[Commlist] CfP : Long Durations and Disruptions: Temporalities of Transformation in Cultural Industries (TeMIC)

*CALL FOR PROPOSALS : Long Durations and Disruptions: Temporalities of 
Transformation in Cultural Industries (TeMIC)*

*International Conference, Paris, October 15 & 16, 2026, Campus Condorcet*

/Organised with the inIdEx project ICCA (Industries Culturelles et 
Création Artistique)//./


*Presentation *

Contemporary transformations in cultural industries have given rise to 
numerous research on digital technologies, devices and industry 
ecosystems. The concept of the platform plays a pivotal role in this 
context, through its threefold aspect of information system, market and 
organisation (van Dijck et al. 2018; Nieborg & Poell 2018; Bullich 
2021). Platforms have thus been viewed primarily as spaces: spaces for 
participation (Demazière et al. 2009; Flichy 2010), content structuring 
(Vitali-Rosati 2020) or digital rent extraction (Durand 2023; Broca 
2025). This spatial approach to platforms is reinforced by the temporal 
negation induced by the near-immediacy of digital communication, in line 
with the phenomenon of ‘acceleration’ that is constitutive of capitalist 
modernity (Rosa 2013). Informational redundancy phenomena, whether due 
to the personalisation of algorithmic recommendations and/or addictive 
logic, reinforce this approach to platforms as spaces closed in on 
themselves and denying the experience of duration. The emergence of 
generative artificial intelligence on the digital scene confirms this 
diagnosis of redundancy, as it leads to criticism of the stereotypical 
nature of the content it generates almost instantaneously.

Seeking to explore the different dimensions of time in the 
transformations of contemporary cultural industries, the TeMIC 
conference aims to distinguish itself from questions proposing a spatial 
approach (digital space, but also national space, cultural area, 
production hubs, etc.), by seeking to situate these within historical 
and/or temporal dynamics. To this end, the conference intends to bring 
together contributions focusing in particular on the audio-visual and 
music industries, favouring cross-cutting, comparative or contrastive 
approaches between different sectors/eras/spaces. At the crossroads of 
the history of cultural and digital industries, the political economy of 
communication and sociology, the objective is to examine how long-time 
spans and moments of disruption shape the logic of production, 
circulation and consumption of cultural forms, formats and content.

In this sense, it is useful to take a close look at the intertwining of 
economic, technological and cultural models within the audio-visual and 
music industries, as suggested by Caldwell (2023). Indeed, the 
platformisation of cultural industries has taken place within 
socio-economic configurations that have persisted over time, in 
particular the domination of a few majors over a multitude of small-size 
independent companies (Vignolle 1980; Creton 2020). From this point of 
view, platformisation appears less as a rupture than as a gradual change 
within a pre-existing relational and organisational whole (Creton et al. 
2026). This transformation is also accompanied by public policies 
(Bouquillion 2017; Chevret-Castellani and Labelle 2019; Vinuela 2024), 
which often make it possible to periodise developments (e.g. 
before/after the implementation of the European Audiovisual Media 
Services Directive). In addition, the phenomenon of acceleration can be 
compared to the ordinary modalities (Alter 2000) of appropriation of 
network technologies, whether from the point of view of producers or 
audiences. Finally, this approach based on temporalities invites us to 
question the transformation of professions and professional groups, as 
has been studied in the audio-visual sector (Barnier et al. 2019; 
Roussel 2025), but also the changing temporalities of work in the 
cultural industries, as well as the temporal evolution of viewing and 
listening practices.

In order to address these different issues, proposals for papers, based 
on empirical and/or theoretical work in all disciplines may explore, 
without being limited to, the following three topics around which the 
conference is organised:

*-       Axis 1: Products*

The first focus area examines the temporality of cultural products and 
their consumption. Continuing the effort to ‘think about the 
intertwining of creation and industrial standardisation’ (Bouquillion et 
al., 2013), the concepts of format and standard can be analysed by 
questioning the duration of content, which is generally becoming shorter 
and shorter, and may even be freed from the constraints of 
standardisation in terms of duration. Their contemporary profusion also 
raises questions about the temporality of release (de-linearisation, 
automatic start-up, etc.), as well as listening/viewing times (daily, 
fragmented, binge watching, etc.).

Furthermore, the temporal standardisation of content can be examined 
through the emergence of ‘optimisation tools’ or ‘decision-making 
assistants’ (Jooris, 2024) aimed at increasing audience, value and 
remuneration through the use of real-time metrics. The challenge 
therefore becomes to examine how platforms and social networks 
contribute to the definition of production standards (Mattelart 2021) 
based largely on the exploitation of consumption data collected on 
streaming services or external sites. We will thus examine the ability 
of platforms to strengthen their strategic position (Bouquillion et al. 
2013; Seaver 2022) as intermediaries between content providers and 
consumers in the audio-visual and music industries, as well as the 
aesthetic and formal consequences this strategy has on content, whether 
in terms of homogenisation or of an increased presence of unique content.

*-    Axis 2: Production*

Another level of questioning will focus on production time. While 
studies have revealed the intensification of working days in the worlds 
of daily television series (Mille, 2014) or high-end drama (Zarka, 
2025), we may wonder to what extent increase in the quantity of work is 
due to former models (Buxton, 2011) and, more broadly, to industrial 
models pursuing economies of scale or based on the outsourcing of 
support functions. The reference to industrial rationalisation will 
highlight the specific contributions of digitisation and platformisation 
of content, as well as the use of generative AI systems. We will 
therefore examine the extent to which production rhythms are influenced 
by curatorial models characteristic of platforms (engagement logic, 
algorithmic recommendation, etc.), but also on the coexistence of 
flexible and incompressible time in all stages of the production of an 
audio-visual or musical work (search for funding, bureaucratic 
processes, preparation of staging, recording/filming and post-production 
time, virtual production time, etc.).

This approach based on production times finally invites us to question 
the extent to which the quest for time saving determines the 
relationships between established practices (those of managers, agents, 
public and private funders, artistic and technical teams, etc.) and 
emerging ones (algorithmic delegation, data extraction, analysis and 
exploitation, etc.) (Zhang and Negus 2024), as well as the resulting 
temporal arrangements, references to time savings in professional 
discourse (studio filming vs. natural settings, outsourcing of tasks, 
use of AI, etc.), but also temporal failures through delays, slowdowns 
in processes due to force majeure, production accidents or strikes.

*-    Axis 3: Circulation/valorisation*

Finally, the conference will focus on the circulation/valorisation of 
cultural products. Globalised access to content/works, the possibility 
of almost immediate and simultaneous distribution worldwide, and the 
overabundance of cultural supply are well-documented phenomena. However, 
this kind of digital ubiquity enabled by technology is confronted with 
the regulatory logic of states, such as those aimed at protecting 
intellectual property through the principle of territoriality of rights 
(Vinuela 2025) or media chronology (Chantepie and Paris 2019). It also 
interacts with the political framework for creative expression, which 
can be an asset for artists or, conversely, a hindrance to the creative 
process and dissemination in authoritarian regimes (Bienvenu 2024). 
Finally, it deals with the time frame for symbolic and economic valuing 
in a transnational circuit: participation in festivals/concerts, 
commodification, and the lifespan/exploitation of works in light of new 
forms of economic and cultural intermediation in the audio-visual and 
music industries.

Furthermore, content prominence is increasingly exposed to 
invisibilisation strategies caused by the depth of catalogues, or even 
to exclusion due to the rotation of content/works/hits in the streaming 
era. It thus appears that access to the ever-expanding catalogues of 
digital platforms does not resolve inequalities in the circulation of 
artistic productions and, on the contrary, raises the question of 
obsolescence. Indeed, while the notion of obsolescence generally refers 
to capital equipment, does it not also affect cultural products, which 
are threatened with invisibility due to their very profusion? Particular 
attention will therefore be paid to ‘discoverability’ mechanisms 
(Bénistant et al. 2024), as well as to the efforts of professional 
groups and public authorities at the national, regional, supra-national 
and transnational levels to support the integration of cultural 
productions into global circuits.

/This conference has received support from the investment programme 
“France 2030” as part of the IdEx programme (ANR-18-IDEX-0001) 
implemented by Université Paris Cité, under which the inIdEx project 
ICCA is conducted.
/
*Submission details: *

the deadline for sending proposals for individual papers, *in English or 
in French, is April 13th 2026. *

They must be sent to (colloquetemic2026 /at/ protonmail.com)

*Proposals should include:*

·      The title of the paper

·      Author(s) name and affiliation

·      An abstract (maximum 3000 signs presenting the topic, the 
theoretical framework, and the field)

·      3 to 5 keywords

·      A short biography of the author(s)

·      3 to 5 bibliographic references

*Notification of acceptance of proposals: May 2026*


*Organising Committee :*

Ana Viñuela, IRCAV, Université Sorbonne Nouvelle 
<(ana.vinuela /at/ sorbonne-nouvelle.fr)>

Samuel Zarka, LabSIC, Université Sorbonne Paris Nord 
<(samuel.zarka /at/ univ-paris13.fr)>

*
*

*Scientific Committee :*

Alix Benistant, LabSIC, Université Sorbonne Paris Nord

Grégoire Bienvenu, Dicen, Université Paris Nanterre

Laure de Verdalle, CNRS et Printemps, UVSQ/Université Paris Saclay

Jacob Matthews, LabSIC, Université Paris 8 Vincennes - Saint-Denis

François Moreau, ACT, Université Sorbonne Paris Nord

Violaine Roussel, CRESPPA, Université Paris 8 Vincennes - Saint-Denis

Olivier Thévenin, CERLIS, Université Sorbonne Nouvelle

Ana Viñuela, IRCAV, Université Sorbonne Nouvelle

Samuel Zarka, LabSIC, Université Sorbonne Paris Nord

*
*

*Bibliography *

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