Reflection iii: Transnationalisation, Television Formats and the Universal

This reflection argues that, despite various good reasons for approaching the notion of the ‘universal’ with caution, cultural theorists should give up their resistance to the universal. The prominence of formats in today’s television suggests that the time is ripe to do. Intentionally or not, accounts of difference implicitly also often reveal sameness; the more we probe heterogeneity, the more likely we are to encounter something that remains consistent and similar. Thus, it is time to collaborate with scholars from the numerous disciplines for which the universal has long had validity and pertinence.

Interregional migration 'wage premia': the case of creative and science and technology graduates in the UK

We analyze the migration behavior of graduates from UK universities with a focus on the salary benefits they receive from the migration process. We focus on sequential interregional migration and specifically examine the case of Science, Technology, Engineering and Mathematics (STEM) and Creative subject graduates. Our analysis differs from previous studies in that it accounts explicitly for migrant selectivity through propensity score matching, and it also classifies graduates into different migration behavior categories. Graduates were classified according to their sequential migration behavior first from their pre-university domicile to university and then from university to first job post-graduation. Our results show that ‘repeat migration’, as expected, is associated with the highest wage premium (around 15%). Other migration behaviors are also advantageous although this varies across different types of graduates. Creative graduates, for instance, do not benefit much from migration behaviors other than repeat migration. STEM graduates, on the contrary, benefit from both late migration and staying in the university area to work.

Embedding arts and humanities in the creative economy: the role of graduates in the UK

The recent change in funding structure in the UK higher education system has fuelled an animated debate about the role that arts and humanities (A&H) subjects play not only within higher education but more broadly in the society and the economy. The debate has engaged with a variety of arguments and perspectives, from the intrinsic value of A&H, to their contribution to the broader society and their economic impact, particularly in relation to the creative economy, through knowledge exchange activities. The paper argues that in the current debate very little attention has been placed on the role that A&H graduates play in the economy, through their work after graduation, and specifically in the creative economy. Using Higher Education Statistical Agency data, we analyse the performance of A&H graduates (compared with other graduates) and particularly explore how embedded they are with the creative economy and its associated industries. The results highlight a complex intersection of different subdisciplines of the A&H with the creative economy but also reveal the salary gap and unstable working conditions experienced by graduates in this field.

Writers' rooms: theories of contemporary authorship in portraits of creative spaces

This article analyzes two series of photographs and essays on writers’ rooms published in England and Canada in 2007 and 2008. The Guardian’s Writers Rooms series, with photographs by Eamon McCabe, ran in 2007. In the summer of 2008, The Vancouver International Writers and Readers Festival began to post its own version of The Guardian column on its website by displaying, each week leading up to the Festival in September, a different writer’s “writing space” and an accompanying paragraph. I argue that these images of writers’ rooms, which suggest a cultural fascination with authors’ private compositional practices and materials, reveal a great deal about theoretical constructions of authorship implicit in contemporary literary culture. Far from possessing the museum quality of dead authors’ spaces, rooms that are still being used, incorporating new forms of writing technology, and having drafts of manuscripts scattered around them, can offer insight into such well-worn and ineffable areas of speculation as inspiration, singular authorial genius, and literary productivity.

Digital technology and creative arts career patterns in the UK creative economy

The creative industries have attracted the attention of academics and policy makers for the complexity surrounding their development, supply-chains and models of production. In particular, many have recognised the difficulty in capturing the role that digital technologies play within the creative industries. Digital technologies are embedded in the production and market structures of the creative industries and are also partially distinct and discernible from it. This paper unfolds the role played by digital technologies focusing on a key aspect of its development: human capital. Using student micro-data collected by the Higher Education Statistical Agency (HESA) in the United Kingdom, we investigate the characteristics and location determinants of digital graduates. The paper deals specifically with understanding whether digital skills in the UK are equally embedded across the creative industries, or are concentrated in other sub-sectors. Furthermore, it explores the role that these graduates play in each sub-sector and their financial rewards. Findings suggest that digital technology graduates tend to concentrate in the software and gaming sub-sector of the creative industries but also are likely to be in embedded creative jobs outside of the creative industries. Although they are more likely to be in full-time employment than part-time or self-employment, they also suffer from a higher level of unemployment.

Before transparency: control and communication in Early-Modern Europe

Today, transparency is hailed as a key to good governance and economic efficiency, with national states implementing new laws to allow citizens access to information. It is therefore paradoxical that, as shown by a series of crises and scandals, modern governments and international agencies frequently have paid only lip-service to such ideals. Since Jeremy Bentham first introduced the concept of transparency into the language in 1789, few societal debates have sparked so much interest within the academic community, and across a variety of disciplines, using different approaches and methodologies. Within these current debates, however, one fact is striking: the lack of historical reflection about the development of the concept of transparency, both as a principle and as applied in practice, prior to its inception. Accordingly, the aim of this special issue is to contribute to historicising the ways in which communication and control over fiscal policy and state finances operated in early modern European polities.

Putting theory to work: the use of theory in construction research

Attention to epistemology, theory use and citation practices are all issues which distinguish academic disciplines from other ways of knowing. Examples from construction research are used to outline and reflect on these issues. In doing so, the discussion provides an introduction to some key issues in social research as well as a reflection on the current state of construction research as a field. More specifically, differences between positivist and interpretivist epistemologies, the role of theory in each and their use by construction researchers are discussed. Philosophical differences are illustrated by appeal to two published construction research articles by Reichstein et al. and Harty on innovation (Reichstein, Salter and Gann, 2005; Harty, 2008). An analysis of citations for each highlights different cumulativity strategies. The potential contribution of mixed research programmes, combining positivist and interpretivist research, is evaluated. The paper should be of interest to early researchers and to scholars concerned with the ongoing development of construction research as an academic field.

Talent on the move: creative human capital migration patterns in UK

The last decade has seen an increasing number of contributions, from both academics and policy makers, focusing on the role of higher education in developing human capital (Charles, 2003; Cramphorn & Woodlhouse, 1999; Preston & Hammond, 2006) and hence contributing to local and regional growth (Faggian & McCann, 2006; Mathur, 1999; Moretti, 2004). Within this broader literature, the role played by more ‘scientific’ types of human capital, such as STEM (science, technology, engineering, and mathematics) graduates and science parks (Bozeman, Dietz, & Gaughan, 2001; Linderlöf & Löfsten, 2004; Löfsten & Lindelöf, 2005), has also been explored. Little attention has been paid so far, to the role played by more ‘creative’ types of human capital. This chapter aims at filling this gap, in light of the central role that the term ‘creative’ took in policy and academic discourses in the UK (Comunian & Faggian, 2011; Comunian & Gilmore, 2015; DCMS, 2006; Powell, 2007; Universities UK, 2010).

Geography, skills and careers patterns at the boundary of creativity & innovation: digital technology and creative arts graduates in the UK

In the last decades, research on knowledge economies has taken central stage. Within this broader research field, research on the role of digital technologies and the creative industries has become increasingly important for researchers, academics and policy makers with particular focus on their development, supply-chains and models of production. Furthermore, many have recognised that, despite the important role played by digital technologies and innovation in the development of the creative industries, these dynamics are hard to capture and quantify. Digital technologies are embedded in the production and market structures of the creative industries and are also partially distinct and discernible from it. They also seem to play a key role in innovation of access and delivery of creative content. This chapter tries to assess the role played by digital technologies focusing on a key element of their implementation and application: human capital. Using student micro-data collected by the Higher Education Statistical Agency (HESA) in the United Kingdom, we explore the characteristics and location patterns of graduates who entered the creative industries, specifically comparing graduates in the creative arts and graduates from digital technology subjects. We highlight patterns of geographical specialisation but also how different context are able to better integrate creativity and innovation in their workforce. The chapter deals specifically with understanding whether these skills are uniformly embedded across the creative sector or are concentrated in specific sub-sectors of the creative industries. Furthermore, it explores the role that these graduates play in different sub-sector of the creative economy, their economic rewards and their geographical determinants.