FRENCH MUSEUMS AND CROWDFUNDING : EVOLUTIONS AND OUTCOMES

By Marie Ballarini

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In France, museums are mainly public and almost all depend on state subsidies (private museums included). Faced with the stagnation of the latter, or even their substantial decline, many museums are turning to new sources of income in an effort to self-finance. At the request of their guardianship, it is becoming more and more common for museums to have to include in their funding projects a more or less significant share of self-funding, whatever the tool or tools chosen. Continue reading “FRENCH MUSEUMS AND CROWDFUNDING : EVOLUTIONS AND OUTCOMES”

CHANGING FUNDERS, CHANGING VALUES? EVIDENCE ON CROWDFUNDING IN THE NETHERLANDS

By Quirijn L. van den Hoogen

 

What happens to art worlds when funding mechanisms change? The Dutch case is of particular interest as the national government cut around 25% of the national cultural budget in 2013. This was legitimized by arguing that the cultural sector was ‘over-reliant on public funding’, pointing to crowdfunding as an alternative to state funding. But, what happens when the government relies on ‘the wisdom of the crowd’ rather than decisions of experts from the cultural sector?

Continue reading “CHANGING FUNDERS, CHANGING VALUES? EVIDENCE ON CROWDFUNDING IN THE NETHERLANDS”

MUSIC AND THE MUSIC INDUSTRY: A SAD-ONOMICS APPROACH

Samuel Cameron

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The economic analysis of music is at a crossroad. Digital innovations undermine the concepts of production deeply embedded in economics textbooks. Do we need a new production function? Can this be the SAD (serendipity, authenticity and drugs) production function extended to allow for the creation of value in the consumers’ subjective perceptions?

Continue reading “MUSIC AND THE MUSIC INDUSTRY: A SAD-ONOMICS APPROACH”

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