Creative work and affect: Social, political and fantasmatic dynamics in the labour of musicians

How can we understand contradictory identifications within work to which one is passionately attached? This article explores how seemingly competing accounts of the self at work can not only appear side by side within the self-presentation of creative workers, but also how dominant patterns within the daily socio-economic realities of creative work are reproduced through faux-contestations of them. Following Glynos and Howarth, I will argue that such transgressive notions often recall earlier historical arrangements that have been displaced by current dominant social grammars, or were vital components of the institution of current social hegemony. In a study of musicians, I analyse how alongside dominant logics of employability and virtuosity, traditional notions of artists’ craft and autonomy drive counter-identifications that allow dominant social logics to fill the gaps in the indeterminacy and ambiguity of everyday lived experience. By applying an understanding of discursive logics to creative work, this article seeks to contribute to literatures spanning work in the cultural industries, identification, affect and transgression at work, and commons and immaterial labour