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1.
Oliver Dieckmann 《Journal of Cultural Economics》1996,20(4):297-320
Shortcomings of neoclassical growth theory and growth accounting are viewed as a challenge for cultural economics. Recently, new growth theory has introduced several growth determinants and has closed the gap between theoretical and empirical research. Whether this development leaves space for cultural determinants in explaining economic growth is in the center of this paper. The theoretical analysis shows how an endogenous growth model can be used to explain the impact on economic growth of cultural determinants. The empirical part uses indices from cross-cultural studies to extend recent cross-country growth regressions. Among other Hofstedes uncertainty avoidance index is shown to be significantly correlated with economic growth.Discussion paper presented at the 9th international conference of the Association for Cultural Economics, Boston, May 8–11, 1996. 相似文献
2.
The literature of cultural economics generally finds that an artistic education has no significant impact on artists’ income and careers in the arts. In artists’ labor markets, indefinable features such as talent and artistic creativity apparently contribute more to success or higher rates of payment than education and training. In this article, we will readdress this question by looking at the artists’ survival in the arts occupations. We find it reasonable to expect than an artistic education can have a significant impact on artists’ careers because of the importance of technical skills, networks and signaling effects. We analyze the question by using a unique longitudinal dataset for five different groups of artists in Denmark, using the Cox model to apply survival functions and semi-parametric analysis. The results show, among other things, that an artistic education has a significant impact on artists’ careers in the arts, and we find important industry differences. 相似文献
3.
The estimation of the economic effects of cultural events is a topic that has stirred numerous debates in cultural economics. Although economic impact studies and contingent valuation have been the most frequently used methods, both suffer from numerous problems. In this article, we use ex-post econometric verification as a new and promising method in cultural economics in the estimation of the economic effects of cultural events and apply it to the estimation of the effects of the 2012 European Capital of Culture Maribor on tourism and employment. This enables us to compare results from economic impact and ex-post econometric verification studies to find significant differences in particular in terms of new employment. We determine the net effects on new tourism and find that they were mainly present in Maribor, the holder of the project, and not in the other five partner cities. We conclude by reflecting on the state of the art of the studies of economic effects of cultural events in cultural economics and their relevance for the study of cultural tourism. 相似文献
4.
We investigate the relationship between Italian municipalities’ spending on culture in the 1990s and 2000s and a number of
political variables—such as a left/right dummy, an election-year dummy and a term-limit indicator—controlling, among other
things, for economic and socio-demographic characteristics of the population, the level of human capital and instruction,
proxies of social capital, the extent of private financing of cultural provisions and touristic and artistic relevance. We
use a panel-data regression analysis and find that, indeed, some determinants of public expenditures on culture are political.
In particular, we identify an electoral cycle in which the incumbent spends less on culture in an election year. This result
is robust for variations in the empirical model accounting for both the persistence and spatial interdependence of cultural
expenditures by municipalities. 相似文献
5.
Ana Flávia Machado Alexandre Rabelo Arthur Gomes Moreira 《Journal of Cultural Economics》2014,38(3):237-251
This paper analyzes the singularity of artistic cultural sector workers in the Brazilian metropolitan labor market, considering the job satisfaction of artists that Throsby proposes in his work preference model of artist behavior (1994). We also examine the effect of public expenditures on the income of workers in the cultural sector. Using 2002 to 2010 data from the Monthly Employment Survey (PME) and administrative records from Finance of Brazil (FINBRA), we estimate a probit model and a wage equation. In our model, we estimate wages as a function of: (1) sociodemographic characteristics of workers, (2) a variable for informal jobs, (3) the number of working hours, (4) a variable for the worker having another job, (5) per capita expenditures on culture interacted with a dummy for artistic cultural workers, (6) interactive binary variables involving place of residence and artistic cultural workers and (7) the predicted probability obtained by the probit model. This probability is estimated based on the likelihood of working in a creative activity, considering both workers from the cultural sector and other workers, controlled by: (1) sociodemographic characteristics of workers, (2) characteristics of their jobs, (3) dummies for the metropolitan regions and (4) willingness of creative workers to work additional hours interacted with the number of hours worked. Our results show that workers in the cultural sector are likely to work longer hours when compared to workers in other sectors. For our wage equation, the results suggest that women earn relatively less than men and blacks earn less than whites. Furthermore, earnings increase with age and the level of education. Formal workers obtain higher earnings when compared to informal ones. Finally, an increase in the per capita public expenditure on the cultural sector raises the income of workers in artistic cultural occupations. 相似文献
6.
Silvia Cerisola 《Journal of Cultural Economics》2018,42(2):243-269
Creativity is currently at the centre of a lively scientific debate in which scholars from different fields are engaged. The interest on such topic is mainly due to its potential positive impact on economic development; thus, understanding the determinants of creativity becomes important in terms of policy decisions. Although the existing literature has identified some determinants of creativity, evidence on the specific impact of such determinants on particular creative talents and on the degree of creative complexity within a local area is still scant. This work tries to fill this gap starting from the thought that the mental cross-fertilization of talents in different fields is what stimulates the best and most original ideas. By considering artistic, scientific, and economic creativities as the main modes in which creativity can show itself, the paper explores empirically the relation between local socio-economic characteristics and the concurrent presence of multiple creative talents. 相似文献
7.
《Journal of Cultural Heritage》2009,10(1):1-8
Investment in cultural heritage (and other forms of culture) are often claimed to be beneficial for a local economy, not only in terms of cultural consumption, but also in the form of increased employment and income. This article addresses some methodological questions regarding economic impact studies of investments in cultural heritage projects. Different types of direct and indirect impacts are being discussed, especially how these can be calculated. We also give a short overview over some studies of economic impact of different cultural and/or tourism activities, and the pros and cons of these studies. In a study of the Norwegian town of Røros, we find that tourism related to the cultural heritages in the region contribute some 7 per cent to overall employment and income. 相似文献
8.
《Journal of Cultural Economy》2013,6(2):131-144
This paper proposes and mobilizes a cultural economic framework to study the dynamic formation of digital markets for cultural goods. Adapting Hayek's theory of price to recent developments in the field of cultural sociology, it proposes the idea that an effective price system condenses information dispersed in society, and then enters into a performative process of symbolic communication that is perceived as ‘authentic’ by the consumers. After analyzing ‘artificial’ and ‘authentic’ current strategies aimed at producing digital markets for cultural goods, which are especially sensitive to the symbolic dimension of price, the article suggests the hypothesis that the digital market has been constructed as a zero- or quasi-zero-price economic space, and that it is the offline and material market of cultural products the one that collects the higher revenues derived from the ‘authentic’ generation of value taking place in the digital marketplace. 相似文献
9.
UNESCO has given its Director General a mandate to draft a convention on protecting the diversity of cultural contents and artistic expressions by the fall of 2005. Proponents of the convention view commitments made by countries in trade agreements as weakening their ability to preserve and promote cultural diversity. We review the existing draft wording for a convention, developed before the official involvement of UNESCO, by the INCP, an association representing cultural ministries in favour of insulating their cultural policies from liberalization, and conclude that it fails to meet the necessary conditions for an enforceable rules-based international agreement. In the INCP text, countries are given rights to introduce policies that promote a self-defined cultural diversity. The only obligation is to balance their interests with those of others. No standard of adjudication for balance is offered nor any effective dispute resolution mechanism developed. The ultimate purpose of the initiative may be to form a negotiating bloc within the WTO, but the disparate interests of its members and the lack of tangible benefits from the Convention reduce the credibility of bargaining solidarity. In contrast, the WTO provides a flexible and effective forum for negotiating maintenance of current policy options at a cost of making concessions in other sectors. 相似文献
10.
《Journal of Cultural Economy》2013,6(4):477-488
In this essay, the author analyzes social science thinking about the capitalist market from instrumentalism to institutionalism and the recent turn toward more cultural economics, and propose to enlarge the latter opening via the 'strong program' in cultural sociology. Nineteenth century' big thinkers' conceptualized the market as if it were entirely deracinated, based on alienation and pure calculation. The profession of economics subtracted the social critique from this dismal understanding and converted the dismal science into mathematical predictions and production functions. The new economic sociology exposed the institutional framework of market decisions, emphasizing social networks and status competition. Cultural economic sociology has challenged institutionalism, showing how social meanings, not just institutional position, determines economic value. The next step is to demonstrate that the market itself depends on cultural meanings. The strength of a market depends upon narrative projections of future economic conditions. An optimistic scenario creates confidence and sparks investment. A pessimistic narrative creates fear and leads investors keep their money tight. Confidence in the future depends on constructions of 'character': will economic actors constrain themselves by acting in a sober and moral way or will they be hedonistic, indulging in short-term satisfaction? This cultural-sociological theory is illustrated with reference to Keynes' General Theory about the 1930s Great Depression and U.S. Federal Reserve chairman Ben Bernanke's policy vis-à-vis the current Great Recession. 相似文献
11.
Our work pursues a twin aim. Firstly, we explore the influence of organizational size on innovations in museums as well as
its impact on museums’ economic, market and social performance. Secondly, we analyse how the (public–private) funding of such
organizations impacts innovation and performance. The empirical work is based on information from a survey of 491 museums
(British, French, Italian and Spanish). We find that museum size does prove relevant in the commitment to engage in innovation
but that public funding of museums does not encourage innovation. We also highlight the importance of the explanatory power
of the type of funding on the performance of these cultural organizations. This research also reveals how organizational and
technological innovations as well as innovation in value creation in museums enhance economic, market and social performance. 相似文献
12.
《Journal of Cultural Heritage》2014,15(6):644-655
The reuse of historical buildings can be seen as a complex decision problem because of the presence of different objectives to be pursued, the public/private nature of the goods under investigation, the existence of several values (historical, artistic, cultural, economic, etc.), the presence of different actors (public government representatives, architects, architectural historians, developers and owners). In decision problems related to the reuse of historical assets conflicts can arise and the availability of analytical frameworks able to support the process is getting more and more important. It has been generally agreed that Multicriteria Decision Analysis (MCDA) can offer a formal methodology to deal with such decision problems, taking into account the available technical information and stakeholders’ values. This paper considers the problem of sustainability assessment in cultural heritage projects using the Multi-Attribute Value Theory (MAVT) approach, which is a particular kind of MCDA technique. Starting from a real case concerning the reuse of historical buildings in the metropolitan area of Torino (Italy), the paper aims at exploring the contribution of MAVT for decision problems in the field of cultural heritage. 相似文献
13.
Merja Heikkinen 《Journal of Cultural Economics》1995,19(3):261-272
The paper deals with the relationship between direct public support for artists and the economic situation of artists. The empirical findings stem from a research project on the situation of artists in Finland. Some problems connected with obtaining relevant data on artists' economic situation are presented. The effects of direct financial support granted to individual artists on their income level and income discrepancies are illustrated with different patterns of impact. A brief presentation of the goals and measures of public policy towards artists in Finland is given, and the relationship with policy objectives and income effects of direct artists support is discussed. Two issues relevant for evaluating artist policy are raised: the need to account for the fundamental differences between art fields and artistic occupations, and the need to study the actual functions grant income has for the artists. 相似文献
14.
In recent years the economic performance of public non-profit sectors such as cultural services has become an interesting
economic issue. This is due to the high dependence of cultural institutions on public funding on the one hand and the increasing
cost-pressure on public budgets on the other hand. In order to achieve an efficient, cost-minimizing resource allocation public
authorities who decide on the distribution of public budgets need reliable performance indicators. Against this background,
this paper analyzes the efficiency of German public theaters for the seasons 1991/1992–2005/2006. Using a stochastic frontier
analysis approach, we test whether the assumption of cost-minimizing behavior is reliable in this sector. Moreover, several
panel data models that differ in their ability to account for unobserved heterogeneity are applied to evaluate the impact
of unobserved heterogeneity on the efficiency estimates. The results indicate that the cost-minimizing assumption cannot be
maintained. Consequently, an efficiency analysis based on a cost function approach seems inappropriate in the case of German
public theaters. Further, we find a considerable unobserved heterogeneity across the theaters, which causes a significant
variation in the models’ efficiency estimates. This implies that failing to account for unobserved heterogeneity leads to
biased efficiency values. Overall, our results suggest that there is still space for improvement in the employment of resources
in the sector. 相似文献
15.
Carl M. Colonna 《Journal of Cultural Economics》1995,19(4):341-350
Scholars for centuries have been investigating and debating what determines the value of a good or service. However, the market has chosen to ignore what has been categorized as nonmarket transactions such as volunteerism. This paper will examine the economic contribution of volunteerism and its impact on our cultural inventory. Economic literature reveals three possible alternative methods to calculating the dollar figure for non-compensated volunteerism. They are Opportunity Cost Approach, Value-Added Approach, and Market Price Equivalency Model. Has cultural volunteerism contributed to cultural inventory by providing an expansion of our knowledge of the past and understanding the future? 相似文献
16.
《Journal of Cultural Heritage》2014,15(5):564-568
This paper deals with the scientific survey of Remo Brindisi's painting “Ragazzo seduto” (Seated boy), made at the end of the 1950s, that is a symbolic figure of both his personal artistic solitude and the crisis of values determined by the economic boom in the post-war period. In a period of great changes and economic regrowth, the need to find a new style that could be the most authentic and personal as possible pressed the artist to experiment innovative products, including non-conventional support. Photographic and analytical techniques demonstrated the use of innovative products as an experimentation tendency, that pressed the artist to use non-conventional support, industrially treated with plasticized PVC and primed with acrylate polymers and to paint with traditional and industrial pigments mixed with an oil-modified alkyd resin. In the span of a few years, an unexpected and extended degradation on the whole surface of the painting took place, with the consequent formation of lifting and detachment of the paint film. The detected alteration is mainly due to the fast ageing of the employed polymeric materials, actually responsible of the impermanence of many contemporary works of arts. Clarifying the unknown aspects of the Remo Brindisi's stylistic choices together with the deterioration processes of the employed painting materials, this paper highlights the general problems related to the conservation of contemporary art, a neglected area of research in Italy, where more efforts are committed to the enormous and more ancient cultural heritage. 相似文献
17.
18.
《Journal of Cultural Economy》2013,6(1):79-94
This article explores the cultural framings that all too frequently pass un-noticed in standard cost-benefit accounts of development economics. Our purpose is not simply to add our voice to those who argue for the importance of ‘bringing culture back in’, for we assume that in contexts of modern development economics ‘the cultural’ cannot simply be added to the technical or the economic, as these perspectives are explicitly elaborated as an abstraction from the cultural. Rather, we are interested in how an exploration of the cultural dynamics of technical process leads us to a disjunctive (rather than an additive) mode of ‘inclusion’. Building on approaches from science studies and social anthropology, we draw on our ethnographic and historical investigations of road-building in Peru to explore divergent modes of connectivity through which a politics of cultural engagement is played out. Taking the example of a highway under construction in a frontier zone not generally considered of economic importance to the wider national economy, we discuss the historical desire for ‘connectivity’, highlighting the instability of the physical and social environments on the margins of a marginal state. In this context we find that the vital energies of the frontier – entrepreneurial, innovative, experimental and unruly – consistently disrupt the vision of smooth, orderly, technical integration. We argue that this tension between the cultural and the technical, so clearly manifest at the frontiers of capitalist expansion (but characteristic of technological expansion more generally) is a driver rather than an obstacle in the development process. Attempts to produce a political resolution to a perceived lack of integration on the margins of society too often proceed through further attempts at securing smooth continuity (via further technical modes of intervention) rather than building on the diverse (disjunctive) modes of engagement that already exist. 相似文献
19.
ABSTRACTThis article explores the expanded and transformed nature of the psychological work contract for forms of cultural and artistic labour in precarious conditions. The forms of passionate work found within cultural production are argued to form a new model for governing our subjective involvement in and attachment to work. This more expansive and demanding relationship with work has become generalized beyond the specific area of cultural production into employment relationships more generally. In doing so the expanded psychological contract of work comes to operate as a form of logistical media and infrastructural governance, connecting the micropolitics of governing labour with larger structural conditions of precarity and instability. Thus, while work today is less stable in what it offers, it demands even greater psychological investment despite increased uncertainty. 相似文献
20.
Conclusion What we have accomplished is to provide a framework in which artists are seen as economic individuals who base decisions on the same set of factors as nonartists. We are uncomfortable with the notion that artists are a special breed who are not responsive to economic incentives. We are also uncomfortable with the notion that nonartists could never be artists. However, the model as presented does allow for the possibility that an artist will incorrectly estimate the worth of his or her works, and continue to pursue an artistic career. It also allows for the possibility that some nonartists may also make the wrong choice and pursue a nonartistic career instead of an artistic one. 相似文献