An Organizational Structure of Indie Rock Musicians as Displayed by Facebook Usage

Abstract

Indie rock musicians are a group of extra-institutional individuals who play an often-vibrant role in urban economic development. The organizational structure that guides their professional activities has yet to be investigated. Interviews with 18 indie rock musicians provided a way to investigate organizational structure. They reported a build structure featuring the principles of audience development, slow growth, and unevenness. The constraints of the musician’s professional situation require long-term promotion of aesthetic products to a slowly growing audience in a saturated market that produces unevenness through power imbalances. This slow-growing structure contrasts with organizational structures that provide immediate benefits.

“Coworking Is About Community”: But What Is “Community” in Coworking?

“…Contractors seek coworking spaces for various reasons, including their need to have personal contacts (Gerdenitsch et al, 2016; Groot, 2013; Spinuzzi, 2012), access to shared infrastructure and resources (Bouncken, Clauß, & Reuschl, 2016; Capdevila, 2014; Clifton, Crick, & Fuzi, 2012; Kojo & Neonen, 2016, 2017; Merkel, 2015), and networking opportunities with potential clients, subcontractors, and other collaborators (Capdevila, 2014; Groot, 2013; Kubátová, 2014; Leclercq-Vandelannoitte & Isaac, 2016; Liimatainen, 2015; Rus & Orel, 2015; Waters-Lynch & Potts, 2017). Some of these needs have also been discussed in adjacent cases such as nomadic and contingent work (Ciolfi & Carvalho, 2014; Connelly & Gallagher, 2004; Czarniawska, 2013; Gandini, 2016b; Liegl, 2014; Rossitto, Bogdan, & Severinson-Eklundh, 2013; Su & Mark, 2008) and other forms of distributed work (Avdikos & Kalogeresis, 2017; Heckscher & Carré, 2006), including forms that have been examined in the professional communication literature (Carradini, 2018; Edenfield, 2017; Fraiberg, 2017; Lauren & Pigg, 2016; Pigg et al, 2014; Spinuzzi, 2007, 2014).…”

“…Consequently, workers often seek new ways to form communities and to collaborate within them. Research in rhetoric and professional communication has explored these themes, not only in coworking spaces (Spinuzzi, 2012) but also in cooperative (Edenfield, 2017), social collective (Pigg et al, 2014), independent and self-promotional (Carradini, 2018; Lauren & Pigg, 2016; Spinuzzi, 2014), and entrepreneurial (Fraiberg, 2017) work environments. This focus on distributed work is critical in understanding changes to professional communication, a knowledge work field that not only orchestrates communicative work but has experienced remarkable changes in the organization, production, and content of its own work (e.g., Andersen, 2014; Ferro & Zachry, 2014).…”

Sex Work and Professional Risk Communication: Keeping Safe on the Streets

“…Extrainstitutional Communication. TPC scholarship has expanded its focus on documentation produced outside of institutions by "nonexperts" (Carradini, 2018;Ding, 2009;Kimball, 2006;Petersen, 2014), including user guides (Colton et al, 2017;Edenfield et al, 2019;Holladay, 2017;Sarat-St. Peter, 2017). The kind of risk communication that occurs among sex workers that we analyzed for our project fits within this domain: userproduced, extrainstitutional documentation that, according to Kimball (2006), increased "their freedom of agency" (p. 68).…”

Spatial Practices in the City: The Kidnapping of an Arts Organization

“…In this sense, the April Exhibition was considered here as an institutionalized arts organization that permeates creative, economic and social aspects (Flach & Antonello, 2011), which transcends time, space and places to which it is proposed. Artistic and cultural organizations are constituted by networks of interactions of different formats, which act in the amplification of their social senses and in the revitalization of the local creative economies (Carradini, 2018).…”