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1.
This report focuses on state government appropriations to state arts agencies (SAA), a primary figure in arts and cultural policy in the United States. A dynamic panel-data estimator can identify the fiscal, institutional, and demographic determinants on SAA appropriations. Agency budgets are particularly sensitive to past appropriations, past state revenues and NEA grants, some demographic variables, party control of state government, and state budgeting rules. Federal funds attract, rather than crowd out, state appropriations. While the influence of some demographic variables may be shifting over time, income growth continues to explain much of SAA appropriations.
Douglas S. NoonanEmail:
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2.
Determining heterogeneous behavior for theater attendance   总被引：2，自引：1，他引：1  
In this paper we propose and estimate a model of theater participation using the data contained in the 2002 Survey of Public Participation in the Arts from the USA, a dataset widely used to study the determinants of cultural participation. Our contribution relies on the use of an estimation technique that respects the count data nature of the attendance variable (number of theater performances that an individual attended) and allows for heterogeneous behavior. By using a Zero Inflated Negative Binomial Model, we can characterize two distinct behaviors for the observable attendance: a group of never-goers (who never participate) and a subpopulation that has a positive probability of attending. For this latter group, we can estimate the effect of certain personal variables on the probability of highest frequency. The results suggest that the proposed model is appropriate for estimating cultural participation.
Victoria Ateca-AmestoyEmail:
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3.
Why has cultural economics ignored copyright?   总被引：1，自引：1，他引：0  
My stance is that copyright policy should be viewed as part of cultural policy; cultural economists have had a great deal to say about subsidy and cultural policy but very little about copyright, though cultural economics is well placed to analyse copyright as an incentive to creativity in the creative industries because of its understanding of cultural policy and of artists’ labour markets. The article contrasts subsidy and copyright as policy tools and briefly discusses two current policy problems in relation to copyright—regulating copyright collection societies and the so-called ‘copyright levy’—arguing that these are the sort of issues cultural economists could (and should) be dealing with.
Ruth TowseEmail:
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4.
A shared activity or pursuit can have the effect of bringing about cultural convergence in the form of patterns of behaviour and consumption. This idea is supported by the Axelrod (1997) thesis, which suggests that cultures are more likely to interact and subsequently converge if they have shared traits: one of these being the use of technology. This paper seeks to apply such a cultural perspective to the body of published literature on deviations from the law of one price. Adopting a similar methodology to the popular ‘Big Mac’ index, disparity between official market exchange rate and the real rate of exchange between two currencies is measured using local prices of video game consoles. The results of the study suggest that, while a degree of pricing and cultural convergence across broad geographic areas is observed, many major global currencies are trading at levels that are quite significantly different to that which is suggested by purchasing power parity (PPP) theory.
Joe CoxEmail:
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5.
The cultural atmosphere in a society is accumulated over time through the consumption of cultural services and is diminished through depreciation. Using cultural capital (e.g., cultural heritage, paintings, music scores), cultural services are provided by the cultural-services industry (e.g., museums, opera houses); cultural capital is enlarged by new cultural goods created by individuals. Individuals’ utilities are positively affected by the cultural services they consume, by the cultural goods they create and by the cultural atmosphere and the cultural capital accumulated in society. In a laissez-faire economy, individuals tend to ignore the positive external effects of their cultural-services consumption and creation of cultural goods on other individuals via accumulating cultural atmosphere and cultural capital. Consequently, suboptimally little cultural atmosphere and cultural capital will be accumulated. The efficient intertemporal allocation can be restored by introducing an appropriate subsidy that not only stimulates consumers’ demand for cultural services and the creation of new cultural goods but also enhances the accumulation of cultural atmosphere and cultural capital.
Sao-Wen ChengEmail: Phone: +49-271-7404534
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6.
Film plays an important role in the American political system, and forms an important branch of the mass media. I analyze the political contributions of a sample of 996 top film actors, directors, producers, and writers, correlating them with demographic, family, and career success variables. I find that contributions flow overwhelmingly to left-of-center parties and organizations. I theorize about the causes of this bias, and argue empirically that, while demographic variables are not completely irrelevant, Hollywood liberalism is primarily a function of high, publicly visible incomes, and family connections. Neither religion nor birthplace effects seem to affect political activity in the film business.
Todd D. KendallEmail:
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7.
In this article we study the determinants of cultural participation in Israel with an emphasis on the Weberian distinction between class and status. The class measure is based on occupational groupings, and status is operationalized as a rank of occupations based on social distance. We expect that class will be less important than status in shaping cultural participation patterns. In addition, due to the importance of ethnicity and religiosity in Israeli society, we expect that these factors will be significant in shaping cultural participation. Data are based on two telephone surveys conducted in 2006 and 2007 of a random sample of the Jewish population in Israel. We find that, contrary to our expectation, class is more influential than status. We also find that ethnicity and religiosity are important factors that shape cultural participation patterns. We discuss possible explanations to the finding regarding class and status, with special attention to the role cultural policy plays in mediating the economic effect on consumer behavior. We also call for more attention to ethnicity and religiosity in studies of cultural stratification.
Tally Katz-GerroEmail:
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8.
Governments often see it as their responsibility to support cultural life and at times spend a significant amount of resources in the pursuit of this goal. The present article analyses whether and how municipalities influence each other in this decision to spend resources on the arts (using data on local government cultural spending in 304 Flemish municipalities in 2002). Following ‘central place theory’, the focal point of the analysis is the idea that––especially for cultural expenditures––large municipalities (and, specifically, ‘central places’) may affect their neighbours’ behaviour differently than small municipalities. The empirical analysis supports this idea. Indeed, we show that Flemish municipalities’ cultural spending is generally positively affected by that in neighbouring municipalities. This pattern is, however, significantly more complex for municipalities neighbouring the 13 largest Flemish cities.
Benny Geys (Corresponding author)Email:
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9.
Xu  Ang 《Minerva》2008,46(1):37-51
This essay describes China’s participation in international science organizations during the past two decades. It argues that, whilst progress has been made, serious problems remain. It concludes that increased attention to communication and exchange, and the creation of a favourable international image in science and technology are important priorities for China.
Ang XuEmail:
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10.
Despite the lack of a clear definition of the concept, “cultural diversity” has remained a core issue for more than a decade (WTO, UNESCO, etc.). The aim of this paper is to begin to fill this gap. We argue that cultural diversity is a multi-dimensional concept and that accurate metrics must rely on three criteria: variety, balance and disparity. We also stress that supplied and consumed diversity have to be distinguished. We apply this set of multiple measures of diversity to publishing data for France over the period 1990–2003. Our main result is that the situation of the publishing industry in terms of cultural diversity is highly dependent on the dimension considered. Hence, diversity increases when variety is the sole consideration, whereas taking balance or disparity into account leads to the opposite conclusion. This issue raises a series of questions about the use of diversity measures in a policy debate concerned with furthering cultural diversity.
Stéphanie PeltierEmail:
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11.
Given the limited number of studies on this topic, the aim of this study is to better understand the characteristics of art restoration firms in Italy, with particular reference to their use of innovative technologies such as laser technology. The paper is supported by a survey conducted in a sample of 100 companies. The factors that have led firms to adopt or resist the adoption of the laser were identified and analysed. The results show that the main determinants of laser adoption are collaborative activities between the firms and universities and specific requests made by public institutions to use this technology.
Chiara VerbanoEmail:
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12.
The revolutionary period in France marked a turning point in the history of the profession of mining engineering and its relation to the State. This essay outlines the changing requirements of the revolutionary government, and describes the ways in which the State and its engineering professionals responded to the challenge of combining science and practice.
Isabelle LaboulaisEmail:
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13.
Many graduate programmes in science now require courses in ethics. However, little is known about their reception or use. Using websites and interviews, this essay examines ethics requirements in the field of biosciences in three countries (the United States of America, the United Kingdom, and Italy) between 2000 and 2005. Evidence suggests that current policies may be ineffective, and that scientists who take ethical issues seriously are seen as exceptional.
Laurel Smith-DoerrEmail:
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14.
Edgeir Benum 《Minerva》2007,45(4):365-387
This essay explores how the Organisation for Economic Co-operation and Development (OECD) and Norway became linked into a science policy discourse that radiated throughout the developed world. Despite political differences, this discourse changed forever the expectations by which Norway’s universities and its fundamental research institutions were to operate.
Edgeir BenumEmail:
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15.
Funding agencies in Canada are attempting to break down the organizational boundaries between disciplines to promote interdisciplinary research and foster the integration of the social sciences into the health research field. This paper explores the extent to which biomedical and clinician scientists’ perceptions of social science research operate as a cultural boundary to the inclusion of social scientists into this field. Results indicated that cultural boundaries may impede social scientists’ entry into the health research field through three modalities: (1) biomedical and clinician scientists’ unfavourable and ambivalent posture towards social science research; (2) their opposition to a resource increase for the social sciences; and (3) clinician scientists procedural assessment criteria for social science. The paper also discusses the merits and limitations of Tom Gieryn’s concept of boundary-work for studying social dynamics within the field of science.
Brian D. HodgesEmail:
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16.
The cultural entrepreneur and the creative industries: beginning in Vienna   总被引：1，自引：1，他引：0  
In this paper on the creative industries and cultural entrepreneurship I take my point of departure in Richard Caves’ Creative Industries [Caves, R. (2000). Creative industries: Contacts between art and commerce. Cambridge, MA: Harvard University Press.]. While Caves draws heavily on economic analysis and contemporary sociology in his excellent analysis of these two topics, he does not use the sociological classics at all. The main purpose of the paper is an attempt to remedy this, by drawing attention to the possible contribution that the works of Max Weber, Emile Durkheim, and Georg Simmel can make to our understanding of the creative industries and cultural entrepreneurship. Since this paper was prepared as a keynote address for the 2006 conference of the Association for Cultural Economics International in Vienna, I also discuss Schumpeter’s ideas on art and entrepreneurship, ideas which grew out of Viennese culture.
Richard SwedbergEmail:
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17.
Peder Anker 《Minerva》2007,45(4):417-434
Buckminster Fuller’s experiences in the Navy became a model for his ecological design projects and suggestions for the global management of ‘Spaceship Earth’. Inspired by technocratic ideas of the 1930s, Fuller envisaged, in the 1970s, an elitist world without politics, in which designers were at the helm, steering the planet out of its environmental crises.
Peder AnkerEmail:
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18.
This article investigates the effect of a Tony nomination or win on the demand facing a Broadway production using a panel of weekly revenues for Broadway productions from 1996 to 2007. Our results indicate that the effect of a nomination or win is positive in the week of the announcement and gradually increases in successive weeks, presumably due to publicity and word-of-mouth. Winners experience an increase in demand as late as 1 year later when awards are publicized for the following season. Moreover, nominees that do not win the award are penalized heavily in the weeks following the Award announcements. We find that winning a Tony Award increases a production’s revenues by 12% in the week immediately following the Awards.
Lesley ChiouEmail:
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19.
This article compiles original data relating to artists’ place of birth and work migration patterns using various art history dictionaries. The broad historic pattern, from the 13th to the 20th century, of the birth locations of prominent artists is examined, followed by a detailed study of the work migration patterns of prominent artists in two important situations, namely Renaissance Italy and France in part of the 19th century. The evidence indicates a marked clustering of activity of prominent artists, both arising from birth location and migration patterns. Some possible explanations for the observed patterns are briefly outlined.
John O’HaganEmail:
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20.
This paper was presented at the symposium dedicated to the 25th anniversary of the publication of Patrons Despite Themselves: Taxpayers and Arts Policy (Feld et al. 1983), held by the Association for Cultural Economics International, Boston, June 2008. Patrons Despite Themselves raised and tried to answer a number of important questions of policy concerning indirect government support for the arts. These questions have continued salience for what we see in our museums and hear in our concert halls. The primary source of federal indirect aid in the U.S. continues to derive from the deduction in the federal income tax for contributions to not-for-profit cultural institutions. On the other hand, there has been a series of recent challenges to the tax-exempt status of charitable institutions.
Alan L. FeldEmail:
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