Kooperativer Bibliotheksverbund

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Umfang: 1 online resource (1401 p.)

Ausgabe: 1st ed.

ISBN: 9786610636655 , 9781280636653 , 1280636653 , 9780080464756 , 0080464750

Serie: Handbooks in economics, 25

Inhalt: Over the last 30 or 40 years a substantial literature has grown up in which the tools of economic theory and analysis have been applied to problems in the arts and culture. Economists who have surveyed the field generally locate the origins of contemporary cultural economics as being in 1966, the year of publication of the first major work in modern times dedicated specifically to the economics of the arts. It was a book by Baumol and Bowen which showed that economic analysis could illuminate the supply of and demand for artistic services, the contribution of the arts sector to the economy, an

Anmerkung: Description based upon print version of record. , Front cover; Title page; Copyright page; Introduction to the Series; Contents of the Handbook; Acknowledgements; Contents of Volume 1; Part 1: Introduction; Chapter 1 Introduction and Overview; 1. Introduction; 2. Behavior of individuals; 3. Behavior of firms and industries; 4. Behavior of markets; 5. Arts and culture in the economy; 6. Conclusions; References; Part2: History; Chapter 2 Art and Culture in the History of Economic Thought; Abstract; Keywords; 1. Introduction; 2. The earliest years; 3. The eighteenth century: Imitation and imagination in the Enlightenment , 4. Classical economics: The shadow of Bentham5. Humanist critics; 6. The marginal revolution; 7. The arts in American economics; 8. Keynes and the Bloomsbury Group; 9. Conclusion; References; Chapter 3 The History of Art Markets; Abstract; Keywords; 1. Approach, focus and scope; 2. Early local art markets, primary and resale; 3. Distributing paintings across markets; 4. Selling paintings I: Artist-dealer relations; 5. Selling paintings II: Auctions; 6. Coda; 7. Some developments since 1750; References; Chapter 4 The Evolution of Music Markets; Abstract; Keywords; 1. Introduction , 2. The evolution of music performance venues3. A quantitative perspective; 4. Music publishing and intellectual property; 5. The popularization of musical culture; References; Part 3: Value; Chapter 5 Defining Cultural and Artistic Goods; Abstract; Keywords; 1. Introduction; 2. Definitional issues; 3. Creativity; 4. Implications for consumers of art; 5. Conclusion; References; Chapter 6 Value and the Valuation of Art in Economic and Aesthetic Theory; Abstract; Keywords; 1. Premodern theories; 2. Art in early subjectivist theories; 3. Art in 19th century economics and aesthetics , 4. Art in economic theory until the 1970s5. Art in aesthetics until the 1990s; 6. Varieties of artistic external effects in contemporary economics; 7. Varieties of artistic value in contemporary aesthetics, and their economic valuation; 8. The logic of aesthetic and economic evaluation; References; Part 4: Legal Issues; Chapter 7 The Economic Analysis of Art Law; Abstract; Keywords; 1. Introduction; 2. Copyright and trademark issues; 3. Moral rights; 4. Resale royalties; 5. Resolving disputes over ownership of art; 6. Art market: Contract and authenticity issues; 7. Estate issues; References , Chapter 8 Copies of Artworks: The Case of Paintings and PrintsAbstract; Keywords; 1. Introduction; 2. Forgeries, copies, and reproductions. Definitions and boundaries; 3. Artists and their patrons; 4. Markets for prints; 5. Markets for paintings; 6. Copies and art historians. A renewal of interest?; 7. Regulating the market for copies; 8. Concluding comments; Appendix A: Copies and originals sold at auction 1684-1999; References; Chapter 9 Copyright, Art and Internet: Blessing the Curse?; Abstract; Keywords; 1. Introduction; 2. The example of MP3s and software; 3. A market for works of art , 4. Issues and conclusion , English

Weitere Ausg.: ISBN 9780444508706

Weitere Ausg.: ISBN 0444508708

Sprache: Englisch

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ISBN: 9780080464756

Inhalt: This chapter lists the terms that have contributed to the book Handbook of Economics of Art and Culture , such as ability bias, administrative burdens, appellation of origin, and others. These terms have been mentioned along with the page numbers in which they have appeared in the bookfor the ease of the reader.

In: Handbook of the economics of art and culture, Amsterdam : Elsevier North-Holland, 2006, (2006), Seite I27-I42, 9780080464756

In: 1280636653

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In: year:2006

In: pages:I27-I42

Sprache: Englisch

DOI: 10.1016/S1574-0676(06)01042-8

URL: Volltext  (Deutschlandweit zugänglich)

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ISBN: 9780080464756

Inhalt: This chapter shows how economic theory and public policy analysis can illuminate decision-making relating to cultural heritage. We argue that from an economic viewpoint the appropriate conceptualisation of heritage is as a capital asset. Regarding heritage as cultural capital invites consideration of sustainability aspects, in parallel with the treatment of natural capital in economic theory, allowing us to derive a sustainability rule for cultural capital accumulation. The application of cost–benefit analysis to heritage investment appraisal is discussed, with particular reference to the assessment of non-market benefits. Turning to policy issues, we examine ways in which governments intervene in heritage markets, with particular attention to listing and other forms of regulation. Questions of institutional design, financing and policy delivery in a multi-jurisdictional framework are discussed, and finally the role of the private sector is considered, with emphasis on the possibility of crowding out and the incentive effects of public policy on private behaviour in the heritage field.

In: Handbook of the economics of art and culture, Amsterdam : Elsevier North-Holland, 2006, (2006), Seite 983-1016, 9780080464756

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In: pages:983-1016

Sprache: Englisch

DOI: 10.1016/S1574-0676(06)01028-3

URL: Volltext  (Deutschlandweit zugänglich)

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ISBN: 9780080464756

Inhalt: No good comparable data on sizes of cultural sectors of the countries of Europe exist. Still, local and national governments of Europe spend substantial resources on culture and cultural sectors contribute significantly to employment and national income. After briefly describing special features of cultural goods and clarifying some misconceptions about the value of culture, valid and invalid arguments for subsidizing culture are discussed. Although it is easy to justify government support for preservation of heritage, this is more difficult for the performing arts. Due to changing technologies and advent of E-culture classic public-good arguments for government intervention in broadcasting and other cultural activities become less relevant. Different institutions lead to different cultural landscapes. Theories of delegation suggest delegating the judgement on artistic qualities and execution of cultural policy to an independent Arts Fund, with the Minister of Culture concentrating on formulating a mission for cultural policy and making sure it is implemented properly. Insights from the theories of local public goods and federalism are applied to the making of cultural policy in Europe. Different approaches to international cultural policy in Europe are discussed. The overview concludes with lessons for the making of cultural policy in Europe.

In: Handbook of the economics of art and culture, Amsterdam : Elsevier North-Holland, 2006, (2006), Seite 1183-1221, 9780080464756

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Sprache: Englisch

DOI: 10.1016/S1574-0676(06)01034-9

URL: Volltext  (Deutschlandweit zugänglich)

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ISBN: 9780080464756

Inhalt: American cultural policy is made and executed by multiple governmental entities, with a large part of direct public expenditure coming from sub-national governments rather than the central government. Much the largest share of government support is provided by tax concessions for gifts to not-for-profit enterprises that are the predominant producers of the subsidized arts, and by tax concessions to private owners who agree to preserve their heritage buildings and sites. The multiplicity of government decision makers and the reliance on “arms-length” relations between government and not-for-profit private providers of cultural services results in cultural policy that appears to be and is incoherent, but is characteristic of American public policy in many spheres.

In: Handbook of the economics of art and culture, Amsterdam : Elsevier North-Holland, 2006, (2006), Seite 1223-1251, 9780080464756

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Sprache: Englisch

DOI: 10.1016/S1574-0676(06)01035-0

URL: Volltext  (Deutschlandweit zugänglich)

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ISBN: 9780080464756

Inhalt: The organization of the creative (arts and entertainment) industries rests on many types of contracts. These contracts govern collaborations between artists and other parties – at arm's length, or within an enterprise. These contracts' structures devolve from a few bedrock properties of creative work and creative products. Artists invest in developing their talents, presenting themselves before ‘gatekeepers’ who seek talents that can profitably be developed and marketed. Gatekeepers commonly function as agents for selecting artists and as match-makers between artists and complementary inputs. As an extension of the gatekeeping function, the participants in creative industries take part in a continuous ranking process that sets and revises the ranks of vertically differentiated talents. Real option contracts pervasively govern the sequential steps of developing a creative product. These can leave the artist an autonomous creative agent (pop musicians and record labels) or enclose artists' talents in an employment relationship (classic Hollywood studios). The transformation of the movie industry to ‘flexible specialization’ illustrates how changing basic conditions can transform the dominant form of organization. The scales of enterprise in the creative industries tend to be driven by the efficient scales with which creative goods are distributed (very large for record labels and movie studios, small for art galleries), and they tend to assort themselves into those focused on the distribution of creative goods (‘promoters’) and those concerned with identifying and nurturing creative talents (‘pickers’). Large enterprises also include the ‘entertainment conglomerates’ which seek synergistic gains that depend theoretically on quite special conditions; foreclosure and its avoidance may be principal motives. Non-profit enterprises dominate a number of arts activities, apparently for two interrelated reasons. These activities incur high fixed but low marginal costs, pressing them to employ two-part prices and club arrangements to ensure fixed costs' coverage. When product quality is endogenous, however, non-profit status may be necessary for the manager credibly to foreswear degrading quality once the fixed payment is in hand. Non-profits supported by donation streams thus enjoy functional advantages.

In: Handbook of the economics of art and culture, Amsterdam : Elsevier North-Holland, 2006, (2006), Seite 533-566, 9780080464756

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Sprache: Englisch

DOI: 10.1016/S1574-0676(06)01017-9

URL: Volltext  (Deutschlandweit zugänglich)

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ISBN: 9780080464756

Inhalt: This paper contains a new review of the research of the last decade that has been designed to shed light on how the art auction system works, what it indicates about price formation, and how well it performs. We begin with a short description of the mechanics of the auction system and then organize the remainder of our discussion around two major topics. The first topic concerns how researchers have used auction prices. We begin by discussing the returns to holding art and whether certain classes of art make a better investment. We then discuss studies that have used auction prices to determine the importance of individual works of art and individual artists. We conclude this topic by discussing whether different auction houses achieve systematically different prices. The second topic focuses on studies that examine the influence of the auction mechanism on prices. We begin with a discussion of the Christie's and Sotheby's price fixing case and the role of the competitive behavior of auction houses in the determination of prices. We move on to discuss the role of experts and price estimates in auctions. We then look at whether items that fail at auction subsequently return less than items that have not failed and furthermore discuss sale rates and reserve prices. We conclude this topic by reviewing the extensive literature that has documented and tried to explain why the prices of identical objects are more likely to decline than to increase when multiple units are sold. Subsequent empirical research has tended to document declining prices even when the objects are imperfect substitutes.

In: Handbook of the economics of art and culture, Amsterdam : Elsevier North-Holland, 2006, (2006), Seite 909-945, 9780080464756

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Sprache: Englisch

DOI: 10.1016/S1574-0676(06)01026-X

URL: Volltext  (Deutschlandweit zugänglich)

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ISBN: 9780080464756

Inhalt: The overview of the economics of art and culture that is presented in this chapter has been intended to provide both an interpretation of the principal concerns of the field of cultural economics, as well as an introduction to the various chapters in this volume. Several chapters in this volume begin with the meaning of the words like art and culture. These are foundational questions in disciplines, such as art history, art theory, philosophy, aesthetics, sociology, and anthropology. By and large contributors to this volume accept in the first instance a broad-ranging view of culture as comprising or being defined by a set of attitudes, beliefs, or values common to a group that somehow identifies and binds the group together. Thus, it is possible to speak of a national culture, a religious culture, a corporate culture and so on. Culture is defined in a more functional sense in the book to indicate the practices and products of cultural activity, including especially the arts. Within this meaning the terms high culture and low culture are frequently used to refer to the serious and popular arts, respectively. The arts as a whole are sometimes divided into the performing arts and the initial creative arts though there are obvious overlaps between these categories. According to these definitions the arts comprise a subset of culture more broadly defined.

In: Handbook of the economics of art and culture, Amsterdam : Elsevier North-Holland, 2006, (2006), Seite 3-22, 9780080464756

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Sprache: Englisch

DOI: 10.1016/S1574-0676(06)01001-5

URL: Volltext  (Deutschlandweit zugänglich)

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ISBN: 9780080464756

Inhalt: The new technologies of digitalization and the Internet threaten the market positions of artists and intermediaries. Artists because the technology of production of works may be readily accessible and craftsmanship may no longer be a defining characteristic of art. Intermediaries because their rents are linked to entry barriers in the distribution market. This curse of new technologies may be a blessing in disguise since it also increases the possibilities of production, of distribution and the emergence of new works of art. The system of intellectual protection gives market power to artists and the economic literature has analyzed the tradeoff between the dynamic inefficiency generated by this market power and the need to preserve the incentives for creation. We review this literature and some of its recent applications to artistic, and more generally intellectual, creation. Even if artists can capture perfectly the market value of the future home production by consumers, they may favor a strong copyright regime that prevents consumers from using their home production. Intermediaries and artists may want to limit competition in order to increase the rents brought by the indivisibility of creative ideas. The preferences of artists for strong or weaker form (e.g., licensing of rights for home production) of copyright may be related to their creativity.

In: Handbook of the economics of art and culture, Amsterdam : Elsevier North-Holland, 2006, (2006), Seite 285-308, 9780080464756

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In: pages:285-308

Sprache: Englisch

DOI: 10.1016/S1574-0676(06)01009-X

URL: Volltext  (Deutschlandweit zugänglich)

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ISBN: 9780080464756

Inhalt: Culture, defined as shared values and beliefs, can influence the performance of an economy in many ways. The culture of a group, whether national, regional or ethnic, may be regarded as a particular type of intangible public good. The chapter summarizes and critiques a positive theory of inter-cultural competition. According to this theory, culture is created by leaders, who specialize in the production of culture, and is shared by their followers. Leaders compete for followers in order to increase the rents that they can extract from their groups. Whilst some of these rents may be pecuniary, most are non-pecuniary, such as the enjoyment of pursuing a public project which glorifies the leader and their group. There are four main dimensions of culture which influence performance, and there are trade-offs between them which are governed by the environment of the social group. The positive theory is useful in interpreting historical evidence on the rise and decline of societies, institutions, and organizations of various kinds.

In: Handbook of the economics of art and culture, Amsterdam : Elsevier North-Holland, 2006, (2006), Seite 359-397, 9780080464756

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In: pages:359-397

Sprache: Englisch

DOI: 10.1016/S1574-0676(06)01012-X

URL: Volltext  (Deutschlandweit zugänglich)