The critical study of cultural and creative industries involves the interrogation of the ways in which different social forces impact the production of culture, its forms, and its producers as inherently creative creatures. In historical terms, the notion of “the culture industry” may be traced to a series of postwar period theorists whose concerns reflected the industrialization of mass cultural forms and their attendant marketing across public and private spheres. For them, the key terms alienation and reification spoke to the negative impacts of an industrial cycle of production, distribution, and consumption, which controlled workers’ daily lives and distanced them from their own creative expressions. Fears of the culture industry drove a mass culture critique that led social scientists to address the structures of various media industries, the division of labor in the production of culture, and the hegemonic consent between government and culture industries in the military-industrial complex. The crisis of capitalism in the 1970s further directed critical scholars to theorize new dialectics of cultural production, its flexibilization via new communications technologies and transnational capital flows, as well as its capture via new property regimes. Reflecting government discourses for capital accumulation in a post-industrial economy, these theories have generally subsumed cultural industries into a creative economy composed of a variety of extra-industrial workers, consumers, and communicative agents. Although some social theorists have extended cultural industry critiques to the new conjuncture, more critical studies of creative industries focus on middle-range theories of power relations and contradictions within particular industrial sites and organizational settings. Work on immaterial labor, digital enclosures, and production cultures have developed the ways creative industries are both affective and effective structures for the temporal and spatial formation of individuals’ identities.
Brenda L. Berkelaar and Millie Harrison
Broadly speaking, cybervetting can be described as the acquisition and use of online information to evaluate the suitability of an individual or organization for a particular role. When cybervetting, an information seeker gathers information about an information target from online sources in order to evaluate past behavior, to predict future behavior, or to address some combination thereof. Information targets may be individuals, groups, or organizations. Although often considered in terms of new hires or personnel selection, cybervetting may also include acquiring and using online information in order to evaluate a prospective or current client, employee, employer, romantic partner, roommate, tenant, client, or other relational partner, as well as criminal, civil, or intelligence suspects. Cybervetting takes advantage of information made increasingly available and easily accessible by regular and popular uses and affordances of Internet technologies, in particular social media. Communication scholars have long been interested in the information seeking, impression management, surveillance, and other processes implicated in cybervetting; however, the uses and affordances of new online information technologies offer new dimensions for theory and research as well as ethical and practical concerns for individuals, groups, organizations, and society.