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1.
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
2.
Italian state museums are characterised by a rigid bureaucratic structure and are almost completely financed by government
transfers. In this paper we develop a simplified two-stage model in an attempt to explain how the government's preferences
for differentiated museum functions may affect museum organisation. The model shows that the government prefers that complementary
functions (e.g., conservation and scientific research) be produced by a single museum, whereas it prefers that substitutable
functions (e.g., conservation and access by the general public) be produced by two museums. We use this prediction for an
empirical analysis of the organisational structure of Italian state museums.
On the basis of the unique ISTAT census of the Italian museum system, we test with two separate probit models the probability
of observing in a state museum the concentration of either scientific activities of conservation and research or promotion
activities for education and the general public. Higher classes of centralisation for the state museums are also considered
by means of an ordered probit model. The results seem to suggest that the Italian state museum structure, as surveyed in the
early 1990s, fully reflected the traditional policy model viewing museums as institutions devoted to conservation, scientific
research and education.
JEL-Classification: D73, Z11 相似文献
3.
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
4.
The recent narrative on museums as catalysts of innovation and growth considers their relations with other cultural and creative industries (CCIs) to be very important. We argue that most relations museums establish with CCI firms and institutions are unlikely to produce strong positive externalities that make the latter more innovative. To prove this claim, we propose a conceptual framework qualifying project-based and supply chain relations between museums and CCIs as either strong, moderate, or weak links, according to their potential in terms of knowledge spillovers from museums to CCIs. We apply this taxonomy to data collected from 261 Polish museums. Our findings indicate that strong links are outnumbered by moderate and weak ones. We then suggest that the traditional missions of museums, in particular education and conservation, need to be more thoroughly assessed in terms of their direct and indirect contributions in order to fully capture the impact of museums on innovation in the wider economy.
相似文献5.
Zheng Liu 《Journal of Cultural Economy》2020,13(4):461-474
ABSTRACT This article investigates how cultural businesses may facilitate contentious political activity in authoritarian contexts. Existing research in Western liberal democracies has shown the widespread political activism of actors in the cultural and creative industries. Whether such activism exists in authoritarian society, how it may differ in character and form, and what implications this will have for our understanding of relations between business, politics, and culture in authoritarian countries remain to be addressed. Drawing on data collected from 55 ‘independent bookshops’ in China, I illustrate how these organisations perform ‘cultural politics,’ a type of political participation in which actors employ mainly symbolic means to express social and political concerns. The organisations’ economic relations and conditions facilitate their efforts to create spaces in which contentious questions can be raised, sensitive topics explored, and alternative ideas expressed, despite the Chinese state’s political regulation of the cultural sphere. The finding of the economic embeddedness of cultural politics sheds new light on our understanding of the political economy of cultural businesses in contemporary China. 相似文献
6.
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
7.
Data Envelopment Analysis is used for evaluating the technical efficiency of museum institutions. This approach enables us to create for each museum a relative efficiency measure, which takes into account both the resources used by museums and the results of their activities. Moreover this technique is able to overcome some of the difficulties found when applying more traditional indicators of productivity in evaluating the technical efficiency of cultural institutions. An empirical analysis carried out on data from Italian municipal museums illustrates this application of the operational research model. 相似文献
8.
Severe budget cuts in the cultural sectors of many countries have spurred disparate suggestions for alternative sources available to public institutions. Deaccessioning may be an option, although controversial, to guarantee the survival of cultural institutions. This paper addresses the consequences that deaccessioning may have on donations of artworks to museums, by developing a sequential game with incomplete information. We investigate the interactions between donors and museums, when the former is uncertain about the commitment of a museum not to deaccess part of its endowment in the future. Our analysis shows that deaccessioning may reduce art donations to museums. Interestingly, public grants to museums cause a negative externality to a committed museum, which experiences a reduction in donations. Results provide intuitions for the widespread resistance to deaccessioning of museum associations, for their efforts to enforce common regulation restricting the use of proceeds to the acquisition of art, and also for the proliferation of private art museums. 相似文献
9.
社区博物馆自引入以来,一直被理解为一种保护地域文化与生活的乘载工具,对经济议题缺乏研究,使我国社区博物馆实践普遍充满挫败感,直接导致社区博物馆理念在我国的不适与质疑。以此为切入点,通过社区博物馆与内生式发展理念的融合研究,从背景解读,理念的载体、进化、本土化及其彼此关联进行分析,提出了社区博物馆理念架构下的内生式发展是我国乡村地域可持续发展的理想形式,并结合日本乡村地域创生实例以期对我国本土化实践的启迪。 相似文献
10.
This study examines the value placed on museums by patrons and non-patrons and investigates the factors that affect this valuation with a view to boost visitorship. The total economic value of Singapore’s History Museum is at least US$57 million, and this is high relative to other countries, a fact which can be used to justify increased government funding towards museums as cultural capital. Females and high income people are the target groups for increased visitation, while among the non-patrons, the ethnic majority is another potential clientele. Somewhat surprising is the finding that neither patrons nor non-patrons see the museum as having significant tourist value, and contrary to prospect theory, there is a preference for enhancing the museum’s services over keeping the museum. These findings provide some direction for the management of the museum to improve its visitor appeal. 相似文献
11.
Juan Gabriel Brida Chiara Dalle Nogare Raffaele Scuderi 《Journal of Cultural Economics》2016,40(3):261-283
Some recent empirical contributions have highlighted that tourists often go to museums yet appear to extract little utility from the experience. We argue that this is often the case with agents who visit museums only while on holiday and results from a temporary lack of substitute experience goods or compliance with a must-do list. If such agents behaved according to Stigler and Becker’s rational addiction theory, they would also visit museums while at home. However, most do not, which makes them constantly occasional consumers. We indirectly test for the presence of constantly occasional museum attendance by tourists, using data from a survey conducted in 2012 at Vittoriale, the most popular museum at Lake Garda, a renowned Italian tourist destination. By applying multiple correspondence analysis to a question on motivations to visit the museum, we obtain two dimensions of motivation: one based on a search for knowledge and the other based on a more recreational attitude. Identification of the latter is a new finding in itself. We include these dimensions as regressors in a model used to explain museum attendance. We find, as expected, that light consumption negatively affects attendance. We therefore argue that empirical analyses of museum attendance should not disregard light motivation as a possible driver. 相似文献
12.
13.
The technological shift of museums is extensively documented, even if research on the impact of technologies on cultural practices and social patterns at large is still lacking. As part of a research programme conducted by the Louvre and HEC Paris, the article proposes a conceptual analysis of ‘real’ (visiting the museum) and ‘virtual’ (visiting its website) experiences of museums. It contributes to the understanding of whether the two experiences are substitutes or complements using a newly created measurement scale. In addition, the article also aims at enriching the contemporary discussion on the artworks’ aura and the authenticity of the cultural experience in the digital age. 相似文献
14.
15.
Contingent Valuation and Semiparametric Methods: A Case Study of the National Museum of Sculpture in Valladolid, Spain 总被引：1，自引：0，他引：1
José Ángel Sanz Luis César Herrero Ana María Bedate 《Journal of Cultural Economics》2003,27(3-4):241-257
Research on cultural economics is very interested in the economic valuation of non-market goods, particularly in the field ofcultural heritage where contingent valuation techniques are currently being used with both parametric and non-parametric statistical methods to estimate the willingness to pay for cultural goods. In the literature analysed, the number of studies using semiparametric methods, however, is very limited. Our analysis is intended to help fill this gap by offering a parametric, non-parametric and semiparametric economic valuation of the National Museum of Sculpture (Museo Nacional de Escultura), located in Valladolid,Spain. In addition, we also gain insight on a controversial issue affecting most European museums, particularly those located in Latin countries: the role voluntary donations might play in the funding of public museums. 相似文献
16.
ABSTRACT This paper examines the social construction of ‘fashionability’ – namely, what is ‘desirable’ and ‘fashionable’ – with reference to the concept ‘cultural mediators’ that foregrounds agency, negotiation and the contested practices of market actors in cultural production. It zeroes in on the cultural mediators’ attitudes and positions in the two markets by drawing on 25 in-depth interviews with industry veterans. It shows that the mediators in South Korea and China increasingly occupy hybrid occupational roles and social positions across industries and sectors yet achieve limited success in countering the status quo of Western fashion through mediation. The analysis contributes to the literature with a categorisation of seven mediation practices that shape the valuation of fashion products (i.e. ‘fashionability’) in two ways. Empirically, this categorisation illuminates how cultural mediators make reference habitually to the broader social and cultural contexts to co-construct cultural-aesthetic objects. Theoretically, it advances a cultural-economic approach to the understanding of cultural mediation and challenges the reductionist viewpoint of actor–network theory through the notion of a matrix of cultural-economic agency. 相似文献
17.
Anna Worobiec Lucyna Samek Agnieszka Krata Katleen Van Meel Barbara Krupinska Elżbieta Anna Stefaniak Paweł Karaszkiewicz René Van Grieken 《Journal of Cultural Heritage》2010,11(3):354-359
Historical buildings and castles that have been turned nowadays into museums, as an exhibition area for precious cultural heritage (CH) items, need more attention since they are CH objects by themselves. Moreover, the preservation techniques require often, significant interventions; however such changes are not always possible or are very limited. The aim of the present study was to investigate the influence of outdoor air pollution on the composition of particulate matter and gases inside the museum of Wawel Castle in Cracow, Poland. During this study a combination of micro and trace analysis techniques were applied, including energy dispersive X-ray fluorescence (EDXRF) and electron probe microanalysis (EPMA). An intensive transport of air pollutants coupled with accumulation of the particles inside the museum was noticed (considerably higher in winter than summer). A high content of carbon and organic matter agglomerated with inorganic particles was determined. Those particles are of special concern because of their adhesive properties and reactivity. It was also noted that the conditions inside the museum favour the reaction of the particles with gaseous pollutants. It was especially the case for nitrate particles. 相似文献
18.
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
19.
ABSTRACTPrevious studies have overlooked how intermediaries and their digital cultural capital enhance the relationship between brand values and consumer identities; their specific uses of digital technologies; and how those uses are displayed in activities where intermediaries create consumer experiences. This paper thus explores the role that cultural intermediaries (music bloggers and an advertising agency) and their digital cultural capital play in making and communicating a branded music event. Briefly, intermediaries used a set of digital technologies (social media, guest lists, blogs, and websites) to create and orchestrate an authentic and exclusive experience between brands and consumers. We draw on empirical material from interviews and ethnographic work conducted in Santiago, Chile. Our study identifies digital technologies used by cultural intermediaries in communicating branded music events, including as: promotional tools; advertising campaign efficacy evaluation mechanisms; and relational objects that connect advertising agencies, music bloggers, brands, and consumers. By exploring the tensions and conflicts that arise among bloggers and advertising executives, we shed light on the uses and exchanges of digital cultural capital for commercial purposes, resulting from the connections between intermediaries that come from different fields of cultural production. 相似文献
20.
Volker Kirchberg 《Journal of Cultural Economics》1998,22(1):1-13
In a 1995 representative survey, 1,080 Germans were asked by standardized questionnaire to assess the subjective significance of 23 motives and barriers to visiting art museums, history museums and technology museums on a scale from 1 (very unimportant motive/barrier) to 5 (very important motive/barrier). An analysis of the results of the survey revealed entrance fees to be the only significant subjective barrier. In contrast to recent price elasticity studies of cultural demand, this study uses a micro-level approach – comparing individual socioeconomic and geographic characteristics with individual and subjective assessments of museum entrance fees as a barrier. The results of an ordered-probit analysis suggest income to be the only significant individual characteristic which can explain this subjective assessment. However, using correspondence analysis, several other individual characteristics such as education and professional status also appear to have a relative impact on the subjective assessment of entrance fees. 相似文献