Mark Taylor's research while affiliated with The University of Sheffield and other places

... Despite this, those who had traditionally been excluded from the arts, such as people of ethnic minorities and those with health conditions, had similar levels of home-based arts engagement compared to others in the pandemic . However, a parallel study did not find evidence for changes in arts audiences in the UK, suggesting that pre-existing inequalities in arts engagement were maintained (Feder et al., 2021). Although the rapid increase in digital arts activities might reach new audiences, it may also have excluded individuals without access to reliable internet and those unable to use digital technology. ...

... On the one hand, the pandemic has emphasized the importance of culture in (some) citizens' everyday life, both off-and online (e.g., Baldin & Bille 2022;Jeanotte 2021;Tubadji 2021). On the other hand, while the pandemic may have reconfigured cultural participation patterns, it does not seem to have significantly altered existing stratifications in cultural participation (e.g., Blaabaek & Jaeger 2021;Feder et al. 2021). ...

... Golden Globes, the failure to change results in erosion of reputation and boycotts (Pulver, 2021). The privileged white male old guard resist the change towards diversity and inclusion as researchers found (Cobb, Newsinger, and Nwonka, 2020;Brook, O'Brien, and (Meadows, 1994). Canadian government initiatives, such as Ontario's dedicated program for universities to hire black faculty is a correct step forward (Redden, 2020). ...

... In view of the racial and gender inequalities previously documented in the cultural industries (Brook et al., 2018;Brook et al., 2020;Scharff, 2017), and evidence showing that existing inequalities are being exacerbated by the pandemic (Cultivator, 2020;Spiro et al., 2021), it seems possible that individuals who are consistently marginalised in the sector and had learned the skills to demonstrate self-initiative to attain work in the sector pre-pandemic (White, 2017), were also readily able to pivot their practice, and act resourcefully and entrepreneurially when the pandemic hit (even if this meant self-exploitation via unpaid opportunities). Of note, one of our female participants who was from an ethnic minority group set up their own full-time business with colleagues from outside of the sector and reported this as "a weird silver lining" of the pandemic (ID17). ...

... Indeed, families not only transmit economic and cultural resources to youth trajectories (Serracant, 2013), but they also help in job-searches through recommendations and information, which is in many ways linked to their status and social prestige, and with the influence they can exert on other people in the labour market (Vacchiano et al., 2019). Contacts are in fact a source of extraordinary inequality: in many cases it is the ability to access certain social circles that allows young people to access those qualified sectors offering the prospect of a satisfactory job, whether in the cultural industry or other professional fields, despite also being undermined by labour insecurities (Brook et al., 2020). ...

... Although many professionals are enthusiastic about the prospects for exploiting behavioural data, which would allow for detailed analysis of certain niche activities (Hanquinet, O'Brien, and Taylor 2019), these new practices also raise anxieties. They are rejected by some artists as antithetical to their political values and underground positioning (Creton 2018). ...

... They can be embedded in teaching and used for evaluation of learning. Threshold concepts are described as "key ideas, concepts or processes in a discipline that need to be understood by students before they can understand other parts of the subject that follow from them" [104] (p. 14). ...

... Although most workers are likely to be at-risk of socioeconomic adversity during this period, one group who are particularly vulnerable are those employed freelance within the cultural sector. 1 There are a number of reasons for this. First, the fragility of the sector before COVID-19 is widely acknowledged, including the financial precariousness of its workforce and previous susceptibility to economic shocks and recession (de Peuter, 2011;Brook et al., 2018;Banks, 2020). Major socioeconomic transformations in response to COVID-19 are therefore likely to have exacerbated any pre-existing economic vulnerability. ...

... 74 This shift raises the question of the emancipatory potential of 'inequality talk, ' to use Brook et al. 's terminology. 75 One crucial question is: do common accounts of inequalities promote, or hinder, social change? As I show in detail elsewhere, conversations about inequalities do not necessarily lead to political change. ...

... Some jobs are more protected than others, some places will recover faster than others (Drummond), provide greater social security (Viganò) or broader access to financial support (Savage), but some individuals within those jobs also have more opportunities than others to be resilient. Wider research on barriers for diverse creative (Brook et al., 2018;O'Brien and Dent, 2021) also exposes that the reality of creative work within the knowledge economy is much less diverse than we would like to think. Women have been considered extensively within the literature (Conor et al., 2015;Dent, 2020) on creative workers, as a group often exposed to more pressures and undervalued (Shade and Jacobson, 2015). ...