Cultural economics 88 /
Cultural economics 88 /
edited by C. Richard Waits, William S. Hendon, J. Mark Davidson Schuster
- [Akron] : Association for Cultural Economics, [1989]
- 3 v. (246, 285, 192 p.);
Conté: Vol. 1: An American perspective; Vol. 2: A Canadian perspective; Vol. 3: A European perspective
Vol.1:
The Fifth International Conference on Cultural Economics was held in Ottawa, Cana da September 27th to 30th 1988 with the theme of the United Nations' World Decade for Cultural Development: The Decade, which will run from 1988 to 1997, was declared by the United Nations in order to raise consciousness among politicians, economic decision makers and the general public that cultural development is an end-in-and-of-itself and, at the same time, a critical catalyst in fostering economic growth and development.
It is to be hoped that the World Decade will serve to clarify and resolve the Great Value Inversion troubling late 20th century society. As an economist I know that economic development is a Means towards ultimate Human Ends such as personal, cultural and spiritual fulfillment. Economic development, however, has now become an end-in-and-of-itself. For example, to gain public or private support for cultural activities such as the Arts, it is increasingly necessary to demonstrate they contribute to economic growth and development, i.e. the Means now justifies the End. Put another way, we know more and more how to do things -- in a technical sense; but we know less and less about what is worth doing -- in a moral sense.
Some 100 academics, public and private sector researchers and consultants presented papers to the Conference. Papers ranged from the comparative cost of pipe organs in the 17th and 20 centuries to the changing impact of Stalinist dogma on cultural support in Hungary. This volume presents the Canadian perspective on cultural economics as embodied in papers delivered by more than 30 Canadian researchers. Two sister volumes present the American and European perspective on cultural economics.
Vol. 2:
This Is Volume II of the Proceedings of the Fifth International Conference on Cultural Economics of the Association for Cultural Economics, Held September 27-30, 1988 in Ottawa, Ontario, Canada.
Patrons Included The Research And Evaluation Section of the Canada Council, the Multiculturalism Sector of the Department of the Secretary of State and the Canadian Commission for Unesco.
Sponsors Included the Arts Promotion Division of the Department of External Affairs of Canada. The National Gallery of Canada, The National Arts Centre of Canada, The University of Akron and the University of Ottawa.
The papers herein contained represent recent work by American economists and a number of scholars in other social science fields focusing on research questions of the arts and culture. The papers cover a wide variety of topics and illustrate a number of different approaches and methods. As is the case with most conference papers, when one tries to tie them together in a volume, it is immediately apparent that some are very strong offerings and some are very weak; some fit very well and others do not. It is not my task in this brief introduction to make your critical choices for you. Rather, it seems appropriate to provide some comment on the kind of work cultural economists in the U.S. have been doing recently, to place some focus on the efforts and to tie a few ideas together. Let me but mention a number of the contributions. (Font: Introducció)
Vol. 3:
The papers included in this volume cover a considerable range of interests in the economics of cultural markets. One perceives an image of the uniqueness of European perspectives on cultural services. In these papers one becomes aware of the special concerns and perceptions which guide the work of european cultural economists and which give their work a special flavor and direction. At the same time, it is easy to identify the areas which are shared by interested parties in other parts of the world. Also, one quickly observes the wide range of attitudes and concerns which characterizes these works. This range includes a variety of subject areas, types of cultural industries, and proposals for responses to the question posed above. We presume that the objective for cultural policy is to "promote" cultural activities. Although it is not always clear that this means increasing the quantity and variety of cultural events or outputs, it is clear that the quality of these events is a matter of concern. The question of funding is linked to this quality standard. Promoting the arts and other cultural activities means improving the quality of cultural experiences for a broader segment of the population.
The papers in this volume are divided into five parts. Each part represents a different set of concerns deriving from that overall objective. In the first section, the authors address various concerns for the status of cultural enterprises, as well as directing our attention to some of the underlying organizational features of cultural production and distribution systems, the former well detailed for opera by van Gemerden. Uusitalo and Oksanen give us a similar broad perspective on the publishing industry, while earlier, Iknonomova raises a serious question concerning the appropriate rate of compensation for a certain set of cultural workers. Van Rees, Hugo Verdaasdonk, and Tilborghs discuss other aspects of the publishing industry, namely the role of the critic, the publishing of literary texts, and the lending rights legislation in the Netherlands, respectively. Dorothee Verdaasdonk documents the necessity of film makers to combine economically and Benghozi points to certain emerging features of the film industry in France that lead to the decline of cinema. Summerton briefly describes success patterns in the visual arts in England. Couder and Kesenne estimate, by input/output methods, the economic contribution of a non-arts cultural activity, sport, and show how the government in Belgium gains net revenue from sport over any contribution it may make. Is this true of other cultural activity?
The emphasis in the papers included in the second part is on the level of public funding of cultural functions. Hutter applies natural resource theory to the arts and demonstrates a fresh approach, the arts as exhaustible resources. Smithuijsen details the ample contributions to composers by the Dutch government. Van Puffelen very thoughtfully condiers the limitations and context of the role of the economist in analyzing subsidy questions. The paper by O'Hagan and Duffy treats public spending in the form of "tax expenditures." In this paper, there is a suggestion that funds or other benefits be provided by the group of sponsors who are reimbursed by means of reductions in their tax liability. Instead of being paid to a national treasury in the form of a tax, the funds are delivered directly to the cultural provider. This mode of funding is quite popular in other areas of public sector budgeting. Van de Perre briefly describes the movement in Europe toward more private funding of the arts, foretelling the next two sections of papers.
Conté: Vol. 1: An American perspective; Vol. 2: A Canadian perspective; Vol. 3: A European perspective
Vol.1:
The Fifth International Conference on Cultural Economics was held in Ottawa, Cana da September 27th to 30th 1988 with the theme of the United Nations' World Decade for Cultural Development: The Decade, which will run from 1988 to 1997, was declared by the United Nations in order to raise consciousness among politicians, economic decision makers and the general public that cultural development is an end-in-and-of-itself and, at the same time, a critical catalyst in fostering economic growth and development.
It is to be hoped that the World Decade will serve to clarify and resolve the Great Value Inversion troubling late 20th century society. As an economist I know that economic development is a Means towards ultimate Human Ends such as personal, cultural and spiritual fulfillment. Economic development, however, has now become an end-in-and-of-itself. For example, to gain public or private support for cultural activities such as the Arts, it is increasingly necessary to demonstrate they contribute to economic growth and development, i.e. the Means now justifies the End. Put another way, we know more and more how to do things -- in a technical sense; but we know less and less about what is worth doing -- in a moral sense.
Some 100 academics, public and private sector researchers and consultants presented papers to the Conference. Papers ranged from the comparative cost of pipe organs in the 17th and 20 centuries to the changing impact of Stalinist dogma on cultural support in Hungary. This volume presents the Canadian perspective on cultural economics as embodied in papers delivered by more than 30 Canadian researchers. Two sister volumes present the American and European perspective on cultural economics.
Vol. 2:
This Is Volume II of the Proceedings of the Fifth International Conference on Cultural Economics of the Association for Cultural Economics, Held September 27-30, 1988 in Ottawa, Ontario, Canada.
Patrons Included The Research And Evaluation Section of the Canada Council, the Multiculturalism Sector of the Department of the Secretary of State and the Canadian Commission for Unesco.
Sponsors Included the Arts Promotion Division of the Department of External Affairs of Canada. The National Gallery of Canada, The National Arts Centre of Canada, The University of Akron and the University of Ottawa.
The papers herein contained represent recent work by American economists and a number of scholars in other social science fields focusing on research questions of the arts and culture. The papers cover a wide variety of topics and illustrate a number of different approaches and methods. As is the case with most conference papers, when one tries to tie them together in a volume, it is immediately apparent that some are very strong offerings and some are very weak; some fit very well and others do not. It is not my task in this brief introduction to make your critical choices for you. Rather, it seems appropriate to provide some comment on the kind of work cultural economists in the U.S. have been doing recently, to place some focus on the efforts and to tie a few ideas together. Let me but mention a number of the contributions. (Font: Introducció)
Vol. 3:
The papers included in this volume cover a considerable range of interests in the economics of cultural markets. One perceives an image of the uniqueness of European perspectives on cultural services. In these papers one becomes aware of the special concerns and perceptions which guide the work of european cultural economists and which give their work a special flavor and direction. At the same time, it is easy to identify the areas which are shared by interested parties in other parts of the world. Also, one quickly observes the wide range of attitudes and concerns which characterizes these works. This range includes a variety of subject areas, types of cultural industries, and proposals for responses to the question posed above. We presume that the objective for cultural policy is to "promote" cultural activities. Although it is not always clear that this means increasing the quantity and variety of cultural events or outputs, it is clear that the quality of these events is a matter of concern. The question of funding is linked to this quality standard. Promoting the arts and other cultural activities means improving the quality of cultural experiences for a broader segment of the population.
The papers in this volume are divided into five parts. Each part represents a different set of concerns deriving from that overall objective. In the first section, the authors address various concerns for the status of cultural enterprises, as well as directing our attention to some of the underlying organizational features of cultural production and distribution systems, the former well detailed for opera by van Gemerden. Uusitalo and Oksanen give us a similar broad perspective on the publishing industry, while earlier, Iknonomova raises a serious question concerning the appropriate rate of compensation for a certain set of cultural workers. Van Rees, Hugo Verdaasdonk, and Tilborghs discuss other aspects of the publishing industry, namely the role of the critic, the publishing of literary texts, and the lending rights legislation in the Netherlands, respectively. Dorothee Verdaasdonk documents the necessity of film makers to combine economically and Benghozi points to certain emerging features of the film industry in France that lead to the decline of cinema. Summerton briefly describes success patterns in the visual arts in England. Couder and Kesenne estimate, by input/output methods, the economic contribution of a non-arts cultural activity, sport, and show how the government in Belgium gains net revenue from sport over any contribution it may make. Is this true of other cultural activity?
The emphasis in the papers included in the second part is on the level of public funding of cultural functions. Hutter applies natural resource theory to the arts and demonstrates a fresh approach, the arts as exhaustible resources. Smithuijsen details the ample contributions to composers by the Dutch government. Van Puffelen very thoughtfully condiers the limitations and context of the role of the economist in analyzing subsidy questions. The paper by O'Hagan and Duffy treats public spending in the form of "tax expenditures." In this paper, there is a suggestion that funds or other benefits be provided by the group of sponsors who are reimbursed by means of reductions in their tax liability. Instead of being paid to a national treasury in the form of a tax, the funds are delivered directly to the cultural provider. This mode of funding is quite popular in other areas of public sector budgeting. Van de Perre briefly describes the movement in Europe toward more private funding of the arts, foretelling the next two sections of papers.