It is late when I am writing this, so hopefully I do not make too many gaffes. I may fix it up tomorrow.
Most professionals and amateurs working within the creative industries have recognised that there is a somewhat dubious payoff for keen amateurs and early career professionals for submitting free work that would otherwise demand payment and that is exposure. ‘It is a good way to gain exposure’ or ‘Make connections’ say many senior professionals to juniors and amateurs. What this produces is a hub-and-spoke type network arrangment where one senior professional gets to choose what work by certain juniors or amateurs gets further exposure and perhaps ultimately some kind of financial reward. The point of ‘making connections’ is that eventually you come to be seen as someone who is a hub and has the power to shine the quasi-transcendental beam of ‘exposure’ upon others.
There is a flip side to this logic of exposure. Jason Potts, Stuart Cunningham, John Hartley and Paul Ormerod co-authored a journal article published in 2008 on the concept of ‘social network markets’ as a general concept that should replace the ‘industrial’ era concept of the creative industries. Social network markets, as a concept, hasn’t really taken off, although I have not read everything in the field, so maybe it has.
They define the creative industries “in terms of the system of activities organized and coordinated about flows of value through the enterprise of novelty generation and consumption as a social process”.
Furthermore, the creative industries are “properly defined in terms of a class of economic choice theory in which the predominant fact is that, because of inherent novelty and uncertainty, decisions to both produce and consume are largely determined by the choice of others in a social network”. People choose to consume based on the choice of others. The weakest version of this was identified by Adorno who wrote (as I have recently noted) that in “Amercian conventional speech, having a good time means being present at the enjoyment of others, which in its turn has as its only content being presentâ€.
They run through a series of descriptive postulates:
1) The set of agents and agencies in a market characterized by adoption of novel ideas within social networks for production and consumption
a) The CIs are not about the allocation of resources: they are about the creation of new resources. “The core business of the CIs is, after all, the representation and coordination of new ideas”, because “the origination, adoption and retention of novel ideas is the primary cause of economic growth and development”.
b) The CIs are not about mature technologies; they are about the evolution of new technologies. “In essence, design is the new engineering, but between physical and social technologies.”
c) The CIs are services; specifically, services to the growth of knowledge and economic evolution.
2) The creative industries are the set of economic activities that involve the creation and maintenance of social networks and the generation of value through production and consumption of network-valorized choices in these networks. “In turn, the new cultural industries, both historically and contextually conditional, are rightfully included as their production and consumption is heavily influenced by social networks for the simple reason that their value is uncertain.”
I think this work is fantastic and I am annoyed to have largely missed its development. What it certainly needs however is a bit of a Marxist and even a Foucaultian shunt.
If there is an upward pressure from these amateur and junior professional practioners regarding the production of new cultural commodities, then surely the hub-exposer senior professionals experiences this pressure as a threat to their position? No. Well, sometimes. What happens more often than not, the hub-exposer only selects ‘ideas’ that conform to the existing ‘correct ideas’, which may have originated from… the hub-exposer professional. This reproduces the heirachical distinction between hub and spoke, exposed/exposer and exposee. Hence, there are micro-power relations in effect visible in the discursive fabric of innovation (ie the ‘stuff’ creative industries/social network markets produce). This is the Foucaultian bit.
EDIT: There is something else going on here regarding the shaping of markets and the labour required to massage communicative action. Here is an example that just popped up in my Facebook stream today about Ferrari.
The Marxist shunt is a little bit more complex. It revolves around the recurring problem of ‘value’. Firstly, I don’t want to get into a stoush with quasi-classical economists about where value is located within a market or at what point is it realised. Having said that however, I argue that the creative industries turn enthusiasm into a resource. It is not ‘ideas’ that are a resource of value (just like it is not a commodity as the originator of value), but the labour required to produce them. Within the emergent social networks of the creative industries, the social network markets organise around enthusiasms. Crowd sourced valorisation is derived from a subjective appreciation of an impersonal and collective enthusiasm for various challenges that define a given cultural formation. For example, car enthusiasts are not into cars per se but the socio-technical challenges that the car represents. I have rendered this concept and process and explicit at the magazine publisher where I work when training new writers. They don’t write about the car as an object but the car as a project, the narrative of which is determined by the challenges faced by the enthusiast.
One last point. The authors write: “The standard (DCMS) definition of the CIs is based on an extension of the cultural industries, and so inherits a propensity to view CI policy in terms of market failure in the provision of public goods. […] The domain of policy is radically shifted from a top-down re-compensatory model to a bottom-up model of experimental facilitation and innovation.”
Indeed. What I find very exciting about all this research is that I very closely examined the last three decades of a single cultural industry and uncovered precisely this shift in the composition of the cultural formation itself and the function of the creative industries and role of government in them (ie. what Foucaultians call the dispositif or composition of power relations). I now have a very powerful way to frame my research.