Place and Production process in Sneaker Design The creative process I’ve chosen is the shoe industry with sneaker design. If you can use the instructions a

Place and Production process in Sneaker Design The creative process I’ve chosen is the shoe industry with sneaker design. If you can use the instructions and grading rubric provided below to write a 4 page double spaced essay that would be perfect. I have provided 2 lecture powerpoints from the class and one short reading she provided please use 3-5 topics from the powerpoints as required in the instructions. Also include outside sources and ctations. If you need more lecture powerpoints I can provide them. Instructions for Paper 1:
The creative industry for this essay that I chose will be Sneaker Design under
Design/Fashion.
Find at least three academic or non-academic sources beyond the course reading such as
magazine articles, newspaper articles, or documentaries. It is OK to use all non-academic
sources, if you wish.
Drawing on the central concepts and themes of the course, compare the findings from these
sources (your independent research) to the central concepts/themes in the course readings
and lectures. For example, if you were exploring K-pop, you might compare how newspaper
articles about the K-pop industry discuss the career trajectories of K-pop stars with what we have
learned in class about the career trajectories of other creative producers, such as models and
rappers. Are the career trajectories similar in length, prospects of success, and stability? Why or
why not?
You should not focus on one concept/theme, but instead focus on several concepts/themes from
various readings across different lectures in the unit, as discussed in the Grading Criteria
document. You should focus your attention on citing and discussing the academic readings from
the course (marked with an asterisk on the syllabus).
The Producer and Place paper may address many of the following questions, and you may use
the questions below to help you outline and organize your paper. For example, your paper
could cover four or five of the topics below.
1. Globalization:
a. Where is this creative product produced? How is the production and
circulation of this product globalized and/or localized?
b. How does this relate to research on the globalization of cultural products?
2. Creative Cities:
a. How do different people use this creative product to promote or brand
particular places?
b. How does this relate to research on place branding?
3. Creative Careers:
a. Who are the creative producers in this industry? What are their demographics?
What are their career trajectories (i.e. average salaries, career lengths,
elements of uncertainty or precarity in their working lives, chances of success,
different career tracks)?
b. How does this relate to research on creative careers?
4. Genre and Status:
a. What are the various genres in your creative industries, and how do they align
with different levels of status? How do producers work to switch genres,
change the definitions of their genres, or change the statuses of their genres?
b. How does this relate to research on status and genre?
5. Collaborative Networks:
a. How do producers create and maintain relationships with other producers?
How do they collaborate with other producers?
b. How does this relate to research on creative networks?
6. Experimentation:
a. How do producers experiment to make new products? How do they form
distinctive styles?
b. How does this relate to research on creative experimentation?
The paper should be 3-4 pages, not including the list of references at the end. Given the
relatively short length of the paper, please devote as much of the paper as possible to content,
rather than “padding”. This means that you should include only a brief introduction or
conclusion. Direct quotes from the sources or readings should also be kept short.
Formatting: The paper should have 1-inch margins on all sides. It should be double spaced, in
12-point, Times New Roman font. Please put only your name in the header (not multiple lines
regarding the course number, etc.) and entitle your paper with a single line (i.e. “Production in
the Music Industry”).
Citations and References: Your paper should have internal citations for both course readings and
sources from your independent research. After quoting an article/book or discussing the findings
without explicit quotations, use in-text/embedded citations. For example:
As Espeland and Sauder (2007) reveal, law school administrations often change their
admissions criteria in order to conform to public ranking systems.
Research reveals that law school administrations often change their admissions criteria in
order to conform to public ranking systems (Espeland and Sauder 2007).
At the end of your paper, include a list of references. The list of references should include both
course materials and sources from your own research that you directly cite in the paper. You may
format these according to any well-recognized referencing system. This is a good style guide to
follow: http://www.asanet.org/sites/default/files/quick_tips_for_asa_style.pdf
Please reference the Grading Criteria document for information on how we will assess your
papers.
Grading Criteria for Papers 1, 2, and 3
The papers will be graded on the basis of the following criteria:
1. Depth: Your papers should show engagement with important concepts and themes from
the readings and lectures. You should demonstrate understanding of the reading by going
beyond the information presented in class. For example, you could briefly quote (three
lines of texts or less) a key point from the reading in your analysis, or give an example
from the reading. Higher grades will be given to those who demonstrate knowledge of the
reading and deeply analyze concepts, rather than superficially touching on themes.
2. Breadth: You should balance depth with breadth. Rather than spending the entire paper
on one concept, discuss themes from multiple class readings and lectures in a way that
critically engages each theme. Higher grades will be given to papers that focus on a range
of concepts and themes from the unit and cite course content accordingly.
3. Quality of Independent Research: You should have high-quality sources from your
independent research, such as newspaper articles, magazine articles, journal articles, and
documentaries. These sources do not need to be academic books or journal articles
written by sociologists, but authors should be reputable and credible. Some examples of
newspapers and magazines that may have good articles include The New York Times,
Washington Post, Wall Street Journal, TIME, Newsweek, New Yorker, U.S. News &
World Report, Harper’s, Economist; however, you should use news writing and not
opinion pieces (such as op-eds or letters to the editor) in these newspapers and
magazines. The sources should be relevant to your creative industry and to the course
content. Higher grades will be given to those who use at least three high-quality and
relevant sources beyond the class reading.
4. Quality of Analysis: Your analysis of your independent research and the course content
should be accurate, and your independent research should be appropriately applied to
course content. Higher grades will be given to those who analyze data and theories
correctly and make appropriate connections between independent research and the course
content.
You will not be graded on writing style directly, as I recognize that students come in with
different levels of writing skills. However, your papers should be written as well as you can, with
appropriate formatting and references.
These criteria will be considered holistically, meaning that you will not receive a specific
numerical score for each criterion. Instead, we will consider the criteria together when reading
each paper and assign a grade based on the quality of the paper as a whole.
LECTURE 3:
GLOBALIZATION AND
CULTURE
Lecture Overview
■ How are creative products produced,
distributed, and consumed globally?
■ How does the globalization of culture affect
place?
GLOBAL FLOWS
OF CREATIVE
PRODUCTS
Sociological Methods for Studying
Globalization
■ Macro-level: Interactions between
states/nations and organizations (meso)
■ Micro-level: Interactions between people
Macro-Sociological Theories of
Globalization
■ Macro-social forces:
– Colonialization
– Industrialization
– Technological advances
■ Competitive Advantages
■ Cultural Imperialism
Sociological Methods for Studying
Globalization
■ Macro-level: Interactions between
states/nations and organizations (meso)
■ Micro-level: Interactions between people
“Following the Thing”
■ Coordination of design, production, and supply = commodity
chain
Where does Design Happen?
Where do Supplies Come from?
Where does Production Happen?
Why China?
And the Next Silicon Valley is…
When Does Design and Production
Happen?
■ 8 AM: Email with China (night)
■ 12 PM: Call West Coast (beginning of workday)
■ 10 PM: Email with China (morning)
How has globalization changed the
coordination and conventions of the
workday for creative producers?
■ Expanded workday
■ Coordinating activities across multiple time-zones
and language/cultural barriers
■ Frequent international travel
■ Faster production process
Exercise
■ Choose a creative product
■ Where are various aspects of this product produced,
distributed, and consumed?
■ Are these processes globalized? How?
■ How has this changes the nature of work in this
field?
Key Point
■ Compression of time and space at micro-level of
globalized production
■ Global division of labor
GLOBALIZATION OF
CULTURE AND PLACE
Contested Tastes
Gavage
Foie Gras
DeSoucey’s Methods
DeSoucey’s Question
■How do people enact their ideas of
national identity and heritage through
foie gras production and
consumption?
Artisanal vs Industrial Foie Gras
Foie gras as a symbol of authentic
Frenchness
■ Symbolic boundaries based on perceptions of
authenticity
– Symbolic boundaries = conceptual distinctions
about attitudes, practices, and beliefs that define
“us” versus “them”
– Authenticity = perceptions of genuineness or
“realness” in quality
Social Exclusion:
Foie gras as a symbol of authentic
Frenchness
■ https://www.youtube.com/watch?v=ZsSogJuHCsk
■ What are the symbolic boundaries?
■ On what basis do people draw these symbolic
boundaries?
■ How do people construct authenticity?
Exercise
■ Choose a creative product
■ What is a key symbolic boundary concerning this
creative product?
■ How does this symbolic boundary divide people?
■ Is this symbolic boundary related to perceptions of
authenticity? Is this symbolic boundary related to
places (cities, regions, or nations)?
The Case of IPAs
The Case of IPAs
The Case of IPAs
Key Point
■ The globalization of creative products have
strengthened people’s place-based
perceptions of authenticity
Key Points
■ Creative producers coordinate more quickly and flexibly
across global time and space
■ There is a global division of labor
– Specialized knowledge, networks, institutions,
resources
■ The globalization of creative products has not
homogenized place
– Perceptions of authenticity
Has Globalization Caused “McDonaldization”?
Ebi Fillet-o-Shrimp Burger
Taro Pie
McCurry Pan
Chicha Purple Temptation
Mashed Potato Burger
Readings for Next Class
■ *Wherry, Frederick. 2011. “Chapter 3: The Art World of the Barrio.” Pp. 48-71 in The
Philadelphia Barrio: The Arts, Branding, and Neighborhood Transformation . The
University of Chicago Press.
■ Nazaryan, Alexander. 2017. “The ‘Artwashing’ of America: The Battle for the Soul of
Los Angeles Against Gentrification.” Newsweek. May 21st.
https://www.newsweek.com/2017/06/02/los-angeles-gentrification-californiadevelopers-art-galleries-la-art-scene-608558.html
Readings for Next Class
■ *Wherry, Frederick. 2011. “Chapter 3: The Art World of the Barrio.” Pp. 48-71 in The
Philadelphia Barrio: The Arts, Branding, and Neighborhood Transformation . The
University of Chicago Press.
■ Nazaryan, Alexander. 2017. “The ‘Artwashing’ of America: The Battle for the Soul of
Los Angeles Against Gentrification.” Newsweek. May 21st.
https://www.newsweek.com/2017/06/02/los-angeles-gentrification-californiadevelopers-art-galleries-la-art-scene-608558.html
Readings for Next Class
■ *Wherry, Frederick. 2011. “Chapter 3: The Art World of the Barrio.” Pp. 48-71 in The
Philadelphia Barrio: The Arts, Branding, and Neighborhood Transformation . The
University of Chicago Press.
■ Nazaryan, Alexander. 2017. “The ‘Artwashing’ of America: The Battle for the Soul of
Los Angeles Against Gentrification.” Newsweek. May 21st.
https://www.newsweek.com/2017/06/02/los-angeles-gentrification-californiadevelopers-art-galleries-la-art-scene-608558.html
LECTURE 5:
CREATIVE CAREERS
PAPER 1
INSTRUCTIONS
Step 1: Choose a Creative
Industry/Subfield/Genre
Step 2: Find Sources
■ Search:
– i.e. UCSB Library Website
– Google Scholar
– Google News
– normal Google searches
– Wikipedia
Step 2: Find Sources
■ Evaluating Sources:
■ Authorship
– Is there an author? What are their credentials?
■ Publisher
– Who is the publisher? What is their reputation? Is their mission to inform, sell, or editorialize?
– Examples of good periodicals: BBC, The New York Times, Washington Post, Wall Street Journal, TIME,
Newsweek, New Yorker, Harper’s, Economist
■ Accuracy and objectivity
– Can the facts presented on a website be substantiated elsewhere by other reputable sources?
■ Timeliness
– When was the page created and updated?
■ Footnotes and bibliographies (optional)
– Legitimate references and links to other sources can add to a document’s credibility
Step 2: Find Sources
■ Example: Industry – K-Pop, Course Theme – Globalization
– From UCSB Library Online Search: https://www.library.ucsb.edu/
■ “Manufacturing Creativity: Production, Performance, and Dissemination of Kpop”
■ “K-pop in Korea: How the Pop Music Industry is Changing a PostDevelopmental Society”
■ “Have you ever seen the Rain ? And who’ll stop the Rain ?: the
globalizing project of Korean pop” (K‐pop)
– Google/Google News/Google Scholar
■ “The dark side of South Korean pop music” (BBC)
■ “How K-Pop Conquered the West” (Rolling Stone)
■ “Why The Blueprint For K-Pop Actually Came From Japan” (NPR)
Step 3: Apply your Research to Course
Readings and Lectures
■ Read sources and take notes (See “Tips on
Notetaking”)
■ Choose 3-5 themes from unit (lecture topics)
■ Compare and contrast what sources say about your
creative industry to course content from each theme
– Focus on academic readings (*)
■
Step 3: Apply your Research to Course
Readings
and
Lectures
Introduction (brief)
■ Globalization of K-Pop
– To what extent and how is the production and consumption of K-pop globalized or localized?
– Compare and contrast to course material
■ Creative Careers:
– What are the demographics of K-pop artists? What are their career trajectories?
– Compare and contrast to course material
■ Experimentation:
– How do K-pop artists experiment to make new songs?
– Compare and contrast to course material
■ Genre and Status:
– How did K-pop evolve as a genre and how did the status of the genre evolve?
– Compare and contrast to course material
■ Conclusion (brief)
Evaluation
■ Breadth
– 3-5 Lecture topics
■ Depth
– Demonstrate knowledge of readings (paraphrasing,
brief quotes)
– No “fluff” (very brief intro and conclusion)
■ Quality of Independent Research
– Relevant and reputable sources
■ Quality of Analysis
– Sources accurately and creatively applied to relevant
course content
Lecture Overview
■ How are money and prestige distributed among
creative producers?
■ What qualities characterize creative careers?
■ Why do people pursue creative careers?
THE DISTRIBUTION
OF MONEY AND
PRESTIGE
Key Point
■ Creative industries are generally winner-takeall markets, where a small percentage of
creative producers (and intermediaries)
capture a large percentage of the money
and/or prestige available.
The Modeling Industry – Mears
The Modeling Industry – Mears
The Modeling Industry – Mears
Product = red
Producer = purple
Intermediary = blue
Consumer = green
The Modeling Industry – Mears
Producer
• Models
Intermediary 1
• Bookers
(Agencies)
Intermediary 2
• Clients
(Designers,
Photographer,
Stylist,
Casting
Director, Art
Director)
Critical (Editorial) vs Commercial Career
Paths
Critical (Editorial) vs Commercial Career
Paths
Critical (Editorial) vs Commercial Career
Paths
Symbolic vs Economic Capital
■ Symbolic Capital =
resources available to an
individual on the basis of
prestige
■ Economic Capital =
economic resources
available to an individual
Symbolic vs Economic Capital
High Symbolic Capital
Low Economic Capital
High Economic Capital
Low Symbolic Capital
Symbolic vs Economic Capital
High Symbolic Capital
Low Economic Capital
High Economic Capital
Low Symbolic Capital
Key Point
■ Creative producers (and intermediaries) often
face a trade-off between money and prestige.
QUALITIES OF
CREATIVE CAREERS
High Uncertainty
Short-term, Project-based Labor
Economic Precarity
Key Point
■ Creative careers are uncertain, project-based,
and economically precarious
MAINTAINING
CREATIVE CAREERS
The Hip Hop Industry – Lee
Momentous Interactions
■ Momentous Interactions = Encounters that
leave people feeling excited and hopeful about
their futures.
Momentous Interactions
■ Three Kinds of Momentous Interactions:
– Exposure to popular media in and around
LA
Momentous Interactions
■ Three Kinds of Momentous
Interactions:
– Exposure to popular media in
and around LA
– Collaborations with people
working behind the scenes in
entertainment world
Momentous Interactions
■ Three Kinds of Momentous Interactions:
– Exposure to pop media in and around LA
– Collaborations with people working behind the
scenes in entertainment world
– Working relationships with celebrities
Momentous Interactions
■ Modeling “Options”
Exercise
■ Choose a creative industry
■ What kinds of momentous interactions do
these creative producers have?
Key Point
■ Creative producers continue to work toward
creative careers in part because of
momentous interactions
Key Points
■ Creative industries are winner-take-all markets
■ Creative producers face a trade-off between money
and prestige
■ Creative careers are uncertain, project-based, and
economically precarious
■ Creative producers continue to work toward creative
careers because of momentous interactions
Readings for Next Lecture
■ *Lee, Jooyoung. 2016. “Chapter 3: Freestyle.” Pp. 73-97 in Blowin’ Up: Rap Dreams
in South Central. Chicago University Press.
■ *Leschziner, Vanina. 2015. “Chapter 4: Managing a Culinary Style.” Pp. 73-92 in At
the Chef’s Table: Culinary Creativity in Elite Restaurants. Stanford University Press.
[Start and beginning of chapter and stop at section, “Establishing a Professional
Lineage in New York and San Francisco” on p. 92]
Readings for Next Lecture
■ *Lee, Jooyoung. 2016. “Chapter 3: Freestyle.” Pp. 73-97 in Blowin’ Up: Rap Dreams
in South Central. Chicago University Press.
■ *Leschziner, Vanina. 2015. “Chapter 4: Managing a Culinary Style.” Pp. 73-92 in At
the Chef’s Table: Culinary Creativity in Elite Restaurants. Stanford University Press.
[Start and beginning of chapter and stop at section, “Establishing a Professional
Lineage in New York and San Francisco” on p. 92]
Readings for Next Lecture
■ *Lee, Jooyoung. 2016. “Chapter 3: Freestyle.” Pp. 73-97 in Blowin’ Up: Rap Dreams
in South Central. Chicago University Press.
■ *Leschziner, Vanina. 2015. “Chapter 4: Managing a Culinary Style.” Pp. 73-92 in At
the Chef’s Table: Culinary Creativity in Elite Restaurants. Stanford University Press.
[Start and beginning of chapter and stop at section, “Establishing a Professional
Lineage in New York and San Francisco” on p. 92]
This document is brought to you by the
Northwestern University Main Library Interlibrary Loan
Department.
NOTICE: This Material May Be Protected By Copyright Law.
(Title 17 U.S.Code)

Purchase answer to see full
attachment