The Industrialization of Creativity and Its Limits: Values, Politics and Lifestyles of Contemporary Cultural Economies 9783030531638

Creativity loosely refers to activities in the visual arts, music, design, film and performance that are primarily inten

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The Industrialization of Creativity and Its Limits: Values, Politics and Lifestyles of Contemporary Cultural Economies

Table of contents :
Chapter 1: The Industrialization of Creativity and Its Limits: Introducing Concepts, Theories, and Themes
1.1 The Industrialization of Creativity and Its Limits: Introducing Concepts, Theories, and Themes
1.2 Understanding Creativity
1.3 The Political Economy of Creativity
1.4 Part I: Sustainability-Creative Growth, Labor, and Skills
1.5 Part II: Ideology-Creative Self-Expression and Aesthetics
1.6 Part III: Industrialization-Creative Markets and Technologies
Part I: Sustainability: Creative Growth, Labor, and Skills
Chapter 2: Towards Post-Growth Creative Economies? Building Sustainable Cultural Production in Argentina
2.1 Introduction
2.2 Creativity Economy and Ecological Crisis
2.3 Challenging the Growth Imperative
2.4 Alternative Models to Growth
2.5 Alternative Cultural Production in Argentina
2.6 Recuperated Businesses and the Rise of Cooperatives
2.7 Cultural Production and Alternatives to Extractivism
2.8 Conclusion
Chapter 3: Creative Workers in Permanent Crisis: Labor in the Croatia´s Contemporary Arts and Culture
3.1 Introduction
3.2 A Reproduction of Inequalities? Regional, Gender-Based, and Sociodemographic Differences in the Independent Cultural Sector
3.3 Regional and Gender-Based Differences
3.4 Socioeconomic Differences Between Workers in the Independent Cultural Sector
3.5 Everyday Life as a Result of Regional, Gender-Based, and Socioeconomic Specificities
3.6 Conclusion
Chapter 4: The Only Place Where One Can Feel Connected to an International Context and Still Speak Russian: Hybrid Creative Wo...
4.1 Introduction
4.2 Methodology
4.3 New, Sexy, and International: Moscow´s Private Cultural Centers in the 2000s
4.4 Open Calls and the New Blat
4.5 Mundane Work and (in)Visibility
4.6 The Pyramid Model: Visibility, Pay, and Creativity
4.7 Conclusion
Chapter 5: Creative Writing Courses Are Useless: Creative Writing Programs and the Italian Literary System
5.1 Creative Writing Studies?
5.2 A Peculiar Kind of Education
5.3 Italian-Style Creative Writing: The Controversial Reception of the Holden School
5.4 Conclusion
Part II: Ideology: Creative Self-Expression and Aesthetics
Chapter 6: The Art Biennial´s Dilemma: Political Activism as Spectacle in Aesthetic Capitalism
6.1 Introduction
6.2 Art Biennials and Aesthetic Capitalism
6.3 Art Biennials and Institutional Dynamics
6.4 The BB7
6.5 Ethnographic Vignette 1: Activism Meets Spectators
6.6 Ethnographic Vignette 2: Moving Toward Horizontality
6.7 Ethnographic Vignette 3: Transgressing Designated Areas-Unwelcomed Disruption
6.8 Discussion
6.9 Extitution and the Quest for Legitimacy
6.10 Aesthetic Capitalism and the Art Spectacle
Chapter 7: Creativity in the Service of Economic Recovery and ``National Salvation´´: Dispatches from the Greek Crisis Social ...
7.1 Introduction: Creativity, Crisis, and Reform
7.2 Creativity and Conjunctures of ``Race´´ and Class in the Greek Crisis
7.3 The Crisis and Austerity as Opportunities: The ``Creative Greece´´ and Entrepreneurial Nationalism
7.4 The Creativity Cult: Entrepreneurial Success Stories
7.5 Creativity and Meritocracy: Reinforcing the Status Quo
7.6 Conclusion: More of the Same
Chapter 8: Production of Cultural Policy in Russia: Authority and Intellectual Leadership
8.1 Introduction
8.2 Hegemony, Intellectual Leadership, and Power in Russian Cultural Policy
8.2.1 The Post-Soviet Legislative Framework of Cultural Policy
8.2.2 The Fate of Cultural Governance in Putin´s Russia
8.3 Consolidation of Intellectual Forces within the Kremlin´s Russian World
8.4 Closing Remarks on the Institutionalisation of State Cultural Policy
Chapter 9: Manifestos of Rupture and Reconciliation: Do-it-Yourself (DiY) Music Practices, Ethics and the Quest for Authentici...
9.1 Introduction
9.2 Ethnographic Context
9.3 What Is a Manifesto?
9.4 What Is in a Manifesto?
9.4.1 Upset the Rhythm
9.4.2 Obscene Baby Auction
9.4.3 Nuts and Seeds
9.5 After the Manifesto
9.6 Conclusion
Part III: Industrialization: Creative Markets and Technologies
Chapter 10: Creative Industries, a Large Ongoing Project, Still Inaccurate and Always Uncertain
10.1 Introduction
10.2 Twenty Years After its Launch, This Great Project Still Confounds
10.3 Persistent Differences Between ICREA and ICULT
10.3.1 The Heart of ICULT
10.3.2 The Heart of ICREA
10.4 Some Current Issues
Chapter 11: From Craft to Industry: Industrializing the Marginal Domains of Cultural Industries
11.1 Introduction
11.2 Cultural Industries and Their Theoretical Framework
11.3 Mediatized Performing Arts
11.4 Industrializing Education
11.5 Conclusion
Appendix: The New Production Chain in Gag and Humor Production on Television
Chapter 12: Intellectual Property Rights and the Production of Value in a ``Creative Economy´´
12.1 The Production of ``Singularity´´: Definition and Guarantee of ``Protection´´
12.1.1 ``Creative´´ Industries, Products and Services: Activities and Products with Specific Properties
12.1.2 Judicial Production of the Singular
12.1.3 Protection of Identity
12.2 The Construction of Value
12.2.1 Use Value of Intellectual Property Rights
12.2.2 The Construction of Exchange Values
12.2.3 The Ambivalent Role of Intellectual Property Rights on ``Creative´´ Products and Services Markets
12.3 Conclusion
Chapter 13: Innovation and Media: Googlization and Limited Creativity
13.1 Introduction
13.2 Innovation and Media
13.2.1 Main Theories of Innovation
13.2.2 Innovation in the Media
13.3 The Media Googlization Model
13.4 Creative Destruction and Limited Creativity
13.4.1 Revisiting Innovation as Creative Destruction
13.4.2 Creative Industries: Which Content Innovations?
13.5 The Swiss Press
13.6 Conclusion
Afterword: Emphasizing the Limits

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