[Commlist] Call for Papers - Makings Journal - Disruption

*Call for Papers –MakingsJournal - Disruption*

(Please share this call with your postgraduates. The call can also be 
viewed using this 
link:https://makingsjournal.com/call-for-papers-disruption/ 
<https://makingsjournal.com/call-for-papers-disruption/>)

The editors of///Makings <https://makingsjournal.com/about-us/>///– an 
open-access, peer-reviewed journal on *the cultural and creative 
industries* – invite researchers at all stages, including PhD, MA, and 
BA students, to submit 300-word abstracts for the journal’s next issue, 
themed *“Disruption”*.

*Please submit your abstracts (with bios) to the editors:*
Kateryna Sivak (kateryna.sivak /at/ mail.bcu.ac.uk) 
<mailto:(kateryna.sivak /at/ mail.bcu.ac.uk)>
Vincent Obia (vincent.obia /at/ mail.bcu.ac.uk) 
<mailto:(vincent.obia /at/ mail.bcu.ac.uk)>

This year’s theme, it seems, best explains our collective experience 
given the disturbing effects of the Covid-19 pandemic. Along with other 
major disruptive changes – Brexit, the climate crisis, blockchain 
economics, to name a few – it has had an immense influence on arguably 
all areas of our life; and the cultural and creative industries (CCIs) 
are not an exception (OECD, 2020; Casadei, 2021; Deloitte, 2021). CCIs 
are known to be vulnerable with glaring features of precarious work 
conditions, signs of systemic issues, which have been exposed by the 
Covid-19 disruption (Comunian and England, 2020). As the pandemic eases, 
there have been talks of the “new normal”, the suggestion being that 
creative practitioners are to return to the pre-Covid state of 
affairs defined by instability, vulnerability, and precarity. A 
different way of viewing this is to see the present disruption as likely 
to cause lasting and wide-ranging structural changes, with the potential 
for more unsettling realities across creative sectors.

Cardinal amongst these changes is the use of digital technology, which 
has largely been celebrated. We note, however, the need to critique the 
nature, conditions, consequences, and power relations evident in the 
shift to online and hybrid delivery of creative content. Even before the 
pandemic, technology represented a major source of disruption within 
CCIs. Cinema is an illustrative example here – the digital revolution 
embodied by players such as Netflix has challenged the value chain 
set-up and traditional means of operation in the sector (Salvador et 
al., 2019). In this sense, disruption happens when a “new logic” 
captures the core of an industry, presenting opportunities for some and 
obstacles for others (Skog et al., 2018, p. 436).

It is important to emphasise that such disruptions are felt not only at 
an industry or sector level but also by individual creative workers and 
businesses. In this thematic issue, therefore, we would like to explore 
the diverse “disrupted realities” of working within the creative, media, 
and cultural industries both at the micro level (involving sole players 
in the creative industries) and/or the 
macro (involving organisations and supporting institutions). We invite 
abstract proposals that critique disruption in the cultural and creative 
industries, including in film, music, craft, fashion, theatre, cinema. 
We are interested in a range of topics, including but not limited to:

  * Disruption and the cultural and creative industries
  * Pandemic disruption
  * Disrupted past, present, and future
  * The nature, conditions, and consequences of disruption
  * The response of creative workers to disruption
  * Creative labour, precarity, and disruption
  * Climate disruption
  * Technological/digital disruption in CCIs
We are also interested in conceptual reflections from traditional and 
practice-based researchers on various ideas of and approaches to 
disruption in the creative industries.

The topics we have highlighted are by no means exhaustive; and we 
welcome any other proposals that deal with */disruption and the creative 
industries/*.

The deadline for 300-word abstracts is *26 November 2021.* Along with 
the abstract, please add a short bio, including your name, institution 
(if appropriate) and contact email.

The decision on the abstracts will be communicated by *December* 
*2021* and the full submissions (up to 6000 words) will be expected by 
*March-April 2022. *All submissions will go through a double-blind 
peer-review process.

Please check contributor guidelines 
<http://makingsjournal.com/contributor-guidelines/> for more details.

Alongside journal articles, we also welcome shorter think-pieces, 
observations, and experimental works up to 500-1000 words or in the form 
of write-ups, podcasts, videos, images etc., which will be published in 
the /Studio/ <https://makingsjournal.com/studio/>//section of the 
journal/./ If you are interested, please send across an abstract and bio 
as normal indicating a preferred format of your proposed contribution.

*Please submit your abstracts (with bios) or any questions you have to 
the editors:*
Kateryna Sivak (kateryna.sivak /at/ mail.bcu.ac.uk) 
<mailto:(kateryna.sivak /at/ mail.bcu.ac.uk)>
Vincent Obia (vincent.obia /at/ mail.bcu.ac.uk) 
<mailto:(vincent.obia /at/ mail.bcu.ac.uk)>


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