In keeping with the focus of this special section, we concentrate initially on some of the problems of autonomist Marxist concepts such as `immaterial labour', `affective labour' and `precarity' for understanding work in the cultural industries. We then briefly review some relevant media theory (John Thompson's notion of mediated quasi-interaction) and some key recent sociological research on cultural labour (especially work by Andrew Ross and Laura Grindstaff, the latter drawing on Hochschild's concept of emotional labour), which we believe (...) may be more useful than autonomist concepts in developing empirically informed critique. The main body of the article then consists of an ethnographic account of working on one particular television programme, an account that aims to build on these theoretical debates. We analyse how the power to provide exposure or not to individuals in the talent show genre in contemporary television (a feature that derives from the symbolic power of producers to make texts that are then circulated to massive numbers of people) and disputes between commissioners and independent producers about how best to go about doing so (an organizational issue) are registered in the form of stress, anxiety and sometimes poor working relations among project teams of young television researchers (a matter of working conditions and experiences). We especially focus on how additional pressures are borne by these workers because of the requirements to undertake emotional labour, involving the handling of strong emotions on the part of talent show contributors, and to maintain good working relations in short-term project work, requirements generated by the need to ensure future employment. Ultimately, then, we support the view that creative work is `precarious' — but we go beyond the generalizations involved in concepts such as immaterial labour and affective labour to show the specific ways in which precariousness is registered and negotiated in the lives of young workers in one industry. (shrink)

Based on a psychobiographical approach, this study addresses magical thinking across the life span of Paulo Coelho. Paulo Coelho, who was born in Brazil in the 1940s, has become one of the most sold and famous contemporary authors in the world. In his life, as well as in his books, which are mainly autobiographical accounts, magic and magical thinking, spirituality, meaningfulness, and the living of one’s dream, are key themes. The aim of this study was to explore magic and magical (...) thinking in Paulo Coelho’s life and creative works. The study uses a psychobiographical single case study approach within the methodological frame of Husserl’s phenomenology. The author, Paulo Coelho, was chosen as the subject of research. Documents providing both first person and third person perspectives were subjected to content analysis. The findings show that magical thinking played an important role in Coelho’s creative works and in his life, in the form, for example, of ascriptions of magic to key situations in his life, the performance of daily rituals, mystic interpretations of life events, and his deep religious faith. Magical thinking is usually regarded as indicative of pathological and inappropriate cognitive and psychological behaviour, especially when found in adults in a westernised culture. However, the analysis of Coelho’s life and works shows that magical thinking can be utilised creatively and be integrated into one’s life to enable personal development and growth while simultaneously providing fertile ground for creative production. In Paulo Coelho’s case, the intertwining of religion and magical thinking provided deep meaning that guided his personal development. (shrink)

This article explores some of the key dynamics of the UK fashion sector as an example of a post-industrial, urban based, cultural economy comprising of a largely youthful female workforce. It argues that the small scale, independent activities which formed the backbone of the success of British fashion design as an internationally recognized phenomenon from the mid 1980s to the mid 1990s, represented a form of female self-generated work giving rise to collaborative possibilities and co-operation. However without an effective (...) lobby or association (despite the expansion of the fashion media) and under conditions of rapid individualization and in an increasingly harsh climate of neo-liberalization, this creative economy has been overtaken and virtually demolished by the joint forces of a re-vitalized high street fashion culture and the aggressive presence of corporate fashion (‘Prada-ization’). While the UK government celebrates the growth of the cultural economy, it also overlooks the processes making the livelihoods of its predominantly female workforce either untenable or else requiring de-specialization and ‘multi-tasking’. (shrink)

The Covid-19 pandemic has resulted in disruption of work and other social activities of so many people. Some were forced to stay at home and many decided to stay at home for fear of being infected with the virus. This phenomenon brought different reactions and even mental stress to many people. However, there were people who turned this kind of tragedy into creative work. This paper discusses the experiences and insights of known plant lovers in Digos City, (...) Davao del Sur Philippines. Digos City is one of the heavily affected places during the series of earthquakes that jolted Davao del Sur last year. While people are still recovering, COVID-19 added an additional burden to the residents. In this paper, we argue that their decision to focus on gardening was not only to fight boredom and to divert their attention during lockdown but this was their way of maintaining their well-being by participating in the on-going work of creation and recreation and to rise from the tragedy. We further argue that it might be good that this creative work will go beyond home gardening and beyond pots and slowly extend to creative work for environmental protection and preservation through more active engagements into reforestation activities. (shrink)

In a 1983 interview with Christine Weiland, Gloria Anzaldúa posited that human and nonhuman connectivity exists outside hierarchical arrangements. Some twenty years after Anzaldúa’s interview, the “Speculative Turn” emerged in continental philosophy which critiques anthropocentrism in modern philosophy and reconceptualizes nonhuman subjectivity. While Anzaldúa’s scholarship addresses core issues that are highlighted by the speculative turn, little scholarship exists that places her into conversation with these new trajectories in continental philosophy. In this essay, I aim to contribute to this nascent scholarship (...) and explore the question, How can Anzaldúa’s creative work contribute to and expand scholarship of the speculative turn? I investigate how Anzaldúa’s work can help bridge connections between differing veins of speculative turn thought, specifically Graham Harman’s object-oriented philosophy and Jane Bennett’s vital materialism. Conversations between Harman and Bennett demonstrate a split in understanding nonhuman autonomy and relationality and represent incompatibilities between OOP and VM. Interested in these departures, I posit that Anzaldúa’s creative works, such as poetry and drawing, offer ways to challenge problematic human/nonhuman relations and bridge philosophical divides within the speculative turn. (shrink)

This article aims to raise education researchers’ self-reflection about their treatment of teachers as workers through introducing the term “creative work ethic.” At its core, the creative work ethic is the belief that good work entails innovation. Additional features of this ethic are the prizing self-motivation, work done individually, and a flexible schedule that mixes labor with leisure activities. The danger of the creative work ethic is a tendency for self-exploitation and devaluing (...) workers who do not fit into the ethic. After defining the features of the creative work ethic and describing its drawback, the paper reads closely three education papers in order to show how this ethic colors their analysis of teachers’ work or their prescription for better teaching. (shrink)

This article explores recent developments in the sociology of the arts, namely the new theoretical framework set up by the French sociologist Pierre-Michel Menger in order to approach the artistic activity. It aims to show how he has shaped new tools of understanding and modelling for exploring the arts, as a particular world of action. Laying down the foundation of a conception of action related to symbolic interactionism and drawing on the economic analysis of risk and uncertainty, Menger move towards (...) a model where uncertainty, not determinism, is the default category. Uncertainty is thus the principle unifying the analysis and understanding of the particularities of the arts, and the main argument in integrating sociological and economic studies on artistic activities. Correlatively, artistic creation is qualified as an act of work, the creative work being defined as a system of action in uncertain horizon. Within this model, the artists are seen less like “rational fools” and more like Bayesian actors, adopting strategies for managing risk and uncertainty. (shrink)

This paper attempts to show how Adorno’s thought can illuminate our reflections on the future of work. It does so by situating Adorno’s conception of genuine activity in relation to his negativist critical epistemology and his subtle account of the distinction between true and false needs. What emerges is an understanding of work that can guide our aspirations for the future of work, and one we illustrate via discussions of creative work and care work. (...) These are types of work which cater to persistent human needs, albeit ones that are distorted under present social conditions. Adorno’s thought helps us to understand why this is the case. (shrink)

The article deals with the little-studied but actual problem of loneliness of an outstanding creative personality as a consequence of stereotypical understanding of his works and activity. The cultural and philosophical meaning of Ivan Turgenev’s motif of loneliness is that he was a lone creator, recognized by Russian critics and historians of literature only in the context of the activities of other recognized great writers: Pushkin, Gogol, Dostoevsky, Tolstoy, Chekhov. The problem of loneliness is revealed through the paradoxical statement (...) by Turgenev on the question about strange loners and aggressive crowd. The paper presents the loneliness of I.S. Turgenev as a rejection of the understandable and normality among the non-understandable and weirdness. In Russian literatury critical and historico-cultural tradition, during the discussion of Russian classics, the general opinion has been formed: Turgenev is apparently non-Russian author, moreover he is not a classic writer indeed. (shrink)

Young academics have been facing a problem of high turnover rate due to missing links between the institutions’ policies and the performance. This study explores the effect of job embeddedness and community embeddedness on creative work performance and intentions to leave of young teaching staff in academic institutions in Pakistan. In this study, 300 qualified young academics from public and private universities were selected as subjects and asked to complete a questionnaire. Data were collected via mail-survey. A variance-based (...) structural equation model is employed to measure the path model. The results show that the fit-dimension of organizational- and community-embeddedness, along with the moderating effect of organization size and the availability of nearby alternative jobs have a significant impact on improving perceived creative performance and reducing staff turnover intentions. This study suggests that organizations should focus on organizational-fit and community-fit constructs in their nurturing strategies to embed young teachers in their academic institutions. This study also suggests that monetary rewards only are relatively ineffective to improve retention. Hence, public and private sector universities should facilitate meaningful contributions from young teachers in creative work and provide opportunities for social interactions and personal development. (shrink)

Abstract:This article examines the role of maieutic dialogue and exponential power in creative work. Its thesis is that maieutic dialogue is the engine that drives the creative process, and exponential power is the engine that informs maieutic dialogue. The legacy of Socrates is rehabilitated, and then his example is used as a clinic to rehabilitate the legacies of Jackson Pollock, Robert Rauschenberg, and creative artists in general. Implications for aesthetic education are alluded to in a concluding (...) section. (shrink)

Kondratyk L. "Ideas of Civil Religion in the Creative Work of Cyril Methodians". The author is based on the fact that the civil religion is such a sociocultural phenomenon in which, through the prism of a peculiar religious language and specific practices, the necessity of acquiring and establishing a national state is substantiated, which originates in the need of the community to find the sacral in the activity that is inherent in the transcendent, eternally -linear character and which (...) is rooted in the history of the territory. It is proved that the soil on which the ideas of the Cyril and Methodius civil religion originated is Western European romanticism, religiosity, the starting point of which was the idea of religion as the focus of the spiritual world of the individual and community, the idea of the Higher Reason that sets the directions for historical development, Christianity a decisive role in the spiritual and moral and social renewal of mankind, the view of Ukraine as an independent cultural and historical and social force, the influence of creativity T. Shevche gt; The main ideas of the civil religion of the Cyril Methodians are as follows: the messianism of the Ukrainian spirit manifests itself in the ability to unite the Slavs in the best way, because Ukraine is inspired by self-sacrifice with the Christian spirit and has apostolic intercession; Kiev - the capital of the resurrected from the oppression of the Slavs, the city - in which the courts prevail, truth, equality; concepts "temple", "truth", "righteous judgment", "freedom", "brotherhood", "equality", "love", "Kiev", "Kiev mountains" - the basic concepts-symbols of the Ukrainian civil religion; in the Ukrainian community with the need to coincide Christian values and moral standards, which dominate it. (shrink)

The scientific career of the outstanding Russian physiologist A. A. Ukhtomskii was complex and full of contradictions. A descendant of Prince Vsevolod Big Nest [Bol'shoe Gnezdo] of Suzdal', he was strongly influenced by the traditions and legends of his caste. As a juvenile he was sent to the Nizhnii Novgorod Corps of Cadets where he developed a profound interest in philosophy, psychology, history, and literature. His fellow cadets of the same age were amazed at, and sometimes ridiculed the young Ukhtomskii's (...) attempts to find answers to the burning questions of the day in the books of Shakespeare and Dostoevsky and in scientific works. Ukhtomskii's notebooks and synopses of those years show how this youth, from age 15 to 17, pondered over cardinal problems of world view, the contradictions of Russian society, and the future of science. The barracks life of the cadets, the rigorous schedule and supervision did not suppress Ukhtomskii's persistent desire to get a closer knowledge of the life of Nizhnii Novgorod, a major mill town and river port. He managed to make the acquaintance of members of a group of Marxist workers and maintained contact with one of them, M. Ia. Iakovlev , for over 40 years. (shrink)

Visual artists and scientists frequently employ the labour of assistants and technicians, however these workers generally receive little recognition for their contribution to the production of artistic and scientific work. They are effectively “invisible”. This invisible status however, comes at the cost of a better understanding of artistic and scientific work, and improvements in artistic and scientific practice. To enhance understanding of artistic and scientific work, and these practices more broadly, it is vital to discern the nature (...) of an assistant or technician’s contribution to the production of a work, which is difficult as it is uncommon to discuss these workers. To address this, I investigate how different kinds of parallel working arrangements in collective artistic and scientific practices affect the creative potential of individuals involved. Different working arrangements permit different degrees of autonomy for individuals involved in these practices. Significantly, a lack of autonomy precludes the opportunity to act spontaneously and so exercise, what I term, “creative agency”. Evaluating the contribution of an assistant or technician based on the degree of autonomy that they are granted in the production of a work is an approach that I show can be used to precisely determine the nature of their contribution to the production of a work and accordingly, what kind of recognition an agent should receive for this. Importantly, this approach has the advantage of explaining the artistic and epistemic significance of different kinds of contribution to the production of artistic and scientific work. (shrink)

With the COVID-19 pandemic, governments implemented successive lockdowns that forced employees to work from home to contain the spread of the coronavirus. This crisis raises the question of the effects of mandatory work from home on employees’ well-being and performance, and whether these effects are the same for all employees. In the present study, we examined whether working at home may be related to intensity, familiarity with WFH, employees’ well-being and creativity. We also examined whether the psychological profile (...) of employees, combining preference for solitude and associated personality variables from the Big Five, may influence the effects of WFH. The data were collected via an online survey from November 13th to December 15th 2020 among 946 employees from various organizations during the second lockdown in France. In addition to identifying two distinctive psychological profiles for employees having to WFH, results revealed that those with a “Solitary” profile reported higher loneliness at work, higher levels of stress, and lower levels of job satisfaction and work engagement than those with an “Affiliative” profile. It was also found that employees with a “Solitary” profile perceived themselves as less creative and produced objectively fewer ideas than individuals with an “Affiliative” profile. The present study suggests the necessity to distinguish the profiles of teleworkers and to offer a stronger support for the less affiliative employees when working from home. (shrink)

Arts and Humanities in Higher Education, Volume 21, Issue 1, Page 3-20, February 2022. As graduate labour market conditions have become increasingly challenging, higher education institutions have intensified their focus on ‘employability’ via strategies such as work placements. Focusing on work placements in the media and creative industries, this article identifies and analyses three key discourses that animate the pedagogical literature in these sectors: work placements as facilitating a ‘smooth transition’ to the labour market; work (...) placements as a place in which inequalities in the labour market are produced; and work placements as a space for fostering resilience and adaptation to labour market precarity. The article argues that critiques of inequalities based on race, class or gender are marked by a transformative impulse that is largely absent in critiques of those based on worker precarity. This highlights a need to adopt pedagogies that similarly unnaturalise the economic conditions of neoliberal capitalism to discursively construct work in new, more socially just, ways. (shrink)

This article relates the work of André Leroi-Gourhan and mostly his two-volume ok Le geste et la parole to art theory. More specifically, it is concerned with central debates on artistic creativity and examines how Leroi-Gourhan can contribute to them. After presenting some general premises of Leroi-Gourhan’s work (I), its second part (II) argues that his theory on ›rhythms‹ supplies valuable insights to the debate of Kunstwollen and materialism. The third part (III) discusses his work within the (...) debate of industrialization and audiovisual culture as opposed to manual and artisanal creativity. The fourth part (IV) links Leroi-Gourhan’s conclusions on perception and digitality with some aspects of contemporary art theory. On the whole, this article argues that Leroi-Gourhans’s work provides flexible analytical tools in order to think art history and human evolution in conjunction, as well as a specifi c framework for examining creativity within the general cultural and technological shifts after the modern age. The conclusions of this essay shed some light on Leroi-Gourhan’s theories on art and offer some methodological perspectives to contemporary artistic theory. (shrink)

It is now a commonplace that emotions are not mere sensations but, rather, conceptually contentful states. In trying to expand on this insight, however, most theoretical approaches to emotions neglect central intuitions about what emotions are like. We therefore need a methodological shift in our thinking about emotions away from the standard accounts' attempts to reduce them to other mental states and toward an exploration of the distinctive work emotions do. I show that emotions' distinctive function is to engage (...) us with both objective and personal values. Attention to emotions' work reveals that it is precisely their “unruliness” that allows them to play meaningful roles in our lives. (shrink)

This book provides a hermeneutical reflection on the biblical notion of labor, combining texts from the book of Genesis with the conceptions of work in psychoanalysts and philosophers such as Sigmund Freud and Karl Marx.

Studies of creative industries typically contend that creative work is profoundly precarious, taking place on a freelance basis in highly competitive, individualized and contingent labour markets. Such studies depict creative workers as correspondingly self-enterprising, self-reliant, self-interested and calculative agents who valorise care-free independence. In contrast, we adopt the ‘ethics of care’ approach to explore, recognize and appreciate the communitarian, relational and moral considerations as well as interpersonal connectedness and interdependencies that underpin creative work. Drawing (...) on in-depth interviews with creative workers in a range of marginal socio-cultural contexts, we argue that creative workers cultivate and sustain a diverse array of practices of care arising from an affective concern with the well-being of others. Far from being merely individualistic and crudely competitive actors, creative workers enact practical ethical responsibilities and affectivities towards a range of human and non-human others, including families, local communities and neighbourhoods, colleagues, artistic scenes and their adjacent genres, and surrounding national and linguistic cultures. In emphasizing the fundamental and structuring role of care in contingent labour markets our approach accords with recent trends in the social sciences that ‘affirmatively’—as opposed to ‘negatively’ and ‘suspiciously’—recognize that mutuality, solidarity and affectivity are powerful drivers of action on a par with or even exceeding market-driven self-centredness. (shrink)

"In the 12 case studies in this treasure of a book, various authors examine the critical, direction-finding moments in the work of such individuals as Charles Darwin, Jean Piaget, Robert Burns Woodward, William James, Anais Nin, and others." --Virginia Quarterly Review.

This essay explores the nature and neurological basis of creativity in technical production. After presenting a model of expert technical cognition based in cognitive anthropology and cognitive psychology, the authors propose that craft production has three inherent sources of novelty — procedural drift, serendipitous error and fiddling. However, these are quite limited in their creative potential, which may help explain the virtual absence of innovation over the long millennia of the Palaeolithic. Innovation can be far more rapid and effective (...) via invention, which requires folk theories of causation and adequate working memory capacity, all fairly recent evolutionary developments. The neurological basis of expert technical cognition lies in well-known cortical and sub-cortical structures, but recent research has established a provocative role for the cerebellum in the formulation of novel arrangements. (shrink)