Cette thèse s’intéresse à l’action stratégique des artistes en arts visuels qui est dédiée à l’amélioration de leurs conditions de travail. Elle cherche à comprendre comment les centres d’artistes autogérés (CAA) situés à Montréal participent au développement, par les artistes, de stratégies visant à leur permettre de se maintenir dans des carrières marquées par la précarité. Cette recherche s’inscrit dans la problématique entourant l’émergence de nouvelles formes d’action collective qui visent à contrer la précarisation croissante des marchés du travail et de l’emploi. Sur le plan théorique, elle s’appuie sur trois grandes approches sociologiques : la sociologie interactionniste des mondes de l’art de H. S. Becker (1982), la sociologie structuraliste du champ de la production culturelle de P. Bourdieu (1993) et la socio-économie interactionniste des champs d’action stratégique de N. Fligstein et D. McAdam (2011). La posture épistémologique de cette recherche consiste à restituer la parole aux acteurs afin de cerner le sens qu’ils accordent à la précarité de leur travail et d’identifier les stratégies d’amélioration du travail dans lesquelles ils sont engagés. En nous appuyant sur des sources qualitatives, nous avons réalisé une étude de cas multiples correspondant à quatorze CAA situés à Montréal. Au total, cinquante-cinq personnes ont participé à cette recherche. Cette recherche souligne les effets structurants de l’encastrement du champ culturel dans le champ étatique sur les systèmes de distribution des ressources et des inégalités qui affectent les artistes intégré·e·s et les CAA. Elle montre aussi comment le passage du temps influence (1) le rapport que les artistes entretiennent face à la précarité de leur travail et (2) leurs stratégies d’amélioration du travail. Celles-ci revêtent généralement une nature spontanée et éphémère et elles mobilisent peu les outils formels de régulation prévus à cet effet, incluant la Loi sur le statut professionnel des artistes des arts visuels, des métiers d’art et de la littérature, ainsi que sur leurs contrats avec les diffuseurs (RLRQ, S-32.01). Leur impact sur l’amélioration durable et significative des conditions de travail des artistes apparaît limité. Cette recherche montre aussi que les CAA participent plus ou moins aux stratégies d’amélioration du travail des artistes. La nature et le degré de leur soutien varie notamment en fonction de leurs structures et de leurs politiques organisationnelles, ainsi que de la volonté des artistes de les impliquer dans ces processus. Plusieurs centres expérimentent cependant de nouvelles formes de soutien économiques et relationnelles aux artistes dans les limites de leurs contraintes organisationnelles. Au sein de ces CAA, on observe un recours croissant à des pratiques plus ou moins institutionnalisées qui relèvent de l’éthique féministe du soin. Les acteurs communautaires tels que les CAA, les associations professionnelles, les mouvements sociaux, etc., sont appelés à réfléchir à de nouvelles manières de générer des formes de solidarité et d’appartenance entre les artistes à partir des facteurs de précarité qui ont été identifiés dans cette recherche. Ce travail doit aussi prendre acte du fait que les artistes qui s’identifient à des groupes historiquement marginalisés rencontrent des enjeux de précarité spécifiques. Notre recherche révèle en effet la pertinence de procéder à la déconstruction des grandes catégories analytiques sur lesquelles se fonde l’analyse des mondes de l’art comme les « artistes intégré·e·s » (Becker, 1982), de manière à tenir compte de la manière dont les facteurs sociaux comme le genre, l’âge, la race, une situation de handicap, l’orientation sexuelle, etc., ont un impact sur les trajectoires de carrière des artistes en arts visuels. / This thesis investigates artists and art collectives’ strategic action aiming at the improvement of their working conditions. It studies how Montreal’s artist-run centres (ARCs) participate (or do not participate) in the development of « better work » strategies put in place by artists in order to persevere in their precarious careers. This research engages with the larger problem of increasingly precarious labour markets and employment, and with the new forms of collective action that are emerging in reaction to it. It draws on three theoretical approaches: the interactionist sociology of the art worlds (H. S. Becker, 1982), the structuralist sociology of the field of cultural production (P. Bourdieu, 1993) and the interactionist socio-economy of strategic action fields (N. Fligstein and D. McAdam, 2011). From an epistemological standpoint, our approach draws on pragmatism. It gives a voice to the actors to elevate their own perceptions of their precarity. This allows us to grasp its meaning and to identify the « better work » strategies in which they engage. This research draws on qualitative sources and corresponds to a multiple case study constituted of fourteen ARCs located in Montreal. A total of fifty-five persons participated in this research. This research highlights the structuring effects of the cultural field’s embeddedness in the state field on the distribution systems of resources and inequalities impacting artists and ARCs. It also reveals the importance of mobilizing a micro lens to study strategic action repertoires to consider the actors’ desires, values, and perceptions. Finally, it shows how the passage of time contributes to transforming how artists perceive their labour precarity. The prolonged experience of precarity shapes the « better work » strategies that are developed by artists. In general, these appear to be more of a spontaneous and ephemeral nature. Most of them do not draw on formal regulations such as the Act respecting the professional status of artists in the visual arts, arts and crafts and literature, and their contracts with promoters (RLRQ, S-32.01). Overall, their impact on a significative and sustainable improvement of artists’ working conditions appear to be limited. Our analysis also shows that ARCs participate in these strategies to various degrees. Their support depends on several factors, including ARCs’ organizational structure and politics, and the artists’ propensity to involve them in these processes. Several ARCs are experimenting with new forms of economic and relational support within the limits of their organizational constraints. Within those ARCs, we observe a increasing tendency to put in action more or less institutionalized practices associated with the feminist ethics of care. Community actors such as ARCs, professional associations, social movements, etc., are invited to (re)think about innovative ways to generate solidarity and belonging within artists by building on the precarity factors that have been in this research. This work should take into consideration that artists identifying to historically marginalized groups encounter specific forms of precarity to this day. This research also highlights the necessity to deconstruct the large analytical categories traditionally used to study the art worlds such as « integrated professionals » (Becker, 1982), to account for the influence of social factors such as gender, age, race, disability status, sexual orientation, etc., on visual artists’ career trajectories.

This thesis aims to outline how the labour exploitation of migrant workers is problematized in contemporary Canadian labour migration policy discourse; the consequences of this problematization(s), and possibilities for creating an alternative critical space for discourse. Using concepts of (social) harm, (un)freedom, and (hyper)precarity as departure points for analysis, this project endeavours to untangle problematizations of migrant worker exploitation from their representations in Canadian policy discourse through a post-structural policy analysis. From this theoretical perspective, policy discourse will be analyzed employing Carol Bacchi’s (2009) ‘What is the Problem Represented to Be?’ (WPR) methodology. With this theoretical and methodological basis, the goal of this thesis is to make space to open a critical dialogue between the consequences of the global neoliberal capitalist order, Canadian policy discourse, the Canadian border/migration regime, and the conditions of migrant labourers caught in the middle of this complex nexus.

O presente trabalho propõe uma análise e reflexão sobre a produção de música eletrônica experimental mediada por dispositivos móveis. O termo Música Móvel é usado frequentemente desde de meados dos anos 2000, devido ao grupo de pesquisadores de instituições inglesas ligados aos Mobile Music Workshops, que ocorreram entre 2004 e 2008. As pesquisas acadêmicas e artísticas apresentadas nesse evento envolviam obras e aplicações mediadas por diversos tipos de dispositivos, cujo foco principal seria explorar a mobilidade de interfaces eletrônicas em situações interativas no espaço urbano. Após o lançamento de dispositivos móveis corporativos, como smartphones e tablets, no final da década passada a perspectiva das pesquisas acadêmicas mudou bastante: passou a privilegiar os objetos de consumo, ao invés de situações. Esse câmbio de foco acarreta em alterações significativas entre consumo e produção de cultural. Pois essas interfaces seguem um modelo de consumo assimétrico entre possibilidades de produção e aquisição. Os dispositivos corporativos são primordialmente plataformas de Consumo Controlado, baseadas na lógica de monopólio de mercado, vigilância, obsolescência programada e, portanto, causam reorganizações significativas em nosso dia a dia (STRIPHAS,2011). Portanto, nesse texto especulamos sobre outras alternativas para as práticas de Música Móvel. Uma Música Móvel Crítica, que não depende exclusivamente dos monopólios empresariais para sua produção e veiculação. Para isso propomos uma reflexão sobre fidelidade sonora que acarreta em uma defesa dos sons e dispositivos precários - o proletariado da reprodução sonora - aqueles que compõem a paisagem sonora eletrônica de baixa fidelidade do cotidiano. / This research aims to propose an analysis and reflection on the production of experimental electronic music mediated by mobile devices. The term Mobile Music is frequently used since the mid-2000s, due to a group of researchers of English institutions connected to the Mobile Music Workshop, which took place between 2004 and 2008. The academic and artistic research presented at this event involved works and applications mediated by various types of devices, among the experiences the main focus was to explore the mobility of electronic interfaces in interactive situations in urban space. After the release of corporate mobile devices such as smartphones and tablets at the end of the last decade the perspective of academic research has changed a lot: it started chater objects of consumption rather than situations. This change of focus brings in significant changes between consumption and cultural production. Because these interfaces follow a asymmetric model of consumption between possibilities production and procurement. Corporate devices are primarily controlled consumption platforms, which are based on market monopoly, surveillance, planned obsolescence, and therefore cause significant reorganizations in our daily lives (STRIPHAS, 2011).Thus in this text we speculate about other alternatives to the practices of Mobile Music. A Critical Mobile Music, which does not depend solely on corporate monopolies for its production and propagation. Therefore we propose a reflection on issues of sound fidelity, in order to make that we propose a defense of precarious sounds and devices - the proletariat of sound reproduction - those that make the electronic low fidelity soundscape of everyday life.

O presente trabalho propõe uma análise e reflexão sobre a produção de música eletrônica experimental mediada por dispositivos móveis. O termo Música Móvel é usado frequentemente desde de meados dos anos 2000, devido ao grupo de pesquisadores de instituições inglesas ligados aos Mobile Music Workshops, que ocorreram entre 2004 e 2008. As pesquisas acadêmicas e artísticas apresentadas nesse evento envolviam obras e aplicações mediadas por diversos tipos de dispositivos, cujo foco principal seria explorar a mobilidade de interfaces eletrônicas em situações interativas no espaço urbano. Após o lançamento de dispositivos móveis corporativos, como smartphones e tablets, no final da década passada a perspectiva das pesquisas acadêmicas mudou bastante: passou a privilegiar os objetos de consumo, ao invés de situações. Esse câmbio de foco acarreta em alterações significativas entre consumo e produção de cultural. Pois essas interfaces seguem um modelo de consumo assimétrico entre possibilidades de produção e aquisição. Os dispositivos corporativos são primordialmente plataformas de Consumo Controlado, baseadas na lógica de monopólio de mercado, vigilância, obsolescência programada e, portanto, causam reorganizações significativas em nosso dia a dia (STRIPHAS,2011). Portanto, nesse texto especulamos sobre outras alternativas para as práticas de Música Móvel. Uma Música Móvel Crítica, que não depende exclusivamente dos monopólios empresariais para sua produção e veiculação. Para isso propomos uma reflexão sobre fidelidade sonora que acarreta em uma defesa dos sons e dispositivos precários - o proletariado da reprodução sonora - aqueles que compõem a paisagem sonora eletrônica de baixa fidelidade do cotidiano. / This research aims to propose an analysis and reflection on the production of experimental electronic music mediated by mobile devices. The term Mobile Music is frequently used since the mid-2000s, due to a group of researchers of English institutions connected to the Mobile Music Workshop, which took place between 2004 and 2008. The academic and artistic research presented at this event involved works and applications mediated by various types of devices, among the experiences the main focus was to explore the mobility of electronic interfaces in interactive situations in urban space. After the release of corporate mobile devices such as smartphones and tablets at the end of the last decade the perspective of academic research has changed a lot: it started chater objects of consumption rather than situations. This change of focus brings in significant changes between consumption and cultural production. Because these interfaces follow a asymmetric model of consumption between possibilities production and procurement. Corporate devices are primarily controlled consumption platforms, which are based on market monopoly, surveillance, planned obsolescence, and therefore cause significant reorganizations in our daily lives (STRIPHAS, 2011).Thus in this text we speculate about other alternatives to the practices of Mobile Music. A Critical Mobile Music, which does not depend solely on corporate monopolies for its production and propagation. Therefore we propose a reflection on issues of sound fidelity, in order to make that we propose a defense of precarious sounds and devices - the proletariat of sound reproduction - those that make the electronic low fidelity soundscape of everyday life.

No description available.

The post-modern western city is going through two central changes in the organization of paid labour. One is the switch from production of goods to production of services, and the other is the increasing rift between well-paid labour with permanent jobs, and temporarily employed workers with low wages. Both of these processes are rasified and gendered, and strike harder against women, young persons and people of emigrant background. The flexible capitalism creates an informalization of the economy, breaking with earlier regulations of the labour markets, in which workers also need to find informal strategies in their individual and collective struggles. In this paper, I search for these “new” experiences of living and working in late capitalist society, by doing open interviews with three women of Latin-American origin, working without official permission (without documents) in the informal economy of Stockholm. Analyzing their narratives, I look for the agency and resistance that, according to my theoretical perspective, is part of everyday life of all suppressed subjects. I come to the conclusion that irregular systems of recruitment and other forms of interdependency could be useful for other groups of precarious workers. The interviewed women also use strategies such as fantasizing about a reversed world or focusing their thoughts on the future, and deceiving or avoiding the power(full), to cope with their everyday work situations and the contradictory class mobility they experienced in the migration. However, these strategies often reproduce an acceptance of power more than a resistance to it, and show us how the capitalism works as an hegemonic ideology incorporated in us all.

No description available.

En raison de certaines barrières structurelles d’accès à l’emploi qu’elles rencontrent, plusieurs personnes immigrantes nouvellement arrivées sont reléguées vers les emplois faiblement rémunérés et dits « peu qualifiés ». Dans le prolongement de ces dynamiques, des études montrent que les personnes issues de l’immigration sont surreprésentées au sein des plateformes numériques de travail, une forme d’emploi précaire en raison notamment des faibles salaires octroyés et de l’imposition d’un statut de travailleur autonome limitant l’accès à différents régimes de protections sociales. Malgré ce constat, peu d’études québécoises et canadiennes ont exploré le lien entre l’intégration socioprofessionnelle des personnes immigrantes et le travail de plateformes. À partir d’entretiens semi-dirigés réalisés auprès de 17 travailleur·euse·s de plateformes numériques de livraison de nourriture, ce mémoire s’interroge sur la place qu’occupent ces plateformes dans le parcours d’intégration socioprofessionnelle des nouveaux·elles arrivant·e·s au Québec. Les résultats de cette enquête exploratoire portent à adopter un regard nuancé sur la situation des personnes immigrantes nouvellement arrivées et travailleur·se·s de plateformes. Malgré leur haut niveau de diplomation et leurs expériences de travail antérieures, la majorité des participant·e·s n’était pas parvenue à occuper un emploi correspondant à leurs qualifications et à leurs attentes dans les mois et les années suivant leur arrivée au Québec. Avant de travailler sur les plateformes, ils et elles s’étaient d’abord tourné·e·s vers le travail salarié déqualifiant, faiblement rémunéré et qui les exposait à plusieurs contraintes de travail. En dépit des conditions de travail précaires offertes et des nombreuses insatisfactions exprimées par les participant·e·s, les plateformes numériques de travail représentent néanmoins une alternative avantageuse puisqu’elles s’accompagnent parfois d’une meilleure rémunération, d’un moindre effort physique, ainsi que d’un plus grand contrôle sur les heures et horaires de travail. Pour l’ensemble des participant·e·s, le travail de plateforme constitue une activité temporaire et s’inscrit plus largement dans des projets professionnels et migratoires – dans le cas des résident·e·s temporaires -, mais aussi dans un contexte marqué par la pandémie de COVID-19. Le passage au travail de plateforme constitue une forme de stratégie mobilisée par les participant·e·s pour surmonter les différentes contraintes – économiques, conciliation des sphères de vie, statut migratoire restrictif - rencontrées dans le cadre de leur parcours d’intégration socioprofessionnelle et faciliter le passage à une situation favorable. / Due to certain structural barriers to accessing employment, many newly arrived immigrants are relegated to low-paying, so-called "low-skilled" jobs. As an extension of these dynamics, studies show that people of immigrant background are overrepresented in digital work platforms, a form of precarious employment due in particular to the low wages paid and the imposition of a self-employed status that limits access to various social protection schemes. Despite this observation, few Quebec and Canadian studies have explored the link between the socio-professional integration of immigrants and digital platforms. Based on semi-structured interviews with 17 workers of digital food delivery platforms, this thesis examines the role of these platforms in the socio-professional integration of newcomers to Quebec. The results of this exploratory study suggest a nuanced view of the situation of newly arrived immigrants and platform workers. Despite their high level of education and previous work experience, the majority of participants had not managed to find a job that matched their qualifications and expectations in the months and years following their arrival in Quebec. Before working on the platforms, they had first turned to low-skill, low-paying salaried work that exposed them to several work constraints. Despite the precarious working conditions offered and the many dissatisfactions voiced by the participants, digital work platforms nevertheless represent an advantageous alternative since they are sometimes accompanied with better pay, less physical effort, and greater control over working hours and schedules. For all the participants, platform work is a temporary activity and is part of their professional and migratory projects - in the case of temporary residents - but also in a context marked by the COVID-19 pandemic. The transition to platform work constitutes a form of strategy mobilized by the participants to overcome the various constraints - economic, reconciliation of spheres of life, restrictive migratory status - encountered in the course of their socio-professional integration and to facilitate the transition to a favorable situation.

No description available.

No description available.