Pros and Cons of Creative Labour

Pros and Cons of yeasty LabourAssignment question Critic e real(prenominal)y evaluate the concept of fictive comprehend. Is it good or terrible for workers and guild?For the last 20-30 years the information, communication technology, media and services and industries pay become the most essential and demanded affaires in the modern cosmos. They bring people new opportunities, which peck simplify peoples adopts and wants. I believe this Charles Landry claimed suggests that the take aimments make are essentially cultural as they reflect the elan people descry their problems and opportunities (Charles Landry). The important point here is that these technologies and services designed and developed by humanity, are what we straightaway call the inventive labour grocery. creative thinking is essential to the way we live and work today, and in many senses always has been (Florida, 2002 p. 21). The purpose of this essay is to critically evaluate the concept of fictive lab our in order to manage the question Is it good or bad for workers and society in our world.Debate continues as to what yeasty thinking is exactly, what it means to be creative and how this fits into society and the wider economical environment. John Hawkins (2002) claimed that the best way to define creativeness as having a new idea he argued that our society needs information. He also advocated that we need to be active, clever, and persistent in challenging this information. In his words, in that location is a need to be original, sceptical, argumentative, often bloody-minded and occasionally downright negative all these things get along us creative. However, it leads us to the question where does this creativity take place? It is possible to say that creativity is produced by creative industries and it would be the right answer, further in our society, creativity can take place anywhere. As Hawkins (2002) said, creativity is where the brain works in the determining motive . The psychologist Dean Keith Simonton argued that creativity is favoured by an intellect that has been enriched with diverse experiences and perspectives. Creativity is associated with a mind that exhibits a variety of interests and knowledge (Florida, 2002 p. 33). Peter Drucker said that knowledge and information are the tools and materials of creativity (Florida, 2002 p.44). Because of the ideological freight of its specific features, creative work heightens and denaturalises normal principles of work. In creative works marginal context, normal principles of work seem to infringe broader social values. (Theorising Cultural Work, 2013 p.74) To conclude this point, creativity is where thoughts are not ordinary, aesthetic, individual, smart and clever. A creative person innovates, produces, provides and develops new ideas and concepts. Creativity covers social, cultural and economic areas.The creative-labour market is crucial for workers. A creative worker is someone that communica tes with society. The creative worker innovates, creates and develops for people they focus on end product. Raymond Williams claimed that creative workers are different from early(a) workers, The creative worker makes the communication of experience their central work in life the artists work is the actual work of transmission and uses learned skills to send that experience. Creativity involves distinct kinds of thinking and habits that must be cultivated both in the individual and in the surrounding society (Florida, 2002 p.21). Creative constancy workers are organised and mobilised so time constraints such as normal office hours and workspaces are not set in stone. Creative workers are very influential, they form the core of the frugality science, engineering, architecture and design, education, arts, music and entertainment even finance, law and healthcare. The creative class generates wealth and happiness local government should develop policies to cultivate them (Florid a, 2002). The creative process is social, not however individual, and thus forms of organisation are necessary (Florida, 2002). Creative work is a cooperative and independent imitate of production. Creative labour is power to people, where a person can take control over things they are going to create and choose how they relate to the world around them. Creativity breeds freedom, autonomy and choice, aspects which make the employee feel empowered, comfortable and in control. Free agents, so the argument goes, are able to break free from the chokehold of large organisations and take control of their lives. (Florida, 2002 p.28). Another huge benefit for creative workers are good working condition, you can work not only at an office, notwithstanding you could be in a film or radio studio, atelier, at home or even travelling across the world.Being creative is in it ego a challenge, dependent upon many factors including interest and involvement from society. One example of the challe nges could be an interview taken from Creative Labour. Media work in tercet cultural industries, told byfaced is below a documentary producer, Malcolm who shares his experience of working in the creative industriesI have had an amazing life. I have watched democracy come to Argentina, witnessed the most violent riots they had in country for 50 years. I was there when the gate of Gaza were opened. Ive been attacked by the KGB. Ive filmed with the Contras in Nicaragua, all kinds of places and amazing experiences from planeWU1 crashes to sharing terrible tragic moments to moments of great elation. I have seen so much of the world and I have been paid to do that. So it has been a very intense life with great experiences and I am glad I had it. (Interview 37 p. 128 Creative Labour. Media work in trey cultural industries)The Malcolm interview explains that the experience and skills the workers earn in creative labour area cannot be found or reproduced, or recreated in other areas, mer ely moments in history can be captured by individuals and reflected back to a wider audience. This not only provides opportunities to be a witness of history in the devising but also be part of this history. To conclude, the issue of creative work is complex and contradictory a mixture of autonomy, glamour and exploitation, inequality and precarious conditions.Media companies run in fields as diverse and interconnected as public relations, marketing, advertisingWU2 and journalism have traditionally been considered cultural industries, representing those companies and professions primarily responsible for the industrial production and circulation of culture. (Hesmondhalgh, 2002 p. 163) In the ongoing academic debate on the definition of culture (or cultural) industries, media production tends to be emphasised as particular to the field of action of the companies and corporations involved. In recent years, policy makers, industry observers and scholars alike have reconceptualised m edia work as taking place within a broader context of creative industries. The term was introduced by the UK government Department of Culture, Media and Sport (DCMS) in 1998, defining creative industries as those industries which have their origin in individual creativity, skill and talent and which have a potential for wealth and job creation through the generation and exploitation pf intellectual property. This includes advertising, architecture, the art and antiques market, crafts, design, designer fashion, film and video, interactive leisure software and ready reckoner games, television and radio.Creativity also has some negative effects on workers. The creative process can take a long time and there is a high-pitched take aim of risk. In recent times, technological advances have increased so rapidly, that adopting and working with the new technologies can make workers feel ill at ease(predicate) and left behind somewhat. With the economy as it is currently, and such high le vels of unemployment, workers in the creative industries can struggle to maintain their career progress. This has led to a high level of competition and creates high levels of stress, but ultimately results in progress.David Hesmondhaulgh, a prominent academic and a director of Media Industries Research Centre tell in his book that creative labour and creativity is the big aspect for media workersWU3(Hesmondhalgh 2002 p.168). In his opinion professional identity of creative industries involves four constituent elements content, connectivity, creativity and occupation (Ibid) Professionals in media industries in particular and creative industries to a greater extent generally produce content, yes. However, they also invest in platforms for connectivity where fans and audiences provide free labour. Media work involves the creation with the industries, yes, but tends to take place within a distinctly commercial context. Within a context of destabilising legacy industries and dissolvi ng boundaries between media consumption and production, the media worker whitethorn feel isolated. However, this isolation can give some creative control to the media professional as well. Arthur (1994) suggests that creating a career without boundaries could be the best, if not only, way to conk in the current work environment. To some extent, individuals could be seen as taking control of their career paths, resulting in a new type of sovereign job security. It could also be said that those who are willing to train themselves, become moreWU4 attractive to management and employers. By being proficient in respective(a) methods of media production, workers can use multiple creative talents to their good and are increasingly expected to be doing so.In the everyday construction of a sense of self for cultural workers that leads to a more or less coherent (or at least imagined) professional identity it is the interplay between the values of providingWU5 content, organising connec tivity, managing creative freedom and being commercially successful (which is not necessarily an expression in monetary terms) that structures ones negotiations. There is an argument to say that working in the creative industries would seem to allow the individual to identify themselves as a single producer of content and as part of a larger whole, whereas the intermediate level of the company or organisation seems to disappear. (David Hesmondhalgh, 2002)Society massively benefits from creative and cultural labour. Creative workers are constantly thinking about what audiences think, what they want and work on ways of delivering this. There is huge demographic analysis and numerous surveys undertaken in either new creations of technological triggers, the making of new TV shows, art, literature and other various media platforms. Creative workers make products for people and society. As Maurizio LazzaratoWU6 said The image of society is dominated by knowledge and information work (Laz zarato, 1996).Creativity and creative labour have a huge effect not only on workers and industries, but also on society and the world. London is a gross(a) example of a city of huge world status, which is defined and almost created by its cultural identity, practices and the tuition of its creative industries. Industries present in the capital are internationally oriented and diversified which in itself cultivates the necessary support for both local and international creative activity. This type of activity makes London a more attractive environment to people that are artistic, thus resulting in the development of the city in economic, social and cultural ways. Charles Landry, (1997) claimed, Cultural activities are i conterminousricable to innovation and creativity, and historically this has been the lifeblood of cities as a means of unleashing their capacity to survive and adapt. The places where the creativity and cultural activities took place in large lead only to developmen t and growth of characteristic mentioned above.The cultural and creative industries are part of what is commonly referred to as the service and knowledge economy. Writers who stress the role of creative (as a source of competitive advantage) point to the injection of creative work into all areas of economic life. (Andy Pratt, 2006). Another important point to make here is that creative labour and creative industries create the so-called New Economy. The New Economy, is defined as the transition from heavy industry to a new technology found economy. Creative labour is very connected to this concept because the provision of information and communication technologies (ICTs) is central to determining our economy be dynamic rather than just stable. Terry Flew (2001) stated that the core dynamics of this economic system arose out of the fusion of technologies of knowledge generation, information processing, and symbol communication with the processes of globalisation, digitisation and ne tworking. He stated that these have led to the rise of the network society as the dominant form of social organisation. The point Terry Flew makes, is that creative industries and labour, whilst providing knowledge, new ideas and innovation of technologies make a huge contribution and are central to the development of our economy, which brings only benefits to our society and world as a whole.In so-called old economy markets are stable, in new economy markets are dynamic, the scope of completion are less national, more global. Manufacturing used to be at the core of our economy, now everything is centred around services, knowledge and information. The source of value in old economy is raw materials or physical capital you could say that now, more value is set(p) on human resources and social capital. In business areas, key drivers of growth was capital and labour, now is about innovation, knowledge and networking. The main source of competitive advantage was lowering cost through sc ale, but now is made by innovation, quality and the depth and breadth of communication. The innovation of new information and communication technologies made by creative labour has changed the tastes of business and economy workers, people started to gain broad skills and adaptability when previously they have basic job-specific skills. Innovation and creativity make society think and discover differently in a way that is developing all the time.To conclude, creativity, creative labour and creative industries are great, significant and essential thing in our world. Creative labour creates and innovates things, new technologies, it provides new theories and information, which affects and influences workers, people, and the overall economy. It makes social and cultural life of people, cities and the world more positive and our ways of working smarter. Creative industries is useful for workers, especially media because of its highly popular graduate employment destinations with glamoro us and exciting places to work alongside other highly educated, highly skilled workers. Creativity took place in media and communications. These are advertising, architecture, the art and antiques market, crafts, design, designer fashion, film, interactive leisure software, music, the performing arts, publishing, software, television and radio. (Creative Industries Task Force, 1998)ReferenceBaker S. and Hesmondhalgh, D. (2011). Creative Labour. Media Work In Three Cultural Industries. RoutledgeBlair, H. (2001). Youre Only as Good as Your Last Job the Labour Process and Labour Market in the British Film Industry. Work, Employment and Society. 15(1) 149-169.Florida, R. (2004). The Rise of the Creative Class And how its Transforming Work, Leisure, Community and Everyday Life. London Basic Books.Flew, T. (2012). The Creative Industries Culture and Policy. London SageGill, R. and Pratt, A. (2008). In the social factory? Immaterial labour, precariousness and cultural work. Theory, Culture and Society. 25(1) 2-30Hartley, J. (2005). Creative Industries. Blackwell. OxfordHesmondhalgh, D. (2007). The Cultural Industries, 2nd Edition. London SageWU1Done paraphrasingWU2Done paraphrasingWU3Check paraWU4Done in next pageWU5Working on itWU6Cant find a particular sentence in the book