ORCID Profile
0000-0002-5580-0772
Current Organisation
Flinders University
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Publisher: Elsevier BV
Date: 06-2012
Publisher: Informa UK Limited
Date: 11-06-2015
Publisher: Informa UK Limited
Date: 12-09-2017
Publisher: SAGE Publications
Date: 21-04-2022
DOI: 10.1177/13678779221094849
Abstract: This article develops a Bourdieusian-inspired structuralist model of how craft and commerce intersect. Through interpretative engagement with targeted interviews (n = 17) of ‘serious leisure’ quilters drawn from a larger quantitative survey (n = 440), we find that attitudes to pattern sharing suspends the field between commercial and communitarian poles. Unlike fine art and popular culture fields, where the usurpation of dominant styles leads to a succession temporality, quilting evinces a stasis: communitarian and circular temporalities of reciprocity and inclusion counterpose commoditization, notions of just (market) rewards, and their linear temporality. Developing from this chiastic – crosswise – structure, we argue craft's temporal organization of materials and actors differentiates quilting from art and other cultural forms what is new is old what is old is new. Generalizing this analysis, we suggest craft fields can appear unchanging due to the co-constituting, yet unresolvable, symbolic oppositions between commercial and communitarian temporalities.
Publisher: Elsevier BV
Date: 12-2018
Publisher: Informa UK Limited
Date: 18-01-2017
Publisher: SAGE Publications
Date: 20-10-2014
Abstract: There are growing calls for social network analysis methods to be more extensively deployed in environmental governance practice. A key claim is that social network analysis can generate knowledge to build trust, enable consensus, and facilitate the dissemination of information necessary to make environmental protection ‘successful’. By bringing social network analysis into dialogue with heterodox social theories relevant to human geographers and cognate social scientists, this article destabilizes such claims. It is argued that the current application of social network analysis enacts a particular moral and political emphasis on resilience and participation, which readily works with the grain of hegemonic environmental governance.
Publisher: SAGE Publications
Date: 25-01-2017
Abstract: This article dialogues Polanyi and Bourdieu to propose a new research agenda within the sociology of cultural production. Extending recent literature on hipsters, this iconic figure is shifted from the world of consumption to the world of production via Bourdieu’s conceptualisation of the new petite bourgeoisie. Using secondary empirical material of cultural micro-enterprises, two ideal-typical career strategies are sketched: cultural-capital oriented seeking to secure positions within established creative industries, and economic-capital orientated stylising ‘old’ petite bourgeoisie occupations to access economic returns. However, within the context of ongoing austerity policies, Bourdieu’s economic capital does not fully account for the variegated forms of material resources these nascent enterprises draw on. Bringing Polanyi’s modes of economic integration – reciprocity, redistribution and exchange – to Bourdieu opens new questions on how hipster capitalism is the practice of intermediating between these ‘backstage’ material modes and the ‘frontstage’ selling of style.
Publisher: Elsevier BV
Date: 04-2014
Publisher: Elsevier BV
Date: 09-2018
Publisher: Informa UK Limited
Date: 02-04-2016
Publisher: Cambridge University Press (CUP)
Date: 2012
DOI: 10.1017/S026114301100050X
Abstract: This article responds to Frith and Cloonan's (2008) call for researchers considering the relationship between the state and popular music to analyse more closely the ideologies of governance that undergird music policy. Building on Cloonan's ‘promotional state’ and drawing on recent New Zealand experience, this paper shows how New Zealand's Labour government (1999–2008) developed policies to support the export of ‘Kiwi’ pop which requires a reconsideration of state music policy as interventions in the market. The work of the New Zealand Music Commission in generating and coordinating working partnerships with erse music industry actors illustrates emerging forms of ‘after neo-liberal’ ideology and governance, wherein state-related actors and musicians each and together adapt to market arrangements through supply side, social inclusion and new institutional policy settings and modalities. This article offers points of comparison to types of ideological and governing/institutional formations we can expect to see emerging in promotional states elsewhere.
Publisher: Cambridge University Press (CUP)
Date: 05-2008
DOI: 10.1017/S026114300800408X
Abstract: When New Zealand’s ‘third-way’ Labour government came to power in 1999 it placed a greater policy and funding emphasis on the arts and culture. Like other ‘promotional states’ (Cloonan 1999) the Labour government sought to support the domestic popular music industry through a voluntary radio quota. Drawing on qualitative research, this article describes the ways in which the state, through New Zealand on Air, negotiates and leverages domestic popular music artists onto commercial radio. In this process, state agents mobilise social networks to ‘join-up’ commercially appropriate artists to radio programmers. The success of this programme is based upon state agents developing an institutional isomorphism with existing music industry practices. Even so, popular music makers contest New Zealand on Air’s sympathetic policy settings by citing forms of institutional exclusion.
Publisher: Informa UK Limited
Date: 25-09-2023
Publisher: SAGE Publications
Date: 29-09-2012
Abstract: This article addresses an interpretive gap in the creative industries as social policy literature. To date researchers have considered how contemporary governance formations enable artisans into markets and how state maintenance functions are reconfigured through creative industry workfare programmes. Drawing on research of state involvement with New Zealand’s music industries it is argued that these supports evince another older form of social inclusion where Bismarckian status orders are reproduced through hybrid state-music industry hierarchies. Considering most aspiring musicians also work in the flexibilized service sector, these music policies unintendedly allow for the inclusion of large numbers of artisans in a national cultural project which supplies meaning beyond their labour market position. Such hierarchical structures give form to fluid identities while also enabling struggles over social esteem to be played out all for a small entry in the national budget.
No related grants have been discovered for Michael Scott.