The ABC of the projectariat contributes new thinking on and practical responses to the widespread problem of precarious labour in the field of contemporary art. It works as both a critical analysis and a practical handbook, speaking to and about the vast cohort of artistic freelancers worldwide. In an accessible ABC format, the book strikes a unique balance between the practical and the theoretical: the analysis is backed up by lived experience, the arguments are rooted in concrete examples and there are suggestions for constructive action. Roughly half of the entries expose the structural underpinnings of projects and circulation, isolating traits such as opportunism, neoliberalism, inequality, fear and cynicism at the root of the condition of the projectariat. This discussion is paired with a practical account of different modes of action, such as art strikes, productive withdrawals, political struggles and better social time machines. Just as proletarians had nothing to lose but their chains, the projectarians have nothing to miss but their deadlines.

The goal of this book is to help those people whose lives are impacted by community association living owners, residents, board members, volunteers, management staff and the business partners that service them have a clearer understanding of the dynamics about how to create a community in the truest sense of the word: A collection of diverse individuals that are engaged with each other, informed about community issues and actively work together in order to accomplish goals that will make the community stronger and each of their individual lives better. Creating Community contains simple, yet profound, management strategies that board members, volunteers and management can utilize to attract the energy of change needed in order to bring people together towards the pursuit of common goals and objectives. In short, it is about the art of empowerment in community association living.

“The station where you begin your life, does not need to be your station at the end of your life. The choice is yours.” Growing up poor in wartime England, Frank Farr is an indifferent student, and once he gets into his rebellious teen years, struggles with juvenile delinquency and seems headed for trouble. But when he is presented with the opportunity of a place in a boarding school for “bright delinquents” Frank gets mentored into a passion for learning...and his life takes an entirely different direction. “From shop floor to board room” Beginning as an assistant in a Canadian supermarket, Frank’s willingness to work hard and to continuously learn, starts him on an ascent to the highest levels of the corporate retail world, a happy marriage, fatherhood, and travels around the world. “Good Luck is where preparation meets opportunity” A Life in Stages follows Frank’s rise from unpromising beginnings to eighty-two years of living a good life, learning, working hard and enjoying the love of family and the companionship of friends and colleagues.

'Guy Standing's books have, over the years, pieced together a necessary political and intellectual agenda ... His Politics of Time is a splendid and timely addition to this body of important work' Yanis Varoufakis Time has always been political. Throughout history, how we use our time has been defined and controlled by the powerful, and today is no exception. But we can reclaim control, and in this book, the pioneering economist Guy Standing shows us how. The ancient Greeks organised time into five categories: work, labour, recreation, leisure and contemplation. Labour was onerous, whereas leisure was schole, and included participation in public life and lifelong education. Since the industrial revolution, our time has been shaped by capitalism, our jobs are supposed to provide all meaning in life, our time outside labour is considered simply 'time off', and politicians prioritise jobs above all other aspects of a good life. Today, we are experiencing the age of chronic uncertainty. Mental illness is on the rise, some people are experiencing more time freedom while many others are having more and more of their time stolen from them, particularly the vulnerable and those in the precariat. But there is a way forward. We can create a new politics of time, one that liberates us and helps save the planet, through strengthening real leisure and working together through commoning. We can retake control of our time, but we must do it together.

The Journal of Cultural Management and Cultural Policy offers international perspectives on a wide range of issues in cultural management and cultural policy research and practice. The social situatedness of art and the interplay between artists, non-artists, institutions, and policy makers have changed in the past decades. Democracies are at risk and the geopolitical world order has changed. The global climate emergency and the rise of autocratic governments are just two forces posing new contexts and threatening possibilities for socially engaged art. At the same time, artists and curators are suspected of belonging to a new professional managerial class that entangles them in a neoliberal economic system. Can socially engaged art catalyze progressive civic consciousness? Can art address big questions of social justice? This issue provides some answers to these questions.

Responding to a question of immense interdisciplinary interest, this book investigates the construction of value in the curation of film festivals and production of cultural events undertaken by nonprofit arts organizations around the world. Combining their expertise in economics and sociology, the authors outline a theoretically and methodologically cohesive approach that puts the valuation of cinema right into the middle of global value chain research. It challenges the ways in which the interdisciplinary pursuit of cultural economics has approached cultural value, presenting a thorough analytic inquiry into who produces the value and who seeks rent in the value chain. While offering a fresh approach to cinema and media economics, the book highlights the significant way of nonprofit actor incorporation into value chains and value networks.

Culture is at the heart to what it means to be human. But twenty-five years ago, the British government rebranded art and culture as ‘creative industries’, valued for their economic contribution, and set out to launch the UK as the creative workshop of a globalised world. Where does that leave art and culture now? Facing exhausted workers and a lack of funding and vision, culture finds itself in the grip of accountancy firms, creativity gurus and Ted Talkers. At a time of sweeping geo-political turmoil, culture has been de-politicised, its radical energies reduced to factors of industrial production. This book is about what happens when an essential part of our democratic citizenship, fundamental to our human rights, is reduced to an industry. Culture is not an industry argues that art and culture need to renew their social contract and re-align with the radical agenda for a more equitable future. Bold and uncompromising, the book offers a powerful vision for change.