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
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