The Economics of Experiences, the Arts and EntertainmentDavid E. Andersson, Åke E. Andersson Edward Elgar Publishing, 24 лют. 2006 р. - 229 стор. David and Ake E. Andersson's book will appeal to scholars and researchers at all levels of academe involved in economics, public sector economics and those with a special interest in art and/or entertainment. |
Зміст
| xv | |
| 1 | |
| 4 | |
| 7 | |
PRODUCTION CLUSTERING AND AGGLOMERATION | 9 |
INNOVATIONS AND CULTURAL ENTREPRENEURSHIP | 11 |
ON THE METHODOLOGY OF THIS BOOK | 12 |
2 Aesthetics and Economics | 16 |
7 The Value of Cultural Heritage | 106 |
AESTHETICS AS AN INFRASTRUCTURAL ATTRIBUTE | 107 |
HEDONIC PRICE THEORY | 109 |
ESTIMATION PROBLEMS | 110 |
THE CULTURAL INFRASTRUCTURE IN EUROPEAN CITIES | 112 |
ESTIMATING THE PRICE OF CULTURAL HERITAGE | 113 |
APPENDIX | 121 |
8 The Role of Creativity | 123 |
A NOTE ON CLASSICAL AESTHETICS | 18 |
QUALITY OF COMPOSITION | 21 |
PRAGMATIC AND ASSOCIATIVE QUALITY | 24 |
COMPLEXITY ORDER AND AESTHETIC QUALITY | 25 |
THE DYNAMICS OF SCHOOLS | 28 |
3 The Demand for Arts and Entertainment Products | 30 |
RELATIVE PRICES INCOME AND CONSUMPTION | 31 |
PRICES INCOME AND CONSUMER DECISIONS | 32 |
ARTS AND ENTERTAINMENT DEMAND AND INCOME | 35 |
THE LEISURE TIME CONSTRAINT | 38 |
OTHER CONSTRAINTS ON CONSUMPTION | 42 |
DEMOGRAPHIC AND EDUCATIONAL CHANGES IN THE DEVELOPED MARKET ECONOMIES | 43 |
THE EXTENSION OF EDUCATION | 44 |
THE GENERALIZED PRICE | 45 |
THE HOUSEHOLD A PRODUCTION UNIT | 48 |
SOCIAL DETERMINANTS OF CONSUMPTION | 50 |
DYNAMICS OF INTERACTIVE DEMAND | 51 |
4 Production Systems in the Arts and in Entertainment | 54 |
SIMPLE ART AND ENTERTAINMENT PRODUCTION | 55 |
QUALITY IN SIMPLE PRODUCTION | 57 |
OPTIMAL VERSUS MAXIMUM QUALITY OR ENTERTAINMENT VERSUS ARTS | 58 |
INTERDEPENDENCES IN THE PRODUCTION SYSTEM | 59 |
INTERACTION BETWEEN PRODUCERS | 61 |
EXPLOITING ECONOMIES OF SCALE AND SCOPE | 63 |
ECONOMIES OF SCALE AND SCOPE IN THE ART AND ENTERTAINMENT INDUSTRIES | 64 |
ECONOMIES OF SCOPE AND SCALE | 66 |
5 Permanent Ensembles or Festivals? | 69 |
THE AVERAGE COST OF PRODUCTION | 70 |
TECHNOLOGICAL DEVELOPMENT AND THE COST DISEASE OF THE ARTS | 73 |
CONCENTRATION IN SPACE OR TIME? | 75 |
6 The Markets for Experience Goods and Services | 79 |
Intangibility and Location | 80 |
Inseparability and Communication | 81 |
Heterogeneity | 82 |
THE FIRSTHAND MARKETS FOR ART PRODUCTS | 83 |
THE SECONDHAND MARKETS | 84 |
THE MARKETS FOR REPRODUCIBLE ART AND ENTERTAINMENT GOODS | 87 |
MARKETS FOR THE PERFORMING ARTS AND FOR PERFORMANCEORIENTED ENTERTAINMENT | 92 |
MONOPOLISTIC COMPETITION IN THE LIVE PERFORMING ARTS AND IN LIVE ENTERTAINMENT | 93 |
PRICE AND SUBGROUP DIFFERENTIATION | 95 |
PRICE DIFFERENTIATION WITH GIVEN CONSUMER GROUPS | 97 |
LINING UP BEHIND GIANTS | 99 |
MARKET CHARACTERISTICS | 104 |
THE MECHANISMS OF CREATIVITY | 125 |
THE CREATIVE PERSONALITY | 128 |
DIFFERENT CAPACITIES OF THE CREATIVE MIND | 129 |
THE ROLE OF FUNDAMENTAL UNCERTAINTY OR STRUCTURAL INSTABILITY IN THE CREATIVE PROCESS | 130 |
MACROECONOMIC AND SOCIAL CONDITIONS OF CREATIVITY | 132 |
FINANCING CREATIVITY | 133 |
9 Cultural Entrepreneurship | 137 |
SCHUMPETERS THEORY | 139 |
SCHUMPETER MISES AND HAYEK | 140 |
KIRZNERS ENTREPRENEUR | 142 |
KIRZNERS VIEW OF COMPETITION | 144 |
ENTREPRENEURSHIP IN NONMARKET SETTINGS | 146 |
HYPOTHETICAL EXAMPLES | 147 |
Idealistic Art as Market Entrepreneurship | 149 |
Subsidized Art as Nonmarket Entrepreneurship | 150 |
10 Creativity and Institutions | 155 |
INSTITUTIONS FROM A METHODOLOGICAL INDIVIDUALIST POINT OF VIEW | 160 |
THE INTERACTION OF INDIVIDUAL AND STRUCTURE | 163 |
BUILDING BLOCKS FOR INSTITUTIONALLY CONSTITUTED CREATIVE ENTREPRENEURS IN AN INDIVIDUALLY CONSTITUTED INST... | 165 |
11 Internal and External Scale Economies and the Cultural City | 169 |
INTERNAL SCALE ECONOMIES | 173 |
EXTERNAL SCALE ECONOMIES AGGLOMERATION ECONOMIES | 175 |
LOCALIZATION ECONOMIES | 177 |
URBANIZATION ECONOMIES | 179 |
ENTREPRENEURSHIP KNOWLEDGE AND LOCATION | 183 |
ENTREPRENEURSHIP AND SPATIAL ECONOMICS | 185 |
12 The Globalization of Culture | 188 |
CULTURAL CAPITALS OF THE PAST | 189 |
CITIES AS FOCAL POINTS OF LOGISTICAL AND CULTURAL REVOLUTIONS | 190 |
EXPLAINING REVOLUTIONARY CHANGES | 191 |
ITALIAN CITY STATES AND THE FIRST LOGISTICAL REVOLUTION | 192 |
AMSTERDAM THE CAPITAL OF THE SECOND LOGISTICAL REVOLUTION | 195 |
THE CULTURAL CITY OF THE INDUSTRIAL REVOLUTION | 196 |
SECULAR REDUCTIONS OF THE FRICTIONS OF DISTANCE | 199 |
THE DIGITAL REVOLUTION | 202 |
CONTEMPORARY GLOBALIZATION | 203 |
SYNDICATION OF ARTS AND ENTERTAINMENT | 206 |
GLOBAL NETWORK CORPORATIONS | 208 |
MODELLING OPTIMAL INTERACTIONS | 211 |
A GLOBAL ARCHIPELAGO OF ART AND ENTERTAINMENT | 212 |
References | 214 |
| 221 | |
Загальні терміни та фрази
activities aesthetic agglomeration economies arbitrage art and entertainment assume attributes Austrian school average cost capital cent centre cities classical music communication compact disc competition complexity consequence constraint consumer consumption creator cultural infrastructure decreasing demand distribution economic economies of scale economists elasticity entertainment products entrepreneurs entrepreneurship equilibrating equilibrium estimated example expected external factors festivals film firms fixed costs function global greater growth hedonic price household ideas implies important income individual industry innovation inputs institutions interaction investments Kirzner knowledge labour marginal methodological individualism metropolitan regions Michelin Guide monopolistic competition Natural logarithm neighbourhood neoclassical neoclassical economics nodes opportunity cost optimal orchestras output painters painting performing arts permanent ensembles possible problem profit opportunities relative returns to scale revenue role scale economies social spatial stars structure tacit knowledge technological theatre theory transaction costs transport costs utility variables