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1.
Private or Public? 总被引：1，自引：1，他引：0
This paper concerns the consequences of subsidizing art production. Once a government offers grants and subsidies, artists can decide between public and private funding. A joint model of this choice-situation and the related earnings is derived. The model is tested for the case of visual artists in the Netherlands. The analyses show that subsidizing artists enhances a winner-takes-all tendency for the market at large. Financial success on both the private and the public market appears to be not particularly related to human capital, but to personal characteristics, government recognition and (unobserved) talents. 相似文献
2.
This paper examines the impact of the National Endowment for the Arts on private donations to the arts. The aim of the analysis is to assess whether public funding generates a crowding effect on private giving. We distinguish between institutional and sectoral crowding phenomena and discuss their possible implications.We used both a qualitative approach and an econometric model to estimate the effect of NEA introduction and appropriations on donations. Our results suggest that at the institutional level NEA grants do not generally induce donations to recipients while at the sectoral level appropriations and private giving are independent. The introduction of the agency appears to have caused a decrease in donations. 相似文献
3.
Program decisions by symphony orchestra management are influenced by various factors. To examine these factors, we create
an objective index of the propensity of a symphony orchestra to perform the standard repertoire. We use regression analysis
to examine factors that influence programming decisions of 64 US symphony orchestras in 2006–2007, including public and private
sources of funding. We find that increased funding from ticket sales, endowments, and local government increases the likelihood
that an orchestra will perform nonstandard repertoire. In addition, the results suggest that a symphony orchestra’s music
director does not have a significant impact on the degree of program conventionality. 相似文献
4.
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
5.
This paper introduces the double public good model as a representation of the simultaneous externalities that complicate decision making in the cultural heritage sphere. Social welfare is modeled as depending on both public and private benefits of households' production of individual heritage experience, which in turn depends on the stock of historic assets (a public good) and access effort (a private good). The public benefit of private experience arises from ``shared experience' that fosters cultural identity and social understandings. The model generates marginal efficiency conditions for the amount of physical preservation, amount of access, and intensity of access. The model highlights the need for dual-level policy making in order to avoid unbalanced heritage preservation efforts that have been of some concern in the literature. 相似文献
6.
Marc Torka 《Minerva》2018,56(1):59-83
Funding is an important mechanism for exercising influence over ever more parts of academic systems. In order to do so, funding agencies attempt to export their functional and normative prerequisites for financing to new fields. One essential requirement for fundees is then to construct research processes in the form of a project beforehand, one that is limited in time, scope and content. This article demonstrates how the public funding of doctoral programs expands this model of project research from experienced academics to the socialization process for the new academic generation. This process of “projectification” underlies funding-driven institutional changes in doctoral training. A multi-level comparative study of German policies, funding mechanisms and organizational frameworks for doctoral training demonstrates the emergence of a specific model of predefined PhD projects. The investigation of doctoral training practices reveals that socio-epistemic preconditions regulate whether research fields adopted or rejected this demanding model. This result contradicts widespread claims about a radical change in doctoral training and suggests focusing on the actual practices of field-specific doctoral research. 相似文献
7.
David Maddison 《Journal of Cultural Economics》2004,28(2):89-108
Although museums are major recipients of public money, very little is known regarding what factors cause changes in the level of funding given to particular institutions. It is nevertheless regularly asserted by those affected that governments will reduce the level of subsidy going to those museums that raise revenues for themselves, especially if these revenues were raised through charging for admission. This paper explores the causal influences underlying changes in the level of government grants to museums. Statistically analysing data drawn from a panel of UK museums funded by central government, evidence is found that increases in non-grant income do indeed result in a statistically significant reduction in future government subsidies. It is however unclear whether these reductions are sufficient to offset entirely the financial benefits from charging or the pursuit of private benefactors. Despite the government's avowed intention to widen access to museums, changes in visitor numbers do not appear to cause changes in government grants. 相似文献
8.
The past three decades have witnessed a sharp reduction in the rate of growth of public research funding, and sometimes an actual decline in its level. In many countries, this decline has been accompanied by substantial changes in the ways that such funding has been allocated and monitored. In addition, the institutions governing how research is directed and conducted underwent significant reforms. In this paper we examine how these changes have affected scientists’ research goals and practices by comparing the development of three scientific innovations (one each in physics, biology, and educational research) in four European countries, namely Germany, the Netherlands, Switzerland, and Sweden. We find that the increased number of actors exercising authority over research goals does not necessarily lead to a greater diversity of interests funding research. A narrowing of goals and frameworks is especially probable when the increasing importance of external project funding is combined with reductions in state financing of universities and public research institutes. Finally, the growing standardisation of project cycle times and resource packages across funding agencies and scientific communities make it more difficult for researchers to pursue projects that deviate from these norms, especially, if they challenge mainstream beliefs and assessment criteria. 相似文献
9.
Optimal pricing and grant policies for museums 总被引：1，自引：0，他引：1
The “free access” policy designed by the British Government has encouraged interest in museum financial issues. We define a principal-agent model for museum administration where there are two income sources: public grants and ticket revenues. This model allows us to define the optimal contract determining public grants, ticket prices, budget and managerial effort. We find a theoretical explanation for the inelastic pricing strategy commonly adopted in cultural economics. We further find that museum manager should never have any control over the price of tickets. The model can also be applied to other institutions, such as schools or NGOs, which are able to raise funds directly from private (e.g., ticket revenues or membership fees) or public sources.
JEL Classification number H20, H42, C70, D80, Z10 相似文献
10.
Stephen B. Adams 《Minerva》2009,47(4):367-390
A comparison of the engineering schools at UC Berkeley and Stanford during the 1940s and 1950s shows that having an excellent
academic program is necessary but not sufficient to make a university entrepreneurial (an engine of economic development).
Key factors that made Stanford more entrepreneurial than Cal during this period were superior leadership and a focused strategy.
The broader institutional context mattered as well. Stanford did not have the same access to state funding as public universities
(such as Cal in the period under consideration) and some private universities (such as the Massachusetts Institute of Technology
and the Johns Hopkins University in their early histories). Therefore, in order to gather resources, Stanford was forced to
become entrepreneurial first, developing business skills (engaging with high-tech industry) at the same time Cal was developing political skills (protecting and increasing its state appropriation). Stanford’s early development of entrepreneurial business skills
played a crucial role in the development of Silicon Valley. 相似文献
11.
Expenses in the performing arts have historically increased at a rate faster than earned revenues due to the labour reliance of the sector. Flanagan (The perilous life of symphony orchestras: artistic triumphs and economic challenges. Yale University Press, New York, 2012) found that US symphony orchestras were able to avoid the negative consequences of this earning gap by fostering strong private support. In the present study, we find that, in contexts where private funding is not as readily accessible, like in Canada, arts organizations have more incentive to keep expenses under control. This can be understood in terms of resource dependence where government funding bodies, due to a homogeneous set of demands, put pressure on organizations to control their expenses and reach greater audiences. Using panel data covering a period of 8 years and forty-eight orchestras, the results show that Canadian orchestras, when compared to US ones, achieve a lower rate of expense increases over time and are more reactive to economic downturns. 相似文献
12.
This paper deals with some key issues arising in the current debate in Europeover public sector broadcasting (PSB). It asks what is understood by PSB andexamines critically the arguments for PSB. The latter is done under fiveheadings, namely diversity, democracy/equality, network externalities,innovation and investment and public braodcasting as ``insurance'. The paperthen provides some statistical analysis of the extent, funding and programmemix of Eurepean PSB. Finally it examines in some detail the issues surroundingthe licence fee as an instrument for funding PSB. These include thedetermination of the level of the fee, collection costs and evasion and thefairness of the instrument. 相似文献
13.
The paper focuses on funding issues facing arts and cultural resources worldwide. Inter alia, current public policy consensus
encourages cultural resources to raise money from voluntary contributions at the gates in order to address some of the shortfall
in public funding. The paper considers the British Museum, London, as a case study. The objectives of the paper are twofold.
First, to elicit individual preferences for future managerial initiatives that could have an impact on visitors’ willingness
to financially support cultural resources by making a voluntary contribution during their visit. Second, the study combines
observed and unobserved heterogeneity in order to explain a greater source of variation on individuals’ decision-making process.
Overall, the results provide directions for government policy into widening and deepening participation for the arts and culture.
In addition, the results also provide support towards a reconsideration of curatorial procedures towards a motivational segmentation
of demand for the arts and culture. 相似文献
14.
The paper deals with financing the culture in Italy. The public expenses for the culture are shared as expenses of the government, of the regions, of the provinces and of the municipalities. The relationships of the cultural organisations with the public sector are very strong because they belong to the public sector, or they broadly depend on public funds.A specific attention is devoted to other forms of financing, about the role of the entrance fees and the entrances of the game “Lotto”, which subsidy the cultural goods and the Interministerial Committee for the Economic Planning (CIPE) allocations to the depressed areas. We will also be faced up to the examination of other sources of private financing as the sponsorships, the entrances of collateral services about museum visits (coffee and bookstore) and the supply of banking foundations. The fiscal incentives refer directly to the cultural institution or to the external financing of the nonprofit institutions by donations or sponsorships. Finally, the cultural institutions will have always to operate more and more by a strategic vision of financial and managerial field, on the basis of high qualitative standards. The activities and cultural projects will have to be able to attract additional sources of income in addition to the public one; the search of private financial resources is developed in a situation of increasing competition among the institutions, while tools of innovative finance have to be used to satisfy the increasing demand of culture. It is difficult nevertheless to define the possible best method of public–private financing, if you take consideration of the distinctive features of the different institutions and interests of the operators who are involved: artists, cultural institutions, public bureaucracy, besides the economic effects which follow alternative choices. The recent evolution of the institutional, financial and managerial models of the culture in Italy plans a larger integration between public and private sectors for a great involvement of individuals, enterprises and foundations about the financing of the cultural services offer. 相似文献
15.
In this paper, we describe the institutional framework in which heavy subsidization of German classical orchestras takes place and provide figures on the structure and the level of public support. Moreover, we derive and test various hypotheses concerning the political-economic determinants of public orchestra support. We analyze the political support-maximizing calculus of local politicians – the relevant decision-makers for orchestra subsidization in Germany. We find that public funding increases with increasing population; public debt and budget figures exert strong influences on the level of support. In addition, conservative and liberal politicians tend to support classical orchestras more than Social Democratic and Green politicians do. 相似文献
16.
Enrico E. Bertacchini Chiara Dalle Nogare Raffaele Scuderi 《Journal of Cultural Economics》2018,42(4):619-643
This article provides an empirical investigation of the effects of the ownership and organizational structure on the performance of cultural institutions. More specifically, we consider how museums are effective in their function of disseminating culture to audiences and contributing to the local development. By exploiting a unique data set based on the 2011 census of Italian museums, we develop performance indices of accessibility, visitors’ experience, web visibility and promotion of the local cultural context. Using count data models, we regress such measures on the type of organization. We distinguish between governmental museums, public museums whose administration is either outsourced or has financial autonomy and private museums. We control for the most salient characteristics of a museum, competition pressure and some proxies of potential audience. Our evidence shows that private museums, public museums with financial autonomy and outsourced museums outperform public museums run as sub-units of culture departments. This paper contributes to the cultural economics and public policy and administration literature by adding insights into the effect of outsourcing and administrative decentralization in the public cultural sector. 相似文献
17.
Amir Borges Ferreira Neto 《Journal of Cultural Economics》2018,42(4):525-542
This paper analyzes the determinants of donations to public libraries testing the following hypothesis: Is there a crowd out effect from government funding of public libraries? I look at novel data, the Public Library Survey, and use an unbalanced panel of public libraries across the USA from 2000 to 2013. The results suggest a crowd in effect with an inverted U shape in all levels of government. Local government is associated with 4–6 cents increase in donations, state government with 20–23 cents increase, and federal government with 75 cents to 1 dollar and 33 cents. 相似文献
18.
J. Mark Schuster 《Journal of Cultural Economics》1998,22(2-3):127-150
This paper takes a preliminary look at the hybridization of museums – the creation of a variety of mixed forms of governance incorporating both public and private governing authorities. Using data from three national surveys of American museums, the analysis documents the mix of types of governing authority and demonstrates how this mix varies across location, over time, and by museum type. The paper then estimates the extent of hybridization using several different indicators and speculates about its implications. The United States offers a particularly informative case because the general view is that American museums are (1) either public or private and (2) predominately private. While the second part of this view may still be a useful characterization of American museums, the first is no longer a particularly helpful way of understanding American museums, or, by extension, other cultural institutions, American or not. It is increasingly necessary to view cultural institutions through the lens of hybridization rather than privatization in order to improve our ability to document and predict their institutional behavior. 相似文献
19.
《Journal of Cultural Economy》2013,6(1):39-50
Economic science generally takes as its model system the results of uncoerced market transactions, and the application of economic rationality to the state is often understood as an effort to make public institutions behave more like private firms. This requires the explicit formulation of calculations that entrepreneurs are presumed to make implicitly. Yet a formal system of calculation can never be the same as a set of unarticulated practices, and economic projects such as cost-benefit analysis led quickly to the measurement of objects undreamed of by the private economy. Also, the relentless advance of economic quantification has created systems of oversight and regulation that tend to centralize rather than diffuse power. Historically, the methods of economic calculation did not follow from a quantified theory of individual market behavior, but, quite the contrary, were articulated as instruments of economic management and then applied back to individuals. As economics worked out a theory of market behavior, it simultaneously gave new meaning to the very idea of economic rationality. 相似文献
20.
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