Cultural Capitals: Revaluing the Arts, Remaking Urban Spaces by Louise Johnson

By Louise Johnson

This can be a e-book concerning the energy of the humanities to augment urban pictures, city economies and groups. Anchored in educational dialogue of the Cultural Industries - what they're, how they've got emerged, why they subject and the way they need to be theorized - the booklet bargains a sequence of case reviews drawn from 5 nations: Australia, Singapore, Spain, the united kingdom and the USA to check how the humanities give a contribution to sustainable city regeneration.

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Additional resources for Cultural Capitals: Revaluing the Arts, Remaking Urban Spaces (Re-Materialising Cultural Geography)

Sample text

The techniques devised by cultural economists such as Throsby have been utilised by local, city, state and national governments to assess the role and impact of cultural activities on their communities. Such techniques – which involve quantifying the economic costs and benefits of an object, event or activity, their contribution to employment, turnover and income as well as the impacts on unrelated businesses within a city or region – have to be utilised when assessing the economic sustainability of case study works and places.

A dedicated survey on the Economic Contribution of Singapore’s Creative Industries finally appeared in 2003 and it adopted a Canadian model to present the direct, indirect as well as intangible contribution of the Cultural Industries to Singapore’s national economy. Delimiting the industry into upstream (or traditional arts activities such as performance, literary and visual arts) and downstream activities (which involves the “applied arts” of advertising, design, publishing, the media and computer software), the industry is seen as emerging from the creative confluence of art, business and technology.

Unlike other goods though, cultural products also have some of the characteristics of “public” and “merit” goods and therefore they will not necessarily be supplied by the market. They are therefore often supported by governments who recognise this market failure and have a commitment to a cultured and critical society (Trowse 1997b, 2003). In addition, cultural products are risky and subject to radically uncertain reception by consumers. An artist never knows if their work will be accepted and appreciated by an audience.

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