There has been increasing interest and debate in recent years on the instituted nature of economic processes in general and the related ideas of the market and the competitive process in particular. This debate lies at the interface between two largely independent disciplines, economics and sociology, and reflects an attempt to bring the two fields of discourse more closely together. This book explores this interface in a number of ways, looking at the competitive process and market relations from a number of different perspectives. It considers the social role of economic institutions in society and examines the various meanings embedded in the word 'markets', as well as developing arguments on the nature of competition as an instituted economic process. The close of the twentieth century saw a virtual canonisation of markets as the best, indeed the only really effective, way to govern an economic system. The market organisation being canonised was simple and pure, along the lines of the standard textbook model in economics. The book discusses the concepts of polysemy , idealism, cognition, materiality and cultural economy. Michael Best provides an account of regional economic adaptation to changed market circumstances. This is the story of the dynamics of capitalism focused on the resurgence of the Route 128 region around Boston following its decline in the mid-1980s in the face of competition from Silicon Valley. The book also addresses the question of how this resurgence was achieved.
Death of Neoliberalism
or the Triumph of Hayek? ’, Journal of CulturalEconomy ,
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Between markets, firms and networks:
constituting the culturaleconomy
Cultural and creative sectors have come to represent key areas of growth
within a number of regional and national economies, and figure prominently
within arguments regarding the increasingly ‘cultural’ character of economic
processes and the restructuring of market forms. An emergent culturaleconomy is also of critical interest for institutional analysis, and for a number of
reasons. Firstly, such an analysis addresses very clearly the need to take culture
Bordering intimacy is a study of how borders and dominant forms of intimacy, such as family, are central to the governance of postcolonial states such as Britain. The book explores the connected history between contemporary border regimes and the policing of family with the role of borders under European and British empires. Building upon postcolonial, decolonial and black feminist theory, the investigation centres on how colonial bordering is remade in contemporary Britain through appeals to protect, sustain and make family life. Not only was family central to the making of colonial racism but claims to family continue to remake, shore up but also hide the organisation of racialised violence in liberal states. Drawing on historical investigations, the book investigates the continuity of colonial rule in numerous areas of contemporary government – family visa regimes, the policing of sham marriages, counterterror strategies, deprivation of citizenship, policing tactics, integration policy. In doing this, the book re-theorises how we think of the connection between liberal government, race, family, borders and empire. In using Britain as a case, this opens up further insights into the international/global circulations of liberal empire and its relationship to violence.
This book is about science in theatre and performance. It explores how theatre and performance engage with emerging scientific themes from artificial intelligence to genetics and climate change. The book covers a wide range of performance forms from the spectacle of the Paralympics Opening Ceremony to Broadway musicals, from experimental contemporary performance and opera to educational theatre, Somali poetic drama and grime videos. It features work by pioneering companies including Gob Squad, Headlong Theatre and Theatre of Debate as well as offering fresh analysis of global blockbusters such as Wicked and Urinetown. The book offers detailed description and analysis of theatre and performance practices as well as broader commentary on the politics of theatre as public engagement with science. It documents important examples of collaborative practice with extended discussion of the Theatre of Debate process developed by Y Touring theatre company, exploration of bilingual theatre-making in East London and an account of how grime MCs and dermatologists ended up making a film together in Birmingham. The interdisciplinary approach draws on contemporary research in theatre and performance studies in combination with key ideas from science studies. It shows how theatre can offer important perspectives on what the philosopher of science Isabelle Stengers has called ‘cosmopolitics’. The book argues that theatre can flatten knowledge hierarchies and hold together different ways of knowing.
that of the distinctiveness of the operations of ‘cultural industries’. She
addresses the debate about whether we currently can be said to have a ‘culturaleconomy’ with newer principles of operation than those of an older
industrial economy. Finding it hard to understand the producers in terms of
the products being sold, she argues that attention should be paid instead to
the role of specialised knowledge involved in the framing of goods to be sold
in cultural markets. Distinctive firms, labour contracts and mixed forms of
governance imply a definition of the
granted and because it has become acknowledged
as the basis of more effective market behaviour. As a result, corporate intervention in these processes has become more reflexive, more rationalised and
more institutionalised within corporate structures and divisions of labour.
The conclusion of this kind of analysis is quite simply that we do not live in
a ‘more cultural’ economy, or a society of the sign, or an enculturated economy but that we do live in a world that has opened up the black box of the
social object, institutionalising and rendering reflexive processes
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