This looks like a fun event. I hope MeCCSAns and others will go back to where this all began, with Thorstein Veblen coining the phrase 'creative economy,' Ronald Reagan coining 'creative society' and Alvin Toffler 'prosumer' and 'cognitariat'.
Toby Miller
www.tobymiller.org
> El Jul 13, 2015, a las 09:05, James Graham <[log in to unmask]> escribió:
>
> Symposium: the creative industries and collaborative production
>
>
> Organised by The Promotional Cultures Research Group, Middlesex University
>
>
> Friday 13th November 2015
>
>
>
> At the centre of creative economy discourse lies a somewhat anachronistic
> proposition. The form of value that this economy is built upon stems from
> a romantic conception of individual creativity: of the cultural
> worker-as-artist. The Œcreative industries' presupposes that Œculture¹ is
> a commodity mass-produced through the immaterial labour of people for whom
> such work functions not as a means to an end (ie. a wage), but rather as
> the ultimate form of self-expression. The premise of an industrial mode of
> production positions these individuals within a putative Œcreative class¹;
> yet the post-Fordist imperative of neoliberal governance that actually
> structures these Œindustries¹ requires that these worker-artists must
> individuate as Foucault¹s entrepeneurs of the self‹as the Œauthors¹ of
> their lives/work‹in order for their labour to gain currency in the
> marketplace.
>
>
> This paradox is seemingly at odds with the realities of production in the
> various fields and sectors that are taken to comprise these industries. In
> the influential work of Henry Jenkins et al. (2013) for example, the
> creative practices of consumer participation and co-creation are deemed
> central to the commercial success of these industries as both content and
> value now Œspreads¹ horizontally through digital networks. Adam Arvidsson
> (2013) similarly argues that Œsocialized networks of productive
> collaboration¹ (eg. peer-to-peer networks) utilise common resources and
> presage the emergence of what he calls an Œethical economy¹. Yet he also
> notes that corporations have for some time been attempting to capitalise
> on the Œintangible¹ value that is created and circulated in such
> collaborative publics.
>
>
> A more critical view of such developments can be traced in discussions of
> subjectivisation and exploitation in and through Œcreative labour¹ (Ursell
> 2000, McRobbie 2002, Maxwell and Miller 2006, Gill 2008, 2014, MccGuigan
> 2010, Hesmondhalgh and Baker 2011). Sarah Brouillette (2014) develops this
> line of argument but also, like Mark Banks (2010), points to the ways in
> which other forms of craft or non-creative labour remain (or indeed may
> have become) structurally necessary for Œcreative labour¹ to take place -
> yet are typically elided in creative economy discourses.
>
>
> What emerges from a review of this literature is a sense that networked,
> collaborative and cooperative working practices and assemblages have been
> under-examined in cultural economy and creative labour research. A number
> of pressing questions therefore arise from an enquiry into the
> relationship between creativity, cooperation and value in the creative
> industries:
>
>
> € What is relationship between creativity and autonomy in the
> processes of collaborative production that attend, for instance, book
> publishing, film production or content marketing?
>
> € What roles are played by promotion and reputation in the
> valorisation of collaborative or cooperative cultural work?
>
> € What evidence is there to suggest that the creative industries
> are or might be developed around an ethical regime of collaborative
> publics (Arvidsson) as opposed to the exploitative valorisation of
> individual creativity (Brouillette)?
>
> € What new models of authorship might be traced in collaborative
> forms of production and creative practice?
>
>
> Internal (Middlesex) participants in the symposium will address and
> develop these questions through papers that engage with otherwise discrete
> cultural fields:
>
>
> · Assembling authority through social media networks: Indian
> journalist-writers and twitter;
>
> · Autonomy through cooperation: social enterprise publishing as an
> Œart world¹;
>
> · Digital work and value production;
>
> · The creative industries and new economic and labour models: from
> practice to homological form in globalised film and TV production.
>
>
>
> External speakers are invited to submit proposals (250 words + author bio)
> that speak to these themes or address any of the questions set out above
> by Friday 18th September. Participants will be invited by mid-October.
>
>
> Please send proposals or queries to: James Graham, convener of the
> Promotional Cultures Research Group, [log in to unmask]
>
>
> For details of current and past projects by members of the Promotional
> Cultures Research Group, see:
> http://www.mdx.ac.uk/our-research/research-groups/promotional-cultures-rese
> arch-group
>
>
>
>
>
>
>
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MeCCSA is the subject association for the field of media, communication and cultural studies in UK Higher Education.
This mailing list is a free service and is not restricted to members. It is an unmoderated list and content reflect the views of those who post to the list and not of MeCCSA as an organisation.
MeCCSA recommends that the list be used only for posting of information (for example about events, publications, conferences, lectures) of interest to members or to promote discussion of current issues of wide general interest in the field. Posts to the MeCCSA mailing list are public, indexed by Google, and can be accessed from the JISCMail website (http://www.jiscmail.ac.uk/lists/meccsa.html).
Any messages posted to the list are subject to the JISCMail acceptable use policy, which states that users should avoid engaging in unreasonable behaviour, or disrupting the general flow of discussion on a list.
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