Toby Bennett
Biographic Data
| ID | 4226520 |
|---|---|
| NAME | Toby Bennett |
| GIVEN NAMES | Toby |
| FAMILY NAME | Bennett |
| SIGNATURE | BENNETT T |
| AFFILIATIONS | City, University of London |
| ORCID | 0000-0003-0078-9315 |
| VERIFIED | Yes |
| TOTAL WORKS | 12 |
| TOTAL CITATIONS | 15 |
| AUTHOR COUNT | 12 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2000 |
| LATEST PUBLICATION YEAR | 2025 |
| H-INDEX | 2 |
The art of the public
This three-part intervention asks what bridges might be built between the broad interdisciplinary tradition of cultural economy, as characterised in the pages of this journal, and cultural policy, as a field of governance. Contributors offer some possible approaches to the urgent problematic of what interventions in the field of culture might be encouraged, not only by the state (or what is left of it) but a wide range of public actors. Mariana M…
Undoing cultural studies
This introduction article establishes the territory for the Symposium What Was Cultural Economy? After setting out the reasoning behind the collection and its eight contributions, the introduction describes the terms on which the ‘cultural economy’ concept was launched, within the Open University’s Faculty of Social Sciences, at the end of the 1990s. Noting the collective work involved, I highlight the role of Stuart Hall, and the brand of cultur…
From rag market to creative economy
In this interview, Angela McRobbie reflects on her intellectual and professional trajectory from the mid-1980s to the early 2000s, amid her associations with Stuart Hall and the emerging cultural economy agenda at the Open University. The interview expands on, and incorporates elements from, her contribution to a 2020 workshop marking two decades since Paul du Gay and Michael Pryke convened a ‘Workshop on Cultural Economy’ at the OU in Milton Key…
Cultural revolutions
Editor’s note : This interview forms part of the special issue What Was Cultural Economy? The issue has its origins in a January 2020 symposium, held at City, University of London, marking two decades since Paul du Gay and Michael Pryke convened a ‘Workshop on Cultural Economy’ at the Open University in Milton Keynes. That earlier event culminated in the publication of the edited collection Cultural Economy: Cultural Analysis and Commercial Life …
A poststructuralist who still believes in structures
A Post-Critical Theory of Cultural Production? A Review of the Frankfurt Book Fair and Bestseller Business
To get in the right frame of mind, I begin drafting this review in a hotel bar. I order a Negroni and press shuffle on 'The Frankfurt Kabuff Party 1 (extremely legendary)' Spotify playlist 1 . The opening glissando of Dancing Queen shimmers in my ears and I shake my head at the audaciousness of the authors' conceit. A familiar space and texture is conjured in my mind's eye. A bar. A blurry after-work crowd, untucked shirts, loosened collars, bobb…
The justification of a music city
Towards ‘Embedded Non-creative Work’? Administration, digitisation and the recorded music industry
For contemporary cultural policy, “non-creative” work continues to form a conceptual blindspot: a foil to define and value creativity against. This paper develops existing categories to augment the task-focused notion of “embedded creativity” with a more situated view of work’s cultural and institutional embedding. It first interrogates this “embeddedness”, taking a “cultural economy” approach to intermediation and administrative support. Drawing…
The Production and Consumption of Music in the Digital Age
Gender, Motivation and the Accomplishment of Street Robbery in the United Kingdom
In an influential study of gender and the accomplishment of street robbery in the United States, Miller (1998) demonstrated that whereas there were few gender differences in the motivations for such crimes, men and women typically committed them in strikingly different ways. Other recent work has similarly established both convergence within and divergence between male and female criminal enactment patterns. Most of that work, however, also was c…
Mime in the Cecchetti ‘method’
This article is dedicated to the memory of Laura Wilson, dancer, teacher and lover of the Cecchetti method who died, during the writing of this paper, on 14 May 1999 at the age of 98. In an 1891 letter to the Director of the Imperial Ballet in St. Petersburg, the Italian dance artist Enrico Cecchetti declined the invitation to become repetiteur for the young boys' class, claiming that he was a maestro di perfezionamento, namely a ballet master wh…
Mime in the Cecchetti 'Method'
Gender, Motivation and the Accomplishment of Street Robbery in the United Kingdom
In an influential study of gender and the accomplishment of street robbery in the United States, Miller (1998) demonstrated that whereas there were few gender differences in the motivations for such crimes, men and women typically committed them in strikingly different ways. Other recent work has similarly established both convergence within and divergence between male and female criminal enactment patterns. Most of that work, however, also was c…
Undoing cultural studies
This introduction article establishes the territory for the Symposium What Was Cultural Economy? After setting out the reasoning behind the collection and its eight contributions, the introduction describes the terms on which the ‘cultural economy’ concept was launched, within the Open University’s Faculty of Social Sciences, at the end of the 1990s. Noting the collective work involved, I highlight the role of Stuart Hall, and the brand of cultur…
Towards ‘Embedded Non-creative Work’? Administration, digitisation and the recorded music industry
For contemporary cultural policy, “non-creative” work continues to form a conceptual blindspot: a foil to define and value creativity against. This paper develops existing categories to augment the task-focused notion of “embedded creativity” with a more situated view of work’s cultural and institutional embedding. It first interrogates this “embeddedness”, taking a “cultural economy” approach to intermediation and administrative support. Drawing…
The Production and Consumption of Music in the Digital Age
Cultural revolutions
Editor’s note : This interview forms part of the special issue What Was Cultural Economy? The issue has its origins in a January 2020 symposium, held at City, University of London, marking two decades since Paul du Gay and Michael Pryke convened a ‘Workshop on Cultural Economy’ at the Open University in Milton Keynes. That earlier event culminated in the publication of the edited collection Cultural Economy: Cultural Analysis and Commercial Life …
Mime in the Cecchetti ‘method’
This article is dedicated to the memory of Laura Wilson, dancer, teacher and lover of the Cecchetti method who died, during the writing of this paper, on 14 May 1999 at the age of 98. In an 1891 letter to the Director of the Imperial Ballet in St. Petersburg, the Italian dance artist Enrico Cecchetti declined the invitation to become repetiteur for the young boys' class, claiming that he was a maestro di perfezionamento, namely a ballet master wh…
Mime in the Cecchetti 'Method'
Gender, Motivation and the Accomplishment of Street Robbery in the United Kingdom
In an influential study of gender and the accomplishment of street robbery in the United States, Miller (1998) demonstrated that whereas there were few gender differences in the motivations for such crimes, men and women typically committed them in strikingly different ways. Other recent work has similarly established both convergence within and divergence between male and female criminal enactment patterns. Most of that work, however, also was c…
The Production and Consumption of Music in the Digital Age
Towards ‘Embedded Non-creative Work’? Administration, digitisation and the recorded music industry
For contemporary cultural policy, “non-creative” work continues to form a conceptual blindspot: a foil to define and value creativity against. This paper develops existing categories to augment the task-focused notion of “embedded creativity” with a more situated view of work’s cultural and institutional embedding. It first interrogates this “embeddedness”, taking a “cultural economy” approach to intermediation and administrative support. Drawing…
The justification of a music city
A Post-Critical Theory of Cultural Production? A Review of the Frankfurt Book Fair and Bestseller Business
To get in the right frame of mind, I begin drafting this review in a hotel bar. I order a Negroni and press shuffle on 'The Frankfurt Kabuff Party 1 (extremely legendary)' Spotify playlist 1 . The opening glissando of Dancing Queen shimmers in my ears and I shake my head at the audaciousness of the authors' conceit. A familiar space and texture is conjured in my mind's eye. A bar. A blurry after-work crowd, untucked shirts, loosened collars, bobb…
Undoing cultural studies
This introduction article establishes the territory for the Symposium What Was Cultural Economy? After setting out the reasoning behind the collection and its eight contributions, the introduction describes the terms on which the ‘cultural economy’ concept was launched, within the Open University’s Faculty of Social Sciences, at the end of the 1990s. Noting the collective work involved, I highlight the role of Stuart Hall, and the brand of cultur…
From rag market to creative economy
In this interview, Angela McRobbie reflects on her intellectual and professional trajectory from the mid-1980s to the early 2000s, amid her associations with Stuart Hall and the emerging cultural economy agenda at the Open University. The interview expands on, and incorporates elements from, her contribution to a 2020 workshop marking two decades since Paul du Gay and Michael Pryke convened a ‘Workshop on Cultural Economy’ at the OU in Milton Key…
Cultural revolutions
Editor’s note : This interview forms part of the special issue What Was Cultural Economy? The issue has its origins in a January 2020 symposium, held at City, University of London, marking two decades since Paul du Gay and Michael Pryke convened a ‘Workshop on Cultural Economy’ at the Open University in Milton Keynes. That earlier event culminated in the publication of the edited collection Cultural Economy: Cultural Analysis and Commercial Life …
A poststructuralist who still believes in structures
The art of the public
This three-part intervention asks what bridges might be built between the broad interdisciplinary tradition of cultural economy, as characterised in the pages of this journal, and cultural policy, as a field of governance. Contributors offer some possible approaches to the urgent problematic of what interventions in the field of culture might be encouraged, not only by the state (or what is left of it) but a wide range of public actors. Mariana M…
Sociology (9 works) · Cultural Industries and Urban Development (7 works) · Art (5 works) · Economics (5 works) · Political science (5 works) · Art history (4 works) · Law (4 works) · Aesthetics (3 works) · Anthropology (3 works) · Art History and Market Analysis (3 works)