Normative justification for public arts funding: what can we learn from linking arts consumption and arts policy in Israel?

2018 ◽  
Vol 18 (1) ◽  
pp. 193-213 ◽  
Author(s):  
Tal Feder
Keyword(s):  
Public Funding ◽  
State Intervention ◽  
Arts Organizations ◽  
Arts Funding ◽  
Arts Policy ◽  
The Public ◽  
The Arts ◽  
Using Data ◽  
Normative Justification ◽  
The Relationship

AbstractThis article studies the socioeconomics of government public expenditure for the arts and the normative foundations of state intervention in the arts. I pose two interrelated research questions: (a) what is the relationship between the public funding of the arts and their consumption? and (b) what mode of justification and what perception of the place of art in society is reflected in this relationship? Based on the philosophical work of Alan Badiou, I develop a novel conceptual framework to delineate three types of normative justifications for the public funding of arts organizations: romantic, didactic and classical. Using data from the public funding of 92 orchestras, theaters and dance troupes in Israel between 1999 and 2011, I estimate a cross-lagged panel data model to study how arts funding both affects and is affected by the levels of consumption of the organizations’ productions. The results of the study show a complex pattern of different relationships between funding and consumption that accord with the three types of normative justifications for public arts funding.

scholarly journals Toward a Country-Based Prediction Model of COVID-19 Infections and Deaths Between Disease Apex and End: Evidence From Countries With Contained Numbers of COVID-19

2021 ◽  
Vol 8 ◽  
Author(s):  
Tianshu Gu ◽  
Lishi Wang ◽  
Ning Xie ◽  
Xia Meng ◽  
Zhijun Li ◽  
...  
Keyword(s):  
Real Data ◽  
Control Measures ◽  
Actual Number ◽  
The Public ◽  
The Us ◽  
Multiple Regression Models ◽  
Before And After ◽  
Using Data ◽  
High Degree ◽  
The Relationship

The complexity of COVID-19 and variations in control measures and containment efforts in different countries have caused difficulties in the prediction and modeling of the COVID-19 pandemic. We attempted to predict the scale of the latter half of the pandemic based on real data using the ratio between the early and latter halves from countries where the pandemic is largely over. We collected daily pandemic data from China, South Korea, and Switzerland and subtracted the ratio of pandemic days before and after the disease apex day of COVID-19. We obtained the ratio of pandemic data and created multiple regression models for the relationship between before and after the apex day. We then tested our models using data from the first wave of the disease from 14 countries in Europe and the US. We then tested the models using data from these countries from the entire pandemic up to March 30, 2021. Results indicate that the actual number of cases from these countries during the first wave mostly fall in the predicted ranges of liniar regression, excepting Spain and Russia. Similarly, the actual deaths in these countries mostly fall into the range of predicted data. Using the accumulated data up to the day of apex and total accumulated data up to March 30, 2021, the data of case numbers in these countries are falling into the range of predicted data, except for data from Brazil. The actual number of deaths in all the countries are at or below the predicted data. In conclusion, a linear regression model built with real data from countries or regions from early pandemics can predict pandemic scales of the countries where the pandemics occur late. Such a prediction with a high degree of accuracy provides valuable information for governments and the public.

scholarly journals To crowdfund research, scientists must build an audience for their work

2014 ◽  
Author(s):  
Jarrett E Byrnes ◽  
Jai Ranganathan ◽  
Barbara L. E. Walker ◽  
Zen Faulkes
Keyword(s):  
Public Engagement ◽  
Research Institutions ◽  
Project Proposal ◽  
Direct Involvement ◽  
The Public ◽  
The Arts ◽  
Funding Agencies ◽  
Research Scientists ◽  
Using Data ◽  
Audience Size

As rates of traditional sources of scientific funding decline, scientists have become increasingly interested in crowdfunding as a means of bringing in new money for research. In fields where crowdfunding has become a major venue for fundraising such as the arts and technology, building an audience for one’s work is key for successful crowdfunding. For science, to what extent does audience building, via engagement and outreach, increase a scientist’s abilities to bring in money via crowdfunding? Here we report on an analysis of the #SciFund Challenge, a crowdfunding experiment in which 159 scientists attempted to crowdfund their research. Using data gathered from a survey of participants, internet metrics, and logs of project donations, we find that public engagement is the key to crowdfunding success. Building an audience or “fanbase” and actively engaging with that audience as well as seeking to broaden the reach of one’s audience indirectly increases levels of funding. Audience size and effort interact to bring in more people to view a scientist’s project proposal, leading to funding. We discuss how projects capable of raising levels of funds commensurate with traditional funding agencies will need to incorporate direct involvement of the public with science. We suggest that if scientists and research institutions wish to tap this new source of funds, they will need to encourage and reward activities that allow scientists to engage with the public.

The Role of Collaboration to Encourage Civic Engagement through the Arts

2017 ◽  
pp. 476-498
Author(s):  
Tina Dippert ◽  
Erna Gelles ◽  
Meg Merrick
Keyword(s):  
Arts Organizations ◽  
Arts Funding ◽  
Collaborative Relationships ◽  
Art Programs ◽  
Universal Language ◽  
The Arts ◽  
Governance Challenges ◽  
Diverse Community ◽  
Relevant Community

Historically governments have used art's universal language to achieve various goals, including political engagement through cultural enrichment. Employing nonprofit/public sector relationships for the arts presents myriad governance challenges, but always with the promise of intrinsic and extrinsic benefits. This chapter presents two cases to illustrate such collaborative relationships. Applying various nonprofit theories, stakeholder discussions and Sherry R. Arnstein's still relevant community engagement work to explore relationships between sectors in arts funding, the first involves the passage of a local tax to provide funding for arts education and arts organizations. The second illustrates an instrumental relationship between a local government and nonprofit to provide art programs to promote tolerance in an increasingly diverse community. Both cases present imperfect policies, but represent the continuation of an ancient practice wherein the arts are being used for more than arts' sake, but to serve a multitude of non-arts instrumental societal functions.

Theatre Censorship in South Korea: a Nation in Permanent Crisis

2018 ◽  
Vol 34 (3) ◽  
pp. 249-259
Author(s):  
Seong-kwan Cho
Keyword(s):  
South Korea ◽  
Public Funding ◽  
Ethics Committee ◽  
Public Image ◽  
Global Communication ◽  
Public Performance ◽  
The Public ◽  
Extreme Violence ◽  
The Relationship

Between 1975 and 1988, the Korean Public Performance Ethics Committee (KPPEC) censored obscene language, body exposure, and extreme violence, as is common in all forms of theatre censorship. However, the KPPEC focused in particular on depictions of the President of South Korea, and proscribed any work that challenged or even questioned the public image of the President as a strong leader for a nation in crisis. Despite the official abolition of censorship in 1988, it was discovered in 2016 that a blacklist had been in operation that excluded ‘left’ and ‘pro-Pyongyang’ theatre directors and actors from accessing public funding. By exploring the process of censorship, Seong-kwan Cho in this article interrogates the relationship between the theatre and the nation. Seong-kwan Cho is a lecturer at the School of Global Communication at Kyung Hee University. With Jae-beom Hong, in his current research he has been exploring North Korean performance, and his article on this subject is forthcoming in Asian Theatre Journal.

Source Theatre Company and the Mandate of the NEA: a Case Study

1995 ◽  
Vol 11 (42) ◽  
pp. 128-134
Author(s):  
Mary C. Resing
Keyword(s):  
Public Funding ◽  
The United States ◽  
National Endowment ◽  
Washington Dc ◽  
The Public ◽  
Chapel Hill ◽  
The Arts ◽  
Theatre Company ◽  
The University

The controversy in the United States surrounding the funding of ‘offensive‐ and ‘pornographic‐ works by the National Endowment of the Arts (NEA) has centered on whether or not the organization should espouse a morally conservative outlook in regard to the public funding of artistic works. However, the NEA arguably already pursues conservative policies rooted in its vision of the form, function, and outlook of the arts it exists to serve. The appointment of the actress Jane Alexander as chair of the NEA may have indicated that the organization would become more liberal in its moral stance, but the question remains: can government-supported art be anything but conservative? The following is a case study of one theatre's relationship to the NEA in the context of the Washington, DC, theatre community. The author, Mary C. Resing, is a former business manager of New Playwrights' Theatre in Washington, DC, and a former grant writer at the University of North Carolina at Chapel Hill. She is currently working on her dissertation on the actress-manager Vera Kommissarzhevskaia.

scholarly journals The Study of Religion in the UK in its Institutional Context

2017 ◽  
Vol 71 (1) ◽  
pp. 44-57
Author(s):  
Kim Knott
Keyword(s):  
Public Funding ◽  
Subject Area ◽  
Institutional Pressures ◽  
The Public ◽  
Institutional Structures ◽  
Institutional Contexts ◽  
The Uk ◽  
Relationship Of ◽  
The Impact ◽  
The Relationship

Abstract How has the study of religion in the UK been shaped by its institutional contexts? Consideration is given to the Christian and secular foundations of universities and higher education colleges, the relationship of theology and religious studies, and the impact of institutional structures and drivers associated with teaching and research. The formation of ‘TRS’ as an instrumental and contested subject area is discussed, as is the changing curriculum. Research on religion is examined in relation to new institutional pressures and opportunities: the assessment of university research and the public funding of research. The importance of the impact agenda and capacity building are illustrated.

scholarly journals To crowdfund research, scientists must build an audience for their work

2014 ◽  
Author(s):  
Jarrett E Byrnes ◽  
Jai Ranganathan ◽  
Barbara L. E. Walker ◽  
Zen Faulkes
Keyword(s):  
Public Engagement ◽  
Research Institutions ◽  
Project Proposal ◽  
Direct Involvement ◽  
The Public ◽  
The Arts ◽  
Funding Agencies ◽  
Research Scientists ◽  
Using Data ◽  
Audience Size

As rates of traditional sources of scientific funding decline, scientists have become increasingly interested in crowdfunding as a means of bringing in new money for research. In fields where crowdfunding has become a major venue for fundraising such as the arts and technology, building an audience for one’s work is key for successful crowdfunding. For science, to what extent does audience building, via engagement and outreach, increase a scientist’s abilities to bring in money via crowdfunding? Here we report on an analysis of the #SciFund Challenge, a crowdfunding experiment in which 159 scientists attempted to crowdfund their research. Using data gathered from a survey of participants, internet metrics, and logs of project donations, we find that public engagement is the key to crowdfunding success. Building an audience or “fanbase” and actively engaging with that audience as well as seeking to broaden the reach of one’s audience indirectly increases levels of funding. Audience size and effort interact to bring in more people to view a scientist’s project proposal, leading to funding. We discuss how projects capable of raising levels of funds commensurate with traditional funding agencies will need to incorporate direct involvement of the public with science. We suggest that if scientists and research institutions wish to tap this new source of funds, they will need to encourage and reward activities that allow scientists to engage with the public.

scholarly journals To crowdfund research, scientists must build an audience for their work

2014 ◽  
Author(s):  
Jarrett E Byrnes ◽  
Jai Ranganathan ◽  
Barbara L. E. Walker ◽  
Zen Faulkes
Keyword(s):  
Public Engagement ◽  
Research Institutions ◽  
Project Proposal ◽  
Direct Involvement ◽  
The Public ◽  
The Arts ◽  
Funding Agencies ◽  
Research Scientists ◽  
Using Data ◽  
Audience Size

As rates of traditional sources of scientific funding decline, scientists have become increasingly interested in crowdfunding as a means of bringing in new money for research. In fields where crowdfunding has become a major venue for fundraising such as the arts and technology, building an audience for one’s work is key for successful crowdfunding. For science, to what extent does audience building, via engagement and outreach, increase a scientist’s abilities to bring in money via crowdfunding? Here we report on an analysis of the #SciFund Challenge, a crowdfunding experiment in which 159 scientists attempted to crowdfund their research. Using data gathered from a survey of participants, internet metrics, and logs of project donations, we find that public engagement is the key to crowdfunding success. Building an audience or “fanbase” and actively engaging with that audience as well as seeking to broaden the reach of one’s audience indirectly increases levels of funding. Audience size and effort interact to bring in more people to view a scientist’s project proposal, leading to funding. We discuss how projects capable of raising levels of funds commensurate with traditional funding agencies will need to incorporate direct involvement of the public with science. We suggest that if scientists and research institutions wish to tap this new source of funds, they will need to encourage and reward activities that allow scientists to engage with the public.

The Role of Collaboration to Encourage Civic Engagement Through the Arts

2019 ◽  
pp. 539-561
Author(s):  
Tina Dippert ◽  
Erna Gelles ◽  
Meg Merrick
Keyword(s):  
Arts Organizations ◽  
Arts Funding ◽  
Collaborative Relationships ◽  
Art Programs ◽  
Universal Language ◽  
The Arts ◽  
Governance Challenges ◽  
Diverse Community ◽  
Relevant Community

Historically governments have used art's universal language to achieve various goals, including political engagement through cultural enrichment. Employing nonprofit/public sector relationships for the arts presents myriad governance challenges, but always with the promise of intrinsic and extrinsic benefits. This chapter presents two cases to illustrate such collaborative relationships. Applying various nonprofit theories, stakeholder discussions and Sherry R. Arnstein's still relevant community engagement work to explore relationships between sectors in arts funding, the first involves the passage of a local tax to provide funding for arts education and arts organizations. The second illustrates an instrumental relationship between a local government and nonprofit to provide art programs to promote tolerance in an increasingly diverse community. Both cases present imperfect policies, but represent the continuation of an ancient practice wherein the arts are being used for more than arts' sake, but to serve a multitude of non-arts instrumental societal functions.

Assessing the Value of the Arts

2011 ◽  
Author(s):  
James Oliver ◽  
Ben Walmsley
Keyword(s):  
Social Relations ◽  
Cultural Production ◽  
Social Impact ◽  
Public Funding ◽  
Critical Evaluation ◽  
Spatial Dimension ◽  
Political Climate ◽  
Public Value ◽  
The Public ◽  
The Arts

This chapter presents a general introduction to the contemporary concern of public value in relation to the arts, and particularly how this relates to the concept of social impact — an issue that has dominated the public funding agenda for the arts in the UK and beyond since the 1990s. What follows is an analysis of how the public value of the arts has been framed and assessed in recent times, and how this reflects adaptations to changes in the political climate. This analysis will be illustrated through a brief historical and conceptual overview of attempts to capture public value, followed by a review and critical evaluation of some models and frameworks that have attempted to capture the benefits of the arts. The challenges of assessing and measuring value will then be further discussed through case study on the National Theatre of Scotland’s production, Black Watch, to demonstrate the reductive nature of traditional models and point towards the need for developing more nuanced and reflexive approaches to assessing value, informed (and preferably led) by the practice of the art in question. We can call this a ‘situational’ approach to research. The chapter therefore argues for approaches informed by these principles. Drawing parallels with themes from Performance Studies, it suggests that greater account needs to be given to context and the conditions of the context, including its social formation and relations, which requires reflexivity and ethnographic analysis. The chapter concludes by reflecting on the dialectical conditions of value (as both instrumental and intrinsic), particularly emphasising the spatial dimension of practice, which emphasises that the arts are not just situated in a temporal context of ideological shifts, but are active players in the making of value as a practice of cultural production. This spatial dimension is brought into being as a practice of social relations through articulations of inter-subjective values, thereby broadening the dialogue on the subject of public value and considering the productive value of the arts as a wider practice of living.

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