nep-cul New Economics Papers
on Cultural Economics
Issue of 2022‒07‒25
four papers chosen by
Roberto Zanola
Università degli Studi del Piemonte Orientale

  1. The influence of color on prices of abstract paintings By Maksim Borisov; Valeria Kolycheva; Alexander Semenov; Dmitry Grigoriev
  2. Intermediate cultural places : a specific collective identity ? By Philippe Henry
  3. Social Media as Modern Platform to Create Awareness of Sonobudoyo and Sandi Museums in Yogyakarta Indonesia By Cornellia, Ayu; Hermawan, Hary; Sinangjoyo, Nikasius Jonet
  4. There's no business like Show Business: Evaluating the impact of lifting geo-blocking restrictions on the audiovisual sector By BROOCKS Annette; DUCH BROWN Nestor; MARTENS Bertin

  1. By: Maksim Borisov; Valeria Kolycheva; Alexander Semenov; Dmitry Grigoriev
    Abstract: Determination of price of an artwork is a fundamental problem in cultural economics. In this work we investigate what impact visual characteristics of a painting have on its price. We construct a number of visual features measuring complexity of the painting, its points of interest, segmentation-based features, local color features, and features based on Itten and Kandinsky theories, and utilize mixed-effects model to study impact of these features on the painting price. We analyze the influence of the color on the example of the most complex art style - abstractionism, by created Kandinsky, for which the color is the primary basis. We use Itten's theory - the most recognized color theory in art history, from which the largest number of subtheories was born. For this day it is taken as the base for teaching artists. We utilize novel dataset of 3885 paintings collected from Christie's and Sotheby's and find that color harmony has some explanatory power, color complexity metrics are insignificant and color diversity explains price well.
    Date: 2022–06
  2. By: Philippe Henry (Scènes et savoirs - UP8 - Université Paris 8 Vincennes-Saint-Denis)
    Abstract: The term usually used in France to name intermediate places covers a multiplicity of project-spaces with a strong artistic dimension, initiated by actors of civil society pursuing primary goals other than profit-making, without necessarily being considered as cultural institutions. Their essential place – although it is still insufficiently recognized in cultural development – calls for a more precise identification of what they are. The purpose of the present study based on a set of intermediate places is to specify what both brings together and differentiates these project-spaces from the currently highly valued third-places dynamics. The body of this work consists of some two hundred websites of cultural places that signed the charter of the National Coordination of Intermediate and Independent Places. The study shows two types of results. The first one makes it possible to clarify the specific morphology of this set of places, that are nevertheless crossed by significant differences in the way each one has to present, qualify and decline their project, its stakes and the way to achieve them. These differences are partly due to the way in which these experiences were initiated (by a few people, by an already existing organization, by a collective of actors, etc.) and by the cultural approach that has been privileged (live performance and/or visual arts, artistic and/or social dimensions, etc.). The second type of results enables us to sketch out a kind of common identity matrix for these places, each of which remains singular nonetheless. The importance of the artistic issue and the aesthetic question that underlies it, as well as the question of the relations with the populations of the nearby territory, thus largely order the collective identity of these places. In this way, the image of organizations participating in the evolutions of the place of the art in our societies is strengthened, as well as in the development of entrepreneurial forms first structured around the dimensions of sensitivity, meaning and cooperation.
    Abstract: L'appellation usuelle de lieux intermédiaires recouvre en France une multiplicité d'espaces-projets à forte dimension artistique, initiés par des acteurs de la société civile et qui poursuivent des buts premiers autres que lucratifs, sans pour autant relever des institutions culturelles. Leur place essentielle – quoique encore insuffisamment reconnue au titre du développement culturel – appelle à une identification plus précise de ce qu'ils sont. La présente étude vise à préciser, à partir d'un ensemble de ces lieux, ce qui simultanément rapproche et distingue ces espaces-projets de la dynamique actuellement fortement valorisée des tiers-lieux. Le corpus de travail est constitué par quelque deux cents sites Internet de lieux culturels, signataires de la charte de la Coordination nationale des lieux intermédiaires et indépendants. Son étude fait apparaître deux types de résultats. Le premier permet de préciser la morphologie spécifique de cet ensemble de lieux, néanmoins traversé par des différences notables quant à la manière que chacun a de présenter, qualifier et décliner son projet, ses enjeux et la manière de les mettre en œuvre. Pour partie, ces différences tiennent à la façon dont ces expériences ont été initiées (par quelques personnes, par une organisation déjà existante, par un collectif d'acteurs...) et par l'approche culturelle privilégiée (spectacle vivant et/ou arts plastiques, dimensions artistique et/ou sociale...). Le second type de résultats permet d'esquisser une sorte de matrice identitaire générique pour ces lieux, pourtant à chaque fois singuliers. La prégnance de l'enjeu artistique et de la question esthétique qui lui est sous-jacente, aussi bien que la question des relations avec les populations du territoire de proximité ordonnent ainsi largement l'identité collective de ces lieux. Par là, se renforce l'image d'organisations participant aussi bien aux évolutions de la place de l'art dans nos sociétés, qu'au développement de formes entrepreneuriales d'abord structurées autour des dimensions du sensible, du sens et du coopératif.
    Keywords: Cultural third-places,Performing arts,Visual arts,Cultural entrepreneurship,Aesthetics,Tiers-lieu culturel,Spectacle vivant,Arts plastiques,Entrepreneuriat culturel,Esthétique
    Date: 2022–06
  3. By: Cornellia, Ayu; Hermawan, Hary (Sekolah Tinggi Pariwisata AMPTA Yogyakarta, Indonesia); Sinangjoyo, Nikasius Jonet
    Abstract: Museum awareness through social media has been developing gradually. A the previous studies related to the topic found that museum social media was not well managed. It was related to the human resources competence in social media management even now it is defeated by the better solution to have consultant or outsourcing. Good museum management will certainly have a positive impact on the number of visits. However, not all museums have enough human resources and also have clear procedures for the use of related social media to increase the number of visits. The general objective of this study is to describe the maximum use of social media in order to increase the number of museum visits in Yogyakarta that specifically focusing on the types of social media and the strategies used to build awareness and interest in visiting the museum. The research method is a mixed qualitative-quantitative approach in Sonobudoyo and Sandi museums in Yogyakarta, Indonesia as both museums have active social media. The respondents were thirty-nine Instagram followers of Sonobudoyo and thirty-eight followers of Sandi's Instagram. This study concludes that the two museums have a good implementation of Social Media Marketing through Instagram and there is an increase in the number of visits after the social media users and entertainment content are well managed as the best strategy. It is suggested that the result of this study can provide solutions and input for other museums in Indonesia to become the preferred tourism destination to develop social media through the right Social Media Marketing (SMM) strategy to attract the attention and interest of visitors, especially young people as the targets set by the government.
    Date: 2021–01–07
  4. By: BROOCKS Annette (European Commission – JRC); DUCH BROWN Nestor (European Commission – JRC); MARTENS Bertin (European Commission – JRC)
    Abstract: Increased penetration of high-speed internet and rising numbers of internet users enable an ever-growing number of consumers to enjoy watching TV shows, films, and documentaries online. At the same time, cross-border access to audiovisual content is often blocked due to licensing deals between rights holders and streaming platforms. The aim of the study is to quantify the extent to which consumer welfare would change if geo-blocking restrictions were lifted within the EU, so that a title that is available in any EU country would be available for every EU consumer. We use a novel dataset of actual streaming patterns from SVoD service Netflix to estimate demand with a nested logit model. In a counterfactual analysis, we find that consumer surplus per capita EUwide would increase by 0.13% if geo-blocking restrictions were lifted within the EU. Consumer surplus per capita in the EU would on average increase even more, i.e. 0.31%, if frictionless streaming was possible between all countries in our sample.
    Keywords: Geo-blocking, Digital Single Market, Nested logit, audio-visual
    Date: 2022–05

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