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The Arts Dividend looks in depth at seven key benefits that art and culture bring to our lives: encouraging the UK's creativity; advancing education; impacting positively on health and wellbeing; supporting innovation and technology; providing defining characteristics to villages, towns and cities; contributing to economic prosperity; and enhancing England's reputation for cultural excellence on the global stage. This book encourages us to consider the country's unique levels of creativity and the invaluable rewards to be gained from the public investment that enables great art and culture to be a part of everyone's lives, no matter who they are or where they live. Having spent a year traveling the length and breadth of England, Darren Henley shares his reflections on the UK's national arts and culture landscape in 2016, offering a snapshot of the remarkable creativity on display from Cumbria to Kent and from Cornwall to Northumberland.
An illuminating account of the importance of public investment in arts and culture
At the height of the Great Depression a number of leading U.S. economists advanced a proposal for monetary reform that became known as the Chicago Plan. It envisaged the separation of the monetary and credit functions of the banking system, by requiring 100% reserve backing for deposits. Irving Fisher (1936) claimed the following advantages for this plan: (1) Much better control of a major source of business cycle fluctuations, sudden increases and contractions of bank credit and of the supply of bank-created money. (2) Complete elimination of bank runs. (3) Dramatic reduction of the (net) public debt. (4) Dramatic reduction of private debt, as money creation no longer requires simultaneous debt creation. We study these claims by embedding a comprehensive and carefully calibrated model of the banking system in a DSGE model of the U.S. economy. We find support for all four of Fisher's claims. Furthermore, output gains approach 10 percent, and steady state inflation can drop to zero without posing problems for the conduct of monetary policy.
Which is more important to New York City's economy, the gleaming corporate office--or the grungy rock club that launches the best new bands? If you said "office," think again. In The Warhol Economy, Elizabeth Currid argues that creative industries like fashion, art, and music drive the economy of New York as much as--if not more than--finance, real estate, and law. And these creative industries are fueled by the social life that whirls around the clubs, galleries, music venues, and fashion shows where creative people meet, network, exchange ideas, pass judgments, and set the trends that shape popular culture. The implications of Currid's argument are far-reaching, and not just for New York. Urban policymakers, she suggests, have not only seriously underestimated the importance of the cultural economy, but they have failed to recognize that it depends on a vibrant creative social scene. They haven't understood, in other words, the social, cultural, and economic mix that Currid calls the Warhol economy. With vivid first-person reporting about New York's creative scene, Currid takes the reader into the city spaces where the social and economic lives of creativity merge. The book has fascinating original interviews with many of New York's important creative figures, including fashion designers Zac Posen and Diane von Furstenberg, artists Ryan McGinness and Futura, and members of the band Clap Your Hands Say Yeah. The economics of art and culture in New York and other cities has been greatly misunderstood and underrated. The Warhol Economy explains how the cultural economy works-and why it is vital to all great cities.
The third in a series that examines the state of the arts in America, this analysis shows, in addition to lines around the block for special exhibits, well-paid superstar artists, flourishing university visual arts programs, and a global expansion of collectors, developments in the visual arts also tell a story of rapid, even seismic change, systemic imbalances, and dislocation.
"The formation of the Territorial Grain Growers Association in 1901 was not the only important event in the early history of what has come to be known broadly as the agrarian movement in the Canadian prairies, but it was a defining moment in some respects. Arguably it signalled the formation of an agrarian class, but at least it was an indicator of an awakening of a democratic consciousness among family farmers. Ultimately, the Association provided a venue for analysis and critique, the development of strategies and tactics, and of course the nurturing of leadership and organizational forms that would have a profound influence upon politics and the state in the three prairie provinces and the Dominion, as well as the creation of co-operatives and other forms of direct action. These eighteen essays honouring the 100th anniversary (in 2001) of the formation of the TGGA explore important aspects of the historical legacy of the agrarian movement and contemplate their relevance to the current setting for the rural prairies."--pub. desc.
Let’s set the scene: there’s a regular on his barstool, beer in hand. He’s watching a young couple execute a complicated series of moves on the dance floor, while at the table in the corner the DJ adjusts his headphones and slips a new beat into the mix. These are all experiences created by a given scene—one where we feel connected to other people, in places like a bar or a community center, a neighborhood parish or even a train station. Scenes enable experiences, but they also cultivate skills, create ambiances, and nourish communities. In Scenescapes, Daniel Aaron Silver and Terry Nichols Clark examine the patterns and consequences of the amenities that define our streets and strips. They articulate the core dimensions of the theatricality, authenticity, and legitimacy of local scenes—cafes, churches, restaurants, parks, galleries, bowling alleys, and more. Scenescapes not only reimagines cities in cultural terms, it details how scenes shape economic development, residential patterns, and political attitudes and actions. In vivid detail and with wide-angle analyses—encompassing an analysis of 40,000 ZIP codes—Silver and Clark give readers tools for thinking about place; tools that can teach us where to live, work, or relax, and how to organize our communities.
Los Angeles isn’t planned; it just happens. Right? Not so fast! Despite the city’s reputation for spontaneous evolution, a deliberate planning process shapes the way Los Angeles looks and lives. Editor David C. Sloane, a planning professor at the University of Southern California, has enlisted 30 essayists for a lively, richly illustrated view of this vibrant metropolis. Planning Los Angeles launches a new series from APA Planners Press. Each year Planners Press will bring out a new study on a major American city. Natives, newcomers, and out-of-towners will get insiders’ views of today’s hot-button issues and a sneak peek at the city to come.