The Arts and Economic Policy
The Arts and Economic Policy
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艺术与经济政策
DOI：
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发表时间：
2006
期刊：
影响因子：
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通讯作者：
A. Peacock
中科院分区：
文献类型：
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作者：
A. Peacock
消费者主权被视为政策的目标，通过该目标确定公共干预的性质和形式，以影响文化服务的提供和需求。此类服务通过枚举进行定义，包括创意艺术、表演艺术和遗产。实际上，一些此类服务，例如博物馆和画廊，是公开提供和付费的，而其他服务，例如艺术家、剧院、歌剧和芭蕾舞团以及广播公司，则以赠款和税收减免的形式获得大量财政支持。有趣的问题是，为什么这种支持以及控制历史文物的供应和销售的监管措施出现在艺术领域，而在其他形式的生产活动中，这种支持却日益减少，例如私有化措施。答案似乎在于政府对消费者自己选择他们希望享受的文化服务的能力以及生产者利益对政府政策的强大影响力持怀疑态度，他们利用同行评估是质量的唯一保证这一论点。然后结合配置效率和生产效率探讨这种情况的后果。逐条提出了政策变化的建议，并就未来可能的经济趋势如何影响这些变化提出了看法。
Consumer sovereignty is taken to be the aim of policy by which the nature and form of public intervention is identified, both in order to influence the provision of and also the demand for cultural services. Such services are defined by enumeration and include creative arts, performing arts and heritage. In practice, some such services, such as museums and galleries, are publicly provided and paid for, and others, such as artists, theatre, opera and ballet companies and broadcasting receive substantial financial support in the form of grants and tax relief. The interesting question is why such support, coupled with regulatory measures to control the provision and sale of historical artefacts, is found in the arts, whereas in other forms of productive activity, such support is increasingly reduced, as instanced in privatisation measures. The answer seems to lie in scepticism by governments about the ability of consumers to choose for themselves the cultural services that they wish to enjoy and therefore the strong influence of producer interests on government policy exploiting the argument that peer group assessment is the sole guarantee of quality. The consequences of this situation are then explored with reference to both allocative and productive efficiency. Suggestions for policy changes are given seriatim and a view is taken as to how such changes might be influenced by possible future economic trends.