Time, rhythm and the creative economy
Time, rhythm and the creative economy
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DOI：
10.1111/tran.12122
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发表时间：
2016-07
影响因子：
3.3
通讯作者：
Phil I. Jones;S. Warren
中科院分区：
文献类型：
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作者：
Phil I. Jones;S. Warren
在后工业经济的政策话语中，创造性实践被奉为增长和社会包容的驱动力。在概念上，我们通过结合盛装舞步和心律失常的想法来推进列斐伏尔的不完全节奏分析项目，以对当代创意经济中的矛盾提供新的见解。我们的分析表明，盛装舞步（通过重复学习的练习）被用作在创意部门内强加不可持续（“无节奏”）工作模式的手段。文化中介，即致力于让社区受益于创意经济的从业者，如今却发现自己在时间上追逐短期的、官僚主义的要求，这与创意生产的节奏背道而驰。本文借鉴了作为ahrc资助的一个大型项目的一部分，由中间人收集的采访和活动日记。我们得出的结论是，政策制定者和资助者强加给中介机构的有节奏的制度，实际上正在驱逐他们原本打算培育的非常有创造性的实践。在这个奉行新自由主义紧缩政策的时代，这种矛盾对经济增长、社会包容和福祉有着重大影响。
Creative practice is fetishised in the policy discourse of post-industrial economies as a driver of growth and social inclusion. Conceptually, we advance Lefebvre's incomplete rhythmanalysis project by combining the ideas of dressage and arrhythmia to give novel insights into contradictions within the contemporary creative economy. Our analysis shows dressage (practices learned through repetition) being used as a means to impose unsustainable (‘arrhythmic’) patterns of working within the creative sector. Cultural intermediaries, practitioners whose work focuses on engaging communities with the benefits of the creative economy, are today finding themselves chasing short-term, bureaucratic demands on their time, which operate counter to the rhythms of creative production. This paper draws on interviews and activity diaries kept by intermediaries collected as part of a large AHRC-funded project. We conclude that the rhythmic regimes being imposed on intermediaries by policymakers and funders are in fact driving out the very creative practices they are intended to foster. This contradiction has major implications for growth, social inclusion and wellbeing in an age of neoliberal austerity.