By Stephanie Taylor
Applying a cross-disciplinary method and analytic technique, the publication investigates the hot cultural meanings in mess around an inventive profession. It indicates how vintage beliefs of layout and the artistic arts, re-interpreted and promoted inside of modern paintings colleges, validate the lived adventure of precarious operating within the worldwide sectors of the artistic and cultural industries, but additionally give a contribution to its conflicts. 'Contemporary Identities of Creativity and artistic paintings' provides a particular examine and unique findings which make it crucial examining for social scientists, together with soc. Read more...
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Using a cross-disciplinary technique and analytic strategy, the e-book investigates the recent cultural meanings in mess around an artistic occupation. It indicates how vintage beliefs of layout and the artistic arts, re-interpreted and promoted inside of modern paintings faculties, validate the lived adventure of precarious operating within the international sectors of the inventive and cultural industries, but additionally give a contribution to its conflicts.
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Extra info for Contemporary Identities of Creativity and Creative Work
More generally, Becker’s work foregrounds the sociohistoric context of creative working, which for our participants includes the so-called cultural and creative industries, discussed in the next section. The Context of the Contemporary Cultural and Creative Industries Many social science academics, particularly in sociology and cultural studies, would view the participants in our research as belonging, currently or potentially, within a relatively new category of workers. Contemporary creative workers emerged as a phenomenon and a topic for investigation over approximately the last two decades of the twentieth century and the first of the twenty-first century, the period in which the cultural and then the creative industries were claimed by many governments and policy-makers as areas of exceptional growth and potential (for discussion, see for example Banks 2007, Cunningham 2009, Hesmondhalgh 2007, Keane 2009, Leadbeater 2004, Leadbeater and Oakley 1999, Power 2009).
This is a process which potentially excludes newcomers. The issue, therefore, becomes how someone acquires the status of artist. Becker rejects any simple assumption that quality guarantees acceptance. As just one problem, he points out that it is impossible for all contenders (of work or workers) to come to the attention of ‘everyone whose opinion affects the formation of reputations’ (p. 363). We may ask, therefore, who is more or less likely to gain notice. A partial answer is given in Becker’s account of how an activity which is not currently recognized as art can attain that status.
Theories of Creativity and its Contexts 23 Linked to the naming and celebration of the cultural and creative industries was a novel policy assumption, that ‘cultural provision is instrumental and can deliver on government objectives’ (Selwood 2007). This contrasts with a more established idea, that cultural activities and bodies should be funded for their own sake, as the mark of a civilized society. The assumptions that the cultural and creative industries can create new jobs, promote the regeneration of depressed urban areas and promote social inclusion have underlain their support by numerous national and local governments, worldwide.
Contemporary Identities of Creativity and Creative Work by Stephanie Taylor