This article examines the significance of networking practices as a means of finding work and developing a career in the British independent television production sector (ITPS). The findings are based on qualitative research carried out between 2005 and 2006, based on in-depth interviews with 20 freelancers working in the ITPS. The article studies the importance of networking not only as a mode of finding work, but also a mechanism of exclusion, favouring individuals with high levels of cultural and social capital. Drawing on sociological theories of networks such as those of Granovetter and Burt, the article considers the emergence of new patterns of hierarchy and discrimination within the ITPS, in a context where formal recruitment procedures are often bypassed in favour of network relationships. It also examines the implications for television workers of the discursive shift towards networking, where the ‘networkextender’ is presented as the ideal within contemporary management discourse.

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This article discusses the working lives of individuals working in the British independent television production sector. It focuses on the material reality of their individualised, precarious working environment, investigating the disjuncture between the precarious, insecure nature of creative labour within this industry, which engenders stress and anxiety, and the intense emotional pleasure associated with such work. While the tension between ‘pleasure’ and ‘pain’ within creative occupations has been well documented (e.g. McRobbie, 2002b; Ursell, 2000), this article argues that in order to fully understand the subjective responses to creative work we need to look beyond the dominant post-Foucauldian approach in this field and attempt to understand cultural work as a site for moral work (Banks, 2006). Creative occupations are sites of exploitation and intense insecurity fuelled by the desire for self-actualisation. However, they are also spaces where workers have an ethical commitment to, and passion for, their cultural work.

The genetic consequences of adaptation to changing environments can be deciphered using population genomics, which may help predict species' responses to global climate change. Towards this, we used genome‐wide SNP marker analysis to determine population structure and patterns of genetic differentiation in terms of neutral and adaptive genetic variation in the natural range of Eucalyptus grandis, a widely cultivated subtropical and temperate species, serving as genomic reference for the genus. We analysed introgression patterns at subchromosomal resolution using a modified ancestry mapping approach and identified provenances with extensive interspecific introgression in response to increased aridity. Furthermore, we describe potentially adaptive genetic variation as explained by environment‐associated SNP markers, which also led to the discovery of what is likely a large structural variant. Finally, we show that genes linked to these markers are enriched for biotic and abiotic stress responses.

Paper:Lee, DJ (2012) Precarious creativity: Changing attitudes towards craft and creativity in the British independent television production sector. Creative Industries Journal (4). 155 -170. http://dx.doi.org/10.1386/cij.4.2.155_1Precarious creativity: Changing attitudes towards craft and creativity in the British independent television production sector Cite as: Lee, D. (2012). Precarious creativity: Changing attitudes towards craft and creativity in the British independent television production sector. Creative Industries Journal, 4(2), 155-170. Abstract:This article focuses on television workers' attitudes towards craft and creative practice within the field of factual television production in the British independent television production sector (ITPS). Based on longitudinal qualitative research, it argues that a radical shift has occurred in the professional values that television producers' associate with their creative work, by focusing on ethical and professional norms within factual television production. By considering the historical and contemporary discourse of 'craft' within this area of creative work, the article interrogates the nature of the changes that have taken place. The wider significance of these changes is also considered, through an engagement with theoretical concerns about the place of craft within late modernity (Sennett 2006), and with debates about the changes that have taken place within the political economy of independent television production. The article's findings have contextual significance within contemporary debates about creative work (Hesmondhalgh & Baker, 2010). Despite the celebratory policy rhetoric of the 'creative industries' (DCMS 1998), the transformed production environment within contemporary British television has had a detrimental effect on skills retention and development, as well as on the potential for creativity within the industry. Keywords: creative labour; cultural industries; television production; deskilling The emerging social order mitigates against the ideal of craftsmanship, that is, learning to do just one thing really well; such commitment can often prove economically destructive. In place of craftsmanship, modern culture advances an idea of meritocracy which celebrates potential ability rather than past achievement. (Sennett, 2006: 4) This article explores the impact of the material conditions of labour in the British independent television production sector (ITPS) on workers' production values and sense of craft in their creative work. The findings are based on interviews with twenty individuals working in the ITPS across a range of creative occupations. Under the deregulated and commercialised conditions of production in the freelance independent sector, (self-) exploitation is rife for a large number of workers, associated with extremely long hours, stress, insecurity, and a lack of pension provision and holiday pay (BFI, 1999;Sparks, 1994). The freelance nature of television work means that workers must invest high levels of time and ...

Over the last decade in the UK, there has been a notable shift in the popularity and use of cultural mapping as a methodology for policy making at a regional and local level. This follows increased demand for an informed framework for planning arts and cultural facilities from local and regional government and from within the cultural sector (Evans, 2008: p. 65). The article begins with an exploration of cultural mapping within cultural policy, which explores the context for the growth in this area of activity, and why this kind of activity appeals to policy makers and organisations. It then goes on to examine four cultural mapping exercises which have been undertaken in recent years in the UK. These studies have been chosen because although they all focus the mapping of cultural assets within a specific geographic area, they differ to one degree or another in purpose, context, definition, geographic scale and methodology. They illustrate the narrow range of approaches deployed in the cultural mapping field in the UK, and as such provide a useful means of critically reviewing their limits as well as highlighting the issues and challenges faced by cultural cartography in practice. The article concludes by considering the type of mapping research that is "allowed" within the discursive confines of consultancy based cultural policy research. IntroductionOver the last decade in the UK, there has been a notable shift in the popularity and use of cultural mapping as a methodology for policy making at a regional and local level. This follows increased demand for an informed framework for planning arts and cultural facilities from local and regional government and from within the cultural sector (Evans, 2008: p. 65). This demand has been driven by a series of factors: the overall shift towards "evidence based policy-making" which has been such a significant feature of New Labour cultural policy-making (Cabinet Office, 1999;Oakley, 2006); population increases in housing growth areas and the need for cultural amenity planning for future settlements; the need to accommodate culture within Regional Spatial Strategies; the emergence of Multi-Area Agreements across local government, and a subsequent strengthening of the position of culture as a driver of economic and social regeneration. Moreover, there is a growing desire at the national level (within the Department of Culture, Media and Sport (DCMS) and amongst agencies such as Arts Council England) to connect evidence of provision (i.e. assets) with the increasing evidence of demand for culture and sport that is

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