Search

In artistic and cultural work, where unions and formal industrial relations institutions have weak influence, market intermediaries often shape the terms of exchange for workers. Focusing on musicians and drawing mainly on examples from France, this article shows how these intermediaries shape employment relations, in particular the distribution of risks and surpluses. While intermediaries and musicians have many shared interests, there is also a structural antagonism between them, which could be exacerbated by digitalization. [ABSTRACT FROM AUTHOR]

Copyright of Actes de la Recherche en Sciences Sociales is the property of Actes de la Recherche en Sciences Sociales and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article presents a reflection on the sociological aspects of cultural taste. It presents an overview of the history of sociological research regarding the reception of art and culture and the production of cultural forms. The limits of social studies on taste are explored. According to the author, taste allows a connection between the sociology of the offer and the sociology of its appropriation. The social characteristics of the production of taste are examined. The social space of consumers in terms of their appropriation of cultural products is analyzed.