Boundary Work and Early Careers in Design and Media

Polyoccupationalism: Expertise Stretch and Status Stretch in the Postindustrial Era

“…Drawing inspiration from research on multiple identities (Ramarajan 2014; Thoits 1983), we urge scholars to examine the nature, intensity, and multiplexity of the bonds formed with various occupations, as well as the ordering of multiple occupational identities. In the wake of recent work highlighting the subjective “tensions” (Rowe 2019), “dilemmas” (Chong 2021), and “authenticity struggles” (Caza et al 2018) associated with individuals’ combination of multiple work identities, future research might also investigate whether certain groups of workers experience polyoccupationalism in more conflictual or harmonious ways, whether certain combinations of occupational identities lead to lower levels of tension than others, or whether the discordance experienced by individuals correlates with the number of occupations they report or the extent of expertise and status stretch in which they engage. It may also be useful to examine how polyoccupationalists manage these tensions on a daily basis.…”

“…It may also be useful to examine how polyoccupationalists manage these tensions on a daily basis. Qualitative studies usually distinguish workers who segment their multiple occupations from those who strive to create an integrated view of their work (Caza et al 2018; Hénaut, Dubois, and Lévy 2023; Rowe 2019), yet more research is needed to understand how these strategies are distributed in the workforce. Future scholarship might thus examine whether status-stretching polyoccupationalists seek to incorporate their multiple identities under a single, high-status one to enjoy the full benefits attached to it, or if expertise-stretching, elite workers tend to maintain firm boundaries between their multiple identities to emphasize the diversity of their expertise.…”

“…To the extent that contract-based workers are free from the employer-employee relationship, they have been described as "self-directing" their "protean" careers (Briscoe and Hall 2006;Hall 1996) in ways that enable them to take jobs in diverse occupational areas to fulfill their multiple needs and earn different types of rewards. For example, Rowe (2019) argues that designers and digital-media artists use "side projects," "freelance exploration," and "strategic alternation" to combine lucrative and meaningful work, a combination they could not find in any single contract or with any single employer. Holding multiple occupational roles may also work as a strategy to mitigate the instability of labor markets and survive periods of un-or underemployment (Chong 2021;Handy 1989;Menger 2001), with workers often combining stable employment in "host" occupations (Freidson 1994(Freidson , 2001 with other less dependable work (Gerber 2017;McRobbie 1998;Schlesinger and Waelde 2012;Throsby and Zednik 2011).…”

Understanding Creative Entrepreneurs’ Work Practices: The Varying Conversation between Artistic and Economic Rationales

“…Entrepreneurial passion produces an intense positive emotion toward entrepreneurial tasks and activities important to the entrepreneur's self-identity (Guercini & Cova, 2018). Conventional wisdom dictates creative workers pay a price for seeking desirable work in competitive markets (Rowe, 2019). But artists are resilient in resisting the economization process of their artistic activities (Dutraive & Szostak, 2021).…”

Análisis bibliométrico de la relación arte y diseño gráfico

“…Ferrell et al (2017) manifestaron que en la prehistoria el arte era básicamente sinónimo de destreza, porque para ellos el arte era la habilidad que tenían las personas para hacer algo, se consideraba un arte toda habilidad sujeta a determinadas normas -reglas y que tuviera la capacidad de desarrollarse y mejorarse. No obstante, Fernando y Ohene-Djan (2022) recalcaron que en la edad antigua el arte se comenzó a dividir en la profesión y la ciencia del arte, debido a que los aristócratas y los ricos comenzaron a mostrar interés por la belleza, por lo que se hizo cada vez más importante mirar a los artistas cuyas vidas habían cambiado por completo, fomentando el coleccionismo, además hubo cambios extremos y comenzó un nuevo arte, es decir el arte no tiene reglas ni normas y es inspirado, no aprendido (Rowe, 2019). Por otra parte, Hernáiz-Pérez et al (2021) argumentaron que para la edad media el arte se enfocaba en que los artistas comienzan a tener más soberanía en la producción de sus obras, huyen de la religión y pierden el poder de expresar su voluntad y sentimientos.…”