Journal articles on the topic 'Drap – Industrie et commerce'

En 2005, l’Organisation mondiale du commerce (OMC) fêtait son dixième anniversaire. Mais cet anniversaire n’était pas porteur que de bonnes nouvelles pour le Canada à l’OMC. L’abrogation de l’Accord sur les textiles et les vêtements, le premier jour du 121e mois après la prise d’effet de l’Accord sur l’OMC, a heurté de plein fouet une industrie textile canadienne visiblement incapable de trouver son créneau face à la concurrence asiatique et a rapidement entraîné, au début de 2005, des milliers de pertes d’emplois au Canada.

Le dépouillement de seize registres notariés de Corleone, gros bourg isolé de la Sicile centrale, entre 1370 et 1420, complétés par le re­cueil des coutumes et réglements municipaux, permet d'étudier un marché rural et son intégration au grand commerce international par l’achat de drap, principalement catalan, et la vente réguliere de grandes quantités de froment et de fromage aux marchands de Palerme, de définir ses acteurs, des notables, notaires, prêtres, chirurgiens, tanneurs et drapiers juifs, et de préciser enfin les mécanismes de l'achat anticipé et de la vente à crédit qui le fondent. Absence de professionnalité marchande, capacités techniques des Juifs, participation de tous à l'entreprise agricole caractérisent le mar­ché local sicilien, Corleone se distinguant encore par la filature d'une laine médiocre et le tissage d'un orbace grossier. La conjoncture difficile des années qui suivent le seconde peste favorise en effet l'élevage semi-sauvage et l'exportation de ses produits.

Cet article analyse le processus par lequel une industrie de la beauté des années 1960 devient globalisée. Il le fait au travers du prisme de l’industrie hongkongaise de la perruque, – alors n° 1 mondial des industries globales de la beauté aux États-Unis, valant 1 milliard de dollars. Suivre cette industrie de son ascension jusqu’à son déclin permet d’appréhender l’histoire de la mondialisation différemment : non pas comme l’avènement du laissez-faire et d’un capitalisme global dématérialisé, mais comme un ensemble de relations complexes historiquement constituées (connexions à l’Inde et à la Chine), ayant un caractère accidentel découlant de la politique de Guerre froide (embargo surprise contre les cheveux « communistes » asiatiques), ou encore résultant de la surveillance intrusive du commerce hongkongais par le gouvernement britannique, qui, en garantissant la qualité et l’origine, surmonta la méfiance envers la distance inhérente au commerce global.

C'est principalement vers la fin des années 1950 que les problèmes rencontrés dans le commerce international du textile et du vêtement devinrent de plus en plus aigus. Selon la plupart des pays importateurs et exportateurs engagés dans ce segment important du commerce international, l'Accord général sur les tarifs douaniers et le commerce (GATT), qui régit les relations commerciales internationales dans leur ensemble, s'avérait insuffisant pour prévenir ou corriger ces problèmes. Afin de pallier cette situation, les pays participants au commerce international des textiles de coton adoptèrent, au début des années 1960, l'Accord à court terme sur les textiles de coton. À cet accord succéderont l'Accord à long terme sur les textiles de coton, qui régira le commerce international des textiles de coton de 1961 à 1973, et l'Arrangement concernant le commerce international des textiles (AMF), celui-ci régissant le commerce international d'à peu près tous les textiles et vêtements depuis le 1er janvier 1974. Le but du présent article est d'étudier la mise en oeuvre de l'AMF au Canada au cours de la période 1974-1984. Dans un premier temps, nous examinerons la réglementation canadienne applicable au commerce du textile et du vêtement avant l'entrée en vigueur de l'AMF. Cette analyse nous permettra de constater que dès 1974 le Canada disposait déjà des instruments juridiques nécessaires à la mise en oeuvre de l'AMF. Plus particulièrement, nous démontrerons que l'adhésion du Canada à l'AMF était des plus compatible avec la politique commerciale canadienne applicable au secteur du textile et du vêtement. Dans un second temps, nous verrons comment le Canada a mis en oeuvre et exécuté ses obligations internationales. Bien qu'il ait été favorable en principe à la libéralisation des échanges, le Canada s'est largement prévalu des dispositions de l’AMF pour protéger son industrie du textile et du vêtement. Pour ce faire, et à l'instar des grands pays importateurs, le Canada a conclu des ententes de restriction volontaire à l'exportation avec ses partenaires commerciaux et a exceptionnellement recouru à l'imposition d'un contingentement global des importations dans le cadre du GATT. De façon générale, force est de reconnaître que si le Canada a accordé une protection considérable à son industrie, il l'a fait dans le respect des dispositions de l'AMF.

L’innovation constitue un facteur central de survie et de développement d’une firme, d’une branche, voir d’un pays. Si l’innovation industrielle a donné lieu à des approches manageriales riches et diversifiées, les outils d’analyse de l’innovation dans les activités commerciales font cruellement défaut. L’objet du présent article est de compléter les outils d’analyse existants en les adaptant aux problématiques de la distribution et du management de la chaîne de l’offre. La première partie de l’article examine deux approches de l’innovation, l’une marketing, l’autre stratégique ; une classification spécifique distinguant les innovations de concept, de flux, d’organisation ainsi que les innovations architecturales est ensuite proposée. La seconde partie présente une première évaluation de l’impact des innovations ainsi repérées au sein des activités commerciales sur les rapports industrie-commerce. En conclusion des pistes de recherche sont esquissées .

Résumé RÉSUMÉ: La réforme du secteur électrique a été d’emblée la plus radicale ayant jamais touché les «Public Utilities» d’Angleterre. En effet, le gouvernement de M. Thatcher ne s’est pas contenté de privatiser l’électricité, il a simultanément imposé: -la déintégration verticale et horizontale des métiers et des entreprises, -et l’implantation de «marchés ouverts», en amont et en aval du secteur, pour le commerce de gros et de détail. Cependant, dans le fonctionnement concret du secteur électrique anglais, des règles correspondant à un «service public partiel» ont été maintenues pour encadrer les activités de transport et de distribution ainsi que le service aux clients non-éligibles.

Résumé En prologue de cet article, nous rappelons les circonstances qui ont amené Jochen Hoock à contribuer à une nouvelle Histoire de Rouen. Il vise aussi à caractériser la spécificité de son approche par rapport à celle développée par Jean-Pierre Bardet dans la précédente Histoire de Rouen. Puis est envisagé, en deux temps, l’apport principal de l’auteur. Durant la première moitié du XVIIe siècle Rouen apparaît comme une grande ville marchande sous tension du fait notamment des guerres européennes. Les années 1650-1700 sont marquées par des difficultés économiques liées à l’exacerbation des tensions religieuses avant que le commerce colonial et international serve d’appui à l’expansion industrielle des années 1680-1740. En conclusion, la démarche de Jochen Hoock paraît essentielle en ce qui concerne l’articulation entre commerce et industrie et aussi entre différents niveaux d’analyse, du local à l’international et au global.

La médiatisation de type publicitaire affecte-t-elle l’expression de préoccupations liées aux enjeux sociaux et environnementaux de l’industrie de la mode comparativement à une activité délibérative ? Le protocole expérimental présenté conduit à l’observation d’un écart significatif entre les expressions spontanées influencées par l’espace vécu, les expressions recueillies dans un contexte sémio-communicationnel expérimental de type persuasif marketing (baisse significative de l’évocation de ces enjeux) et celles produites après un exercice délibératif (forte hausse). L’introduction de produits proposés par des acteurs du commerce équitable ne permet pas d’infléchir fortement les réponses. Ces résultats éclairent les discussions sur les modalités d’alimentation des débats dans l’espace public par des démarches de type marketing mais constituent également un défi pour les acteurs défendant des formes commerciales alternatives promotrices du développement durable. Pour eux, le recours à des espaces publics autonomes complémentaires apparaît nécessaire pour ne pas s’en remettre à la seule éthique du consommateur.

Cet article traite de la production manufacturée dans les économies avancées. Il analyse les tendances générales à l’œuvre à la fois dans ces économies et dans l'économie mondiale. L’article refuse l’idée selon laquelle les économies avancées pourraient s’appuyer, à titre principal, sur les services, et souligne qu’une industrie puissante est vitale pour leur prospérité. L’industrie dans ces économies a déjà subi une restructuration douloureuse et de nouveaux problèmes l’attendent, mais il y a des occasions nouvelles d’ exportation offertes par la croissance des marchés dans les pays en voie de développement. L’article conclut par une analyse de la structure du commerce global et de l’impact des firmes transnationales.

Depuis le milieu des années 80, les détaillants alimentaires de l’Europe du Nord ont pris progressivement le contrôle du canal de distribution, notamment en assurant le pilotage des flux logistiques à la place de leurs fournisseurs industriels. Pour éviter que ce contrôle ne conduise à une prolifération de comportements abusifs, les Pouvoirs Publics ont cherché à établir les bases d’une compétition verticale saine et loyale entre industrie et commerce. Prenant le cas français de la loi Galland (1996), l’article indique que l’interventionnisme étatique semble néanmoins avoir des effets paradoxaux confortant la puissance des détaillants alimentaires plutôt que de l’éroder .

En rapprochant très directement, au début des années 1990, la question liée à l’émergence des Prestataires de Services Logistiques (PSL) au sein de chaines logistiques multi-acteurs à celle ayant trait à la formation d’un mur logistique au coeur même des relations industrie-commerce en France, cet article, basé sur une approche empirique du terrain à un niveau régional, aborde la question des enjeux et des conséquences liées à l’irruption d’un troisième acteur au sein d’un canal actuellement dominé par le distributeur.

L'aspect commercial de l'édition musicale n'a pas, jusqu'à présent, beaucoup retenu l'attention des chercheurs. Si l'on dispose maintenant de bonnes monographies concernant quelques grandes maisons européennes, on n'a qu'une idée assez vague de la manière dont elles se partageaient le marché mondial et de l'évolution de l'offre et de la demande. L'une des raisons de cette lacune est la difficulté de trouver des sources fournissant quantitativement les mouvements de partitions d'un pays à l'autre. Pour la France, les registres tenus à partir de 1827, par l'administration des douanes, dans lesquels sont consignées, année par année, toutes les entrées ou sorties de marchandises sur notre sol, livrent des renseignements précieux sur ces échanges. Le contenu de ces registres, bien que partiel, puisqu'aucune information n'est livrée sur les catégories musicales ayant fait l'objet des échanges et que le suivi des transactions est parfois fragmenté dans le temps, livre néanmoins une image globale du développement du marché de la musique entre 1827 et 1896. Il révèle aussi l'amplitude de certains phénomènes commerciaux se rapportant à cette industrie, dont on ignorait à ce jour l'existence.

Cet article traite de l’évolution des prix de détails dans la grande distribution française suite à la promulgation de la loi Châtel en janvier 2008. Il ressort de cette étude que les relations industrie-commerce témoignent en France d’une concentration stratégique du canal autour d’une structure spécifique de marché, que nous qualifions d’oligopole bilatéral à frange non concurrentielle, consubstantielle d’une hausse générale du prix des produits de détail. En France, le rôle de la structure de marché semble donc un élément plus déterminant que l’évolution législative du cadre réglementaire observée au travers des effets induits par la loi Châtel.

Aux xive et xve siècles, Venise, placée favorablement en Méditerranée, à proximité des grands fleuves et de cols alpins qui conduisent en Lombardie ou en Allemagne et en Flandre, tente d’imposer un monopole de navigation et de commerce à la mer Adriatique considérée comme son Golfe. Elle bénéficie de son avance technique et de son organisation (l’Arsenal), de ses bateaux (nefs coques, galères), de ses connaissances financières, de sa richesse et de l’expérience acquise par ses marchands sur les places du Levant comme à l’Ouest. Cité sans campagne (ville sans contado), elle fait venir de l’extérieur, par la mer ou par les fleuves, tout ce qui est nécessaire à sa population (matériaux de construction, bois de chauffage, et tout le vivre, céréales, vin, huile et bétail) et à son industrie navale ou textile (draperie et soierie), elle craint de manquer et met à contribution une vaste partie de l’Europe, Pourtant, elle se heurte à de graves difficultés en Adriatique même, à la piraterie, aux puissances riveraines, aux ports concurrents, Raguse et Ancône, à l’intrusion du capital et de marchands toscans dans les ports de Dalmatie, elle cherche à appliquer son monopole aux territoires qu’elle domine politiquement et qui constituent son empire, mais, par peur de la contrebande qui ruinerait ses recettes douanières et fiscales, elle réduit l’activité maritime et commerciale de ses territoires-sujets. Les marchands vénitiens font certes commerce où ils veulent mais dès qu’ils entrent en Adriatique, ils doivent se rendre à Venise avec leurs marchandises et non dans un autre port. Venise semble forte de sa puissance assise sur des points d’appui solides et sur la faiblesse de ses adversaires : si Gênes n’est plus une menace, de nouveaux dangers menacent en Adriatique même, les Turcs ottomans contre qui Venise commence à mener d’épuisantes guerres.

Auteur d’un ouvrage sur ce qu’il a appelé « la barbarie numérique » 1 , Fabien Lebrun s’enquiert de l’emploi croissant de matières, souvent des terres rares, qui composent les appareils informatiques. L’empreinte écologique du numérique est particulièrement prégnante dans la République démocratique du Congo (RDC) d’où proviennent en bonne part les métaux à usage high-tech . L’extraction de minerais de toute sorte, associée à la pollution des eaux servant aux procédés de production ou voisinant les mines, entraîne la dégradation dramatique des milieux naturels et de la santé des populations locales. Financées par le commerce de minerais, les guerres qui dévastent la région du Kivu s’accompagnent de massacres et de viols. Quant à la fin de vie des matériaux utilisés, accélérée par l’obsolescence marketing, elle aboutit très peu à leur recyclage, mais à leur entassement dans les pays pauvres du Sud avec les mêmes conséquences environnementales et sanitaires. En ayant montré le rapport étroit que le numérique entretient aussi bien avec l’extractivisme qu’avec la contamination et la pénurie de l’eau, l’auteur conclut par une envolée provocatrice drapée de décroissance.

Des mesures prises par les États en vue de préserver leur identité culturelle ne sont pas sans supposer des obstacles à la libéralisation des échanges internationaux, et, dès lors, sont susceptibles de donner lieu à des différends. Ainsi, les États-Unis ont contesté devant l'Organisation mondiale du commerce des mesures de protection de l'industrie canadienne des périodiques. Dans ce qui risque de constituer un précédent, des mesures appliquées par le Canada afin de protéger une industrie d'une grande importance culturelle ont été jugées incompatibles avec les obligations commerciales internationales. En fait, le principe de l'exception culturelle n'est pas reconnu au niveau multilatéral, et la logique marchande s'y révèle prédominante. Dans ces conditions, le Canada voit sérieusement réduite sa marge de manoeuvre pour protéger ses périodiques et l'ensemble de ses industries culturelles, et se retrouve en pleine incertitude quant à la conformité de ses politiques culturelles avec les présentes règles multilatérales. En mai 1999, une entente canado-américaine conclue afin de mettre un terme au différend sur les périodiques laisse entrevoir des possibilités d'accommodement sur les questions culturelles. Toutefois, le principe de l'exception culturelle n'a pas fini de mobiliser une bonne partie des efforts du Canada dans le domaine de la politique étrangère et des relations internationales.

Les exportations d’armements en direction du Moyen-Orient ont longtemps constitué un volet important de ce qu’il était convenu d’appeler « la politique arabe de la France ». La construction d’une industrie d’armements indépendante a été une constante des gouvernements de la IV e République et des débuts de la V e . En outre, de par sa situation internationale, les industries de guerre françaises ne connaissent pas les limitations, ou, du moins, les réserves imposées aux industries allemande et japonaise. Il est logique que, dans ces conditions, le poids économique de la France, qui a dépassé celui du Royaume-Uni dans les années 1970, en fasse, à partir de cette époque, le troisième exportateur d’armes mondial. Pendant longtemps, Israël est, pour des raisons politiques, le principal (voire le seul) client de la France dans le monde arabe. Cependant, au début de 1970, la vente de 110 Mirage à la Libye symbolise les nouvelles orientations du commerce français. L’Irak s’équipe également en Mirage à partir de 1972. Enfin au cours des années 1980, le Moyen-Orient occupe une place fondamentale dans les exportations françaises. Avec la première guerre du Golfe, ces exportations connaissent un net ralentissement ; ce qui, au fond, va mettre un terme aux ambitions et aux illusions d’une certaine politique arabe de la France.

Comment mieux répondre aux besoins d’accompagnement humain des porteurs de projet ? À partir de cette demande, l’article cherche à mieux comprendre dans quelles situations et de quelle façon des accompagnateurs seniors mobilisent les différentes postures d’accompagnement. Six situations problématiques principales ont été identifiées, ainsi que les stratégies d’action et de communication généralement associées. Plus que jamais d’actualité, l’article questionne la façon dont il est possible de soutenir un individu engagé dans un projet qui concerne aussi son identité et génère de fortes émotions tout en respectant un contrat implicite de réussite du projet. L’article s’appuie sur la recherche-action menée en 2011 avec les Chambres de Commerce et d’Industrie qui a impliqué une vingtaine de conseillers de différents niveaux d’expérience. Il discute finalement la place spécifique des émotions dans les postures et stratégies d’accompagnement et propose des démarches pour aller plus loin aujourd’hui.

Résumé L'année 1998 aura été marquée par une nette bascule entre les pays industriels qui ont bénéficié de gains de termes de l'échange et les pays en développement dont la croissance s'est effondrée. Fin 1998, les marchés financiers internationaux se sont ressaisis. Le risque principal réside maintenant dans le niveau élevé des Bourses des pays développés et surtout de la Bourse américaine. L'hypothèse retenue ici est que la Fed évitera de resserrer sa politique monétaire et que le krach sera évité. Les taux d'intérêt en Europe devraient baisser au deuxième trimestre 1999, avant de remonter légèrement entre la fin 1999 et la mi-2000. Le mouvement récent d'appréciation du dollar vis-à-vis de l'euro devrait s'inverser à partir du troisième trimestre 1999 et l'euro remonterait 1,2 dollar fin 2000. Le yen se déprécierait modérément. Le commerce mondial progresserait de près de 4,5% en 1999 et de 7% en 2000. L'Asie hors Japon entre en convalescence. Elle connaîtrait une crois sance de 3,3% en 1999 et de 4,9% en 2000. La dévaluation du yuan pourrait être utilisée pour soulager l'économie chinoise. Les pays d'Amérique latine font l'objet d'une nouvelle crise de défiance des investisseurs étrangers. La situation n'est pas encore stabilisée au Brésil, l'Argentine devrait souffrir de la contagion commerciale. La zone devrait voir chuter de 3% son PIB en 1999. En 2000, les conditions de la reprise permettraient une croissance de 2,5%. La situation reste inextricable en Russie, qui collectionne les déséquilibres. Les pays d'Europe centrale et orientale devraient connaître en 1999-2000 un net ralentissement dû à des politiques budgétaires et monétaires restrictives et à la répercussion de la crise russe. Aux États-Unis, les effets richesse, le dynamisme de l'emploi et la faiblesse du coût du capital ont soutenu la demande intérieure. L'économie américaine bénéficie de la qualité de son policy mix. La croissance du PIB atteindrait 3,5% en 1999 et 2,6% en 2000. D'après une variante réalisée avec le modèle MIMOSA, une chute brutale de la Bourse amputerait le PIB de 0,8% point la première année, puis de 0,3 point l'année suivante. Le Japon s'est enfoncé dans la récession tout au long de 1998. La politique budgétaire devrait fournir en 1999 une impulsion de l'ordre de 3 points de PIB, Pratiquement nulle en 1999, la croissance japonaise pourrait atteindre 2,5% en 2000. Le ralentissement économique est à l'oeuvre au Royaume-Uni, pénalisé par le haut niveau de la livre. Des politiques budgétaire et monétaire plus expansionnistes autoriseraient une croissance proche de 1% en 1999 et de 2,2% en 2000. La croissance de la zone euro a été proche de 3% en moyenne en 1998. Quelques pays ont fait nettement mieux (Espagne, Pays- Bas,...), tandis que l'Italie et l'Allemagne pâtissaient du poids de leur industrie et souffraient particulièrement des crises asiatique et russe. Malgré le net ralentissement industriel du second semestre 1998 et du pre mier trimestre 1999, la zone devrait échapper à une récession généralisée, en raison de la dynamique autonome du secteur des services et du main tien de la confiance des consommateurs.

O estudo pretende compreender a dinâmica dos diversos tipos de ocupações implantadas no entorno da Rodovia Estadual GO- 060, entre a cidade de Goiânia (GO) e Trindade (GO), e os seus reflexos na mobilidade urbana. O problema se identifica na relação causa e efeito no conflito entre o espaço urbano e o sistema de transportes, em áreas conurbadas da Região Metropolitana de Goiânia (GO). O objetivo consiste em analisar as áreas de ocupação do recorte espacial, o fluxo veicular dos modos de transportes e o índice de mobilidade, em função das tipologias de ocupação, caracterizadas como polos geradores de viagens (PGVs). Para se identificar tais ocorrências, foram utilizadas metodologias adaptadas para análise espaço-temporal e redes. Os resultados mostraram as diferenças em áreas de ocupação nos PGVs Tipo Comércio/Indústria 25,74% e 30,77% e Tipo Residencial 11,41% e 38,78% para as Regiões Oeste/Mendanha e Trindade 2, para os períodos (2011/2016) e (2009/2015), respectivamente. Essa dinâmica ocupacional gerou um aumento de +87% no total de viagens do fluxo dos diversos modos de transporte e um acréscimo de +79% no índice de mobilidade para o período de 2013 a 2016, mostrando a tendência de motorização das regiões e os reflexos na mobilidade urbana. Palavras-chave: Ocupação espacial. Sistema viário. Fluxo veicular. Transporte. Mobilidade. REFLEXES OF URBAN OCCUPATIONS ON MOBILITY TO THE MARGINS OF THE STATE ROAD GO-060 BETWEEN GOIÂNIA (GO) AND TRINDADE (GO) ABSTRACT The study aims to understand the dynamics of the various types of occupations implanted around the State Highway GO-060, between the city of Goiânia (GO) and Trindade (GO), and their reflexes on urban mobility. The problem is identified in the cause and effect relationship in the conflict between urban space and the transport system in conurbated areas of the Metropolitan Region of Goiânia (GO). The objective is to analyze the areas of occupation of the spatial area, the vehicular flow of the modes of transport and the mobility index, according to the types of occupation, characterized as travel generating poles (TGPs). To identify such occurrences, methodologies adapted for spatiotemporal analysis and networks were used. The results showed the differences in occupation areas in the Trade / Industry Type 25.74% and 30.77% and Residential Type 11.41% and 38.78% for the West / Mendanha and Trindade 2 Regions for the periods (2011/2016) and (2009/2015) respectively. This occupational dynamic generated an increase of + 87% in the total travel flow of the different modes of transport and an increase of + 79% in the mobility index for the period from 2013 to 2016, showing the trend of motorization in the regions and the reflexes in urban mobility. Keywords: Spatial occupation. Road system. Vehicular flow. Transport. Mobility. REFLETS DES OCCUPATIONS URBAINES SUR LA MOBILITÉ LE LONG DE LA ROUTE D’ÉTAT GO-60 ENTRE GOIANIA (GO) ET TRINDADE (GO) RÉSUMÉ L’étude prétend comprendre la dynamique des divers types d’occupations implantées le long de la Route d’État GO-060, entre les villes de Goiânia (GO) et Trindade (GO), et ses retombées sur la mobilité urbaine. Le problème s’identifie dans la relation de cause à effet dans le conflit entre espace urbain et système de transport, dans les aires urbanisées de la Région Métropolitaine de Goiânia (GO). L’objectif est d’analyser les zones d’occupation du découpage spatial, le flux routier des modes de transport et l’indice de mobilité selon les typologies d’occupation, caractérisées comme pôles générateurs de voyages (PGVs). L’identification de ces faits s’est réalisée par l’utilisation de méthodologies adaptées à l’analyse spatio-temporelle et de réseaux. Les résultats montrent des différences de PGVs dans les zones d’occupation du type Commerce/Industrie 25,74% et 30,77% et du type résidentiel 11,41% et 38,78% pour les régions Ouest/Mendanha et Trindade 2, respectivement pour les périodes (2011/2016) et (2009/2015). Cette dynamique d’occupation révèle une augmentation de +87% du total de voyages de flux des différents modes de transport et une croissance de +79% de l’indice de mobilité pour la période de 2013 à 2016, montrant la tendance de motorisation des régions et ses reflets sur la mobilité urbaine. Mots clés: Occupation spatial. Système routier. Flux de véhicules. Transport. Mobilité.

Dr Aboubacar Tiécoura TIO-TOURE, Pharmacien, Associé Co Fondateur Ylancia Conseil SAS, Abidjan, Côte d’Ivoire Biographie : Dr Aboubacar Tiécoura TIO-TOURE est né le 14 février 1970 à Paris. Il est titulaire du diplôme de pharmacien de l’Université de Montréal, Canada depuis 1996, d’un Advanced Certificate : Innovation et entreprenariat de HEC (Paris)/BABSON Business School (Boston), du diplôme de Finance for Executives de l’INSEAD Business School (France) et d’un Master en Marketing pharmaceutique de l’Ecole Supérieure de Commerce de Paris (France). Il a occupé de multiples fonctions au sein des Laboratoires Pharmaceutiques Smithkline Beecham, Aventis Pharma et Sanofi Aventis en tant que Chef Produit Junior, Délégué médical Hôpital, Business Team leader / Chef Produits, Directeur des Opérations Afrique de l’Ouest, Afrique de Est et Afrique centrale de 1998 à 2009. De 2009 à 2017, il fut Country Chair & Directeur Général CCS – Afrique Francophone Subsaharienne du Laboratoire Pharmaceutique Sanofi Afrique Subsaharienne, basé à Dakar (Sénégal) pour la Côte d’Ivoire, Benin, Burkina Faso, Mauritanie, Togo, Guinée, Niger, Gambie, Sierra Leone, Liberia et Cap Vert. Ensuite, en Janvier 2017, il fut Directeur Général de l’usine de production pharmaceutique à Dakar (Winthrop Pharma Sénégal - WPS). Actuellement, Dr TIO-TOURE est Titulaire de la Nouvelle Pharmacie Notre Dame (Treichville) et aussi enseignant vacataire en Initiation au Marketing Pharmaceutique à l’Université F. Houphouët-Boigny d’Abidjan (UFR Sciences Pharmaceutiques et Biologiques). Dr Aboubacar Tiécoura TIO-TOURE est aussi Co-Fondateur et Associé de PCA SARL puis Ylancia Group SA (depuis 2020), basé à Abidjan pour toute l’Afrique Sub Saharienne. PCA SARL est un service pharmaceutique support spécialisé dans les conseils et services du domaine de l’industrie, de la santé publique et privée et dans la gestion des affaires règlementaire. (Ex : quelques Clients : MSHP CI / C2D, Min industrie et Commerce CI, NPSP, SANOFI, UPSA,….). Résumé : L'industrie pharmaceutique est un processus complexe et multidimensionnel. Chaque étape nécessite des compétences spécifiques et offre des opportunités de carrière pour les diplômés en pharmacie, bien au-delà de l'officine traditionnelle. De plus, l'univers pharmaceutique est en pleine mutation grâce aux avancées technologiques et aux évolutions des besoins de la société. L'industrie pharmaceutique évolue avec l'émergence de nouvelles technologies et l'évolution des normes réglementaires. Dans cette présentation, nous embarquerons pour un voyage découverte des métiers qui animent cette industrie essentielle à partir d’une description de la chaîne de valeur pharmaceutique. En explorant ces métiers, nous verrons comment les professionnels s'adaptent pour répondre aux défis complexes de la recherche, de la production et de la commercialisation de médicaments tout en maintenant les plus hauts standards de qualité et de sécurité.

Abstract: Advertising is the most visible element of modern marketing and an essential component of trading. However the activity is often accused by its critics of being intrusive and pervasive, and neither of these accusations can be refuted by a worldwide industry which spends billions of dollars each year reaching and persuading its target markets through daily bombardment of thousands of ads in most developed countries. However, when advertising does offend, mislead, or is untruthful, a structure needs to be in place in order to provide protection to all parties and, in most cases, a country's legal system is complemented by a self-regulatory scheme. The advertising self-regulatory scheme in Australia was dismantled at the end of 1996 and is currently in a state of flux as the industry grapples with the design of a new system. Canada's advertising self-regulation system, on the other hand, is unique, healthy, and successful; much can be learned from both failure and success. In this article a conceptual framework of "acceptable advertising'' is presented, discussed, and used to analyze the regulation of advertising in Australia and Canada, with a view to assisting in the formation of a new scheme in Australia. Résumé: La publicité est l'élément le plus visible du marketing moderne et une composante essentielle du commerce. Cependant, les critiques de cette activité l'accusent souvent d'être importune et omniprésente. Ces deux accusations sont difficiles à réfuter, étant donné qu'une industrie mondiale dépense des milliards de dollars à chaque année pour rejoindre et persuader ses marchés cibles, au moyen d'un bombardement quotidien de milliers de pubs dans la plupart des pays développés. C'est pourquoi, lorsque la publicité est offensive, trompeuse ou mensongère, il faut qu'une structure soit en place pour protéger toutes les parties en cause; en conséquence, dans la plupart des cas, un schéma d'auto-réglementation de la publicité complète le système légal d'un pays. L'Australie a démantelé son schéma d'auto-réglementation à la fin de 1996. Le pays se trouve actuellement dans une période transitoire, l'industrie s'efforçant de concevoir un nouveau système. Le système canadien d'auto-réglementation, quant à lui, est unique, bien portant et réussi. On peut beaucoup apprendre à partir de succès et d'échecs. Cet article présente et discute une conception de "publicité acceptable", qu'il utilise pour analyser la réglementation de la publicité en Australie et au Canada. L'objectif est d'aider à la formation d'un nouveau schéma en Australie.

In light of the COVID-19 pandemic, where income has become precarious and Internet use has soared, the influencer industry has to strategise over new ways to sustain viewer attention, maintain income flows, and innovate around formats and messaging, to avoid being excluded from continued commercial possibilities. In this article, we review the press coverage of the influencer markets in Australia, Japan, and Korea, and consider how the industry has been attempting to navigate their way through the pandemic through deviations and detours. We consider the narratives and groups of influencers who have been included and excluded in shaping the discourse about influencer strategies in the time of COVID-19. The distinction between inclusion and exclusion has been a crucial mechanism to maintain the social normativity, constructed with gender, sexuality, wealth, able-ness, education, age, and so on (Stäheli and Stichweh, par. 3; Hall and Du Gay 5; Bourdieu 162). The influencer industry is the epitome of where the inclusion-exclusion binary is noticeable. It has been criticised for serving as a locus where social norms, such as femininity and middle-class identities, are crystallised and endorsed in the form of visibility and attention (Duffy 234; Abidin 122). Many are concerned about the global expansion of the influencer industry, in which young generations are led to clickbait and sensational content and normative ways of living, in order to be “included” by their peer groups and communities and to avoid being “excluded” (Cavanagh). However, COVID-19 has changed our understanding of the “normal”: people staying home, eschewing social communications, and turning more to the online where they can feel “virtually” connected (Lu et al. 15). The influencer industry also has been affected by COVID-19, since the images of normativity cannot be curated and presented as they used to be. In this situation, it is questionable how the influencer industry that pivots on the inclusion-exclusion binary is adjusting to the “new normal” brought by COVID-19, and how the binary is challenged or maintained, especially by exploring the continuities and discontinuities in industry. Methodology This cross-cultural study draws from a corpus of articles from Australia, Japan, and Korea published between January and May 2020, to investigate how local news outlets portrayed the contingencies undergone by the influencer industry, and what narratives or groups of influencers were excluded in the process. An extended discussion of our methodology has been published in an earlier article (Abidin et al. 5-7). Using the top ranked search engine of each country (Google for Australia and Japan, Naver for Korea), we compiled search results of news articles from the first ten pages (ten results per page) of each search, prioritising reputable news sites over infotainment sites, and by using targeted keyword searches: for Australia: ‘influencer’ and ‘Australia’ and ‘COVID-19’, ‘coronavirus’, ‘pandemic’; for Japan: ‘インフルエンサー’ (influensā) and ‘コロナ’ (korona), ‘新型コロ ナ’ (shin-gata korona), ‘コロナ禍’ (korona-ka); for Korea: ‘인플루언서’ (Influencer) and ‘코로나’ (corona) and ‘팬데믹’ (pandemic). 111 articles were collected (42 for Australia, 31 for Japan, 38 for Korea). In this article, we focus on a subset of 60 articles and adopt a grounded theory approach (Glaser and Strauss 5) to manually conduct open, axial, and close coding of their headline and body text. Each headline was translated by the authors and coded for a primary and secondary ‘open code’ across seven categories: Income loss, Backlash, COVID-19 campaign, Misinformation, Influencer strategy, Industry shifts, and Brand leverage. The body text was coded in a similar manner to indicate all the relevant open codes covered in the article. In this article, we focus on the last two open codes that illustrate how brands have been working with influencers to tide through COVID-19, and what the overall industry shifts were on the three Asia-Pacific country markets. Table 1 (see Appendix) indicates a full list of our coding schema. Inclusion of the Normal in Shifting Brand Preferences In this section, we consider two main shifts in brand preferences: an increased demand for influencers, and a reliance on influencers to boost viewer/consumer traffic. We found that by expanding digital marketing through Influencers, companies attempted to secure a so-called “new normal” during the pandemic. However, their marketing strategies tended to reiterate the existing inclusion-exclusion binary and exacerbated the lack of diversity and inequality in the industry. Increased Demand for Influencers Across the three country markets, brokers and clients in the influencer industry increased their demand for influencers’ services and expertise to sustain businesses via advertising in the “aftermath of COVID-19”, as they were deemed to be more cost-efficient “viral marketing on social media” (Yoo). By outsourcing content production to influencers who could still produce content independently from their homes (Cheik-Hussein) and who engage with audiences with their “interactive communication ability” (S. Kim and Cho), many companies attempted to continue their business and maintain their relationships with prospective consumers (Forlani). As the newly enforced social distancing measures have also interrupted face-to-face contact opportunities, the mass pivot towards influencers for digital marketing is perceived to further professionalise the industry via competition and quality control in all three countries (Wilkinson; S. Kim and Cho; Yadorigi). By integrating these online personae of influencers into their marketing, the business side of each country is moving towards the new normal in different manners. In Australia, businesses launched campaigns showcasing athlete influencers engaging in meaningful activities at home (e.g. yoga, cooking), and brands and companies reorganised their marketing strategies to highlight social responsibilities (Moore). On the other hand, for some companies in the Japanese market, the disruption from the pandemic was a rare opportunity to build connections and work with “famous” and “prominent” influencers (Yadorigi), otherwise unavailable and unwilling to work for smaller campaigns during regular periods of an intensely competitive market. In Korea, by emphasising their creative ability, influencers progressed from being “mere PR tools” to becoming “active economic subjects of production” who now can play a key role in product planning for clients, mediating companies and consumers (S. Kim and Cho). The underpinning premise here is that influencers are tech-savvy and therefore competent in creating media content, forging relationships with people, and communicating with them “virtually” through social media. Reliance on Influencers to Boost Viewer/Consumer Traffic Across several industry verticals, brands relied on influencers to boost viewership and consumer traffic on their digital estates and portals, on the premise that influencers work in line with the attention economy (Duffy 234). The fashion industry’s expansion of influencer marketing was noticeable in this manner. For instance, Korean department store chains (e.g. Lotte) invited influencers to “no-audience live fashion shows” to attract viewership and advertise fashion goods through the influencers’ social media (Y. Kim), and Australian swimwear brand Vitamin A partnered with influencers to launch online contests to invite engagement and purchases on their online stores (Moore). Like most industries where aspirational middle-class lifestyles are emphasised, the travel industry also extended partnerships with their current repertoire of influencers or international influencers in order to plan for the post-COVID-19 market recovery and post-border reopening tourism boom (Moore; Yamatogokoro; J. Lee). By extension, brands without any prior relationships with influencers, whcih did not have such histories to draw on, were likely to have struggled to produce new influencer content. Such brands could thus only rely on hiring influencers specifically to leverage their follower base. The increasing demand for influencers in industries like fashion, food, and travel is especially notable. In the attention economy where (media) visibility can be obtained and maintained (Duffy 121), media users practice “visibility labor” to curate their media personas and portray branding themselves as arbiters of good taste (Abidin 122). As such, influencers in genres where personal taste can be visibly presented—e.g. fashion, travel, F&B—seem to have emerged from the economic slump with a head start, especially given their dominance on the highly visual platform of Instagram. Our analysis shows that media coverage during COVID-19 repeated the discursive correlation between influencers and such hyper-visible or visually-oriented industries. However, this dominant discourse about hyper-visible influencers and the gendered genres of their work has ultimately reinforced norms of self-presentation in the industry—e.g. being feminine, young, beautiful, luxurious—while those who deviate from such norms seem to be marginalised and excluded in media coverage and economic opportunities during the pandemic cycle. Including Newness by Shifting Format Preferences We observed the inclusion of newness in the influencer scenes in all three countries. By shifting to new formats, the previously excluded and lesser seen aspects of our lives—such as home-based content—began to be integrated into the “new normal”. There were four main shifts in format preferences, wherein influencers pivoted to home-made content, where livestreaming is the new dominant format of content, and where followers preferred more casual influencer content. Influencers Have Pivoted to Home-Made Content In all three country markets, influencers have pivoted to generating content based on life at home and ideas of domesticity. These public displays of homely life corresponded with the sudden occurrence of being wired to the Internet all day—also known as “LAN cable life” (랜선라이프, lan-seon life) in the Korean media—which influencers were chiefly responsible for pioneering (B. Kim). While some genres like gaming and esports were less impacted upon by the pivot, given that the nature and production of the content has always been confined to a desktop at home (Cheik-Hussein), pivots occurred for the likes of outdoor brands (Moore), the culinary industry (Dean), and fitness and workout brands (Perelli and Whateley). In Korea, new trends such as “home cafes” (B. Kim) and DIY coffees—like the infamous “Dalgona-Coffee” that was first introduced by a Korean YouTuber 뚤기 (ddulgi)—went viral on social media across the globe (Makalintal). In Japan, the spike in influencers showcasing at-home activities (Hayama) also encouraged mainstream TV celebrities to open social media accounts explicitly to do the same (Kamada). In light of these trends, the largest Multi-Channel Network (MCN) in Japan, UUUM, partnered with one of the country’s largest entertainment industries, Yoshimoto Kogyo, to assist the latter’s comedian talents to establish a digital video presence—a trend that was also observed in Korea (Koo), further underscoring the ubiquity of influencer practices in the time of COVID-19. Along with those creators who were already producing content in a domestic environment before COVID-19, it was the influencers with the time and resources to quickly pivot to home-made content who profited the most from the spike in Internet traffic during the pandemic (Noshita). The benefits of this boost in traffic were far from equal. For instance, many others who had to turn to makeshift work for income, and those who did not have conducive living situations to produce content at home, were likely to be disadvantaged. Livestreaming Is the New Dominant Format Amidst the many new content formats to be popularised during COVID-19, livestreaming was unanimously the most prolific. In Korea, influencers were credited for the mainstreaming and demotising (Y. Kim) of livestreaming for “live commerce” through real-time advertorials and online purchases. Livestreaming influencers were solicited specifically to keep international markets continuously interested in Korean products and cultures (Oh), and livestreaming was underscored as a main economic driver for shaping a “post-COVID-19” society (Y. Kim). In Australia, livestreaming was noted among art (Dean) and fitness influencers (Dean), and in Japan it began to be adopted among major fashion brands like Prada and Chloe (Saito). While the Australian coverage included livestreaming on platforms such as Instagram, Facebook, YouTube, Twitch, and Douyin (Cheik-Hussein; Perelli and Whateley; Webb), the Japanese coverage highlighted the potential for Instagram Live to target young audiences, increase feelings of “trustworthiness”, and increase sales via word-of-mouth advertising (Saito). In light of reduced client campaigns, influencers in Australia had also used livestreaming to provide online consulting, teaching, and coaching (Perelli and Whateley), and to partner with brands to provide masterclasses and webinars (Sanders). In this era, influencers in genres and verticals that had already adopted streaming as a normative practice—e.g. gaming and lifestyle performances—were likely to have had an edge over others, while other genres were excluded from this economic silver lining. Followers Prefer More Casual Influencer Content In general, all country markets report followers preferring more casual influencer content. In Japan, this was offered via the potential of livestreaming to deliver more “raw” feelings (Saito), while in Australia this was conveyed through specific content genres like “mental or physical health battles” (Moore); specific aesthetic choices like appearing “messier”, less “curated”, and “more unfiltered” (Wilkinson); and the growing use of specific emergent platforms like TikTok (Dean, Forlani, Perelli, and Whateley). In Korea, influencers in the photography, travel, and book genres were celebrated for their new provision of pseudo-experiences during COVID-19-imposed social distancing (Kang). Influencers on Instagram also spearheaded new social media trends, like the “#wheredoyouwannago_challenge” where Instagram users photoshopped themselves into images of famous tourist spots around the world (Kang). Conclusion In our study of news articles on the impact of COVID-19 on the Australian, Japanese, and Korean influencer industries during the first wave of the pandemic, influencer marketing was primed to be the dominant and default mode of advertising and communication in the post-COVID-19 era (Tate). In general, specific industry verticals that relied more on visual portrayals of lifestyles and consumption—e.g. fashion, F&B, travel—to continue partaking in economic recovery efforts. However, given the gendered genre norms in the industry, this meant that influencers who were predominantly feminine, young, beautiful, and luxurious experienced more opportunity over others. Further, influencers who did not have the resources or skills to pivot to the “new normals” of creating content from home, engaging in livestreaming, and performing their personae more casually were excluded from these new economic opportunities. Across the countries, there were minor differences in the overall perception of influencers. There was an increasingly positive perception of influencers in Japan and Korea, due to new norms and pandemic-related opportunities in the media ecology: in Korea, influencers were considered to be the “vanguard of growing media commerce in the post-pandemonium era” (S. Kim and Cho), and in Japan, influencers were identified as critical vehicles during a more general consumer shift from traditional media to social media, as TV watching time is reduced and home-based e-commerce purchases are increasingly popular (Yadogiri). However, in Australia, in light of the sudden influx of influencer marketing strategies during COVID-19, the market seemed to be saturated more quickly: brands were beginning to question the efficiency of influencers, cautioned that their impact has not been completely proven for all industry verticals (Stephens), and have also begun to reduce commissions for influencer affiliate programmes as a cost-cutting measure (Perelli and Whateley). While news reports on these three markets indicate that there is some level of growth and expansion for various influencers and brands, such opportunities were not experienced equally, with some genres and demographics of influencers and businesses being excluded from pandemic-related pivots and silver linings. Further, in light of the increasing commercial opportunities, pressure for more regulations also emerged; for example, the Korean government announced new investigations into tax avoidance (Han). Not backed up by talent agencies or MCNs, independent influencers are likely to be more exposed to the disciplinary power of shifting regulatory practices, a condition which might have hindered their attempt at diversifying their income streams during the pandemic. Thus, while it is tempting to focus on the privileged and novel influencers who have managed to cling on to some measure of success during the pandemic, scholarly attention should also remember those who are being excluded and left behind, lest generations, cohorts, genres, or subcultures of the once-vibrant influencer industry fade into oblivion. References Abidin, Crystal. “#In$tagLam: Instagram as a repository of taste, a burgeoning marketplace, a war of eyeballs.” Mobile Media Making in an Age of Smartphones. Eds. Marsha Berry and Max Schleser. New York: Palgrave Pivot, 2014. 119-128. <https://doi.org/10.1057/9781137469816_11>. 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Kamada, Kazuki. “動画クリエイターが「公人」に。2020年はインフルエンサー時代の転換点となるか（UUUM鎌田和樹）[Video Creators as Public Figures: Will 2020 Represent a Turning Point for Influencers? (UUUM’s Kamada Kazuki)].” QJweb 8 May 2020. <https://qjweb.jp/journal/18499/>. Kang, Jumi. "[아무튼, 주말] 황금연휴라도 아직은… 사람 드문 야외, 여행 책방, 랜선 여행으로 짧은 여행 즐겨볼까 [[Weekend Anyway] Although It’s Holiday Season, Still... How about Joining the Holiday with a Short LAN-Cable Travel, Travelling Bookstores, and Travelling to Countryside?].” Chosun Daily 25 Apr. 2020. <http://news.chosun.com/site/data/html_dir/2020/04/24/2020042403600.html?utm_source=naver&utm_medium=original&utm_campaign=news>. Kim, Bokyung. “[코로나뉴트렌드] ‘집콕 3개월’...집밖에 안나가도 살 수 있어서 신기 [[COVID-19 New Trend] Staying Home for 3 Months: Don’t Need to Go Outside].” Yonhap News 26 Apr. 2020. <https://www.yna.co.kr/view/AKR20200425045300030?input=1195m>. Kim, Sanghee, and Chulhee Cho. "코로나 이후 인플루언서 경제·사회 영향력 더 커져 [Influencers' Socioeconomic Impact Increased in Covid-19 Era].” MoneyToday 28 Apr. 2020. <https://news.mt.co.kr/mtview.php?no=2020042614390682882>. Kim, Young-Eun. "[포스트 코로나 유망 비즈니스 22]실시간 방송으로 경험하고 손가락으로 산다…판 커진 라이브 커머스 [[Growing Business 22 in Post-COVID-19] Experience with Livestreaming and Purchase with Fingers].” Hankyung Business 19 May 2020. <https://news.naver.com/main/read.nhn?mode=LSD&mid=sec&sid1=101&oid=050&aid=0000053676>. Koo, Jayoon. "코로나 언택트시대… 유튜브 업계는 '승승장구' [Fast-Growing Youtube Industry in the Covid-19 Untact Era].” Financial News 24 Apr. 2020. <https://www.fnnews.com/news/202004241650545778>. Lu, Li, et al. “Forum: COVID-19 Dispatches.” Cultural Studies ↔ Critical Methodologies, Sep. 2020. DOI: 10.1177/1532708620953190. Lee, Jihye. “[포스트 코로나] ‘일상을 여행처럼, 안전을 일상처럼’...해외 대신 국내 활성화 예고 [[Post-COVID-19] ‘Daily Life as Travelling, Safety as Daily Life’... Domestic Travel Expected to Grow].” E-News Today 26 May 2020. <http://www.enewstoday.co.kr/news/articleView.html?idxno=1389486>. Makalintal, Bettina. "People All over the World Are Making Frothy 'Dalgona' Coffee, Thanks to Quarantine." Vice 20 Mar. 2020. <https://www.vice.com/en_us/article/bvgbk8/people-all-over-the-world-are-making-frothy-dalgona-coffee-thanks-to-quarantine>. Moore, Kaleigh. “Influencers’ Currency Has Increased during Covid-19 Crisis.” Vogue Business 13 Apr. 2020. <https://www.voguebusiness.com/companies/influencers-currency-has-increased-during-covid-19-crisis-marketing>. Noshita, Tomoyuki. “コロナ禍で変わるインフルエンサー活動と企業ニーズ［インタビュー］[Influencer Activity and Corporate Needs Changed by the Corona Disaster].” ExchangeWire 26 May 2020. <https://www.exchangewire.jp/2020/05/26/trenders-instagram/>. Oh, Eun-seo. "코트라, 중국·대만 6곳에 중소기업 온라인마케팅 전용 'K스튜디오' 오픈 [KOTRA Launches 6 ‘K-Studios’ in China and Taiwan for Online Marketing for SME].” Global Economics 16 May 2020. <https://news.g-enews.com/ko-kr/news/article/news_all/2020050611155064653b88961c8c_1/article.html?md=20200506141610_R>. Perelli, Amanda, and Dan Whateley. “How the Coronavirus Is Changing the Influencer Business, According to Marketers and Top Instagram and YouTube Stars.” Business Insider Australia 22 Mar. 2020. <https://www.businessinsider.com.au/how-coronavirus-is-changing-influencer-marketing-creator-industry-2020-3?r=US&IR=T>. Reid, Elise. “COVID-19 Could See Advertisers Move from Influencers to Streaming Sites.” Channel News 27 Apr. 2020. <https://www.channelnews.com.au/covid-19-could-see-advertisers-move-from-influencers-to-streaming-sites/>. 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Stephens, Lee. “Why Influencer Marketing Will Win after COVID-19.” Ad News 9 Apr. 2020. <https://www.adnews.com.au/opinion/why-influencer-marketing-will-win-after-covid-19>. Tate, Andrew. “How Vanity Viral Marketing Ran Headlong into Coronavirus.” The New Daily 29 Apr. 2020. <https://thenewdaily.com.au/news/coronavirus/2020/04/28/how-vanity-viral-marketing-ran-headlong-into-corornavirus/>. Webb, Loren. “Brands Pivot Their Marketing Strategies in the Wake of the Coronavirus.” Dynamic Business 13 Mar. 2020. <https://dynamicbusiness.com.au/topics/news/brands-pivot-their-marketing-strategies-in-the-wake-of-the-coronavirus.html>. Wilkinson, Zoe. “Head to Head: Will the Economy of Celebrity and Influencer Endorsement Recover after the COVID-19 Crisis?” Mumbrella 28 Apr. 2020. <https://mumbrella.com.au/head-to-head-will-the-economy-of-celebrity-and-influencer-endorsement-recover-after-the-covid-19-crisis-625987>. Yadorigi, Yuki. “【第7回】コロナ禍のなかで生まれた光明、新たなアプローチによるコミュニケーション [Episode 7: A Light Emerged during the Corona Crisis, a Communication Based on a New Approach].” C-Station 28 Apr. 2020. <https://c.kodansha.net/news/detail/36286/>. Yamatogokoro. “アフターコロナの観光・インバウンドを考えるVol.4世界の観光業の取り組みから学ぶ、自治体・DMOが今まさにすべきこと [After Corona Tourism and Inbound Tourism Vol. 4: What Municipalities and DMOs Should Do Right Now to Learn from Global Tourism Initiatives].” Yamatogokoro 19 May 2020. Yoo, Hwan-In. "코로나 여파, 연예인·인플루언서 마케팅 활발 [COVID-19, Star-Influencer Marketing Becomes Active].” SkyDaily 19 May 2020. <http://www.skyedaily.com/news/news_view.html?ID=104772>. Appendix Open codes Axial codes 1) Brand leverage Targeting investors Targeting influencers Targeting new digital media formats Targeting consumers/customers/viewers Types of brands/clients 2) Industry shifts Brand preferences Content production Content format Follower preferences Type of Influencers Table 1: Full list of codes from our analysis

Babies and toddlers are amassing huge followings on social media, achieving microcelebrity status, and raking in five figure sums. In East Asia, many of these lucrative “micro­-microcelebrities” rise to fame by inheriting exposure and proximate microcelebrification from their social media Influencer mothers. Through self-branding techniques, Influencer mothers’ portrayals of their young’ children’s lives “as lived” are the canvas on which (baby) products and services are marketed to readers as “advertorials”. In turning to investigate this budding phenomenon, I draw on ethnographic case studies in Singapore to outline the career trajectory of these young children (under 4yo) including their social media presence, branding strategies, and engagement with their followers. The chapter closes with a brief discussion on some ethical considerations of such young children’s labour in the social media age.Influencer MothersTheresa Senft first coined the term “microcelebrity” in her work Camgirls as a burgeoning online trend, wherein people attempt to gain popularity by employing digital media technologies, such as videos, blogs, and social media. She describes microcelebrities as “non-actors as performers” whose narratives take place “without overt manipulation”, and who are “more ‘real’ than television personalities with ‘perfect hair, perfect friends and perfect lives’” (Senft 16), foregrounding their active response to their communities in the ways that maintain open channels of feedback on social media to engage with their following.Influencers – a vernacular industry term albeit inspired by Katz & Lazarsfeld’s notion of “personal influence” that predates Internet culture – are one type of microcelebrity; they are everyday, ordinary Internet users who accumulate a relatively large following on blogs and social media through the textual and visual narration of their personal lives and lifestyles, engage with their following in “digital” and “physical” spaces, and monetize their following by integrating “advertorials” into their blog or social media posts and making physical appearances at events. A pastiche of “advertisement” and “editorial”, advertorials in the Influencer industry are highly personalized, opinion-laden promotions of products/services that Influencers personally experience and endorse for a fee. Influencers in Singapore often brand themselves as having “relatability”, or the ability to persuade their followers to identify with them (Abidin). They do so by make consciously visible the backstage (Goffman) of the usually “inaccessible”, “personal”, and “private” aspects of mundane, everyday life to curate personae that feel “authentic” to fans (Marwick 114), and more accessible than traditional celebrity (Senft 16).Historically, the Influencer industry in Singapore can be traced back to the early beginnings of the “blogshop” industry from the mid-2000s and the “commercial blogging” industry. Influencers are predominantly young women, and market products and services from diverse industries, although the most popular have been fashion, beauty, F&B, travel, and electronics. Most prominent Influencers are contracted to management agencies who broker deals in exchange for commission and assist in the production of their vlogs. Since then, the industry has grown, matured, and expanded so rapidly that Influencers developed emergent models of advertorials, with the earliest cohorts moving into different life stages and monetizing several other aspects of their personal lives such as the “micro-microcelebrity” of their young children. What this paper provides is an important analysis of the genesis and normative practices of micro-microcelebrity commerce in Singapore from its earliest years, and future research trajectories in this field.Micro-Microcelebrity and Proximate MicrocelebrificationI define micro-microcelebrities as the children of Influencers who have themselves become proximate microcelebrities, having derived exposure and fame from their prominent Influencer mothers, usually through a more prolific, deliberate, and commercial form of what Blum-Ross defines as “sharenting”: the act of parents sharing images and stores about their children in digital spaces such as social networking sites and blogs. Marwick (116-117), drawing from Rojek’s work on types of celebrity – distinguishes between two types of microcelebrity: “ascribed microcelebrity” where the online personality is made recognizable through the “production of celebrity media” such as paparazzi shots and user-produced online memes, or “achieved microcelebrity” where users engage in “self-presentation strateg[ies]”, such as fostering the illusion of intimacy with fans, maintaining a persona, and selective disclosure about oneself.Micro-microcelebrities lie somewhere between the two: In a process I term “proximate microcelebrification”, micro-microcelebrities themselves inherit celebrity through the preemptive and continuous exposure from their Influencer mothers, many beginning even during the pre-birth pregnancy stages in the form of ultrasound scans, as a form of “achieved microcelebrity”. Influencer mothers whose “presentational strategies” (cf. Marshall, “Promotion” 45) are successful enough (as will be addressed later) gain traction among followers, who in turn further popularize the micro-microcelebrity by setting up fan accounts, tribute sites, and gossip forums through which fame is heightened in a feedback loop as a model of “ascribed microcelebrity”.Here, however, I refrain from conceptualizing these young stars as “micro-Influencers” for unlike Influencers, these children do not yet curate their self-presentation to command the attention of followers, but instead are used, framed, and appropriated by their mothers for advertorials. In other words, Influencer mothers “curate [micro-microcelebrities’] identities into being” (Leaver, “Birth”). Following this, many aspects of their micro-microcelebrities become rapidly commodified and commercialized, with advertisers clamoring to endorse anything from maternity hospital stays to nappy cream.Although children of mommybloggers have the prospect to become micro-microcelebrities, both groups are conceptually distinct. Friedman (200-201) argues that among mommybloggers arose a tension between those who adopt “the raw authenticity of nonmonetized blogging”, documenting the “unglamorous minutiae” of their daily lives and a “more authentic view of motherhood” and those who use mommyblogs “primarily as a source of extra income rather than as a site for memoir”, focusing on “parent-centered products” (cf. Mom Bloggers Club).In contrast, micro-microcelebrities and their digital presence are deliberately commercial, framed and staged by Influencer mothers in order to maximize their advertorial potential, and are often postured to market even non-baby/parenting products such as fast food and vehicles (see later). Because of the overt commerce, it is unclear if micro-microcelebrity displays constitute “intimate surveillance”, an “almost always well-intentioned surveillance of young people by parents” (Leaver, “Born” 4). Furthermore, children are generally peripheral to mommybloggers whose own parenting narratives take precedence as a way to connect with fellow mothers, while micro-microcelebrities are the primary feature whose everyday lives and digital presence enrapture followers.MethodologyThe analysis presented is informed by my original fieldwork with 125 Influencers and related actors among whom I conducted a mixture of physical and digital personal interviews, participant observation, web archaeology, and archival research between December 2011 and October 2014. However, the material presented here is based on my digital participant observation of publicly accessible and intentionally-public digital presence of the first four highly successful micro-microcelebrities in Singapore: “Baby Dash” (b.2013) is the son of Influencer xiaxue, “#HeYurou” (b.2011) is the niece of Influencer bongqiuqiu, “#BabyElroyE” (b.2014) is the son of Influencer ohsofickle, and “@MereGoRound” (b.2015) is the daughter of Influencer bongqiuqiu.The microcelebrity/social media handles of these children take different forms, following the platform on which their parent/aunt has exposed them on the most. Baby Dash appears in all of xiaxue’s digital platforms under a variety of over 30 indexical, ironic, or humourous hashtags (Leaver, “Birth”) including “#pointylipped”, #pineappledash”, and “#面包脸” (trans. “bread face”); “#HeYurou” appears on bongqiuqiu’s Instagram and Twitter; “#BabyElroyE” appears on ohsofickle’s Instagram and blog, and is the central figure of his mother’s new YouTube channel; and “@MereGoRound” appears on all of bongqiuqiu’s digital platforms but also has her own Instagram account and dedicated YouTube channel. The images reproduced here are screenshot from Influencer mothers’ highly public social media: xiaxue, bongqiuqiu, and ohsofickle boast 593k, 277k, and 124k followers on Instagram and 263k, 41k, and 17k followers on Twitter respectively at the time of writing.Anticipation and Digital EstatesIn an exclusive front-pager (Figure 1) on the day of his induced birth, it was announced that Baby Dash had already received up to SGD25,000 worth of endorsement deals brokered by his Influencer mother, xiaxue. As the first micro-microcelebrity in his cohort (his mother was among the pioneer Influencers), Baby Dash’s Caesarean section was even filmed and posted on xiaxue’s YouTube channel in three parts (Figure 2). xiaxue had announced her pregnancy on her blog while in her second trimester, following which she consistently posted mirror selfies of her baby bump.Figure 1 & 2, screenshot April 2013 from ‹instagram.com/xiaxue›In her successful attempt at generating anticipation, the “bump” itself seemed to garner its own following on Twitter and Instagram, with many followers discussing how the Influencer dressed “it”, and how “it” was evolving over the weeks. One follower even compiled a collage of xiaxue’s “bump” chronologically and gifted it to the Influencer as an art image via Twitter on the day she delivered Baby Dash (Figure 3 & 4). Followers also frequently speculated and bantered about how her baby would look, and mused about how much they were going to adore him. Figure 3 & 4, screenshot March 2013 from ‹twitter.com/xiaxue› While Lupton (42) has conceptualized the sharing of images that precede birth as a “rite of passage”, Influencer mothers who publish sonograms deliberately do so in order to claim digital estates for their to-be micro-microcelebrities in the form of “reserved” social media handles, blog URLs, and unique hashtags for self-branding. For instance, at the 3-month mark of her pregnancy, Influencer bongqiuqiu debuted her baby’s dedicated hashtag, “#MereGoRound” in a birth announcement on her on Instagram account. Shortly after, she started an Instagram account, “@MereGoRound”, for her baby, who amassed over 5.5k followers prior to her birth. Figure 5 & 6, screenshot March 2015 from instagram.com/meregoround and instagram.com/bongqiuqiuThe debut picture features a heavily pregnant belly shot of bongqiuqiu (Figure 5), creating much anticipation for the arrival of a new micro-microcelebrity: in the six months leading up to her birth, various family, friends, and fans shared Instagram images of their gifts and welcome party for @MereGoRound, and followers shared congratulations and fan art on the dedicated Instagram hashtag. During this time, bongqiuqiu also frequently updated followers on her pregnancy progress, not without advertising her (presumably sponsored) gynecologist and hospital stay in her pregnancy diaries (Figure 6) – like Baby Dash, even as a foetus @MereGoRound was accumulating advertorials. Presently at six months old, @MereGoRound boasts almost 40k followers on Instagram on which embedded in the narrative of her growth are sponsored products and services from various advertisers.Non-Baby-Related AdvertorialsPrior to her pregnancy, Influencer bongqiuqiu hopped onto the micro-microcelebrity bandwagon in the wake of Baby Dash’s birth, by using her niece “#HeYurou” in her advertorials. Many Influencers attempt to naturalize their advertorials by composing their post as if recounting a family event. With reference to a child, parent, or partner, they may muse or quip about a product being used or an experience being shared in a bid to mask the distinction between their personal and commercial material. bongqiuqiu frequently posted personal, non-sponsored images engaging in daily mundane activities under the dedicated hashtag “#HeYurou”.However, this was occasionally interspersed with pictures of her niece holding on to various products including storybooks (Figure 8) and shopping bags (Figure 9). At first glance, this might have seemed like any mundane daily update the Influencer often posts. However, a close inspection reveals the caption bearing sponsor hashtags, tags, and campaign information. For instance, one Instagram post shows #HeYurou casually holding on to and staring at a burger in KFC wrapping (Figure 7), but when read in tandem with bongqiuqiu’s other KFC-related posts published over a span of a few months, it becomes clear that #HeYurou was in fact advertising for KFC. Figure 7, 8, 9, screenshot December 2014 from ‹instagram.com/bongqiuqiu›Elsewhere, Baby Dash was incorporated into xiaxue’s car sponsorship with over 20 large decals of one of his viral photos – dubbed “pineapple Dash” among followers – plastered all over her vehicle (Figure 10). Followers who spot the car in public are encouraged to photograph and upload the image using its dedicated hashtag, “#xiaxuecar” as part of the Influencer’s car sponsorship – an engagement scarcely related to her young child. Since then, xiaxue has speculated producing offshoots of “pineapple Dash” products including smartphone casings. Figure 10, screenshot December 2014 from ‹instagram.com/xiaxue›Follower EngagementSponsors regularly organize fan meet-and-greets headlined by micro-microcelebrities in order to attract potential customers. Photo opportunities and the chance to see Baby Dash “in the flesh” frequently front press and promotional material of marketing campaigns. Elsewhere on social media, several Baby Dash fan and tribute accounts have also emerged on Instagram, reposting images and related media of the micro-microcelebrity with overt adoration, no doubt encouraged by xiaxue, who began crowdsourcing captions for Baby Dash’s photos.Influencer ohsofickle postures #BabyElroyE’s follower engagement in a more subtle way. In her YouTube channel that debut in the month of her baby’s birth, ohsofickle produces video diaries of being a young, single, mother who is raising a child (Figure 11). In each episode, #BabyElroyE is the main feature whose daily activities are documented, and while there is some advertising embedded, ohsofickle’s approach on YouTube is much less overt than others as it features much more non-monetized personal content (Figure 12). Her blog serves as a backchannel to her vlogs, in which she recounts her struggles with motherhood and explicitly solicits the advice of mothers. However, owing to her young age (she became an Influencer at 17 and gave birth at 24), many of her followers are teenagers and young women who respond to her solicitations by gushing over #BabyElroyE’s images on Instagram. Figure 11 & 12, screenshot September 2015 from ‹instagram.com/ohsofickle›PrivacyAs noted by Holloway et al. (23), children like micro-microcelebrities will be among the first cohorts to inherit “digital profiles” of their “whole lifetime” as a “work in progress”, from parents who habitually underestimate or discount the privacy and long term effects of publicizing information about their children at the time of posting. This matters in a climate where social media platforms can amend privacy policies without user consent (23), and is even more pressing for micro-microcelebrities whose followers store, republish, and recirculate information in fan networks, resulting in digital footprints with persistence, replicability, scalability, searchability (boyd), and extended longevity in public circulation which can be attributed back to the children indefinitely (Leaver, “Ends”).Despite minimum age restrictions and recent concerns with “digital kidnapping” where users steal images of other young children to be re-posted as their own (Whigham), some social media platforms rarely police the proliferation of accounts set up by parents on behalf of their underage children prominently displaying their legal names and life histories, citing differing jurisdictions in various countries (Facebook; Instagram), while others claim to disable accounts if users report an “incorrect birth date” (cf. Google for YouTube). In Singapore, the Media Development Authority (MDA) which governs all print and digital media has no firm regulations for this but suggests that the age of consent is 16 judging by their recommendation to parents with children aged below 16 to subscribe to Internet filtering services (Media Development Authority, “Regulatory” 1). Moreover, current initiatives have been focused on how parents can impart digital literacy to their children (Media Development Authority, “Empowered”; Media Literacy Council) as opposed to educating parents about the digital footprints they may be unwittingly leaving about their children.The digital lives of micro-microcelebrities pose new layers of concern given their publicness and deliberate publicity, specifically hinged on making visible the usually inaccessible, private aspects of everyday life (Marshall, “Persona” 5).Scholars note that celebrities are individuals for whom speculation of their private lives takes precedence over their actual public role or career (Geraghty 100-101; Turner 8). However, the personae of Influencers and their young children are shaped by ambiguously blurring the boundaries of privacy and publicness in order to bait followers’ attention, such that privacy and publicness are defined by being broadcast, circulated, and publicized (Warner 414). In other words, the publicness of micro-microcelebrities is premised on the extent of the intentional publicity rather than simply being in the public domain (Marwick 223-231, emphasis mine).Among Influencers privacy concerns have aroused awareness but not action – Baby Dash’s Influencer mother admitted in a national radio interview that he has received a death threat via Instagram but feels that her child is unlikely to be actually attacked (Channel News Asia) – because privacy is a commodity that is manipulated and performed to advance their micro-microcelebrities’ careers. As pioneer micro-microcelebrities are all under 2-years-old at present, future research warrants investigating “child-centred definitions” (Third et al.) of the transition in which they come of age, grow an awareness of their digital presence, respond to their Influencer mothers’ actions, and potentially take over their accounts.Young LabourThe Ministry of Manpower (MOM) in Singapore, which regulates the employment of children and young persons, states that children under the age of 13 may not legally work in non-industrial or industrial settings (Ministry of Manpower). However, the same document later ambiguously states underaged children who do work can only do so under strict work limits (Ministry of Manpower). Elsewhere (Chan), it is noted that national labour statistics have thus far only focused on those above the age of 15, thus neglecting a true reflection of underaged labour in Singapore. This is despite the prominence of micro-microcelebrities who are put in front of (video) cameras to build social media content. Additionally, the work of micro-microcelebrities on digital platforms has not yet been formally recognized as labour, and is not regulated by any authority including Influencer management firms, clients, the MDA, and the MOM. Brief snippets from my ethnographic fieldwork with Influencer management agencies in Singapore similarly reveal that micro-microcelebrities’ labour engagements and control of their earnings are entirely at their parents’ discretion.As models and actors, micro-microcelebrities are one form of entertainment workers who if between the ages of 15 days and 18 years in the state of California are required to obtain an Entertainment Work Permit to be gainfully employed, adhering to strict work, schooling, and rest hour quotas (Department of Industrial Relations). Furthermore, the Californian Coogan Law affirms that earnings by these minors are their own property and not their parents’, although they are not old enough to legally control their finances and rely on the state to govern their earnings with a legal guardian (Screen Actors Guild). However, this similarly excludes underaged children and micro-microcelebrities engaged in creative digital ecologies. Future research should look into safeguards and instruments among young child entertainers, especially for micro-micrcocelebrities’ among whom commercial work and personal documentation is not always distinct, and are in fact deliberately intertwined in order to better engage with followers for relatabilityGrowing Up BrandedIn the wake of moral panics over excessive surveillance technologies, children’s safety on the Internet, and data retention concerns, micro-microcelebrities and their Influencer mothers stand out for their deliberately personal and overtly commercial approach towards self-documenting, self-presenting, and self-publicizing from the moment of conception. As these debut micro-microcelebrities grow older and inherit digital publics, personae, and careers, future research should focus on the transition of their ownership, engagement, and reactions to a branded childhood in which babies were postured for an initimate public.ReferencesAbidin, Crystal. “Communicative Intimacies: Influencers and Perceived Interconnectedness.” Ada: A Journal of Gender, New Media, & Technology. Forthcoming, Nov 2015.Aiello, Marianne. “Mommy Blog Banner Ads Get Results.” Healthcare Marketing Advisor 17 Nov. 2010. HealthLeaders Media. 16 Aug. 2015 ‹http://healthleadersmedia.com/content/MAR-259215/Mommy-Blog-Banner-Ads-Get-Results›.Azzarone, Stephanie. “When Consumers Report: Mommy Blogging Your Way to Success.” Playthings 18 Feb. 2009. 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IntroductionAustralia is at a particular point in its history where there is a noticeable diaspora of artists and creative practitioners away from the major capitals of Sydney and Melbourne (in particular), driven in no small part by ballooning house prices of the last eight years. This has meant big changes for some regional spaces, and in turn, for the face of Australian cultural life. Regional cultural precincts are forming with tourist flows, funding attention and cultural economies. Likewise, there appears to be growing consciousness in the ‘art centres’ of Melbourne and Sydney of interesting and relevant activities outside their limits. This research draws on my experience as an art practitioner, curator and social researcher in one such region (Castlemaine in Central Victoria), and particularly from a recent interview series I have conducted in collaboration with art space in that region, Wide Open Road Art. In this, 23 regional and city-based artists were asked about the social, economic and local conditions that can and have supported their art practices. Drawing from these conversations and Bourdieu’s ideas around cultural production, the article suggests that authentic, diverse, interesting and disruptive creative practices in Australian cultural life involve the increasingly pressing need for security while existing outside the modern imperative of high consumption; of finding alternative ways to live well while entering into the shared space of cultural production. Indeed, it is argued that often it is the capacity to defy key economic paradigms, for example of ‘rational (economic) self-interest’, that allows creative life to flourish (Bourdieu Field; Ley “Artists”). While regional spaces present new opportunities for this, there are pitfalls and nuances worth exploring.Changes in Regional AustraliaAustralia has long been an urbanising nation. Since Federation our cities have increased from a third to now constituting two-thirds of the country’s total population (Gray and Lawrence 6; ABS), making us one of the most urbanised countries in the world. Indeed, as machines replaced manual labour on farms; as Australia’s manufacturing industry began its decline; and as young people in particular left the country for city universities (Gray and Lawrence), the post-war industrial-economic boom drove this widespread demographic and economic shift. In the 1980s closures of regional town facilities like banks, schools and hospitals propelled widespread belief that regional Australia was in crisis and would be increasingly difficult to sustain (Rentschler, Bridson, and Evans; Gray and Lawrence 2; Barr et al.; ABS). However, the late 1990s and early 21st century saw a turnaround that has been referred to by some as the rise of the ‘sea change’. That is, widespread renewed interest and idealisation of not just coastal areas but anywhere outside the city (Murphy). It was a simultaneous pursuit of “a small ‘a’ alternative lifestyle” and escape from rising living costs in urban areas, especially for the unemployed, single parents and those with disabilities (Murphy). This renewed interest has been sustained. The latest wave, or series of waves, have coincided with the post-GFC house price spike, of cheap credit and lenient lending designed to stimulate the economy. This initiative in part led to Sydney and Melbourne median dwelling prices rising by up to 114% in eight years (Scutt 2017), which alone had a huge influence on who was able to afford to live in city areas and who was not. Rapid population increases and diminished social networks and familial support are also considered drivers that sent a wave of people (a million since 2011) towards the outer fringes of the cities and to ‘commuter belt’ country towns (Docherty; Murphy). While the underprivileged are clearly most disadvantaged in what has actually been a global development process (see Jayne on this, and on the city as a consumer itself), artists and creatives are also a unique category who haven’t fared well with hyper-urbanisation (Ley “Artists”). Despite the class privilege that often accompanies such a career choice, the economic disadvantage art professions often involve has seen a diaspora of artists moving to regional areas, particularly those in the hinterlands around and train lines to major centres. We see the recent ‘rise of a regional bohemia’ (Regional Australia Institute): towns like Toowoomba, Byron Bay, Surf Coast, Gold Coast-Tweed, Kangaroo Valley, Wollongong, Warburton, Bendigo, Tooyday, New Norfolk, and countless more being re-identified as arts towns and precincts. In Australia in 2016–17, 1 in 6 professional artists, and 1 in 4 visual artists, were living in a regional town (Throsby and Petetskaya). Creative arts in regional Australia makes up a quarter of the nation’s creative output and is a $2.8 billion industry; and our regions particularly draw in creative practitioners in their prime productive years (aged 24 to 44) (Regional Australia Institute).WORA Conservation SeriesIn 2018 artist and curator Helen Mathwin and myself received a local shire grant to record a conversation series with 23 artists who were based in the Central Goldfields region of Victoria as well as further afield, but who had a connection to the regional arts space we run, WideOpenRoadArt (WORA). In videoed, in-depth, approximately hour-long, semi-structured interviews conducted throughout 2018, we spoke to artists (16 women and 7 men) about the relocation phenomenon we were witnessing in our own growing arts town. Most were interviewed in WORA’s roving art float, but we seized any ad hoc opportunity we had to have genuine discussions with people. Focal points were around sustainability of practice and the social conditions that supported artists’ professional pursuits. This included accessing an arts community, circles of cultural production, and the ‘art centre’; the capacity to exhibit; but also, social factors such as affordable housing and the ability to live on a low-income while having dependants; and so on. The conversations were rich with lived experiences and insights on these issues.Financial ImperativesIn line with the discussion above, the most prominent factor we noticed in the interviews was the inescapable importance of being able to live cheaply. The consistent message that all of the interviewees, both regional- and city-based, conveyed was that a career in art-making required an important independence from the need to earn a substantial income. One interviewee commented: “I do run my art as a business, I have an ABN […] it makes a healthy loss! I don’t think I’ve ever made a profit […].” Another put it: “now that I’m in [this] town and I have a house and stuff I do feel like there is maybe a bit more security around those daily things that will hopefully give me space to [make artworks].”Much has been said on the pervasive inability to monetise art careers, notably Bourdieu’s observations that art exists on an interdependent field of cultural capital, determining for itself an autonomous conception of value separate to economics (Bourdieu, Field 39). This is somewhat similar to the idea of art as a sacred phenomenon irreducible to dollar terms (Abbing 38; see also Benjamin’s “aura”; “The Work of Art”). Art’s difficult relationship with commodification is part of its heroism that Benjamin described (Benjamin Charles Baudelaire 79), its potential to sanctify mainstream society by staying separate to the lowly aspirations of commerce (Ley “Artists” 2529). However, it is understood, artists still need to attain professional education and capacities, yet they remain at the bottom of the income ladder not only professionally, but in the case of visual artists, they remain at the bottom of the creative income hierarchies as well. Further to this, within visual arts, only a tiny proportion achieve financially backed success (Menger 277). “Artistic labour markets are characterised by high risk of failure, excess supply of recruits, low artistic income level, skewed income distribution and multiple jobholding” (Mangset, Torvik Heian, Kleppe, and Løyland; Menger). Mangset et al. point to ideas that have long surrounded the “charismatic artist myth,” of a quasi-metaphysical calling to be an artist that can lead one to overlook the profession’s vast pitfalls in terms of economic sustainability. One interviewee described it as follows: “From a very young age I wanted to be an artist […] so there’s never been a time that I’ve thought that’s not what I’m doing.” A 1% rule seems widely acknowledged in how the profession manages the financial winners against those who miss out; the tiny proportion of megastar artists versus a vast struggling remainder.As even successful artists often dip below the poverty line between paid engagements, housing costs can make the difference between being able to live in an area and not (Turnbull and Whitford). One artist described:[the reason we moved here from Melbourne] was financial, yes definitely. We wouldn’t have been able to purchase a property […] in Melbourne, we would not have been able to live in place that we wanted to live, and to do what we wanted to do […]. It was never an option for us to get a big mortgage.Another said:It partly came about as a financial practicality to move out here. My partner […] wanted to be in the bush, but I was resistant at first, we were in Melbourne but we just couldn’t afford Melbourne in the end, we had an apartment, we had a studio. My partner was a cabinet maker then. You know, just every month all our money went to rent and we just couldn’t manage anymore. So we thought, well maybe if we come out to the bush […] It was just by a happy accident that we found a property […] that we could afford, that was off-grid so it cut the bills down for us [...] that had a little studio and already had a little cottage on there that we could rent that out to get money.For a prominent artist we spoke to this issue was starkly reflected. Despite large exhibitions at some of the highest profile galleries in regional Victoria, the commissions offered for these shows were so insubstantial that the artist and their family had to take on staggering sums of personal debt to execute the ambitious and critically acclaimed shows. Another very successful artist we interviewed who had shown widely at ‘A-list’ international arts institutions and received several substantial grants, spoke of their dismay and pessimism at the idea of financial survival. For all artists we spoke to, pursuing their arts practice was in constant tension with economic imperatives, and their lives had all been shaped by the need to make shrewd decisions to continue practising. There were two artists out of the 23 we interviewed who considered their artwork able to provide full-time income, although this still relied on living costs remaining extremely low. “We are very lucky to have bought a very cheap property [in the country] that I can [also] have my workshop on, so I’m not paying for two properties in Melbourne […] So that certainly takes a fair bit of pressure off financially.” Their co-interviewee described this as “pretty luxurious!” Notably, the two who thought they could live off their art practices were both men, mid-career, whose works were large, spectacular festival items, which alongside the artists’ skill and hard work was also a factor in the type of remuneration received.Decongested LivingBeyond more affordable real estate and rental spaces, life outside our cities offers other benefits that have particular relevance to creative practitioners. Opera and festival director Lindy Hume described her move to the NSW South Coast in terms of space to think and be creative. “The abundance of time, space and silence makes living in places like [Hume’s town] ideal for creating new work” (Brown). And certainly, this was a theme that arose frequently in our interviews. Many of our regionally based artists were in part choosing the de-pressurised space of non-metro areas, and also seeking an embedded, daily connection to nature for themselves, their art-making process and their families. In one interview this was described as “dreamtime”. “Some of my more creative moments are out walking in the forest with the dog, that sort of semi-daydreamy thing where your mind is taken away by the place you’re in.”Creative HubsAll of our regional interviewees mentioned the value of the local community, as a general exchange, social support and like-minded connection, but also specifically of an arts community. Whether a tree change by choice or a more reactive move, the diaspora of artists, among others, has led to a type of rural renaissance in certain popular areas. Creative hubs located around the country, often in close proximity to the urban centres, are creating tremendous opportunities to network with other talented people doing interesting things, living in close proximity and often open to cross-fertilisation. One said: “[Castlemaine] is the best place in Australia, it has this insane cultural richness in a tiny town, you can’t go out and not meet people on the street […] For someone who has not had community in their life that is so gorgeous.” Another said:[Being an artist here] is kind of easy! Lots of people around to connect—with […] other artists but also creatively minded people [...] So it means you can just bump into someone from down the street and have an amazing conversation in five minutes about some amazing thing! […] There’s a concentration here that works.With these hubs, regional spaces are entering into a new relevance in the sphere of cultural production. They are generating unique and interesting local creative scenes for people to live amongst or visit, and generating strong local arts economies, tourist economies, and funding opportunities (Rentschler, Bridson, and Evans). Victoria in particular has burgeoned, with tourist flows to its regions increasing 13 per cent in 5 years and generating tourism worth $10 billion (Tourism Victoria). Victoria’s Greater Bendigo is Australia’s most popularly searched tourist destination on Trip Advisor, with tourism increasing 52% in 10 years (Boland). Simultaneously, funding flows have increased to regional zones, as governments seek to promote development outside Australia’s urban centres and are confident in the arts as a key strategy in boosting health, economies and overall wellbeing (see Rentschler, Bridson, and Evans; see also the 2018 Regional Centre for Culture initiative, Boland). The regions are also an increasingly relevant participant in national cultural life (Turnbull and Whitford; Mitchell; Simpson; Woodhead). Opportunities for an openness to productive exchange between regional and metropolitan sites appear to be growing, with regional festivals and art events gaining importance and unique attributes in the consciousness of the arts ‘centre’ (see for example Fairley; Simpson; Farrelly; Woodhead).Difficulties of Regional LocationDespite this, our interviews still brought to light the difficulties and barriers experienced living as a regional artist. For some, living in regional Victoria was an accepted set-back in their ambitions, something to be concealed and counteracted with education in reputable metropolitan art schools or city-based jobs. For others there was difficulty accessing a sympathetic arts community—although arts towns had vibrant cultures, certain types of creativity were preferred (often craft-based and more community-oriented). Practitioners who were active in maintaining their links to a metropolitan art scene voiced more difficulty in fitting in and successfully exhibiting their (often more conceptual or boundary-pushing) work in regional locations.The Gentrification ProblemThe other increasingly obvious issue in the revivification of some non-metropolitan areas is that they can and are already showing signs of being victims of their own success. That is, some regional arts precincts are attracting so many new residents that they are ceasing to be the low-cost, hospitable environments for artists they once were. Geographer David Ley has given attention to this particular pattern of gentrification that trails behind artists (Ley “Artists”). Ley draws from Florida’s ideas of late capitalism’s ascendency of creativity over the brute utilitarianism of the industrial era. This has got to the point that artists and creative professionals have an increasing capacity to shape and generate value in areas of life that were previous overlooked, especially with built environments (2529). Now more than ever, there is the “urbane middle-class” pursuing ‘the swirling milieu of artists, bohemians and immigrants” (Florida) as they create new, desirable landscapes with the “refuse of society” (Benjamin Charles Baudelaire 79; Ley New Middle Class). With Australia’s historic shifts in affordability in our major cities, this pattern that Ley identified in urban built environments can be seen across our states and regions as well.But with gentrification comes increased costs of living, as housing, shops and infrastructure all alter for an affluent consumer-resident. This diminishes what Bourdieu describes as “the suspension and removal of economic necessity” fundamental to the avant-garde (Bourdieu Distinction 54). That is to say, its relief from heavy pressure to materially survive is arguably critical to the reflexive, imaginative, and truly new offerings that art can provide. And as argued earlier, there seems an inbuilt economic irrationality in artmaking as a vocation—of dedicating one’s energy, time and resources to a pursuit that is notoriously impoverishing. But this irrationality may at the same time be critical to setting forth new ideas, perspectives, reflections and disruptions of taken-for-granted social assumptions, and why art is so indispensable in the first place (Bourdieu Field 39; Ley New Middle Class 2531; Weber on irrationality and the Enlightenment Project; also Adorno’s the ‘primitive’ in art). Australia’s cities, like those of most developed nations, increasingly demand we busy ourselves with the high-consumption of modern life that makes certain activities that sit outside this almost impossible. As gentrification unfolds from the metropolis to the regions, Australia faces a new level of far-reaching social inequality that has real consequences for who is able to participate in art-making, where these people can live, and ultimately what kind of diversity of ideas and voices participate in the generation of our national cultural life. ConclusionThe revival of some of Australia’s more popular regional towns has brought new life to some regional areas, particularly in reshaping their identities as cultural hubs worth experiencing, living amongst or supporting their development. Our interviews brought to life the significant benefits artists have experienced in relocating to country towns, whether by choice or necessity, as well as some setbacks. It was clear that economics played a major role in the demographic shift that took place in the area being examined; more specifically, that the general reorientation of social life towards consumption activities are having dramatic spatial consequences that we are currently seeing transform our major centres. The ability of art and creative practices to breathe new life into forgotten and devalued ideas and spaces is a foundational attribute but one that also creates a gentrification problem. 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