Possible Models Continued

My last post looked at the entertainment industry and its unions for possible models to help meet the challenges of the knowledge economy for unions and their members. This post takes another look at those challenges.
Several commentators have remarked on the radical changes occurring in some major corporations in the wake of the recent financial collapse. Walmart and Nike stand out as unexpected converts to a sustainable ethic in moving from value chains to value cycles when sourcing materials. When can we expect Walmart, for one, to change its employment practices to align with its new calculations of sustainable value(s), and what are the chances that its attitude towards union representation for employees will change? Probably not great, and while Walmart may be an exceptionally resistent case, we have to ask ourselves whether employers or employees see us as relevant to their engagement with the information economy. Zappos.com, for example, has transformed call-centre work into an employee-driven initiative to provide ultimate customer service, complete with Google-type employee benefits and incentives. "Customer pull" is replacing marketing as the dominant growth strategy. Where do unions position themselves as service industries transform from mac-jobs to Google-jobs where motivating and rewarding employees becomes a given, with the emphasis on nimbleness and innovation to stay ahead of the competition?
Can we become repositories of expertise in delivering value through representing workers as companies strive to compete in a business climate where values have the potential to represent value, and transparency translates into visibility in markets where everyone seeks to be seen to be doing the right things? Where hotel housekeeping staff are seen as critical to a reputation for customer satisfaction and are rewarded commensurately (Joie de Vivre Hotels). As the outliers become models for the the mainstream, our traditionally relationships may have to shift towards partnerships as progressive values become emblematic of market value. Hopefully we are learning from change as it unfolds and are sufficiently nimble and innovative to not only retain our relevance but become a driving force for bringing outlier innovation into the mainstream.

Possible Models

The traditional strong ties union certification is defined by its location, usually a plant, office or facility where the members work. The various certifications often exist in a somewhat weak ties relationship to the National or International Union, particularly in amalgamated unions. The culture is rooted in an industrial model where ownership of work is the primary objective and mobility is constrained by a conceptual framework of stable employment and mediated technological change, among other considerations. Even within traditional industries the model is facing challenges, for women, for instance. Women who leave the workforce to raise families and return face a salary loss of around 37% in a model where continuous service is rewarded irrespective of  talent and qualifications. Many young knowledge workers visualize a career with periods of well-paid  project-based work interspersed with periods of voluntary unemployment to pursue personal interests.  The structure of the companies they will likely work for reflects this ethic: a core staff and a large, far-flung network of contract workers brought in as needed.

Perhaps there is a model for this new sensibility in the entertainment industry and the unions associated with it. Musicians, writers, dancers and actors along with the technical staff who support their work already inhabit the weak ties world of transient team work, gigs, projects and down-time which characterize the emerging domain of knowledge work for many people. Super-stars routinely acknowledge the roles of the unions in their industries as they pick up their statuettes at industry award shows. No-one accuses these unions of obstructing the rise of talented individuals or of resisting innovation.

The DGA (Directors Guild of America) negotiates a basic agreement for its members, who then arrange individual contracts with the producer or producing company with terms and conditions applicable to a specific film. Director's agreements include employment terms (salary, and so forth), but also issues relating to creative control such as details regarding the director's cut and final cut of a film.

Like the DGA, SAG (Screen Actors' Guild) negotiates a basic agreement for its members; however, individual actors and actresses also contract for individual films, sometimes using agents or managers to represent them.

The AFM (American Federation of Musicians)  represents musicians across many industries, including film. The trade group, which was formed in the 1890s, has negotiated contracts with the film industry since 1944, and has been especially concerned with new technological developments in sound recording.

IATSE represents technicians, artisans and crafts-persons in the entertainment industry, including live theater, film and television production, and trade shows. More than 500 local unions in the US and Canada are affiliated with IA. IATSE has a tradition of local autonomy, with a variety of craft-based locals involved in collective bargaining agreements. However, nationwide agreements for film production personnel are negotiated, as well. Moreover, Local 600, the International Cinematographers Guild—which was formed in 1996 through a merger of regional groups—is national rather than local in its membership.

IA covers a wide range of employees in film production distribution and exhibition. Among the classifications of workers represented are art directors, story analysts, animators, set designers and set decorators, scenic artists, graphic artists, set painters, grips, electricians, property persons, set builders, teachers, costumers, make-up artists, hair stylists, motion picture and still camerapersons, sound technicians, editors, script supervisors, laboratory technicians, projectionists, utility workers, first aid employees, inspection, shipping, booking, and other distribution employees. IA's bargaining strength comes from this "complete coverage" of all the crafts involved in the production of theatrical, motion picture, or television products, with workers involved in every phase of a production, from its conception through every aspect of its execution.

The International Brotherhood of Teamsters is the largest and strongest union in the US and also is active in the motion picture industry, organizing studio transportation workers on the West Coast and various other workers. In 2005 the Teamsters claimed a general membership of over 1.4 million in the United States and Canada; its Hollywood Local 399 had over 4,000 members working as drivers, location scouts, and other personnel in the film industry. Casting directors also joined the Teamsters in that year.

Wikipedia: Below-the-line unions - Guilds and Unions - film, story http://www.filmreference.com/encyclopedia/Criticism-Ideology/Guilds-and-Unions-BELOW-THE-LINE-UNIONS.html#ixzz1G3HZCvl4


Wikipedia: Above-the-line guilds - Guilds and Unions - film, movie, tv, director, producer, story http://www.filmreference.com/encyclopedia/Criticism-Ideology/Guilds-and-Unions-ABOVE-THE-LINE-GUILDS.html#ixzz1G3GHxVAf





The creativity of the entertainment industry unions in organizing a sector where talent rules, everything is negotiable, nothing is static, money talks and innovation is constant should give us hope in contemplating the challenges we face as paradigm-toppling changes ripple through the industries where we protect the interests of workers today.

Knowledge work, knowledge workers, industrial structures.

The weak ties world often appears more as a threat than an opportunity for unions and our members. The problems we confront can be so challenging that it is easier to ignore them than acknowledge and face them. Part of the problem is that many union members, along with the sectors and the organizations where they work, do not recognize themselves as knowledge workers and knowledge industries. Health care is a prime example: usually run on an industrial model with a mixed population of professionals and non-professionals, employees and contractors, there is little to differentiate much of day-to-day  management and working conditions from old-fashioned factory work. As a consequence, union representation often looks much like old-fashioned factory floor representation.  These obsolete organizational structures have to go, but how?

Union members have to ask themselves how much of their work is thinking for a living. How many of the important tools they bring to their work reside in their heads? How much of their hands-on work requires the use of sophisticated technologies and high-level skills? Next, they need to look around and ask how much their work place reflects their abilities? How different is the language in their collective agreement from that of a mill worker or an auto worker? Because the reality is that fewer and fewer of us work in those industrial jobs, yet we continue to inhabit the conceptual as well as the physical models of the past. How to imagine a different, richer reality, one that for many of us has not yet arrived?

Steven Johnson (Where Good Ideas Come From: The Natural History of Innovation ) cites an imagining tool he has dubbed the adjacent possible which nicely describes the problem we face – something near at hand but out of view.

The adjacent possible is a kind of shadow future, hovering on the edges of the present state of things, a map of all the ways in which the present can reinvent itself.

The strange and beautiful truth about the adjacent possible is that its boundaries grow as you explore those boundaries. Each new combination ushers new combinations into the adjacent possible. Think of it as a house that magically expands with each door you open. You begin in a room with four doors, each leading to a new room that you haven’t visited yet. Those four rooms are the adjacent possible. But once you open one of those doors and stroll into that room, three new doors appear, each leading to a brand-new room that you couldn’t have reached from your original starting point. Keep opening new doors and eventually you’ll have built a palace.

The adjacent possible is a place of opportunities. It's the status quo that represents the threat.

On the lighter side ????

The dark side of the weak links world.

Weak Ties: the Mesh

Lisa Gansky's TED talk illustrates the ubiquity of the Weak Ties environment. It isn't going away!

TED talks, Lisa Gansky

Weak Ties, Porous Walls

In "Where Good Ideas Come From," Steven Johnson points to Twitter as an instance of the platform model for innovative development:
Twitter's creators recognized that there was another kind of competitive advantage that came from complete openness: the advantage that comes from having the largest and most diverse ecosystem of software applications being built on your platform. Call it cooperative advantage.
In a Weak Ties world, what is true for the product is also true for the producer, and the producer who relies exclusively on those within her own organization for production, development and innovation will find herself at a distinct cooperative and competitive disadvantage. In the Strong Ties world of industrial unionism the ethic has been to defend ownership of work through division of labour, strong seniority rights, closed shop certifications etc. The "walls" around work have become very porous in the pursuit of complete openness in the Weak Ties world of networked knowledge work. When the internet is both the work place and the market place, how do unions reimagine ways of addressing  issues of social and economic justice that persist and often thrive in the virtual reality of commercial endeavour?