Featured in

- Published 20250506
- ISBN: 978-1-923213-07-4
- Extent: 196 pp
- Paperback, ebook, PDF


Already a subscriber? Sign in here
If you are an educator or student wishing to access content for study purposes please contact us at griffithreview@griffith.edu.au
Share article
About the author

Nicola Redhouse
Nicola Redhouse is the author of Unlike the Heart: A Memoir of Brain and Mind (UQP). Her writing has been published in The Guardian,...
More from this edition

The marketing is still crap
Non-fictionThis neoliberal reframing of the arts into ‘creative industries’ first took hold in the UK with Tony Blair and his attempt to make the country’s image less frumpy and more innovative: New Labour lumped disparate industries together under the guise of creating a so-called ‘enterprise economy’. This ethos has continued with gusto in the twenty-first century, with artistic development corralled into corporate spaces while creative professionals are expected to perform their roles with sharpened governance, purpose and glad-handing to prove more is achieved by following a new regime of accountability.

Creative industry
Non-fictionIn the 1990s the term ‘cultural economy’ brought a double meaning to creative work. First, it captured the cultural dimensions of economic activity, like packaging design or marketing, and gave them an artistic dimension. Second, it referred to an expanding category of economic activity concerned with cultural goods and undertakings centred around value and profits. It would see the ascendancy of creatives to the C-suite, where companies across a range of industries appointed chief creative officers (CCOs) to oversee ‘creative activities’ and align them to corporate strategies and visions. Scan through job descriptions and you’ll see that CCOs are expected to be strategic leaders and ‘igniters’ of creative intuition within organisations. CCOs are charged with finding more ‘creative solutions’ to problems that often stretch beyond an organisation’s core operations.

Less than human
Non-fictionWhat elevates Miku and makes her significant in our cultural landscape is her accessibility. Unlike traditional celebrities, who, even if they want to be accessible to their fans, only have so much time and can’t be perpetually available, Miku is software that anyone can buy and use. It only costs $200 and doesn’t require particularly advanced technical skills. Most of the people who produce Miku music are self-taught. One of the enduringly popular things about the concerts is that everything you see essentially comes from fans – the music, costuming and dance routines are all drawn from the expansive ‘Miku community’, where the lines between amateur and professional are deliberately blurred by everyone involved. You’re as likely to hear a song produced through a record label as you are one that was popularised by YouTube.