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Selwood, Sara. 2002. ‘The politics of data collection: Gathering, analysing and using data about the subsidised cultural sector in England’. Cultural Trends 12:47. 13-84. Selwood, Sara. 1999. ‘Access, Efficiency and Excellence: measuring non-economic performance in the English subsidised cultural sector’. Cultural Trends 9:35. 87-137. Silvia, Paul J, and Emily C Nusbaum. 2011. ‘On Personality and Piloerection: Individual Differences in Aesthetic Chills and Other Unusual Aesthetic Experiences’. Psychology of Aesthetics, Creativity and the Arts 5:3. 208-214. Silvia, Paul J. 2009. ‘Looking past pleasure: Anger, confusion, disgust, surprise, and other unusual aesthetic emotions’. Psychology of Aesthetics, Creativity and the Arts 3.1. 48-51. http://libres.uncg.edu/ir/uncg/f/P_Silvia_Looking_2009.pdf http://psycnet.apa.org/journals/aca/3/1/48/ Snowball, Jeanette D. 2008. Measuring the Value of Culture: Methods and Examples in Cultural Economics. Berlin and Heidelberg: Springer. Snowball, J, and A C M Webb. 2008. ‘Breaking into the conversation: Cultural value and the role of South African Arts Festival from apartheid to democracy’. International Journal of Cultural Policy 14:2. 149-164. Srakar, Andrej, and Vesna Čopič. 2012. ‘Private investments, public values: a value-based approach to argumenting for public support to the arts’. Cultural Trends 21:3. 227-237. Steele, David. 2004. ‘Developing the evidence base for UK film strategy: the research process at the UK Film Council’. Cultural Trends 13:4. 5-21. Stevens, Catherine, Renee Glass, Emery Schubert, Johnson Chen, and Heather Winskel. 2007. ‘Methods for measuring audience reactions’. Proceedings of International Conference on Music Communications Science, Sydney. http://marcs.uws.edu.au/links/ICoMusic/ArchiveCD/Full_Paper_PDF/Stevens_Glass_Schubert_Chen_ Winksel.pdf Tepper, Steven J, with contributions from Blake Sisk, Ryan Johnson, Leah Vanderwerp, Genevieve Gale and Min Gao. 2014. Artful Living: Examining the relationship between artistic practice and subjective wellbeing across three national surveys. The Curb Center for Art, Enterprise, and Public Policy at Vanderbilt University. http://d31hzlhk6di2h5.cloudfront.net/20140409/6a/a2/45/b3/10e00761760189048ab167b1/NEA_Final_ Report_Wellbeing_3.6.14.pdf Bibliography 144 UNDERSTANDING the value and impacts of cultural experiences
Throsby, David. 2010. The Economics of Cultural Policy. Cambridge University Press. Throsby, David. 2001. Economics and Culture. Cambridge University Press. Throsby, David. 1990. ‘Perception of quality in demand for the theatre’. Journal of Cultural Economics 14:1. 65-82. Throsby, David, and Glen Withers. 1979. The Economics of the Performing Arts. New York: St. Martin’s Press. Thomas, Rebecca, and Rodney Christopher, with Holly Sidford. 2011. Case for Change Capital in the Arts: Building Vibrant and Viable Cultural Organizations. Nonprofit Finance Fund. http://nonprofitfinancefund.org/files/docs/caseforcapitalfinal_050611_spread.pdf Tobias, Stefan. 2004. ‘Quality in the Performing Arts: Aggregating and Rationalizing Expert Opinion’. Journal of Cultural Economics 28. 109–124. http://link.springer.com/article/10.1023/B:JCEC.0000019472.97483.8c Towse, Ruth, ed. 2011. A Handbook of Cultural Economics. 2 nd Edition. Cheltenham, UK and Northhampton, USA: Elgar. Towse, Ruth. 2010. A Textbook of Cultural Economics. Cambridge University Press. Towse, Ruth, ed. 2007. Recent Developments in Cultural Economics. Cheltenham, UK, Northhampton, USA: Elgar. Towse, Ruth, ed. 2003. A Handbook of Cultural Economics. Cheltenham, UK and Northhampton, USA: Elgar. Tschacher, Wolfgang, Steven Greenwood, Volker Kirchberg, Stéphanie Wintzerith, Karen van den Berg, and Martin Tröndle. 2012. ‘Physiological correlates of aesthetic perception of artworks in a museum’. Psychology of Aesthetics, Creativity and the Arts 6:1. 96-103. Turbide, Johanne, and Claude Laurin. 2009. ‘Performance Measurement in the Arts Sector: The Case of the Performing Arts’. International Journal of Arts Management 11:2. 56-70. Usero, Belén, and Jesús Angel del Brio. 2011. ‘Review of the 2009 UNESCO framework for cultural statistics’. Cultural Trends 20:2. 193-197. Bibliography 145 UNDERSTANDING the value and impacts of cultural experiences
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UNDERSTANDING the VALUE and IMPACTS
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However, we cannot ignore this ‘i
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TABLE OF CONTENTS 2 FOREWORD 4 ACKN
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EXECUTIVE SUMMARY Over the past dec
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dividing the overall value into con
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the necessity of limiting the scope
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espondents are conscious; 2) there
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Table 2 Stages of Individual Impact
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Figure 6 Impact pattern of a cultur
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Valuing arts and culture from the m
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cultural researchers are hamstrung
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organisation’s creative capacity
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The literature clearly identifies t
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1 INTRODUCTION This literature revi
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Outline of the report This literatu
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Economic value There are several di
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happy, healthy, educated people pro
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2 FRAMING THE CONVERSATION LANGUAGE
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six in particular. Indeed, the fact
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Arjo Klamer Within the field of Cul
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culture. By increasing people’s k
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that Holden mentions under the head
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public value’ (4). The authors de
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Figure 3 Tentative visual synthesis
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establish an interpretive frame and
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terpretive, curatorial, observation
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Knell and Taylor Due to the widespr
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of impacts with instrumental values
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the capacities to realise cultural
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3 MEASURING INDIVIDUAL IMPACT As wa
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While one might argue that the requ
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Table 1 Comparison of components of
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In Brown and Novak-Leonard (2007),
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Novak-Leonard’s terms) stands out
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Like Brown and Novak-Leonard and NE
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Table A-2: A grouping of indicators
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The same two studies also provide a
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Summary The fact that different res
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with audience members, and they all
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are applied in the evaluation of te
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White and Hede Tabitha White and An
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(2008) and Foreman-Wernet and Dervi
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Everett and Barrett Michelle Everet
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‘sensation’, while Walmsley use
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Discussion of research methodologie
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analyse existing interviews from so
Page 93 and 94: Individual impacts are not fixed or
Page 95 and 96: 4 VALUING ARTS AND CULTURE FROM THE
Page 97 and 98: In reviewing types of goals, motiva
Page 99 and 100: Intrinsic • Self-oriented, active
Page 101 and 102: of audience members’ overall eval
Page 103 and 104: this factor leads the researchers t
Page 105 and 106: 5 CREATIVE CAPACITY OF AN ORGANISAT
Page 107 and 108: Sabine Boerner Sabine Boerner (2004
Page 109 and 110: Daniel Urrutiaguer Daniel Urrutiagu
Page 111 and 112: Hannah, Langsted and Larsen 1 Boern
Page 113 and 114: In entrusting the evaluation to exp
Page 115 and 116: of the major performing arts organi
Page 117 and 118: Clarity of intent and commitment to
Page 119 and 120: tional structure in determining art
Page 121 and 122: Supportive Networks (conditional el
Page 123 and 124: CODA: COMBINING MEASURES OF EXPERIE
Page 125 and 126: dimensions in the shaded boxes have
Page 127 and 128: The 2012 DCA report assures readers
Page 129 and 130: Bailey, Jackie 2009a. Defining arti
Page 131 and 132: Margaret Bolton and Clare Cooper. 2
Page 133 and 134: Chappell, Michael, and John Knell.
Page 135 and 136: Falk, John H and Lynn D Dierking. 2
Page 137 and 138: Johanson, Kaya. 2013. ‘Listening
Page 139 and 140: Marsh, Kevin, and Evelina Bertranou
Page 141 and 142: New Economics Foundation. 2008. Cap
Page 143: Reason, Matthew. 2004. ‘Theatre a
Page 147 and 148: Williams, Tandi. 2011. Community Re
Page 149 and 150: Hegarty, C Boyd. 2009. ‘The value
Page 151 and 152: APPENDIX TABLES Table A-1 A groupin
Page 153 and 154: Table A-3 A grouping of indicators
Page 155 and 156: Table A-5 A grouping of indicators
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