Introduction: Autonomy and Creative Labour

Holt, Fabian; Lapenta, Francesco

doi:10.1080/14797581003791453

Cited by 19 publications

(12 citation statements)

References 7 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…In respect of the pedagogical practices that inform the development of creative practitioners, Holt and Lapenta (2010) argue that the skills and employability agenda that accompanies creative economy policy is destructive and reinforces the narrative of individualized labour -overlooking the precarious conditions of labour within these sectors and disciplining Higher Education to ensure it 'produces' the graduates with the appropriate skills to contribute to the burgeoning 'business-led creative economy' (p423). There was a time when entrepreneurship education was limited to the creative programmes that aligned more to industry, such as product and graphic design.…”

Section: Modes Of Organizing and Education For Creative Workmentioning

confidence: 99%

Models of Collective Working. Insights on the Scottish Context

Docherty

Fairburn

McGillivray³

2019

The Design Journal

View full text Add to dashboard Cite

This paper presents a project-Collective Futures-a researcherpractitioner collaboration exploring the nature and models of creative collectives in Scotland through a design thinking approach. Collectives are proposed as a new way of working and an unintended stimulus for social change: reducing isolation, and empowering creative practitioners to remain within their preferred communities with access to personal and professional networks. Design thinking is connected to action research and is recognised as an enabler to embrace differing perspectives while exploring flexible structures that give a shared purpose for effective collaborative working within the creative and cultural sector.

show abstract

Section: Modes Of Organizing and Education For Creative Workmentioning

confidence: 99%

Models of Collective Working. Insights on the Scottish Context

Docherty

Fairburn

McGillivray³

2019

The Design Journal

View full text Add to dashboard Cite

show abstract

“…Accordingly, media industries have developed a range of strategies to handle these risks. One such strategy is the 'creative autonomy' that is afforded to media producers in order to maintain characteristics such as trustworthiness and originality in media texts -without which these texts would not appeal to audiences and would hence lose their value as commodities on the market (Banks 2010, Holt & Lapenta 2010, Ryan 1992.…”

Section: Economic Barriersmentioning

confidence: 99%

Blurring the Lines: Market-Driven and Democracy-Driven Freedom of Expression

Milosevic

2017

Nordic Journal of Human Rights

View full text Add to dashboard Cite

show abstract

“…, 223). Many prospective engineers accept that the best way to secure an early foothold in the recording studio sector is to participate in unpaid activities, essentially providing free labour that becomes ‘masked’ in the form of ‘internships’ (Holt and Lapenta ). Competition is fierce even though many positions do not involve payment; as one interviewee described, ‘the amount of CVs that come in from people who are happy to work for absolutely no money at all is quite amazing’ (Interview 10, male engineer, thirties).…”

Section: Exhausting Work Regimes and Exploitationmentioning

confidence: 99%

‘Running a studio's a silly business’: work and employment in the contemporary recording studio sector

Watson

2013

Area

View full text Add to dashboard Cite

This paper is concerned with work and employment in the recording studio sector of the contemporary musical economy. More specifically, it aims to begin to address the lack of attention paid to the issue of individual subjectivity in the cultural workplace, through an empirically informed account of how the changing economic conditions in the recording studio sector are impacting on work as seen from the perspective of those working in the sector. The sector is one marked by a continued move towards more temporary and flexible forms of project working, as seen in the comparatively recent development of a freelance project‐based model for recording. For record producers and studio engineers, these developments have impacted negatively on employment relations, working conditions and job security. Recent developments in digital technologies, which have resulted in a crisis of reproduction in the musical economy, have further heightened the importance of these issues. Drawing on qualitative interviews with record producers and engineers working in recording studios in London, the paper highlights how the rise of freelance work has resulted in a precarious work environment that has shifted the pressure of obtaining work, and the financial risk of not doing so, on to individual producers and engineers, and at the same time resulted in exhausting yet bulimic work regimes. Both for new and experienced producers and engineers, the sector is revealed as an increasingly difficult one in which to find and maintain gainful employment; for many, it is an increasingly exploitive one. Yet, the individuality afforded to producers and engineers by digital technologies, and the potential symbolic and financial rewards on offer to those who can successfully follow a career in music production, means that it remains an attractive and much sought‐after career.

show abstract

Introduction: Autonomy and Creative Labour

Cited by 19 publications

References 7 publications

Models of Collective Working. Insights on the Scottish Context

Models of Collective Working. Insights on the Scottish Context

Blurring the Lines: Market-Driven and Democracy-Driven Freedom of Expression

‘Running a studio's a silly business’: work and employment in the contemporary recording studio sector

Contact Info

Product

Resources

About