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Bakhshi, Mateos-Garcia and Throsby
Hasan Bakhshi and David Throsby released two
reports in 2010 that both compare audience reactions
to direct (in-person) encounters with art and mediated
representations of the same work. Beyond Live
(Bakhshi, Mateos-Garcia and Throsby 2010) reports
findings comparing the experiences of audience
members at live performances at the National Theatre
with those viewing live digital broadcasts of the performances
in cinemas. Culture of Innovation (Bakhshi
and Throsby 2010) combines the findings of the earlier
report with data on visitor experiences at an exhibit at
the Tate Gallery in Liverpool and an online presentation of the same exhibit. In
both studies, audience responses were captured through online surveys administered
shortly after the exposure to the artwork (Bakhshi and Throsby 2010, 29,
43).
H Bakhshi, J Mateos-Garcia and D Throsby,
2010, Beyond Live: Digital Innovation in the
Performing Arts, NESTA.
H Bakhshi and D Throsby, 2010, Culture
of Innovation: An Economic Analysis
of Innovation in Arts and Cultural
Organisations, NESTA.
The authors of these studies set out to capture the value that is created by the arts
and cultural organisations. Following the definitions articulated by Throsby in
2001 (see chapter 2), they distinguish between economic and cultural value. The
two forms of value are measured independently to gain a ‘more sophisticated assessments
of the value created by individual arts and cultural organisations’ and
to ‘explore the relationship between the two’ forms of value (Bakhshi and Throsby
2010, 15, 58). In keeping with the theme of the present literature review, the discussion
of Bakhshi and Throsby’s work focuses on their exploration of cultural
value.
The authors explore cultural value via survey questions about its disaggregated
components (Bakhshi and Throsby 2010, 19), and with a few unacknowledged
amendments (ie, the addition of education and the elimination of historical and
authenticity value) the dimensions of cultural value used here correspond to those
outlined by Throsby (2001, 28-29). In 2001, Throsby included ‘historical value’
(the ability to reflect the past, inform the present and provide a sense of continuity)
and ‘authenticity value’ (the value of the fact that the work is real, original and
unique; ie, the reason why forgeries and copies are less valuable). These two categories
were eliminated in 2010 and in their stead ‘educational value’ was added.
The modifications that were made to the list of components brings them into
even closer correspondence with other authors’ impact indicators (see Table 1).
‘Symbolic value’, which is unique to Throsby’s frameworks (both 2001 and 2010)
refers the work’s ability to communicate meanings (2001, 29).
Measuring Individual Impact: Post-Event Surveying 68
UNDERSTANDING the value and impacts of cultural experiences