Economic Impact of Arts and Culture

Over the past few decades, regional economic development has shifted its focus from industrial to talent attraction, and the arts have become an amenity that attracts high-skilled workers. The presence of artists, as well as arts and culture offerings in a region, create many positive economic returns for the host community, including human capital accumulation. However, there is a need for greater investigation into the diverse conditions that different types of creative workers require within any given industry, in order to maximize the potential regional socio-economic benefits. This study was designed to contribute to this body of knowledge. In addressing questions of attraction of talent (particularly artists), this paper explores the nature of the artistic labour and the mechanisms that drive the artistic sector. Using Toronto as a case study, this research explores what artists look for when they choose a place to live and work, as well as what challenges and barriers these workers face while living and working in the city Through interviews with artists from diverse ethnic backgrounds and disciplines, this paper shows how cultural diversity, tolerance, prospects for a second job (to enable the artistic career), artistic concentration, and the regional success of particular cultural industries, have played a fundamental role in attracting different types of artists to the city. It also discusses the diverse infrastructure needed to support artistic practice, such as affordable studios and rehearsal spaces, and year-round opportunities.

The impact of the 2008 crisis on the Spanish economy has been very strong and its consequences are still noticeable ten years later, having significantly modified the economic situation and the very structure that supports it. Its impact on cultural industries is seen in the emergence of innovative management models that make it possible to make profitable not only the work of managers, but especially that of creators (Schiuma and Lerro, 2017; Taylor, 2017). Beyond contextualizing the new frameworks applicable at the business level in the cultural field, there is currently a tendency to generate new management strategies that start from the characteristics of cultural organizations and artists and adapt to their needs, resources and development and sustainability goals. Our research analyzes this evolution in the context of the Spanish art market, describing a taxonomy of innovative and resilient business models among art galleries and among artists, which allows them to adapt to the current situation and make their activity economically sustainable.

Essay dealing with the consequences and implications of the so-called rise of the creative industries for  economy, policy and practice of innovation and society in general. The increasing emphasis on creativity as a prerequisite for both innovation and social change makes the nurturing of creative talent a necessity and should make politicians think twice before they curtail spendings on culture.

Our research is an ethnographic, historical inquiry into the origins and impact of CanCon, Canadian Content broadcasting policy that has profoundly influenced the Canadian music landscape since the mid 1960s, as well as a critical discussion of the viability of a protectionist cultural policy in the age of a digitally connected global village. To support our stance, we interview an eyewitness to the era that birthed the policy and make theoretical connections to emerging notions of the global Creative Economy (Venturelli, 2000). The United Nations (UNCTAD, 2011) has recently reported that creativity, knowledge, and access to information—referred to as the Creative Economy—are powerful engines for promoting global economic growth and development. Musicians, music technologies, music producers, and music products are at the heart of the engine now recognized as the Creative Economy. Our research enables us to reveal (1) the kinds of discussions and considerations that were in the minds of policy innovators during the conceptual development and implementation of CanCon, (2) information regarding the initiators, developers, and stake holders at various “tables” and levels for these discussions, (3) how some believe these laws effected and changed the music-cultural landscape in Canada over the past 40 years, (4) the “Canadian impact” on music culture beyond Canada’s boundaries, and (5) whether the digital world has changed the landscape in terms of the efficacy of current, national music culture policy.

Essay commissioned by Live Art Development Agency for inclusion in the volume 'Learning in Public: Transeuropean Collaborations in Socially Engaged Arts', one of the outputs for the EU-funded Collaborative Arts partnership Programme (http://www.cappnetwork.com), published in 2018.

The Minerva Theatre Feasibility Study was jointly commissioned by the City of Sydney Council and Create NSW, with the principal aim of investigating whether:
1. a refurbished Minerva Theatre would be a viable performance space in the Sydney market; and
2. there is market interest in reinstating the Minerva as a theatre.

Si pone in rilievo il ruolo di una rivista di disegno industriale, oggi design, nella storia dell'italiano contemporaneo. Fondata dall'architetto Alberto Rosselli nel 1954, la pubblicazione trimestrale e poi bimestrale, «Stile industria», accompagnerà per nove anni la crescita della società italiana del "boom" economico, dando una forma testuale e linguistica al dibattito intorno all’estetica della produzione in serie, e toccando nel contempo un insieme di fenomeni e processi riguardanti diversi strati della popolazione coinvolti nella produzione e nel consumo dei beni. La nuova realtà produttiva, che ha profondamente modificato la vita della società italiana condizionando a partire dagli anni Cinquanta gli usi e i costumi della quotidianità, ha trovato nella disciplina del design una delle manifestazioni più evidenti. Alla sua fisionomia di materia e tecnica e artistica corrispondeva appieno l’impostazione del periodico guidato da Rosselli. E così, nella scrittura "del" e "sul" design, le parole antiche, "forma" e "formale", "funzione", acquistano una nuova accezione circoscritta al lavoro del designer. All’epoca poco frequenti nella lingua d’uso, i termini che le affiancano, "funzionale" e "funzionalità", dal linguaggio tecnologico passeranno rapidamente in quello del commercio e della pubblicità, per fissarsi stabilmente nel lessico di settori diversi. A questi si aggiungono "efficienza" ed "estetica", l’antico "creativo" con il valore del tutto nuovo di ‘dotato di fantasia e inventiva’ e la neoformazione "creatività".

Hawkridge Entertainment Services were engaged by Coffs Harbour City Council to undertake an Issues and Options Analysis for Performing Arts Spaces for the Coffs Harbour Local Government Area (LGA). The report addresses current concerns in relation to the lack of adequate performance spaces in the LGA and the options and requirements Council would need to consider in any future infrastructure provision. It also outlines a number of economic considerations for planning and operating performing arts facilities. A number of clear themes were developed for the interim analysis and subsequent research and consultation have further extrapolated the issues and options for performing arts in the Coffs Harbour region.

Our study, which can be considered as a work in progress, is based on a qualitative analysis of data obtained from interviews carried out with different types of active Spanish artists, both emerging artists in the first phase of their career as well as consolidated artists. From the data provided by them, we can offer a brief quantitative approach to certain aspects, although our goal is to go further. From this quantitative analysis we continue our qualitative analysis, which allows us to identify the present problems, demands and needs of the artists with respect to the market agents with whom they maintain commercial relations, as well as the nature of the same as compared to the last decades. This leads us to draw some evaluation conclusions about the possible short and medium term evolution from the current situation of this process of change, and to propose a short code of good practices that can lay the foundations of an optimal relationship between artists and the art market in the near future.

Nuestro estudio, que podemos considerar como un work in progress, se basa en un análisis cualitativo de datos obtenidos de entrevistas realizadas a diferentes tipos de artistas españoles en activo, tanto artistas emergentes en la primera fase de su carrera como artistas consolidados. De los datos aportados por ellos, podemos ofrecer una breve aproximación cuantitativa a ciertos aspectos, aunque nuestro objetivo es ir más allá. A partir de este análisis cuantitativo continuamos nuestro análisis cualitativo, que nos permite identificar los actuales problemas, demandas y necesidades de los artistas respecto de los agentes del mercado con quienes mantienen relaciones comerciales, así como la naturaleza de las mismas en comparación con las de décadas pasadas. Ello nos lleva a sacar unas conclusiones evaluativas sobre la posible evolución a corto y medio plazo a partir de la situación actual de este proceso de cambio, y a plantear un breve código de buenas prácticas que puede sentar las bases de una óptima relación entre artistas y mercado del arte en el futuro más cercano.

This paper examines the relative importance of Creative Industries in Serbia and provides a critical review of the existing methodological approaches that may be used in order to determine the economic contribution of these industries. We also present results for the period from 2014 to 2017. To show relative contribution of Creative Industries, we use the narrow DCMS approach that focuses only on core Creative Industries. We also provide additional results for what we reffer to as the „broad approach”. In 2017, narrowly defined CIs contributed 3.9 percent to the total GVA and 3.7 percent to the total GDP, and the broadly defined CIs contributed 7.8 percent and 7.5 percent, respectively. Other indicators provide additional support regarding the importance of CIs in Serbia. The average annual growth rate of the number of narrowly defined CIs entities amounts to 5.6 percent (8.4 percent for broadly defined CIs which was 6 percentage points higher than the average growth rate in the national economy - 2.01 percent). Employees engaged in narrowly defined CIs represent 3.3 percent of the total number of employees in Serbia (5.6 percent in the broadly defined CIs). IT, software and computer services sub-sector has the largest share of the CIs contribution to the economy. In 2017, this sub-sector contributed more than 60 percent of the total narrowly defined CIs GVA, (more than 55 percent of broadly defined CIs GVA).

In questo studio si ipotizza l’assetto reticolare come condizione determinante e situazione auspicabile affinché un bene culturale possa generare un impatto positivo sul proprio territorio: s’intende, dunque, la creazione di un valore che sia quantificabile monetariamente – hic et nunc – ma anche di un valore non immediatamente tangibile o conteggiabile, fatto di consapevolezza e integrazione di competenze, da leggere nella costruzione di strategie formulate in una più ampia una prospettiva. I casi discussi sono stati scelti con un criterio di varietà e di eterogeneità per dimostrare come valenza e forza del network non siano appannaggio intrinseco di una sola tipologia di bene culturale, ma abbiano una gittata trasversale.

فرهنگ کاری و کار فرهنگی
- کار تو چیست؟
- کار واقعی¬ام یا اینکه برای پول چه کار می¬کنم؟

اختلال کم¬توجهی – بیش فعالی (ADHD ) که امروزه توسط اکثر پزشکان و والدین پذیرفته شده است، بیش از آنکه یک وضعیت روانی کشف شده باشد، یک محصول اجتماعی است. گذشته از لابی شرکت تولیدکننده¬ قرص ریتالین (که درمان اصلی این بیماری محسوب می شود) برای درج ADHD در زمره ی بیماری¬های روانی، و افزون بر شرایط نامشخص محیطی و وراثتی که می¬تواند منجر به این بیماری شود، فرایند درمانی آن نوعی پزشکی سازی رفتارهای غیرمتعارف به حساب می¬آید (در جوامعی که انفعال و دستاورد نداشتن یک شکست اخلاقی محسوب می شود، مانند ایالات متحده، میزان کودکان مبتلا به این بیماری بیشتر است). علائم این بیماری شامل موارد زیر می¬شود: عدم امکان تمرکز بر یک موضوع مشخص، فراموش کردن کارهای مختلف، جهش از یک کار به کار دیگر، بی حوصلگی از انجام کاری که به فرد محول شده، ناتوانی برای سازماندهی توان و وقت به منظور انجام یک وظیفه ی مشخص، هپروتی و حواس پرت بودن، ناتوانی از دنبال کردن دستورالعمل ها، ناتوانی در تحلیل دقیق اطلاعات  و...
کدام یک از ما لااقل چند مورد از علائم این بیماری را به طور جدی نداریم؟ آدم وسوسه می¬شود فکر کند این علائم را از شرایط کلی جامعه نسخه¬برداری کرده باشند. یا شاید هم از شرایط جدید کار و سازماندهی زندگی. بدون هیچ نوستالژی نسبت به فرهنگ کاری دهه¬¬های گذشته، باید بپذیریم، وقتی فرد تا سی سالگی در یک شغل یک¬عمره با بیمه و چشم¬انداز بازنشستگی استخدام می¬شود و خانه و زندگی با¬ثباتی با همین کار در انتظارش قرار دارد، کمتر از این شاخه به آن شاخه می¬پرد یا بعید است ناتوان از برنامه¬ریزی¬های درازمدت باشد. اما وقتی یاد می¬گیرید که شغل درازمدت برای آدم¬های پرشور و پرخونی مثل شما نیست و بهتر است کار موقتی و منعطف و بدون قرارداد و بیمه را در دستور کار قرار دهید، وقتی یاد می¬گیرید خانواده میل را سرکوب می¬کند و بی خانمان بودن و هر شب را یکجا به صبح رساندن تقدیر شما ست، وقتی مناسبات کار و تولید و الگوهای ارزشگذاری بی¬وقفه زیر و رو می¬شوند و فردا ممکن است هیچ چیز سر جایش نباشد، و وقتی یاد می¬گیرید بابت  همین کار ساعتی که یک هفته هست و یک هفته نیست کلاه¬تان را بالا بیندازید، چون خیلی¬ها همین را هم ندارند، عکس العمل طبیعی هر ذهن سالمی این است که از این کار به آن کار بپرد، از انجام وظایف بیهوده و موقتی سر باز زند و به هیچ دستورالعمل یا برنامه ی درازمدتی پایبند نماند. پنداری بدنه¬ی اجتماعی ما میان دو قطب کم¬توجهی و بیش¬فعالی (بخوانید پرکاری) در نوسان است.
این وضعیت متزلزل و بی¬ثبات تصادفی یا موقتی نیست، بلکه فرایندی است که به شکل مستمر و تقریباً با چراغ خاموش بیش از چهار دهه پیش در سطح جهانی (و بیش از دو دهه¬ی گذشته در سطح ملی) آغاز شده، تا جایی که امروز حالت پایه روابط کاری به صورت قراردادی، ساعتی، یا اشکال مشابه درآمده است. این شرایط خودبه¬خود تغییر نخواهد کرد، زیرا یک طرف قرارداد از این مناسبات سود می¬برد، و طرف دیگر یا به لحاظ فرهنگی و اقتصادی چنان سردرگم شده که نمی¬تواند جایگاه حقیقی خود را در این جهان تشخیص دهد، یا با احساس عجز و ناامیدی ریشه¬ای نسبت به هر نوع کنش جمعی جهت تغییر شرایط دست به گریبان است. بیشترین استثمار را نه آنانی که در غل و زنجیر خرید و فروش می¬شوند، بلکه کسانی تجربه می¬کنند که استثمار را فراموش کرده و حساسیت¬شان را نسبت به آن از دست داده باشند. وقتی قشری از جامعه حاضر نیست مورد سواستفاده قرار گرفته شدن¬اش را ببیند و بی ثباتی نهادی که بر زندگی¬اش اعمال می¬گردد را با عبارات پرطمطراقی مثل "FREELANCER " کتمان می¬کند، بهترین نیروی کار موقتی را برای تولید سرمایه¬ی فرهنگی مهیا خواهد کرد. کارگران فرهنگی صرفاً بخشی از سازماندهی جدید کار و زندگی نیستند٬ آنها الگوهای فرهنگ کاری بی ثبات را تقویت می‌کنند و قوام می‌بخشند. در ادامه به ویژگی¬ها و مفاهیم مرتبط با بی ثباتی کار، سرمایه فرهنگی و مناسبات تولید آن و کارگران فرهنگی، می¬پردازیم و نمونه¬هایی از تجربه ها و راهکارهای ممکن برای مقابله با آن ارائه خواهیم کرد.
همچنین نمونه ی یک دیالوگ در این حوزه در بریتانیا در برفت ها گذاشته شده است

Development seen from a more holistic perspective looks beyond the expansion of material means and considers the enrichment of people's lives. The arts are an indispensable asset in taking a comprehensive approach toward the improvement of lives. Incorporating aspects of international trade, education, sustainability, gender, mental health and social inclusion, The Creative Wealth of Nations demonstrates the diverse impact of applying the arts in development to promote meaningful economic and social progress. Patrick Kabanda explores a counterintuitive and largely invisible creative economy: whilst many artists struggle to make ends meet, the arts can also be a promising engine for economic growth. If nations can fully engage their creative wealth manifested in the arts, they are likely to reap major monetary and nonmonetary benefits from their cultural sector. Drawing from his own experience of the support music provided growing up amidst political and economic turmoil in Uganda, Kabanda shows us the benefits of an arts-inclusive approach to development in Africa, and beyond.

This paper examines the rise of the conceptualisation of the arts as an industry in the context of the developing field of Cultural Policy Studies. It argues for a more nuanced approach to the arts within this field, with particular reference to Cultural Studies based critiques of 'the arts'. Written at the start of the 1990s, it predates the rise of a cultural industries approach to cultural policy. However, the conflict it identifies between 'the arts' and a broader 'cultural industry' in the context of debates around cultural funding and policy remains pertinent in the contemporary context.

As the cultural sector not only satisfies people’s cultural needs but also creates new workplaces and increases productivity, creativity and innovativeness, it has recently become an important element of economy. One of the examples of links between culture and economy is copyright, which defines the ownership of the rights to non-material products, such as artwork, music, writing, etc. Thanks to such ‘economic’ aspects, people working in the cultural sector have noticed the need to introduce organizational and financial solutions previously
used in free market. That is why, paraphrasing the words of a Canadian
scientist, professor Herbert Marshall McLuhan (1911–1980), who said that “[…] we have moved from the era in which business was our culture to the era in which culture becomes our business”, it can be concluded that culture and economy have become spheres which penetrate and complement each other, and that is why can no longer be treated separately. At present we talk about professionalization of the whole cultural sector, of cultural industries and of cultural tourism. Culture is not restricted to the public sector: private initiative and public-private partnership become more and more common.

The art market is increasingly a mediator between private and public sectors, creating new social values, engaging aesthetic transformations, promoting multicultural networks, fostering entrenched economic and financial outcomes. It is also a highly fragmented dimension and a moral mirror reflecting individualism and speculation for individualists and speculators, altruism and fairness for those seeking solidarity and socioeconomic equality. Is art and finance ecosystem exerting epistemological mechanisms conceived to lead finance capital flows to escalate unequal wealth? Or, conversely, is the art market designing a participative architecture, a relational space where the artist’s critique is creating the aesthetic assemblage to erase any race, gender, class issues within an ethically accountable scenario?
https://www.rivisteweb.it/doi/10.1446/98402

The art market is increasingly a mediator between private and public sectors, creating new social values, engaging aesthetic transformations, promoting multicultural networks, fostering entrenched economic and financial outcomes. It is also a highly fragmented dimension and a moral mirror reflecting individualism and speculation for individualists and speculators, altruism and fairness for those seeking solidarity and socioeconomic equality. Is art and finance ecosystem exerting epistemological mechanisms conceived to lead finance capital flows to escalate unequal wealth? Or, conversely, is the art market designing a participative architecture, a relational space where the artist’s critique is creating the aesthetic assemblage to erase any race, gender, class issues within an ethically accountable scenario? The global and Italian contemporary art framework is considered as a case study to evaluate such a complex dynamic and in-progress context. https://www.rivisteweb.it/doi/10.1446/...

Collecting icons has had a long tradition, yet one that fluctuates depending on religious, political, educational and political factors. Although icons have been of primary interest to collectors of Orthodox faith, the exhibitions that took place internationally during the last thirty years, have popularised icons and attracted collectors irrespectively of their religious background. Instead the latter  viewed icons purely from their artistic perspective, an approach which resulted to higher prices. On the other hand, politics and the changes in financial ability of the collectors may have a counter effect on the demand of icons and respective sales and prices. The fact is that the icon market is, indeed, a niche market.

The structure of this study is aimed at analyzing the spatial configuration of creative occupations in the southern states of Brazil, specifically in the discussion of the concept of creativity, innovation and Creative Economy, and guided by the guidelines of economic thought, providing an analytical framework, and examining the profile of the creative work and the dispersion or concentration in the regions of Parana, Santa Catarina and Rio Grande do Sul. The creative economy centers the human capital at the height of innovation fostered by sustainable ways in which creative productivity elaborates possibilities, products or services without stock or limit production. In view of these considerations this research uses the techniques of regional and spatial statistical analysis to evaluate the setting in space of creative occupations. The reference database is the Brazilian Census 2010, covering the characteristics of creative jobs and employers, and this analysis suggests the classification of creative workers; artistic, technical and technological. The creative occupations with a job, employers and self-employment gained prominence in the results obtained, and the dependence and influence over space showed the diversification of creative occupations, occurring mainly in peripheral regions. Participation in creative labor market is mostly in artistic occupations with greater territorial distribution jobs on their own, followed by technical occupations, with higher spatial similarity in jobs on their own and formal, technological occupations stood out in occupations with two or more jobs, especially in Rio Grande do Sul. The spatial clusters for creative diversification highlighted similarities in creative occupations with a job, employers, self-employed and total creative occupations. Thus, the diversification of creative occupations in a particular locality has a tendency to influence and overflowing local borders.

El documento gira sobre la propuesta de Plan de Trabajo que presentó, a la Junta Directiva de la Universidad de Quintana Roo (Mexico), en Julio del 2015, el aspirante a Rector  Dr. Xavier Gamboa Villafranca.  Esta entrega se realizó para registrarse como aspirante;  a su vez, este paso es integrante del proceso de nombramiento del rector para el cuatrienio que va, del 16 de agosto del 2015 al 15 de agosto del 2019.  El documento tiene un extenso adendum, conteniendo cartas (de motivos de de declaración de no haber sido sancionado por actos contra la legislacion univesitaria), biografía pública internacional, curriculum vitae resumido e in extenso, convocatoria para participar en la designación de este fncinario.

Like many countries around the world, Burkina Faso is trying to valorise its cultural sector and traditions for social and economic development. Policies, studies, and initiatives are devised to facilitate the materialisation of this intent. This policy analysis explores in particular a recent study conducted for the Burkinabè Ministry of Culture. Throughout the analysis there is a focus on striking issues with (1) the practical links between social and economic development, (2) definition and demarcation of culture and cultural industries, and (3) the recommendations put forward in the Report. In conclusion, it is argued that this study is timely and of some merit (particularly in showing that the cultural sector contributes 2.02%to the GDP), while much remains to be done in order to provide a more strategically useful and practically applicable understanding of the ways cultural and development policies can work to support social and economic development in the country

My apologies to my Academia friends--I thought the link for this paper was functioning but it's not. I found it online elsewhere and uploaded it here for your convenience.

Although recent research has detailed connections between arts instruction and academic achievement as well as connections between long-term personally relevant professional development for teachers and the implementation of arts curricula, researchers have seldom examined how educators conceptualize arts integration across a variety of arts programming models. In this paper, study a variety of learning environments for arts instruction in the schools in order to understand the impact of the arts on students' and teachers' knowledge generation. Working with teachers to develop new forms of professional development is a central feature of our ongoing work. Furthermore, the use of the arts through arts-based methods of research uniquely contributes to a growing body of literature and artistic research in several domains:  arts education, arts-based educational research, knowledge generation, professional development, teacher change, and student learning.

This piece previews the 'predictive validity study' that is also on this www site."

Following the record-breaking sales of El Greco's "St. Dominic in Prayer" for 9,154,500 GBP in 2013 and the "Annunciation" for 5,877,000 US$ in 2014, a lot of interest was raised pertaining to the artist's market from the investment point view. This interview to the Greek newspaper Επένδυση / Investment discusses exactly this matter. Why and when were the prices of El Greco's art increased? What are the factors that determine this volatile market?

Sposoby organizacji produkcji w tańcu współczesnym a estetyka "pustej sceny" We wzajemnej relacji pomiędzy mechanizmem ekonomicznym a estetyką spektaklu tańca trudno jest zdefiniować klarowny kierunek i charakter procesu współzależności, niemniej można wskazać na kilka znaczących korelacji i tendencji, które uwidaczniają się w pęknięciach pomiędzy systemami finansowania tańca (lub ich brakiem) w poszczególnych krajach. Niniejszy artykuł skupia się przede wszystkim na przykładach europejskich, po krótkim wprowadzeniu historycznym zostaną przedstawione modele finansowania, w jakich funkcjonuje współczesny taniec oraz możliwe do zarysowania korelacje pomiędzy istniejącym modelem ekonomicznym a estetyką. Głównym przedmiotem poniższej analizy będzie finansowanie produkcji i dystrybucji, niemniej konieczne będzie zaznaczenie także roli edukacji w tych procesach. Poza systemem-paradoksy niezależności Istotą tańca współczesnego jest to, że rozwijał się on poza instytucją. Nowa formuła artystyczna nie mieściła się w murach teatrów i wymagała odrębnych form organizacji i finansowania. Oczywiste jest, że wiązało się to przede wszystkim z trudnościami, dlatego też początki tańca współczesnego w XX wieku wiele zawdzięczają prywatnym inicjatywom i mecenasom. Najsłynniejszy menadżer ówczesnego okresu-Siergiej Diagilew-specjalizował się w specyficznej formie akrobatyki ekonomiczno-społecznej, aby realizować swoje nowatorskie i planowane z wielkim rozmachem występy zespołów Baletów Rosyjskich. Pozyskiwał w tym celu początkowo wsparcie rodziny carskiej, potem innych arystokratycznych rodzin europejskich, inwestował prywatne pieniądze, współpracował z paryskim impresario, zamawiał utwory u kompozytorów i choreografów na kredyt, niekiedy latami nie wypłacał tancerzom wynagrodzeń (kompensując to np. pokrywaniem kosztów utrzymania). Każda z premier i każde z tournée zespołu jawi się w świetle skomplikowania procesów budżetowo-organizacyjnych jako niezwykle ryzykowne przedsięwzięcie, możliwe do zrealizowania nie tylko dzięki zdolnościom menadżerskim ale i niewątpliwej charyzmie samego Diagilewa1. Balety Rosyjskie były najlepszym przykładem nowej formy organizacji-międzynarodowego zespołu bez stałej siedziby, opierającego swoją działalność o impresaryjne występy w różnych krajach i tzw. sezony. Na jego wzór powstawały inne formacje, m.in. Balety Szwedzkie w 1 Przekrojowo o metodach pracy Diagilewa pisze Richard Buckle w bardzo bogatej biografii Diagilew, tłum. Ludwik Erhardt i Elżbieta Jasińska-Libera, PWM, Kraków 2014.

Se presenta el plan de trabajo y documentos relacionaldos, propuesto en Julio del 2015 por el Dr. Xavier Gamboa Villafranca a la Junta Directiva de la Universidad de Quintana Roo (Mexico), como parte del proceso d designación del rector para el periodo agosto 2015 - 2019 de la misma.

This study - the first economic impact of Gaelic in Glasgow, found that overall the Gaelic media sector in Glasgow employs some 120 to 140 people, most of whom had degrees; expenditure is between £2.5 and £3 million
The aggregate impacts of Gaelic Arts and Cultural Activities (including the media) on the Glasgow economy are in the region of £3.55 to £4 million supporting almost 200 workers in professional and associated employment.It also estimated that ticket sales for Gaelic Input into the Celtic Connections Festival was approximately £120,000, representing 12% of the attendance

En el marco de la Presidencia Pro Témpore de Uruguay en el MERCOSUR Cultural, el Sistema de Información Cultural del Mercosur (SICSUR), en la reunión desarrollada el pasado 10 de agosto del año 2020, acuerda sistematizar en un documento único todas las estrategias relativas a la recolección y el procesamiento de información cultural en el marco de la pandemia, desplegadas por los Estados Parte y Asociados. Los Estados implementaron distintas acciones tendientes a obtener datos que permitieran analizar de modo preciso los efectos de la situación de crisis que atraviesa el sector cultural en el contexto actual. A través de este informe se dará cuenta de cada uno de estos ejercicios de medición desarrollados. Desde SICSUR continuamos subrayando la necesidad de este tipo de estudios y la incorporación de la información cultural como un aspecto clave de las agendas estatales para el desarrollo de políticas culturales, lo cual se evidencia especialmente en contextos de emergencia como el que hoy nos toca vivir.

In a recent discussion about the launch of Common Field, the new national
network of artist-run spaces and visual arts organizations, someone said (I
don’t know if it was them or us, we were all sitting in a big circle to be nonhierarchical), “This is a movement!” I instantly felt myself recoiling. Us, a movement? Does arts administration really constitute viable social transformation? Yet what else do we think we’re doing? Is carrying the torch for an independent,
noncommercial, experimental, and challenging field of artist-organizing and artist-centric nonprofits not a lofty and worthy goal? As a field of spaces, projects, and various platforms for the distribution and proliferation of contemporary art driven by artists’ voices and practices, we are post-alternative-space-movement with its cultural cachet, post–Comprehensive Education and Training Act (CETA) with its funding for artists to work as artists, post–National Association of Artists Organizations (NAAO) with its advocacy for artist fees and governmental support, post–Culture Wars with the scrutiny of the field on a national stage, on the margins of the new funding paradigm Creative Placemaking, stewing over the meaning of it all in the special projects and nonprofit section of the art fair, wagging our fingers
over valuing the small and the local, and bemoaning the rise of the artist-as entrepreneur. In other words, what are our demands now? Does calling oneself
a movement summon one into being?

Myth or Reality: Policy, the Artist and Community - Seoul 2012
오늘날 문화1) 는 사회적 관계, 영토, 경제 등에 뚜렷한 영향을 미치고 있다. 문화는 많은 정책들의 원동력이며, 민간뿐만 아니라 공공부문 주체들 역시 이를 지탱하고 있으며 여러 협회나 예술가들이 그 주체가 되기도 한다. 그러나 문화의 영향력은 측정하거나 평가하기 어려운 것이 사실이다. 문화의 영향력은 차지하더라도 문화적 양상들의 영토적인 성격은 실질적으로 거의 고려되지 않은 상황이다. 본 문서는 특히, 도시 외곽, 교외, 변두리, 대도시 주변 지역 등의 상업 및 산업 노후지역 내에서 일정 지위를 가진 지방의 주체들이 진행하는 문화활동들이 지역 내에서 정착되는 과정에 대해 복합적인 접근방식을 제시하고자 한다.

Partendo dai dati dello straordinario successo, l'articolo propone una breve analisi degli effetti prodotti dalla spettacolare installazione "The Floating Piers" di Christo sul territorio del Lago d'Iseo: dalla valutazione delle strategie di marketing e comunicazione, alla crescita del valore del brand locale.

Citation:
Raszkowski A., Culture-based creativity in relation to enterprise development strategies, [in:] Biniek K., Winnicki T., (eds), Academic Coordination Centre and Technology Transfer in Euroregion Neisse-Nisa-Nysa, Karkonosze College in Jelenia Góra, Jelenia Góra 2014.

This paper addresses the issues related to culture-based creativity in respect of the operation of economic operators, using the example of enterprise development strategies. At the beginning, an attempt is made to define culture-based creativity, with particular regard to the analysis of its constituents (such as artistic skills, lateral thinking skills and a favourable environment). Further, this paper presents selected areas of the positive impact of culture-based creativity on the creation and implementation of the development strategies of economic operators. The impact of culture-based creativity in the areas of innovative products and services, human resources, business communications and brand marketing is discussed.

The art market is increasingly a mediator between private and public sectors, creating new social values, engaging aesthetic transformations, promoting multicultural networks, fostering entrenched economic and financial outcomes. It is also a highly fragmented dimension and a moral mirror reflecting individualism and speculation for individualists and speculators, altruism and fairness for those seeking solidarity and socioeconomic equality. Is art & finance ecosystem exerting epistemological mechanisms conceived to lead finance capital flows to escalate unequal wealth? Or, conversely, is the art market designing a participative architecture, a relational space where the artist’s critique is creating the aesthetic assemblage to erase any race, gender, class issues within an ethically accountable scenario? The contemporary art Italian framework is considered as a case study to evaluate such a complex dynamic and in-progress context. Keywords: art market self-reflexive process, art financialization, cultural policies https://www.rivisteweb.it/doi/10.1446/98402

In 2013, in the run-up to its centenary in 2022, the Netherlands Bach Society began to work on audiovisual recordings of all the works of Johan Sebastian Bach, and make them available online. This All of Bach project aims to unlock Bach's music worldwide. The project has been online for several years now via https://www.bachvereniging.nl/en/allofbach. All of Bach wants to be the place on the internet where Bach's complete oeuvre can be seen and heard. With this, All of Bach wants to stimulate the experience of Bach's music and give it a new meaning. The potential of the project lies in the coherence, the constant quality, the completeness (in time), but also in the additional information and explanation supplied. Moreover, All of Bach wants to develop into an important platform where the worldwide Bach community will exchange knowledge and experience. The set-up of the Netherlands Bach Society made the project feasible and unique. The design, implementation and roll-out of the project also had far-reaching repercussions for the Netherlands Bach Society. In her role as supplier of the performances that are recorded by All of Bach and offered online, she is a crucial factor as the parent organization of the project.

This report was drawn up in 2013 as a recommendation to the Netherlands Bach Society. It was made public in 2021 with the permission of the Association. It outlines the possible business model of All of Bach and the role of the Netherlands Bach Society within it. A well-thought-out business model is a necessity for an innovative and ambitious project such as All of Bach. It must answer the question of how All of Bach is going to create value, for whom that value is intended, who benefits from it and what is needed to achieve this.

The report advises the business model for All of Bach on the model of the Netherlands Bach Society. It has an audience that feels connected to the ensemble. It recognizes itself in the identity of the ensemble and feels the emotion expressed in the concerts. The Netherlands Bach Society distinguishes itself through its own approach to the performance of Baroque music, with a special position for Bach's compositions. It is all about (1) quality, (2) authenticity, (3) authority, (4) reliability, (5) passion for baroque and (6) team spirit and collaboration. In addition to this, the value (7) innovation applies to All of Bach. These core values should figure prominently in the business model. Underlying a business model is a network of relationships in which value is exchanged. This can involve money, but also reputation, aesthetic pleasure, or groundbreaking experiences. The business model explains how All of Bach offers value and how the organization creates that value, with the help of other parties, in a way that guarantees continuity, also in an economic sense. The proposed business model of All of Bach is made of and connects five parts: (1) the channels through which the recorded Bach Works are offered and (2) the relationship with the public that results from this, (3) the structural partners that lay the foundation for a sustainable project, (4) the supplying technical and production partners that are indispensable in production and realization and (5) the Netherlands Bach Society as a creative organization that is responsible for the compositions to be recorded on image and sound and which is also the parent organization of All of Bach forms.