10th EWACE 2022: CELEBRATING GROWTH AND DIVERSITY

By Association for Cultural Economics Poland

The European Workshop on Applied Cultural Economics (EWACE) returns to northern Italy to celebrate its 10th anniversary. Originally organised by Roberto Zanola (University of Eastern Piedmont) and Antonello Eugenio Scorcu (University of Bologna), this time taking place in Torino University 8 – 10 September 2022. Over 50 presentations, increasingly with multiple authors and with a balanced gender representation, evidence an active, creative, and engaged community of specialized economists worldwide.

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A PARADIGMATIC CHANGE IN FINANCE AND FUNDING IN THE CULTURAL AND CREATIVE INDUSTRIES

By Ellen Loots, Diana Betzler, Trine Bille, Karol Jan Borowiecki, and Boram Lee

The special issue New Forms of Finance and Funding in the Cultural and Creative Industries of the Journal of Cultural Economics explores the recurring question of how to innovatively raise financial resources for the cultural and creative industries.

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UNDERSTANDING URBAN ALTERNATIVE CULTURAL PRODUCTION

By Enrico Bertacchini and Francesco Puletti

From the ashes of the creative city paradigm, there is a growing awareness of the urban creative economy as a complex adaptive system of intertwined actors and institutions. Yet, especially in the European context, little attention has been given to understanding informal and alternative art spaces and venues that contribute to the vibrancy of the urban cultural scene.

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ASSERTING EMOTIONS FOR VIRTUAL REALITY: TOWARD EXPERIENCE SCORING

By Charles-Alexandre Delestage & Willy Yvart

Virtual reality has already met art and culture in its recent growth. Emotions, as an important part of everyone’s relation to the world, could give precious insights to favour its further development.

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INTERNALIZING PRODUCTION COST AND CHANGES OF TASTES: MORE RECENT THEATRE PLAYS FEATURE FEWER ROLES

By Sacit Hadi Akdede, Victor Ginsburgh and Aynur Uçkaç 

We all know the big productions of older classical theatre have full imposing casts yet theatre productions are progressively losing cast size. Is this a response to changes in consumer taste or simply a way to lower the growing production costs?

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