Please answer 1-8 THROUGHLY. Each reference and document can be found on google

1. Linda Essig and Joanna Guevara wrote a 2016 essay assessing the "landscape of arts entrepreneurship in U.S. higher education." What main claims do they defend in the essay? 2. Ignas Kalpokas wrote an essay that updates Walter Benjamin's classic account of "art in the age of mechanical reproduction." He explores what the impact of Al will be on the future of the art object. Briefly summarize the Benjamin argument, and then explain Kalpokas' argument about the changes we're likely to see with Al. 3. A serious question for people interested in training media entrepreneurs, as opposed to putting creative students through traditional business school entrepreneurship majors, is how best to tailor education so that it specifically serves and best trains students for work in the creative sector. In a lecture, I described three potential strategies for tackling this question, each of which leads to a particular educational training approach. Briefly describe those three approaches and the connected training strategy. 4. What is Richard Florida's main argument in defense of the economic value of the creative industries, and how has his main position evolved in the last twenty years? 5. James Elkin, discussing traditional arts education, is skeptical about the value of university- based studio arts training. Why? 6. The SNAAP surveys of arts graduates document the value and problems connected to college- based internship experiences. Summarize their main ideas. 7. What are Guy Standing's main claims about the so-called precariat? 8. The Mckinsey Global Institute surveyed gig workers from around the world. What were their main findings? What are the implications for the creative industries