope in the cultural industries in conflict zones. Although the merits of hope in explicating the behavior of creative workers in cultural production in western countries has won some attention, the literature has fallen short of addressing the impact of conflict on the meaning of hope for minority creative workers in this field. To fill this lacuna, we explore the experience of Palestinian creative workers in Israeli cultural industries, which are very functional in national identity making and branding. Our evidence is helpful in illuminating the temporal dimension of hope, as a resource and a form of passive action that takes place in the present in order to keep the horizon open for a better future, also when this future does not entail a clear referent. It also sheds light on the affinity of hope with ethical agency claiming in the cultural industries.

The Wageless Life of Creative Workers: Alternative Economic Practices, Commoning and Consumption Work in Cultural Labour

This article argues the importance of considering wageless life and related post-wage regimes of work in the study of creative and cultural labour. Such consideration is necessary to understand how creative workers persevere in their profession, dedicating substantial amounts of time to making art in spite of prolonged precarity and low, irregular or non-existent wages. The article revisits sociological studies of creative work and finds that although such studies have tended to neglect the wageless life of creative workers they have nonetheless implicitly identified a range of alternative economic activities and ‘consumption work’ practices that go beyond wages and formal contractual employment. These activities include everyday strategies for ‘getting by’, such as barter, self-provisioning, commoning, thrift and downshifting. A systematic and sustained focus on wageless life that treats work as deeply enmeshed in everyday life is needed in order to make manifest the hidden politics of contemporary post-waged creative work.

Redesign Woodeco Stool

The concept applied to the design of stool furniture this time carries the theme that will be used, namely Scandinavian. A product that will be designed through trend analysis, through the uniqueness of the design owned. The uniqueness is presented through a combination of foreign and traditional cultures, being a style inspiration for designers and becoming the first choice product for the community in its needs. Qualitative methods with an event approach that is carried out make a direct source for designers to conduct a renewable data research so as to gain knowledge about the style and concept of a broader design to be applied to a design design this time. Market segmentation or User is intended is an urban society that has a standardization of modern living, as well as the characteristics of users who have uniqueness in a work such as creative workers oriented in the field of art or creative. This product is intended for families who have a modern lifestyle, with the implementation of modern product styles making this design has a concept of styling organic design that is combined with the application of batak toba motifs as the preservation of cultural products to preserve cultural knowledge to make their own scandinavian-style products

Examining employees creativity in commercial bank of Ethiopia Woldia branches

Creativity is the ability to combine unique ideas, identifying new ways, systems and products in the organization. Creative workers in the organization can transform their organization to higher level by inventing new systems. This study tried to examine employees’ creativity in the bank at commercial bank of Ethiopia Woldia branches. The researcher used an institutional-based cross-sectional design and followed a mixed research approach. The researcher applied a census method to participate in respondents from four branches, which were on duty 182 employees in commercial bank of Ethiopia. The collected data were analyzed by using multiple regression method after proving the quality of the data. The study finding revealed that autonomy, supervisors’ support and role ambiguity significantly affects the creativity of employees in the workplace. The remaining variables self-efficacy and job complexity have no statistically significant effect on employees’ creativity in the bank.

Detrimental Collaborations in Creative Work: Evidence from Economics

Prior research on collaboration and creativity often assumes that individuals choose to collaborate to improve the quality of their output. Given the growing role of collaboration and autonomous teams in creative work, the validity of this assumption has important implications for organizations. We argue that in the presence of a collaboration credit premium—when the sum of fractional credit allocated to each collaborator exceeds 100%—individuals may choose to work together even when the project output is of low quality or when its prospects are diminished by collaborating. We test our argument on a sample of economists in academia using the norm of alphabetical ordering of authors’ surnames on academic articles as an instrument for selection into collaboration. This norm means that economists whose family name begins with a letter from the beginning of the alphabet receive systematically more credit for collaborative work than economists whose family name begins with a letter from the end of the alphabet. We show that, in the presence of a credit premium, individuals may choose to collaborate, even if this choice decreases output quality. Thus, collaboration can create a misalignment between the incentives of creative workers and the prospects of the project.

Concept Generation

Concept Generation is an event where participants create new innovations from market led criteria and trade this intellectual property for beer and peanuts. This critical and comedic project engages participants with a design process appropriated from surrealist techniques, in order to glibly mine the depths of product and service niches, where creative industries have not yet ventured. This workshop investigates the spectrum between creative industries and aesthetic art practice and asks participants to form their own critical position. The social contract between the host and the participant is transparent – the event is free, but participants must create marketable ideas to pitch to the artist, in order to exchange their concept for a beer. The artist has sole right over the intellectual property. This exchange mirrors the exploitation of precarious creative workers, for whom work and lifestyle blend, where a workshop can also become a party. Concept Generation presents the mutability of work and leisure, of consumption and production, of art practice and creative industry, and of creative thinking and marketing. In a satire of ideation, participants are asked to sell their ridiculous idea, and many get carried away with the farce. Production is the only imperative, and the more ridiculous the ideas are, the more we believe they might actually succeed.

Dewesternizing Precarity in Turkish TV Drama Production through the Body and the Law

Beneath Turkish TV dramas’ global glamor lie workplace accidents, systemic injuries on workers’ bodies, and deaths. In response, workers seek to impose restraints on what can be done to their bodies by resorting to law and evoking ideals of equality as they struggle for workplace safety, healthcare, and dignity. Drawing on ethnographic research across production sets, industry summits, union meetings and more than fifty interviews since 2015, this article documents drama workers’ bodily vulnerabilities, arguing that precarity in this global media industry is a bodily phenomenon legally sanctioned by the state. I dewesternize the notion of precarity in creative industries by foregrounding the materiality of the body and the regulative power of law as centers of exploitation and resistance. Critical scholars of media production could learn from non-Western contexts in identifying how creative workers do not only demand stable incomes but also legal recognition and protection of their bodies.