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Da Milano, Cristina. 2006. “Thanks to what I am learning I am a better person.” Adults Learning 17:6, 14-16. http://connection.ebscohost.com/c/articles/19745488/thanks-what-am-learning-am-better-person Newman, Andrew, Anna Goulding, and Chris Whitehead. 2012. ‘The consumption of contemporary visual art: identity formation in late adulthood’. Cultural Trends 21:1. 29-45. Philip-Harbutt, Lisa. 2013. ‘The Value of Cultural Otherness – Towards a New Pluralism’. Journal of Arts Management, Law, and Society 43:3. 167-169. Ragsdale, Diane. 2011. Rethinking Cultural Philanthropy: Towards a More Sustainable Arts and Culture Sector. http://www.artsjournal.com/jumper/wp-content/uploads/2011/03/RSA-Rethinking_Cultural_ Philanthropy-Diane_Ragsdale.pdf Schindel, Bente von, ed. 2011. Compendium of best practice LOAC: Learning outcome of amateur culture. Kulturelle Samråd i Danmark/National Associations of Cultural Councils in Denmark http://www.interfolk.dk/loac/new%20uploads,%20june%202011/LOAC,%20Compendium%20on%20 Best%20Practise,%20web-edition.pdf Schindler, Jörg Michael. 2012. ‘Culture, Politics and Europe: en route to Culture-Related Impact Assessment’. [Summary of Jörg Michael Schindler. 2011. Kulturpolitik und Recht 3.0 - Von der Kulturverträglichkeitsprüfung zur kulturbezogenen Folgenabschätzung] http://www.culturalpolicies.net/web/files/222/en/Culture,_Politics_and_Europe-1.pdf Sharpe, Bill. 2010. Economies of Life: Patterns of health and wealth. Triarchy Press. www.triarchypress.co.uk/economies_of_life Silvia, Paul J. 2007. ‘Knowledge-based assessment of expertise in the arts: Exploring aesthetic fluency’. Psychology of Aesthetics, Creativity and the Arts 1:4. 247-149. Volkerling, Michael. 2012. ‘Assessing the value of cultural investment: Towards a new policy model’. In VII International Conference on Cultural Policy Research, Barcelona, 9–12 July. Vorwerk, Christopher. 2012. Qualität im Theater: Anforderungssysteme im öffentlichen deutschen Theater und ihr Management (Quality in the theatre: Systems of expectations in public German theatres and their management). VS Verlag für Sozialwissenschaften. Zabelina, Darya L. and Michael D. Robinson. 2010. ‘Child’s play. Facilitating the originality of creative output by a priming manipulation’. Psychology of Aesthetics, Creativity, and the Arts 4:1. 57-65. Bibliography 150 UNDERSTANDING the value and impacts of cultural experiences
APPENDIX TABLES Table A-1 A grouping of indicators around engagement, energy and tension, concentration, captivation and absorption level NEF 2008* Bakhshi et al 2010† I was completely I was totally absorbed absorbed by what was (Aesthetic) happening (Engagement & concentration) I hardly noticed the time passing (Engagement & concentration) I was often on the edge of my seat (Engagement & concentration) I was gripped by the sights and sounds of the performance (Energy & tension) I felt tense and excited I felt real excitement (Energy & tension) because I knew that the performance was live (not categorized) Brown and Novak 2007; Brown and Ratzkin 2012; Brown and Novak-Leonard 2013 Boerner & Jobst At any point during the performance did you lose track of time and get fully absorbed (Captivation, 2013) To what extent did you inhabit the world of the performers, lose track of time and forget about everything else (Captivation, 2007) How involved did you feel as an audience member (Captivation and personal involvement, 2012) Overall, how exciting or gripping was the performance (Captivation and personal involvement, 2012) The performance caused me to forget everything around me (Emotional involvement) During the performance I was constantly very anxious to see what would happen next (Emotional involvement) 151
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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
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Individual impacts are not fixed or
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4 VALUING ARTS AND CULTURE FROM THE
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In reviewing types of goals, motiva
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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 and 144: Reason, Matthew. 2004. ‘Theatre a
Page 145 and 146: Throsby, David. 2010. The Economics
Page 147 and 148: Williams, Tandi. 2011. Community Re
Page 149: Hegarty, C Boyd. 2009. ‘The value
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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