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1.
The band Third Eye Blind recently completed a tour, selling tickets exclusively on eBay. Many tickets were bundled with either VIP passes or autographed
posters. These data are used to measure variations in price across different markets, as well as the premiums paid for different
ticket types. Auctioning the tickets allows the seller to practice Third Degree Price Discrimination and bundling, without
having to determine prices in each market and for each different bundle. We find: tickets bundled with VIP passes command
a substantial positive premium; tickets bundled with autographed posters command a small negative premium; different prices emerge in different geographic markets; and auction prices are positively related to the fixed
price at which tickets could be purchased by way of Buy-it-Now.
相似文献
| Timothy MathewsEmail: |
2.
Geographic clustering of economic activity: The case of prominent western visual artists 总被引：1，自引：1，他引：0
This article compiles original data relating to artists’ place of birth and work migration patterns using various art history
dictionaries. The broad historic pattern, from the 13th to the 20th century, of the birth locations of prominent artists is examined, followed
by a detailed study of the work migration patterns of prominent artists in two important situations, namely Renaissance Italy
and France in part of the 19th century. The evidence indicates a marked clustering of activity of prominent artists, both
arising from birth location and migration patterns. Some possible explanations for the observed patterns are briefly outlined.
相似文献
| John O’HaganEmail: |
3.
Christiane Hellmanzik 《Journal of Cultural Economics》2009,33(3):201-232
This paper is based on a global sample of the 214 most prominent modern visual artists born 1850–1945. Two analytical methods
are used to analyse the age at which artists produce their best works—one based on year-of-birth cohorts of modern visual
artists and the other on stylistic groups. The cohort-analysis shows that the career patterns develop similarly over time
for artists working in the USA and Europe; over time the artists’ peak ages first increase, reach their maximum for artists
born between 1890 and 1909, and then decrease again. The study of stylistic groups shows that artists associated with Fauvism,
the Nabis and Post-Impressionism experience an early peak, whereas artists associated with Surrealism, Impressionism, Abstract
Expressionism, Art Informel, Pop Art, Expressionism and Cubism peak later in their careers.
相似文献
| Christiane HellmanzikEmail: |
4.
We use prices realized for Picasso prints at auctions worldwide, as well as the 100 prints that comprise his Vollard Suite,
to test the law of one price: the proposition that identical art objects sold contemporaneously should command the same price
regardless of the auction house or geographic region where the sale takes place. Picasso is the most prolific printmaker of
the twentieth century and, from 1977 to 2004, his prints appreciated in price significantly faster than the prints of modern
masters as a whole. We find that Picasso prints sold in the United States command higher prices than in Europe. However, prices
realized at Sotheby’s in New York are no longer higher than at Christie’s in New York, nor at Kornfeld than at other auction houses. We find evidence of “irrational exuberance”
in the transitory nature of the extraordinary prices realized for the Picasso prints included in the 1997 sale of the collection
of Victor and Sally Ganz at Christie’s in New York. More generally, we find substantial noise in auction outcomes, a result
well known to savvy auction goers.
相似文献
| Pauline M. Shum (Corresponding author)Email: |
5.
6.
Joe Cox 《Journal of Cultural Economics》2008,32(3):201-214
A shared activity or pursuit can have the effect of bringing about cultural convergence in the form of patterns of behaviour
and consumption. This idea is supported by the Axelrod (1997) thesis, which suggests that cultures are more likely to interact and subsequently converge if they have shared traits: one
of these being the use of technology. This paper seeks to apply such a cultural perspective to the body of published literature
on deviations from the law of one price. Adopting a similar methodology to the popular ‘Big Mac’ index, disparity between
official market exchange rate and the real rate of exchange between two currencies is measured using local prices of video
game consoles. The results of the study suggest that, while a degree of pricing and cultural convergence across broad geographic
areas is observed, many major global currencies are trading at levels that are quite significantly different to that which
is suggested by purchasing power parity (PPP) theory.
相似文献
| Joe CoxEmail: |
7.
Theatre experts generally agree that the Flemish theatre has flourished artistically over the period 1980–2000. Attendance,
on the other hand, has declined significantly. Following Lancaster’s characteristics approach, we identify several output
characteristics of individual theatre productions. Using a panel of 59 Flemish theatres, we examine the impact on demand of
both these output characteristics and of traditional determinants such as own price, income and the price of substitutes.
Differences in the relevant geographical market for touring and non-touring theatres are considered. We find that the nature
of the artistic output affects demand. Theatregoers prefer large productions (in terms of cast size), plays by Dutch-speaking
playwrights and revivals of old productions. Own price and consumer income have the expected negative and positive effects
on attendance. Observed trends toward a decreasing proportion of new plays, an increasing presence of plays by Dutch-speaking
playwrights, and increasing consumer income had a stimulating effect on attendance. These trends have been offset, however,
by trends toward smaller cast sizes and higher ticket prices as well as by unobserved factors captured by time dummies. The
net result has been a considerable drop in attendance.
相似文献
| Kristien WerckEmail: |
8.
Jason Potts Stuart Cunningham John Hartley Paul Ormerod 《Journal of Cultural Economics》2008,32(3):167-185
We propose a new definition of the creative industries in terms of social network markets. The extant definition of the creative
industries is based on an industrial classification that proceeds in terms of the creative nature of inputs and the intellectual
property nature of outputs. We propose, instead, a new market-based definition in terms of the extent to which both demand
and supply operate in complex social networks. We review and critique the standard creative industries definitions and explain
why we believe a market-based social network definition offers analytic advance. We discuss some empirical, analytic and policy
implications of this new definition.
相似文献
| Jason PottsEmail: |
9.
This article presents an empirical study of paintings that have failed to meet their reserve price at auction. In the art
trade, it is often claimed that when an advertised item goes unsold at auction, it will sell for less in the future. We have
constructed a new dataset specifically for the purpose of testing this proposition. To preview our results, we find that paintings
which come to auction and failed return significantly less when they are eventually sold than those paintings that have not
been advertised at auction between sales. These lower returns may occur because of common value effects, idiosyncratic downward
trends in tastes, or changes in the seller’s reserve price.
相似文献
| Kathryn GraddyEmail: |
10.
Why has cultural economics ignored copyright? 总被引：1，自引：1，他引：0
Ruth Towse 《Journal of Cultural Economics》2008,32(4):243-259
My stance is that copyright policy should be viewed as part of cultural policy; cultural economists have had a great deal
to say about subsidy and cultural policy but very little about copyright, though cultural economics is well placed to analyse
copyright as an incentive to creativity in the creative industries because of its understanding of cultural policy and of
artists’ labour markets. The article contrasts subsidy and copyright as policy tools and briefly discusses two current policy
problems in relation to copyright—regulating copyright collection societies and the so-called ‘copyright levy’—arguing that
these are the sort of issues cultural economists could (and should) be dealing with.
相似文献
| Ruth TowseEmail: |
11.
Richard Swedberg 《Journal of Cultural Economics》2006,30(4):243-261
In this paper on the creative industries and cultural entrepreneurship I take my point of departure in Richard Caves’ Creative Industries [Caves, R. (2000). Creative industries: Contacts between art and commerce. Cambridge, MA: Harvard University Press.]. While Caves draws heavily on economic analysis and contemporary sociology in his excellent analysis of these two topics, he does not use the sociological classics at all. The main purpose of the paper is an attempt to remedy this, by drawing attention to the possible contribution that the works of Max Weber, Emile Durkheim, and Georg Simmel can make to our understanding of the creative industries and cultural entrepreneurship. Since this paper was prepared as a keynote address for the 2006 conference of the Association for Cultural Economics International in Vienna, I also discuss Schumpeter’s ideas on art and entrepreneurship, ideas which grew out of Viennese culture.
相似文献
| Richard SwedbergEmail: |
12.
This essay describes China’s participation in international science organizations during the past two decades. It argues that,
whilst progress has been made, serious problems remain. It concludes that increased attention to communication and exchange,
and the creation of a favourable international image in science and technology are important priorities for China.
相似文献
| Ang XuEmail: |
13.
Isabelle Laboulais 《Minerva》2008,46(1):17-36
The revolutionary period in France marked a turning point in the history of the profession of mining engineering and its relation
to the State. This essay outlines the changing requirements of the revolutionary government, and describes the ways in which
the State and its engineering professionals responded to the challenge of combining science and practice.
相似文献
| Isabelle LaboulaisEmail: |
14.
Carlos A. Ulibarri 《Journal of Cultural Economics》2009,33(2):135-149
This paper applies a perpetual option-pricing model in examining historical returns on paintings. A key development of the
paper is formalizing a structural relationship between rational investment decisions and historical returns to art ownership.
In this regard the options’ framework yields choice-theoretic implications on the relationship among risk, convenience yields
from art ownership, and investor ‘hurdle prices’—prices triggering the purchase and sale of artworks at auction. The methodology
offers testable implications concerning the adjustment dynamics in the relationship between historical art returns and risk-free
yields. The implications are examined in a case study of paintings of major art schools using error correction methodology.
We find evidence of a long-run equilibrium relationship between painting types and risk-free bond yields, and some indication
of buyers and sellers preferring exchange environments not prone to “speculative resales.”
相似文献
| Carlos A. UlibarriEmail: |
15.
Marta Zieba 《Journal of Cultural Economics》2009,33(2):85-108
This article provides estimates of price and income elasticities of demand for German public theatre, using a large and reliable
data set for 178 theatres over 40 years (1965–2004). It is posited that the consumption of the performing arts is a time-intensive
activity for which both a theatre ticket and leisure time are necessary. Thus, the impacts of ‘full-income’ (‘leisure time
income’ added to disposable income) and the price of leisure time on theatre attendance are examined. The findings indicate
that the demand for the performing arts is own-price inelastic. The disposable income elasticity is significant, positive
and equals approximately one. In contrast, the full-income elasticity is well above one and greater than usual income elasticity
indicating that the performing arts are a luxury good when leisure time income is included in the consumer’s budget. The positive
full-income effect is, however, offset by the negative price of leisure effect indicating that leisure time is a complement
for the performing arts. Additionally, three objective quality characteristics of theatrical productions which can positively
influence theatre demand are examined.
相似文献
| Marta ZiebaEmail: |
16.
Determining heterogeneous behavior for theater attendance 总被引：2，自引：1，他引：1
Victoria Ateca-Amestoy 《Journal of Cultural Economics》2008,32(2):127-151
In this paper we propose and estimate a model of theater participation using the data contained in the 2002 Survey of Public Participation in the Arts from the USA, a dataset widely used to study the determinants of cultural participation. Our contribution relies on the use
of an estimation technique that respects the count data nature of the attendance variable (number of theater performances
that an individual attended) and allows for heterogeneous behavior. By using a Zero Inflated Negative Binomial Model, we can
characterize two distinct behaviors for the observable attendance: a group of never-goers (who never participate) and a subpopulation
that has a positive probability of attending. For this latter group, we can estimate the effect of certain personal variables
on the probability of highest frequency. The results suggest that the proposed model is appropriate for estimating cultural
participation.
相似文献
| Victoria Ateca-AmestoyEmail: |
17.
Edgeir Benum 《Minerva》2007,45(4):365-387
This essay explores how the Organisation for Economic Co-operation and Development (OECD) and Norway became linked into a
science policy discourse that radiated throughout the developed world. Despite political differences, this discourse changed
forever the expectations by which Norway’s universities and its fundamental research institutions were to operate.
相似文献
| Edgeir BenumEmail: |
18.
Mario Coccia 《Minerva》2009,47(1):31-50
The purpose of this paper is to analyse the nature of bureaucratization within public research bodies and its relationship
to scientific performance, focusing on an Italian case-study. The main finding is that the bureaucratization of the research
sector has two dimensions: public research labs have academic bureaucratization since researchers spend an increasing part
of their time in administrative matters (i.e., preparing grant applications, managing grants/projects, and so on); whereas
universities mainly have administrative bureaucratization generated by the increase over time of administrative staff in comparison
with researchers and faculty. In addition, I show that research units with higher bureaucratization have lower scientific
performance.
相似文献
| Mario CocciaEmail: |
19.
Chiara Verbano Karen Venturini Giorgio Petroni Anna Nosella 《Journal of Cultural Economics》2008,32(1):3-34
Given the limited number of studies on this topic, the aim of this study is to better understand the characteristics of art
restoration firms in Italy, with particular reference to their use of innovative technologies such as laser technology. The
paper is supported by a survey conducted in a sample of 100 companies. The factors that have led firms to adopt or resist
the adoption of the laser were identified and analysed. The results show that the main determinants of laser adoption are
collaborative activities between the firms and universities and specific requests made by public institutions to use this
technology.
相似文献
| Chiara VerbanoEmail: |
20.
While there is a fair amount of work on determinants of demand for the live performing arts, results have often been contradictory
with little explanatory power. This may be because of the difficulty in describing the attributes of a performance, particularly
in terms of its quality, and the heterogeneity of consumer preferences. This article uses conjoint analysis, also called choice
experiments, to investigate the impact of the attributes of live theatre performances on demand, using data collected from
483 randomly chosen attenders at live theatre performances at the 2008 South African National Arts Festival. Attributes include
the type of cast (professional, semi-professional or amateur), reputation of the producer/director, the context or setting,
production type and ticket price of the show. Results largely support the a priori expectations based on the results of other
demand studies. For example, it is found that the age of consumers affects the type of show chosen, that utility and willingness
to pay increase for shows with professional and semi-professional casts and that 93% of the potential audience prefer shows
with a South African context. It is concluded that the method could prove useful to both event organisers and policy makers,
especially where the goal is to broaden access to the arts.
相似文献
| J. D. SnowballEmail: |