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1.
《Journal of Cultural Economy》2013,6(4):479-500
This article develops the argument that a ‘knowledge economy,’ despite its cheerful optimism, is also an elegant incarnation of the demise of Western economies. An analysis of policy documents, research statements, and national accounts reveals this paradoxical coexistence of anxiety and progress in the discourse on knowledge economies. While the concept is often hailed as a temporal concept (superseding other forms of economic production), this article argues that a knowledge economy is best understood as a spatial concept – it is a way of contending with global reorganizations of production. This spatial approach is elaborated to tackle three paradoxes. (1) A knowledge economy enfolds defeat with progress. (2) A knowledge economy downplays the importance of industrial labor and simultaneously depends on it to materialize its ideas. (3) While seemingly intangible and ephemeral, a knowledge economy is fixed in place in national economies through government and corporate policy (including through the emergent phenomenon of ‘knowledge-adjusted gross domestic products’). A spatial approach provides a view of the tenuous global interconnections and specific conditions that prop up a knowledge economy, and shows how the concept is mobilized to redraw the map so that endangered economies can regain their challenged sense of centrality in a world economy. 相似文献
2.
Stephen P. Turner 《Minerva》2010,48(3):239-258
Charles Perrow used the term “normal accidents” to characterize a type of catastrophic failure that resulted when complex,
tightly coupled production systems encountered a certain kind of anomalous event. These were events in which systems failures
interacted with one another in a way that could not be anticipated, and could not be easily understood and corrected. Systems
of the production of expert knowledge are increasingly becoming tightly coupled. Unlike classical science, which operated
with a long time horizon, many current forms of expert knowledge are directed at immediate solutions to complex problems.
These are prone to breakdowns like the kind discussed by Perrow. The example of the Homestake mine experiment shows that even
in modern physics complex systems can produce knowledge failures that last for decades. The concept of knowledge risk is introduced,
and used to characterize the risk of failure in such systems of knowledge production. 相似文献
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4.
Maria Eriksson 《Journal of Cultural Economy》2020,13(4):415-427
ABSTRACT This article explores the role of editorial playlists in Spotify’s streaming economy. In particular, it approaches Spotify’s playlists as container technologies – i.e. technical solutions that assemble, preserve, and transport music objects and thereby uphold logistical operations within the music industry. Such an approach seeks to complement previous research concerning playlists, which has often analyzed their emotional and affective dimensions but paid less attention to how playlists enhance calculative, mathematical, and logistical retail flows within the online music economy. On the one hand, the article considers how playlists – like containers in general – materialize principles of modularization and automation in ways that enhance control and remote oversight. On the other hand, it discusses how the playlist is far from a perfected means of measurement and control, and sometimes acts as an unruly transport device. Ultimately, the article shows how the playlist format occupies an uneasy position between order and disorder within the digital music economy which has not yet been fully accounted for in the context of music-oriented media studies. 相似文献
5.
《Journal of Cultural Economy》2013,6(2):181-197
This article discusses the role of creativity, graphic design innovations and tacit knowledge within advertising agency competition processes during the first half of the twentieth century. This period witnessed the arrival of the ‘advertising creative’: the artist-designer, whose output and tacit understanding of consumer tastes became key for the competitive advantage of agencies. Adapting Bourdieu's concept of the social field within which actors create and trade various forms of capital, I show how and why William Crawford's advertising agency in London became a pioneer in promoting the social, cultural and economic role of this new group of agency workers. I argue that Crawford's became the first advertising agency that carved out a unique position within a highly competitive market by defining its visual production and organisational identity entirely through notions of creativity. This places Crawford's at the heart of the emergence of a cultural economy for which creative skills are a paramount source of value creation. 相似文献
6.
Arjan van Rooij 《Minerva》2014,52(2):263-272
Today universities are increasingly seen as motors of innovation: they not only need to provide trained manpower and publications to society, but also new products, new processes and new services that create firms, jobs, and economic growth. This function of universities is controversial, and a huge and still expanding literature has tried to understand it. The approach of this paper is integrative; it uses the existing literature to answer a number of straightforward questions about the creation of innovations with university knowledge production: how does this happen, to what extent, and if it is desirable. In this way this article grounds the issue. Creating innovation with university knowledge production is relevant, justified and important but this has not been, is not and will not become the core function of universities. The existing literature, in other words, overestimates the importance of university knowledge production - in general, and for innovation in particular. 相似文献
7.
《Journal of International and Intercultural Communication》2013,6(1):38-58
Abstract The study critically reviews China's cultural policy and counterhegemony strategy against global Hollywood from 1994 to 2000. The central argument is that the Chinese government's strategy of using the so-called main melody propagandistic films to battle against Hollywood from 1994 to 2000 is ineffective in terms of film market recouped and quality films produced, but may be considered partially successful in terms of the technological renovation of film exhibition infrastructure. The reason lies in the conflict between a planned production and a market demand, plus an ambivalent explanation of the function of the film industry and an unclear definition of the cultural policy. This conflict not only speaks to the complexity of global-local interplay, but also reflects the fundamental dilemma of China's “one-party market economy” (Kahn, 2002, ¶ 2), and its contradictory perspective on globalization. The study also revisits the thesis of “cultural imperialism” and calls for a more synthesized way to explain the complex global-local dialectic. 相似文献
8.
《Journal of Cultural Economy》2013,6(1):103-119
In this paper we examine the emergent field of art-science, part of a heterogeneous space of overlapping interdisciplinary practices at the intersection of the arts, sciences and technologies. Art-science is often thought to exemplify Nowotny et al.'s (2001) ‘mode-2’ knowledge production; indeed the institutions supporting art-science invariably claim that art-science contributes to the ‘contextualization of science’ by rendering scientific and technical knowledge more accessible and accountable to its publics. Our argument, however, is that this approach fails to capture the ways in which art-science exhibits its own complex trajectories, which cannot be grasped in terms of an epochal transition in the mode of knowledge production. Drawing on ethnographic research on art-science practitioners and institutions in the USA, UK and Australia, our first aim is to indicate the heterogeneity of art-science by contrasting distinctive forms and genealogies of art-science. A second aim follows. Rather than simply multiplying the connections between science and its publics, we suggest that art-science is instructive in highlighting radically divergent conceptions and practices of publicness, and point to two such forms. We examine, first, the relations between science, art and the public in the UK from C. P. Snow's ‘two cultures’ essay to the activities of the Wellcome Trust and Arts Council England. In these developments, art that is in dialogue with science is conceived primarily as a means by which the (absent) public for science can be interpellated: science is understood as complete, and as needing only to be communicated or applied, while art provides the means through which the public can be assembled and mobilized on behalf of science. We contrast this with a novel institutional programme in art-science pedagogy at the University of California, Irvine: the Masters programme in Arts, Computation and Engineering (ACE). Through the contents of the ACE teaching programme and the case of an art-science project concerned with the measurement of air pollution by ACE faculty member Beatriz da Costa, and with reference to the work of Hannah Arendt and Barbara Cassin, we suggest that art-science can act not so much as a way of assembling a public for science, but as a public experiment. 相似文献
9.
We address the question of the quality of movies produced between 1950 and 1970. A first outcome of our analysis is that the quality assessments made during the Cannes Festival, and to a lesser degree, by the U.S. Academy are short-lasting. In contrast to this, consumers seem consistent over time. There is, however, one issue on which experts agree as well as consumers: American movies dominate both in terms of commercial success and in terms of quality. There is less agreement, and sometimes there is even dissent concerning other dimensions. This does not come as a surprise and merely indicates that there is hardly a common yardstick along which the quality of a movie can be measured. Therefore, decomposing a work of art into quantifiable characteristics – even in a subjective but possibly unanimous way – would make it possible to explain the divergences between audiences and changes of appreciation over time. 相似文献
10.
Juan Gabriel Brida Chiara Dalle Nogare Raffaele Scuderi 《Journal of Cultural Economics》2016,40(3):261-283
Some recent empirical contributions have highlighted that tourists often go to museums yet appear to extract little utility from the experience. We argue that this is often the case with agents who visit museums only while on holiday and results from a temporary lack of substitute experience goods or compliance with a must-do list. If such agents behaved according to Stigler and Becker’s rational addiction theory, they would also visit museums while at home. However, most do not, which makes them constantly occasional consumers. We indirectly test for the presence of constantly occasional museum attendance by tourists, using data from a survey conducted in 2012 at Vittoriale, the most popular museum at Lake Garda, a renowned Italian tourist destination. By applying multiple correspondence analysis to a question on motivations to visit the museum, we obtain two dimensions of motivation: one based on a search for knowledge and the other based on a more recreational attitude. Identification of the latter is a new finding in itself. We include these dimensions as regressors in a model used to explain museum attendance. We find, as expected, that light consumption negatively affects attendance. We therefore argue that empirical analyses of museum attendance should not disregard light motivation as a possible driver. 相似文献
11.
David Tyfield 《Minerva》2012,50(2):149-167
Science and technology policy is both faced by unprecedented challenges and itself undergoing seismic shifts. First, policy is increasingly demanding of science that it fixes a set of epochal and global crises. On the other hand, practices of scientific research are changing rapidly regarding geographical dispersion, the institutions and identities of those involved and its forms of knowledge production and circulation. Furthermore, these changes are accelerated by the current upheavals in public funding of research, higher education and technology development in the wake of the economic crisis. The paper outlines an agenda for science & technology policy studies in terms of a research programme of a ‘cultural political economy of research and innovation’ (CPERI). First, the implications of the overlapping crises for science policy analysis are discussed. Secondly, three rough constellations of contemporary approaches to science policy are critically compared, namely: a techno-statist Keynesian governance; a neoliberal marketplace of ideas; and co-productionist enabling of democratic debate. CPERI is then introduced, showing how it builds on the strengths of co-production while also specifically targeting two major weaknesses that are of heightened importance in an age of multiple crises, namely neglect of political economy and the concept of power. 相似文献
12.
The emergence of vibrant research communities of computer scientists in Kenya and Uganda has occurred in the context of neoliberal privatization, commercialization, and transnational capital flows from donors and corporations. We explore how this funding environment configures research culture and research practices, which are conceptualized as two main components of a research community. Data come from a three-year longitudinal study utilizing interview, ethnographic and survey data collected in Nairobi and Kampala. We document how administrators shape research culture by building academic programs and training growing numbers of PhDs, and analyze how this is linked to complicated interactions between political economy, the epistemic nature of computer science and sociocultural factors like entrepreneurial leadership of key actors and distinctive cultures of innovation. In a donor-driven funding environment, research practice involves scientists constructing their own localized research priorities by adopting distinctive professional identities and creatively structuring projects. The neoliberal political economic context thus clearly influenced research communities, but did not debilitate computing research capacity nor leave researchers without any agency to carry out research programs. The cases illustrate how sites of knowledge production in Africa can gain some measure of research autonomy, some degree of global competency in a central arena of scientific and technological activity, and some expression of their regional cultural priorities and aspirations. Furthermore, the cases suggest that social analysts must balance structure with culture, place and agency in their approaches to understanding how funding and political economy shape scientific knowledge. 相似文献
13.
Juris Milestone 《Culture, Theory & Critique》2013,54(2):175-198
Abstract Using sources from popular media, and ethnographic data collected from a university‐based urban design studio, I challenge Paul Virilio’s assertion that the modern human condition is dominated by a process of emotional synchronisation based on fear (the result, according to Virilio, of a collusion of technology and speed), and offer the analogous idea that contemporary consumer capitalism works toward a synchronisation of desire, operating, at least in part, through the ideologies and machinations of the idea of design. To do this, I analyse designerly approaches to problem‐solving as potential disciplining forces, or technologies of governmentality, which help to create order by manufacturing certain subjectivities like consumer, community member, or sense‐of‐place – subjectivities that are amenable to neo‐liberal notions of civil society in consumer‐capitalism. Ultimately, I argue that Virilio’s ‘art criticism of technology’, but also common critiques thereof, both depoliticise aesthetic judgement and work together toward the obfuscation of power within the symbolic economy of neo‐liberal consumer capitalism. 相似文献
14.
The recent narrative on museums as catalysts of innovation and growth considers their relations with other cultural and creative industries (CCIs) to be very important. We argue that most relations museums establish with CCI firms and institutions are unlikely to produce strong positive externalities that make the latter more innovative. To prove this claim, we propose a conceptual framework qualifying project-based and supply chain relations between museums and CCIs as either strong, moderate, or weak links, according to their potential in terms of knowledge spillovers from museums to CCIs. We apply this taxonomy to data collected from 261 Polish museums. Our findings indicate that strong links are outnumbered by moderate and weak ones. We then suggest that the traditional missions of museums, in particular education and conservation, need to be more thoroughly assessed in terms of their direct and indirect contributions in order to fully capture the impact of museums on innovation in the wider economy.
相似文献15.
Ismail Erturk 《Journal of Cultural Economy》2017,10(4):377-392
ABSTRACTAfter the 2007 financial crisis central bank economists in the US produced a map of shadow banking system, a fragile interconnectedness of regulated and unregulated financial institutions, to explain why the crisis had happened. This piece of cartographic work in banking regulation had two aims: (a) to represent the economic reality, including the parts that were not in regulatory sight, with full realism and (b) to develop a regulatory surveillance regime to monitor shadow banking to prevent future crises. This paper problematises the first aim as a peculiar cognitive response to the knowledge crisis of economics which challenges the consensus on modern finance as post-modern Baudrilliardian simulacra. The paper then introduces a cultural economy perspective to explore the regulatory fear in the second aim of the shadow banking analysis with references to the theme of the Doppelgänger (the Double) in the genre of horror stories. Finally the societal consequences of the control oriented epistemological choices of the shadow banking analysis are problematised by using Michel Serres concepts of foedera natura versus foedera fati. 相似文献
16.
Douglas Morrey 《Culture, Theory & Critique》2013,54(1):61-74
This article examines the role of noise in various aspects of Jean‐Luc Godard's filmmaking practice. Beginning with an analysis of 2 ou 3 choses que je sais d'elle (1966), it suggests that the loud noise on the soundtrack functions to disrupt the search for meaning in this film that is precisely about knowledge and cognition, providing an image of thought as an unpredictable and uncontrollable process. The influence of 1970s theoretical biology and information theory is analysed in Sauve qui peut (la vie) (1979) which applies Henri Atlan's ‘order from noise’ principle to the composition of shots, the construction of scenes and the development of narrative. Finally Godard's presentation of a complex, deterritorialised capitalist economy is considered in Nouvelle Vague (1990), and it is suggested that Godard's creation of aesthetic events – both through editing and through sound design – implies a different conception of temporality to the sequential logic of financial speculation and risk management. 相似文献
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This article investigates the contention that we are seeing the emergence of new forms of knowledge production, transforming the expectations and assessment of fundamental research. We examine three dimensions in the assessment of research. Our studies show little evidence of any significant change in practice in the three sectors in which research is undertaken in Norway. 相似文献
19.
Erica Aquilia Germana Barone Paolo Mazzoleni Caterina Ingoglia 《Journal of Cultural Heritage》2012,13(4):442-447
This work is focused on the petro-archeometric characterization of the fine pottery production of the archaeological site of Gela (Sicily). Thirty-five samples coming from three Archaic and Hellenistic kilns and five coming from an Hellenistic house, were investigated by means of optical microscopy, XRD and XRF analysis. With the exception of some ceramics which are undoubtedly imported, all the samples have similar petrographic features, but on the basis of chemical composition, we can distinguish two different groups. The presence of two local productions is confirmed by the comparison with locally outcropping sediments and with archaic and modern bricks of sure Geloan production. This result is particularly significant for the definition of reference groups of this wealthy polis that played an important trading role in the Mediterranean area. 相似文献
20.
Lizzie Richardson 《Journal of Cultural Economy》2019,12(3):228-241
Theorisation of culture is often absent from research on production in the creative and cultural sector. Further, cultural production has been largely untouched by the insights of the cultural economy approach. Culturalisation is a means of addressing the question of what constitutes culture and thus a cultural (economy) approach. It is the process by which culture and cultural production combine in the ‘operationalisation of the real.’ Culturalisation underpins much scholarship in this journal by posing the (economic) real as a problem of definition in order to illustrate the operations involved in its temporary resolution. The implications of this position need further addressing. There is a feedback between culture as a problem of definition and a cultural approach. Devices can interrogate the relationship between processes of cultural definition and the conceptual parameters of a cultural economy approach. Workshopping, projects and events are put forward as cultural devices emerging from a 10-month ethnography of literary performance in Bristol, England. This illustration shows firstly, how culturalisation occurs in a designated cultural sector to contingently realise culture; and secondly, the implicit logic of cultural economy as culturalisation, typified by the device as method, so as to open a debate concerning its implications. 相似文献