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1.
In this paper, we argue that there are patterns of innovation occurring in less economically developed countries (LEDCs) that have been historically overlooked by the innovation studies literature, including the literature on innovation systems and the triple helix. This paper briefly surveys cases in agriculture, banking, biomedicine and information and communications technologies that demonstrate organizational, scientific and technological innovation in Africa, South Asia, and Brazil. In particular, we track new developments in two distinctive patterns within LEDCs: (1) civil society as a site of innovation and; (2) innovation through appropriation. By systematically uncovering patterns of innovation in LEDCs, science and technology policy scholars may make new theoretical gains in innovation studies that can potentially contribute to innovation policies in the global South. 相似文献
2.
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
3.
This paper combines perspectives on nonprofit organizations, clubs and club goods, demand for performing arts, and demand for charitable contributions to consider relationships between nonprofit organizations in the performing arts and their patrons. A broad view is taken of factors influencing demand for club goods, charitable donations, and for the live performing arts. These are integrated in a model of demand for the outputs and services of nonprofits in the performing arts. Data from a single institution is used to test hypotheses. Conclusions are drawn for organizational policy and economic theory. 相似文献
4.
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
5.
Reputations of organizations and its individual members are valuable resources that help new organizations to get access to investment capital. Reputations, however, can have different dimensions. In this paper, we argue that an individual??s reputation along a particular dimension will have a positive effect on the behavior of investors when it is role congruent. In addition, we argue that also scoring favorably on the role-incongruent dimension at the same time??or, in other words, engaging in reputational category spanning??will weaken the positive effect of the role-congruent reputation. Our empirical setting is the film industry where we study the effect of the two main dimensions of reputation in cultural industries, artistic and commercial, of both directors and producers on the size of the investment by distributors. In this study, artistic reputation is based on professional critics?? reviews and commercial reputation on box office performance of the films in which individuals were involved in the past. We find that the commercial reputation of a film producer based on past box office performance has a positive effect on the size of the investment by film distributors. In addition, we find that directors who at the same time combine both a favorable commercial as well as an artistic reputation actually receive a lower investment from film distributors. 相似文献
6.
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
7.
Although economies of scale are relatively well studied in the arts, economies of scope have received less attention. Yet recent trends toward freelancing and technological connectivity make scope economies especially timely in addressing structural challenges to artist-led incubators. This paper offers a conceptual framework for cooperative strategies that employ economies of scope both in the economic sense of joint production and in the financial sense of risk pooling. This framework distinguishes franchise, federation, and resource-sharing organizational structures as developed through case studies of two US-based organizations: ArtBuilt and REC (Resources for Every Creator), placed in a larger context of cooperative organizational strategy in the USA and Europe. The proposed strategies of cooperative networks (quasi-franchises, federations, or resource-sharing networks) also draw on a literature of spatial agglomeration in creative industries. The framework leads to more speculative ideas of “balance-sheet philanthropy” through credit backstopping by foundations, and of novel investment trusts that can be piloted across a range organizations including foundations, grant-makers, artist residency programs, and even for-profit companies engaged in reinsurance. The paper contributes managerial tools and strategies for the creative engagement of capacity building in arts organizations.
相似文献8.
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
9.
We study the art market in the Venetian Republic from 1550 to 1750 analyzing the determinants of the prices (adjusted for the cost of living measured by the price of wheat) of figurative paintings. Reputation of the painters, size of the paintings and other quantifiable factors affect prices as expected. Other relevant factors include the placement of the paintings (on altars, ceilings or walls), whose impact reflects differences in demand elasticities. We find evidence of the law of one price confirming price equalization between high and low demand geographical destinations and between different subjects. Finally, in a Schumpeterian perspective, we relate the temporal trend of the price of a representative painting with waves of artistic innovations, whose peacks were in the 1500s and in the 1700s with a dark Baroque age in the intermediate century. 相似文献
10.
Stefan Tobias 《Journal of Cultural Economics》2004,28(2):109-124
The article is concerned with the issue of quality in drama, opera, and ballet, respectively. Relying on data from an expert opinion survey and from the statistical yearbook on theatres in Germany, the problem is addressed to what extent quality is linked to certain economic variables. After appropriately aggregating the ordinal expert judgments while controlling for expert-specific standards it is shown that this link is considerably closer for ballet and opera than for drama. Furthermore, in all three art forms positive but decreasing marginal returns of artistic expenses in terms of quality prevail. 相似文献
11.
Thomas Kaiserfeld 《Minerva》2013,51(2):171-194
By comparing three types of hybrid organizations—18th-century scientific academies, 19th-century institutions of higher vocational education, and 20th-century industrial research institutes—it is the purpose here to answer the question of why new hybrid organizations are continuously formed. Traditionally, and often implicitly, it is often assumed that emerging groups of potential knowledge users have their own organizational preferences and demands influencing the setup of new hybrid organizations. By applying the concepts epistemic and academic drift, it will be argued here, however, that internal organizational dynamics are just as important as changing historical conjunctures in the uses of science when understanding why new hybrid organizations are formed. Only seldom have older hybrid organizations sought to make themselves relevant to new categories of knowledge users as the original ones have been marginalized. Instead, they have tended to accede to ideals supported by traditional academic organizations with higher status in terms of knowledge management, primarily universities. Through this process, demand has been generated for the founding of new hybrid organizations rather than the transformation of existing ones. Although this study focuses on Swedish cases, it is argued that since Sweden strove consistently to implement existing international policy trends during the periods in question, the observations may be generalized to apply to other national and transnational contexts. 相似文献
12.
Corporate Support for Artistic and Cultural Activities: What Determines the Distribution of Corporate Giving? 总被引：5，自引：0，他引：5
This paper examines the allocation of corporate donations among variouscategories of recipients and the reasons underlying that allocation. Ananalytical model is utilized to determine the importance of profitability,firm size, advertising expenditures and type of business in determining thelevel of support for each activity. The results demonstrate that corporategiving to artistic/cultural activities is correlated with advertisingexpenditures, while donations to educational, civic and health causes are not.Thus, support for culture and the arts is a means of directly promoting thefirm, while giving to other causes fulfills the firm's goals throughalternative means. 相似文献
13.
Arjan van Rooij 《Minerva》2014,52(2):263-272
Today universities are increasingly seen as motors of innovation: they not only need to provide trained manpower and publications to society, but also new products, new processes and new services that create firms, jobs, and economic growth. This function of universities is controversial, and a huge and still expanding literature has tried to understand it. The approach of this paper is integrative; it uses the existing literature to answer a number of straightforward questions about the creation of innovations with university knowledge production: how does this happen, to what extent, and if it is desirable. In this way this article grounds the issue. Creating innovation with university knowledge production is relevant, justified and important but this has not been, is not and will not become the core function of universities. The existing literature, in other words, overestimates the importance of university knowledge production - in general, and for innovation in particular. 相似文献
14.
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
15.
《Journal of Cultural Economy》2013,6(1):31-47
Normative cultural economy discourse on New York City embraces the creative industries as engines of job creation but neglects the quality of employment within them. This article sets out to both illuminate the precarious conditions of nonstandard workers in New York's vaunted creative sectors and identify emerging collective responses to precarity in this city. Three areas of labour activity are focused upon: fashion industry frictions, art world agitations, and independent worker initiatives. Under each of these headings, the article profiles two organizations that are variously exposing, resisting, and mitigating precarity among flexible labour forces in the arts, the media, cultural industries, and beyond. The discussion of these organizations is informed by interviews with some of their protagonists, by documents produced by the organizations, and/or by media coverage of them. Challenging the assumption that getting by in informal cultural labour markets obliges individual coping strategies, this article reveals scenes from a metropolitan laboratory of precarious labour politics. These initiatives are inklings of a recomposition of labour politics in which flexible workforces in creative industries are important participants. 相似文献
16.
The artistic labor market is marked by several adversities, such as low wages, above-average unemployment, and constrained underemployment. Nevertheless, it attracts many young people. The number of students exceeds the available jobs by far. A potential explanation for this puzzle is that artistic work might result in exceptionally high job satisfaction, a conjecture that has been mentioned at various times in the literature. We conduct the first direct empirical investigation into artists’ job satisfaction. The analysis is based on panel data from the German Socio-Economic Panel Survey. Artists on average are found to be considerably more satisfied with their work than non-artists, a finding that corroborates the conjectures in the literature. Differences in income, working hours, and personality cannot account for the observed difference in job satisfaction. Partially, but not fully, the higher job satisfaction can be attributed to the higher self-employment rate among artists. Suggestive evidence is found that superior “procedural” characteristics of artistic work, such as increased variety and on-the-job learning, contribute to the difference in job satisfaction. 相似文献
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《Journal of Cultural Economy》2013,6(6):590-606
ABSTRACTThe relationship between collaboration and innovation in cultural organisations is an emerging topic that has drawn particular attention from scholars and practitioners. The main aim of this study is to assess the role of collaboration in the process of innovation in museum organisations. To achieve this aim, first, we develop a four-domain analytical framework by matching innovation types to cultural production processes to reflect the peculiarities of museum innovation. By applying this framework to the multiple case studies from four Spanish museums, we identify three main motivations (supplementing manpower, compensating for the scarcity of knowledge, improving demand-driven innovation) and four forms of collaboration (teamwork, outsourcing, consortium and conversation) and summarise the different modes of collaboration involved in various domains of production and innovation. An assessment is conducted subsequently to evaluate the effectiveness of existing collaborations in achieving technological and cultural innovation in museums. Finally, a list of implications for museums’ innovation management is presented. 相似文献