Valuing Digital Cultural and Heritage Assets

评估数字文化和遗产资产项目将使用行为经济学和实验经济学的见解，以及艺术和人文影响和价值模型，以提供更有效的文化和遗产资本评估。我们特别感兴趣的是，与物质遗产资产相比，确定数字体验和互动的价值。通过设计和实施一系列实地实验，参与者根据他们的决定以不同的方式消费实物和数字形式的遗产和文化资本，该项目确定了数字资产的价值可能与实物参与有何不同。在这种方法的基础上，该项目将克服传统经济方法的几个局限性，这些方法往往侧重于在相关使用范围之外获得的假设估值。初步审查的重点是综合以往对文化和遗产资本多种形式的价值的研究。这项审查的一个中心重点是评估以前对数字资产与那些数字资产的估值。将与一系列文化和遗产项目合作伙伴的受众一起进行一系列实验研究，以评估购买数字和实物收藏和/或体验的意愿。这将为文化和遗产资产的数字消费的价值提供可量化的证据。然而，仅靠这种方法不足以充分理解数字文化和遗产资产价值的复杂性。一项定性研究方案将进一步探讨文化和遗产资产估值不同的原因。定量和定性技术的三角测量将确保数字文化遗产的价值被清楚地理解和有目的地用于该部门的决策。因此，该项目将开发一种新的评估方法的行为工具包，这种评估方法更适合于评估数字形式的文化和遗产资产，以及那些‘天生数字’的没有实体等价物的资产。在项目结束时举行的行业和政策研讨会活动将介绍和讨论项目结果，并就未来的研究方向达成一致。这次活动将包括简短的演讲，以及知识分享和网络机会。该项目的重点是围绕数字文化和遗产资产的评估(本次募集资金的G部分)，并采用不同评估方法对价值进行三角测量(F部分)，以便在评估人们为什么重视文化和遗产资产的定性方法和能够实现价值货币化的量化经济技术之间建立联系(B部分)。从政策角度来看，该项目将有助于DCMS等政府机构提高对数字文化和遗产资产价值的理解。对这些资源进行更准确的估值将有助于改善产出的多样性，这将有助于使该行业和整个社会对未来的冲击更加稳健和有弹性，并提供机会接触到更广泛和更多样化的受众。这一领域的创新不仅将使英国创意和文化部门接触到更多的、潜在的全球受众，从而增加英国创意和文化资产的消费和出口，而且还将使这些行业有机会更好地服务于代表不足的群体，并帮助改善整个社会的心理健康和福祉(Wheatley&Bickerton，2017)。主观幸福感和对艺术、文化和体育的投入。《文化经济学杂志》，41(1)，23-45。

This Valuing Digital Cultural and Heritage Assets project will use insights from behavioural and experimental economics alongside arts and humanities impact and value models to provide more effective valuation of cultural and heritage capital. We are particularly interested in establishing the value of digital experiences and interactions compared to that of physical heritage assets. Through the design and implementation of a series of field experiments where participants consume physical and digital forms of heritage and cultural capital in different ways based on their decisions, this project establishes how the value of digital assets may differ from physical engagement. Based on this approach, the project will overcome several of the limitations of traditional economic approaches which tend to focus around hypothetical valuations obtained outside of the relevant use context. An initial review focuses on synthesising prior research into the value of cultural and heritage capital in its many forms. A central focus of this review assesses previous valuations of assets that are born digital versus those assets which are digital surrogates of physical assets. A series of experimental studies to estimate willingness to pay for digital and physical collections and/or experiences will be used with audiences from a range of cultural and heritage project partners. This will offer quantifiable evidence on the value that can be attached to the digital consumption of cultural and heritage assets. However, this approach alone will not be sufficient to fully understand the complex nature of the value of digital cultural and heritage assets. A programme of qualitative research will further explore the reasons for differential valuations of cultural and heritage assets. The triangulation of quantitative and qualitative techniques will ensure that digital cultural heritage value is clearly understood and purposefully used to enable decision making in the sector. The project will therefore develop a new behavioural toolkit of valuation methods that are more appropriate for valuing cultural and heritage assets in digital forms, as well as those that are 'born digital' with no physical equivalents. An industry and policy symposium event held at the end of the project will present and discuss the project findings and agree on future research directions. The event will include short talks, and knowledge sharing and networking opportunities. The key focus of this project is around the valuation of digital cultural and heritage assets (Strand G of this funding call) and incorporates triangulation of values using different valuation methods (Strand F) in order to develop the link between qualitative methodologies to assess why people value cultural and heritage assets and quantitative economic techniques that can monetise value (Strand B). From a policy perspective, the project will help government bodies such as the DCMS to improve their understanding of the value of digital cultural and heritage assets. Having more accurate valuations of these resources will assist in improving the diversity of output, which will help make both the industry and wider society more robust and resilient to future shocks and offer opportunities to reach wider and more diverse audiences. Not only will innovations in this space allow the UK creative and cultural sector to reach a larger, potentially global audience, thereby increasing consumption and exports of UK creative and cultural assets, but will also allow these industries the opportunity to better serve under-represented groups and help to improve mental health and well-being across society (Wheatley & Bickerton, 2017).Wheatley, D., & Bickerton, C. (2017). Subjective well-being and engagement in arts, culture and sport. Journal of Cultural Economics, 41(1), 23-45.