Videography as production nexus : digital film cameras, media mangement and the distribution of creativity

This thesis is about new digital moving image recording technologies and how they augment the distribution of creativity and the flexibility in moving image production systems, but also impose constraints on how images flow through the production system. The central concept developed in this thesis is ‘creative space’ which links quality and efficiency in moving image production to time for creative work, capacity of digital tools, user skills and the constitution of digital moving image material. The empirical evidence of this thesis is primarily based on semi-structured interviews conducted with Swedish film and TV production representatives.This thesis highlights the importance of pre-production technical planning and proposes a design management support tool (MI-FLOW) as a way to leverage functional workflows that is a prerequisite for efficient and cost effective moving image production.

Talangfabriken : Om organisation av kunskap och kreativitet i skivindustrin

The purpose of this dissertation is to describe, explain and understand how record companies identify and develop new music and new talent. The analysis is carried out on three levels: individual, organizational and sector level. In a record company, this task formally goes to A&R (Artist and Repertoire). This dissertation takes its point of departure in how the capacity for discovering new talent can be understood in terms of knowledge, creativity and competence and how this capacity is affected in the meeting between the record company and the industry. The theoretical framework of the dissertation spans two sociological fields: the sociology of organizations and the sociology of knowledge. While it takes its organizational starting point in the Knowledge Company Approach, it employs a practice-based approach to discuss knowledge. I argue that within the Knowledge company approach there are two contrasting ways to understand knowledge; a distinction is made between knowledge- and creativity-intensive enterprises. The results show that the record industry’s polarized structure can be seen as a result of the Knowledge Company’s typical problems. The A&R’s work is described as including two phases, one intuitive and one analytical. The intuitive assessment is direct, unconscious and without reflection. This ability has been described as "intuition" and "gut feeling". The analytical phase adds analysis and reflection based on knowledge. The results from the interviews with A&R’s reveal the limit of formal and explicit knowledge not only in the choice of music but also in the marketing strategies. The overarching picture is one in which record companies move in a space characterized by tension between dichotomous forces – art and commercialism, creativity and knowledge, culture and economy, chaos and order, but where opposite poles are not mutually exclusive but complementary.

Reklambyråanställdas åsikter om yrkesrollen med fokus på kreativitet och kundrelationer : Semi-strukturerade djupintervjuer med art directors och originalare

Studiens syfte var att undersöka byråanställda art directors och originalares olika perspektiv på och förhållningssätt till sin yrkesroll med särskilt fokus på kreativitet och kundrelationer.Nio semi-strukturerade djupintervjuer genomfördes med sex art directors och fyra originalare. Respondenterna valdes ut genom ett kombinerat strategiskt bekvämlighetsurval från nio reklambyråer.Professionalism inom yrkesrollen visade sig vara något som respondenterna inte reflekterat över men det framkom att det främst handlar om hur art directors och originalare förhåller sig till kunden. Dessutom framkom det att respondenterna såg variation i arbetet som en positiv aspekt av yrket medan de såg prestationsångest och utomståendes oförståelse av yrket som negativa.Det framkom även att art directors och originalare i första hand ser på kreativitet som problemlösning, dock såg de olika på problemlösning i sina respektive roller. De använde sig av samma metoder för att finna inspirationsamt hanterade ångest på liknande sätt.Studien visade även att kunden och kundrelationen spelade en stor roll för yrket och ämnet berördes återkommande i respondenternas svar under intervjuernas gång. De använde sig av samma metoder för att finna inspiration

Självet, rollerna och pågående koordinationer av mänskliga handlingar : Om att försöka se ’samhället’ som något annat än fängelse eller marionetteater

The self, roles and the ongoing coordination of human action. Trying to see ‘society’ as neither prison nor puppet theatre In the article it is argued that structural North-American role-sociology may be integrated with theories emphasizing ‘society’ as ongoing processes (f. ex. Giddens’ theory of structuration). This is possible if the concept of role is defined as a recurrence oriented to the action of others standing out as a regularity in a societal process. But this definition makes it necessary to in a fundamental way understand what kind of social being the role-actor is. This is done with the help of Hans Joas’ theory of creativity and Merleau-Pontys concept of ‘flesh’ arguing that Meads concept of the ‘I’ maybe understood as an embodied self-asserting I, which at least in reflexive modernity has the creative power to split Meads ‘me’ into a self-voiced subject-me and an other voiced object-me. The embodied I communicating with the subject-me may be viewed as that role-actor which is something else than the role played. But this kind of role-actor is making for new troubles because it is hard to understand how this kind of self is creating self-coherence by using Meads concept of ‘the generalized other’. This trouble is handled by using Alain Touraines concept of the ‘subject’ and arguing that the generalized other is dissolving in de-modernized modernity. In split modernity self-coherence may instead be created by what in the article is called the generalized subject. This concept means a kind of communicative future based evaluation, which has its base in the ‘subject’ opposing the split powers of both the instrumentality of markets and of life-worlds trying to create ‘fundamentalistic’ self-identities. This kind of self is communicative because it also must respect the other as ‘subject’. It exists only in the battle against the forces of the market or a community. It never constructs an ideal city or a higher type of individual. It creates and protects a clearing that is constantly being invaded, to use the words of the old Frenchman himself. Asa kind of test-case it is by the way in the article shown how Becks concept of individualization may be understood in a deeply social and role-sociological way.