Index
Frontiers of Creative Industries: Exploring Structural and Categorical Dynamics
ISBN: 978-1-78743-774-6, eISBN: 978-1-78743-773-9
ISSN: 0733-558X
Publication date: 3 April 2018
This content is currently only available as a PDF
Citation
(2018), "Index", Jones, C. and Maoret, M. (Ed.) Frontiers of Creative Industries: Exploring Structural and Categorical Dynamics (Research in the Sociology of Organizations, Vol. 55), Emerald Publishing Limited, Leeds, pp. 283-290. https://doi.org/10.1108/S0733-558X20180000055012
Publisher
:Emerald Publishing Limited
Copyright © 2018 Emerald Publishing Limited
INDEX
Index
Academic evaluation systems
, 131
Ambiguity
data and method
, 209–210
DownBeat,
, 210–211
historiographical and sociological analysis
, 207
key protagonists analysis
, 211–215
Kublerian model
, 208
vs. longevity,
, 223–225
Oleg Grabar’s analysis
, 207
research stages
, 209
swing definitions
Commerce
, 215
contestation-based approaches
, 218
Culture
, 215, 219
data analysis
, 215
Difficult to Define
, 215
Mental State
, 215
social birth
, 215, 217–218
themes
, 219–220
swing phrases
analysis
, 220–221
attributes
, 221
language and vocabulary
, 222
state, community and family realms
, 222–223
visual orders
, 207
Anthropology
, 110–111
Archetypical authenticity
, 163
Art investment
academic conventions
, 83
artistic innovations
, 86
cultural innovation
, 86
Dutch economy
, 80
economic cycle
, 79
evolutionary mechanism
, 86
intercontinental trade
, 78
international trade
, 81
long-term performance
, 84
market saturation
, 82
“modern” art market
, 78
non-academic art
, 83
Renaissance theories
, 79
repositioning and spillover form
, 86
“risk preference,”
, 81
supply and demand
, 85
vedute
, 81–82
Art market
, 7, 76–78, 97–98
Arts and materiality redux
culture production
, 271
phases of change
cultural turn
, 273–274
material and semiotic approaches
, 274–277
origins
, 272–273
Askin and Mol analaysis
, 10, See also Institutionalizing authenticity, music world
“a-structural bias”
, 20
Audience–candidate evaluative processes
academic evaluation systems
, 131
average treatment effect (ATE)
, 149
award-based consecration choices
, 151
collaboration data
, 132
collaborative network
, 152
correlation coefficients
, 144, 145
cultural consecration
, 130
descriptive statistics
, 144
generalized linear models
, 143–144, 146
identity-based motifs
, 151
Matthew effect
, 131
peer-based tournaments
, 153
peer-evaluation settings
, 131
percentage change
, 147, 148
pre-consumption preferential treatment
, 150
project size and project sophistication
, 147
reward allocation mechanisms
, 132
rewarding producers
, 148
robust standard errors
, 144
social structure
, 131
status and social proximity
, 144, 147, 149
status-based mechanisms
, 133
status beliefs
, 130
tournament rituals
, 152
control variables
, 140–143
data
, 138
dependent variable
, 138–139
empirical setting
, 136–138
independent variable
, 139–140
peer recognition
, 133
social distance and rewards
, 135–136
status and rewards
, 134–135
Audience-side explanation
, 238, 239
Average treatment effect (ATE)
, 149
Bourdieuian tradition
, 150, 273
Brokerage styles and interaction rituals
“a-structural bias,”
, 20
boundary conditions
, 40
brokerage behavior
, 23
classification
, 20
collaboration and control
, 18
collective creativity
, 24
collective effervescence
, 27
communication modes
, 26
communication tools
, 26
corporate management solution
, 39
creative control
, 21–22
creative product/service
, 21
cultural intermediaries
, 22
definition
, 25
distrust cycle
, 24
emotional energy
, 19, 27
fluid contexts
, 21
“gatekeepers,”
, 22
inductive theory
, 23
interactionist model
, 19
interpretive tone style
, 26
market cultural products
, 20
micro-behavioral tactics
, 20
micro-interactionist perspectives
, 19
mutual attention
, 19, 27
opportunities
, 18
positive “residue,”
, 28
positive “spillovers,”
, 27–28
process model
advantages and collective outcomes
, 30
brokerage micro-interactions
, 28, 30
creative development phase
, 31, 34–36
implementation phase
, 31, 36–38
resource gathering phase
, 31, 32–34
salient action ideal
, 28
situations
, 25
social interactions
, 19
social skill
, 20
structural position
, 18, 23
systematic theoretical frameworks
, 23
tertius-iungens vs. tertius-gaudens dichotomy
, 26, 38
Categorization process
, 3
audience-side explanation
, 238, 239
“buyer’s own brands” (BOB)
, 240
control variables
, 251–253
corporate groups
, 260
data
, 247
dependent variable
, 247–248
descriptive statistics and correlations
, 254–256
econometric analysis
, 240
empirical setting
category-based expectations
, 245–246
Champagne house
, 244, 260
supermarket chain
, 247
supply agreements
, 245
growers’ assumptions
, 261, 262
hypothesis development
, 243–244
independent variables
characteristics
, 248
corporate and listed group
, 250–251
density
, 249
family CEO
, 249
newcomer
, 249–250
information-search process
, 261
institutionalized expectations
, 239
marginal effects
, 258
market participants
, 238, 239, 260
modeling method
, 253
organizational sociology
, 238
paired t-test
, 263
RE probit regressions
, 254, 257–258
RE regressions
, 258–260
robust standard errors
, 261
salience
, 239
strategic usage
, 241–242
typicality and default expectations
, 242–243
Chilean architectural firm, Svejenova and Christiansen analysis
, 6, See also Social impact, reative leadership
Cognitive entrenchment
, 118
Collins’ notion of interaction chains
, 5
Coman-Ernstoff and Phillips categorization
, 10–11, See also Swing, interdisciplinary collaboration
Commodification process
, 161
archetypical authenticity
, 163
artistic and economic value
, 162
authenticity zones
, 168
cognitive structures
, 193
cultural cohesion and acceptance
, 164
Digital Era
, 168–179, 191
appropriation
, 175–177
classification system
, 177–179
consumption
, 170–172
death of scarcity
, 168
peer-to-peer (P2P) file sharing service
, 168
production
, 168–170
selection
, 172–174
economic sociology
, 162
institutional arrangements
, 164
institutional configuration
, 166, 167
music information retrieval (MIR)
, 167
“Production of culture” perspective
, 166
prototypical authenticity
, 163
rent-seeking behavior
, 167
scarcity of scarcity
, 192
social construction
, 165
stereotypical authenticity
, 163
Communication modes
, 26
Contemporary art
, 87–88
control variable features
, 92
financial-investment profile
, 92, 93, 95
interaction effect
, 94
“investment” profile
, 93–94
random-effects probit regression
, 92, 94
Contestation-based approaches
, 218
Corporate groups
, 260
Counterbalancing process
, 10
Creative development phase
, 31, 34–36
Cultural expression
, 1
Cultural intermediaries
, 22
Culture markets
, 204
Death of scarcity
, 168
Descriptive statistics
, 144
Digital Era
, 168–179, 191
appropriation
, 175–177
classification system
, 177–179
consumption
, 170–172
death of scarcity
, 168
peer-to-peer (P2P) file sharing service
, 168
production
, 168–170
selection
, 172–174
Digital Millennium Copyright Act (DMCA)
, 175
Directing process, creative leadership
brokerage
, 60
integrative methodology
, 61
monotonous design
, 59
social housing model
, 61
strategic framing
, 60–61
total control
, 59
Distrust cycle
, 24
DownBeat,
, 210–211, See also Ambiguity
Durkheimanian ritual notion
, 27
Dutch economy
, 80
Econometric analysis
, 240
Economic cycle
, 79
Economic-sociological concept
, 108
Economies and cultures
, 2
Elemental model
, 6, 51–52
Epistemic dissonance
, 63
Evaluative dissonance
, 63
Evolutionary mechanism
, 86
Felsenstein’s interaction style
, 35
“Flux of social life” stabilization
, 4
Financialization
, 8
Foucault’s (1980) knowledge/power notion
, 66
French painting system
, 3
Furnari and Rolbina’s triadic relationship
, 5, See also Brokerage styles and interaction rituals
Gehry’s conception
, 59
Generalized linear models
, 143–144, 146
Godart concept of “style,”
, 8–9, See also Style concept
Implementation phase
, 31, 36–38
Inductive theory
, 23
Information-search process
, 261
Institutionalizing authenticity, music world
authenticity search
Adorno’s analysis
, 181
authenticity management
, 181
consumption
, 185–188
elements
, 181
institutional configuration
, 180
production
, 182–185
production and consumption
, 179
selection
, 188–191
socioeconomic institutions
, 180
commodification process
, 161
archetypical authenticity
, 163
artistic and economic value
, 162
authenticity zones
, 168
cultural cohesion and acceptance
, 164
Digital Era
, 168–179
economic sociology
, 162
institutional arrangements
, 164
institutional configuration
, 166, 167
music information retrieval (MIR)
, 167
“Production of culture” perspective
, 166
prototypical authenticity
, 163
rent-seeking behavior
, 167
social construction
, 165
stereotypical authenticity
, 163
digitalization
, 161
electrical reproduction
, 160
ephemeral rhizomatic networks
, 161
“illegitimate”/“identity incongruent” recordings
, 159–160
technological and institutional changes
, 160
Institutional systemic response
, 10
Jazz at Lincoln Center (JALC)
, 206
Kublerian model
, 208
Legitimacy discount
, 4
Lingo and O’Mahony’s buffer’s style
, 36
Macro-economic structures
, 2
Matthew effect
, 131
Micro-social dynamics
, 2
Monet-ization process
, 7
art “commodification”/“financialization,”
, 74
art investment
academic conventions
, 83
artistic innovations
, 86
cultural innovation
, 86
Dutch economy
, 80
economic cycle
, 79
evolutionary mechanism
, 86
intercontinental trade
, 78
international trade
, 81
long-term performance
, 84
market saturation
, 82
“modern” art market
, 78
non-academic art
, 83
Renaissance theories
, 79
repositioning and spillover form
, 86
“risk preference,”
, 81
supply and demand
, 85
vedute
, 81–82
art market
, 76–78, 97–98
ARTnews rank
, 91–92
collectors-as-investors
, 97
contemporary art
, 87–88
control variable features
, 92
financial-investment profile
, 92, 93, 95
interaction effect
, 94
“investment” profile
, 93–94
random-effects probit regression
, 92, 94
data
, 90–91
definition
, 75
economic cycles
, 95
financial markets
, 74
hypotheses
, 88–90
market valuations
, 75
socio-psychological mechanisms
, 96
Modern Art
, 7
Monroy project
, 52
Music information retrieval (MIR)
, 167
Non-human algorithmic mechanisms
, 10
Non-partisan, Simmel’s concept
, 37
Norwegian advertising field
, 9
Ody-Brasier’s analyses
, 11, See also Categorization process
Oleg Grabar’s analysis
, 207
Paired t-test
, 263
Peer recognition
, 133
Peer-to-peer (P2P) file sharing service
, 168
Producer–audience interface
, 4
“Production of culture” perspective
, 166
Prototypical authenticity
, 163
Qualitative analysis
, 11
Quantitative analysis
, 7–8
Quinta Monroy’s innovation
, 52
Rational choice models
, 3
Renaissance theories
, 79
Resource gathering phase
, 31, 32–34
Reward allocation mechanisms
, 132
Safe harbor provisions
, 175
Self-construction process
, 49
Selznick’s collaboration contexts
, 50
Semiotic codes
, 1
Sgourev’s concept of “Monetization”. See Monet-ization process
Shape evaluative process
, 9
Simmel’s classic analysis
, 5, 106, 107, 109
Social housing model
, 61
Social impact, creative leadership
architectural process
, 50
change and reconstitution concern
, 49
creativity-purpose balancing act
, 66
data collection
, 53
directing process
brokerage
, 60
integrative methodology
, 61
monotonous design
, 59
social housing model
, 61
strategic framing
, 60–61
total control
, 59
discovery-driven approach
, 53
Elemental model
, 51–52
epistemic dissonance
, 63
evaluative dissonance
, 63
housing solutions
, 48
“incremental” approach
, 52
institutional change
, 50–51
mechanisms and outcomes
, 54
micro-interactions
, 54
Monroy project
, 52
multimodality
, 54–55
opportunity networks
, 52
participatory architecture
, 63
project mediators
, 55
public social challenge
, 48
“relevant pragmatism,”
, 55
replication and evangelizing
, 62–63
self-construction process
, 49
solution synthesis
advantages
, 58–59
design
, 56–57
human infrastructure
, 56
micro-interaction settings
, 56
organizing
, 57–58
university-based innovation platform
, 51
visual representations
, 64–65
Social structures
ambiguity, definition
, 10
and categories
, 2–4
category dynamics
, 10
contributions
, 6
counterbalancing process
, 10
cultural production
, 12
“financialization,”
, 8
institutional systemic response
, 10
internal and external audiences
, 9
inter-temporal dynamics
, 6
investor-type art collectors
, 7
modern architecture
, 11
monet-ization process
, 7
non-human algorithmic mechanisms
, 10
Podolny’s contribution
, 3
producer–broker–audience relationship
, 5
quantitative analysis
, 11
resource gathering phase
, 6
semiotic and material changes
, 5
shape evaluative process
, 9
Simmel’s classic analysis
, 5
social innovation
, 7
sociological content analysis
, 10
status-based signals
, 9
“style-based” approach
, 8
Sociological content analysis
, 10
Socio-psychological mechanisms
, 96
Stereotypical authenticity
, 163
Style concept
, 8, 122
aesthetic criteria
, 108
anthropology
, 110–111
cultural component
, 105
cultural studies
, 111–113
definition
, 114, 121
economic-sociological concept
, 108
elements
audience evaluations
, 115, 116
canonical features
, 117
category spanning
, 116
cognitive entrenchment
, 118
cognitive resources
, 117
composite concepts
, 119
cultural evolutions
, 119
environmental conditions
, 121
hybridization process
, 118
hybrids rejection
, 118
ideal-typical features
, 116
institutionalization levels
, 115, 117
“mix and match” styles
, 119
organizations act
, 115
purity
, 118
stylistic components
, 120
stylistic concordance
, 116
evaluation and classification schemes
, 105
fashion industry
, 104
individuality vs. generality
, 106
language elements and genre
, 107
management
, 113–114
organizational and individual style
, 106
personal style
, 107
social science research
, 106
sociology
, 108–110
technology-based industries
, 105
Stylistic concordance
, 116
Supply and demand
, 85
Swing, interdisciplinary collaboration
ambiguity
data and method
, 209–210
DownBeat,
, 210–211
historiographical and sociological analysis
, 207
key protagonists analysis
, 211–215
Kublerian model
, 208
vs. longevity,
, 223–225
Oleg Grabar’s analysis
, 207
research stages
, 209
swing definitions
, 215–219
swing definitions, themes
, 219–220
swing phrases
, 220–223
visual orders
, 207
case study
architecture
, 226
art history and sociology
, 207
DownBeat,
, 206
innovation
, 227
Jazz at Lincoln Center (JALC)
, 206
sociocultural terms
, 225
“ Swing Era,”
, 205
conceptual implications
, 227–229
culture markets
, 204
social category
, 204
Tournament rituals
control variables
competitive intensity
, 142
conflict of interest
, 142
high-quality projects
, 141
jurors on project
, 142
median experience
, 142
positive co-experience
, 143
project size
, 142
project sophistication
, 141–142
quality control
, 140–141
data
, 138
dependent variable
, 138–139
empirical setting
, 136–138
independent variable
, 139–140
peer recognition
, 133
social distance and rewards
, 135–136
status and rewards
, 134–135
Zuckerman’s specification, categorical imperative
, 4
- Prelims
- Frontiers of Creative Industries: Exploring Structural and Categorical Dynamics
- Brokerage Styles and Interaction Rituals in Creative Projects: Toward an Interactionist Perspective on Brokerage
- Creative Leadership for Social Impact
- Strange Bedfellows: Art and Finance or the Monet-ization of Art
- Why is Style Not in Fashion? Using the Concept of “Style” to Understand the Creative Industries
- The Social Structure of Consecration in Cultural Fields: The Influence of Status and Social Distance in Audience–Candidate Evaluative Processes
- Institutionalizing Authenticity in the Digitized World of Music
- Ambiguity and the Longevity of Creative Industries: The Case of Swing through the Lens of Interdisciplinary Collaboration
- Not the Usual Suspects: Default Expectations and the Strategic Use of Categories
- Afterword: The Creative Industries — Arts and Materiality Redux
- Index