The Artful Economist

This book reassesses central topics in cultural economics: Public finance and public choice theory as the basis for decision-making in cultural and media policy, the role of welfare economics in cultural policy, the economics of creative industries, the application of empirical testing to the performing arts and the economics of cultural heritage. Cultural economics has made enormous progress over the last 50 years, to which Alan Peacock made an important contribution. The volume brings together many of the senior figures, whose contributions to the various special fields of cultural economics have been instrumental in the development of the subject, and others reflecting on the subject's progress and assessing its future direction. Alan Peacock has been one of the leading lights of cultural economics and in this volume Ilde Rizzo and Ruth Towse and the other contributors ably capture the import of his contributions in a broader context of political economy. In doing so, they offer an overview of progress in cultural economics over the last forty years. Tyler Cowen, Professor of Economics and Director of the Mecatus Center, George Mason University, Fairfax, Virginia, USA A fitting tribute to Professor Sir Alan Peacock's inspiring intellect leadership and his outstandingly rich and varied legacy in the domain of cultural economics, this book draws together illuminating analyses and insights from leading cultural economists about the role and value of this dynamic and increasingly policy-relevant field of enquiry. Gillian Doyle, Professor of Media Economics and Director of Centre for Cultural Policy Research, University of Glasgow, UK

This groundbreaking examination of the intersection between artistic practice and capitalism in the 1960s explores art's capacity to reflect on and reimagine economic systems and our place within them.

This volume emphasizes the economic aspects of art and culture, a relatively new field that poses inherent problems for economics, with its quantitative concepts and tools. Building bridges across disciplines such as management, art history, art philosophy, sociology, and law, editors Victor Ginsburgh and David Throsby assemble chapters that yield new perspectives on the supply and demand for artistic services, the contribution of the arts sector to the economy, and the roles that public policies play. With its focus on culture rather than the arts, Ginsburgh and Throsby bring new clarity and definition to this rapidly growing area. Presents coherent summaries of major research in art and culture, a field that is inherently difficult to characterize with finance tools and concepts Offers a rigorous description that avoids common problems associated with art and culture scholarship Makes details about the economics of art and culture accessible to scholars in fields outside economics

An economist's perspective on the nuts and bolts of economic policymaking, based on his experience as the Chief Economic Adviser in India. In December 2009, the economist Kaushik Basu left the rarefied world of academic research for the nuts and bolts of policymaking. Appointed by the then Prime Minister of India, Manmohan Singh, to be chief economic adviser (CEA) to the Government of India, Basu—a theorist, with special interest in development economics, and a professor of economics at Cornell University—discovered the complexity of applying economic models to the real world. Effective policymaking, Basu learned, integrates technical knowledge with political awareness. In this book, Basu describes the art of economic policymaking, viewed through the lens of his two and a half years as CEA. Basu writes from a unique perspective—neither that of the career bureaucrat nor that of the traditional researcher. Plunged into the deal-making, non-hypothetical world of policymaking, Basu suffers from a kind of culture shock and views himself at first as an anthropologist or scientist, gathering observations of unfamiliar phenomena. He addresses topics that range from the macroeconomic—fiscal and monetary policies—to the granular—designing grain auctions and policies to assure everyone has access to basic food. Basu writes about globalization and India's period of unprecedented growth, and he reports that at a dinner hosted by Prime Minister Manmohan Singh, President Obama joked to him, “You should give this guy some tips”—“this guy” being Timothy Geithner. Basu describes the mixed success of India's anti-poverty programs and the problems of corruption, and considers the social norms and institutions necessary for economic development. India is, Basu argues, at an economics crossroad. As CEA from 2009 to 2012, he was present at the creation of a potential economic powerhouse.

A “meticulously researched and buoyantly written” (Esquire) look at what happens when we talk to strangers, and why it affects everything from our own health and well-being to the rise and fall of nations in the tradition of Susan Cain’s Quiet and Yuval Noah Harari’s Sapiens “This lively, searching work makes the case that welcoming ‘others’ isn’t just the bedrock of civilization, it’s the surest path to the best of what life has to offer.”—Ayad Akhtar, Pulitzer Prize–winning author of Homeland Elegies In our cities, we stand in silence at the pharmacy and in check-out lines at the grocery store, distracted by our phones, barely acknowledging one another, even as rates of loneliness skyrocket. Online, we retreat into ideological silos reinforced by algorithms designed to serve us only familiar ideas and like-minded users. In our politics, we are increasingly consumed by a fear of people we’ve never met. But what if strangers—so often blamed for our most pressing political, social, and personal problems—are actually the solution? In The Power of Strangers, Joe Keohane sets out on a journey to discover what happens when we bridge the distance between us and people we don’t know. He learns that while we’re wired to sometimes fear, distrust, and even hate strangers, people and societies that have learned to connect with strangers benefit immensely. Digging into a growing body of cutting-edge research on the surprising social and psychological benefits that come from talking to strangers, Keohane finds that even passing interactions can enhance empathy, happiness, and cognitive development, ease loneliness and isolation, and root us in the world, deepening our sense of belonging. And all the while, Keohane gathers practical tips from experts on how to talk to strangers, and tries them out himself in the wild, to awkward, entertaining, and frequently poignant effect. Warm, witty, erudite, and profound, equal parts sweeping history and self-help journey, this deeply researched book will inspire readers to see everything—from major geopolitical shifts to trips to the corner store—in an entirely new light, showing them that talking to strangers isn’t just a way to live; it’s a way to survive.

Over the last two centuries, artists, critics, philosophers and theorists have contributed significantly to such representations of "the economy" as sublime. It might even be said that much of the emergence of a distinctly "modern" art in the West is inextricably linked to the perception of art’s own autonomy and, therefore, its privileged, mostly critical, gaze at the terrible mixture of wonder and horror of capitalist economic practices and institutions. The premise of this collection is that despite this perceptual sharing, "sublime economy" has yet to be investigated in a purely cross-disciplinary way. Sublime Economy seeks to map this critical territory by exploring the ways diverse concepts of economy and economic value have been culturally constituted and disseminated through modern art and cultural practice. Comprising of 14 individual essays along with an editors’ introduction, Sublime Economy draws together work from some of the leading scholars in the several fields currently exploring the intersection of economic and aesthetic practices and discourses. A pressing issue of this cross-disciplinary conversation is to discern how artists’, writers’, and cultural scholars’ constructions of distinct conceptions of economic value, as pertains to aesthetic objects as well as to more "everyday" objects and relations of mass consumption, have contributed to the ways "value" functions in and across disparate discourses. Thus this book looks at how cultural critics and theorists have put forward working notions of economic value that have regularities and effects similar to those of the "expert" conceptions and discourses about value that have been the preserve of professional economists.

ïIn this book, Simon Bowmaker offers a remarkable collection of conversations with leading economists about research in economics. He has selected a broad sample of the great economists of our time, including people whose perspectives span most of the major subdivisions of economics research, from micro to macro, from theoretical to empirical, from rationalist to behavioral.Í _ From the foreword by Roger B. Myerson, University of Chicago, US and 2007 Nobel Laureate in Economics ïThe Art and Practice of Economics Research is the book I wish I had when I was ñgrowing upî as an economist. For anyone who is or wants to be an economic researcher, or anyone just interested in how economics ñworksî, this is a terrific and inspirational resource.Í _ David K. Levine, Washington University in St. Louis, US ïIt is hard to imagine an economist in the world who would not enjoy this book. It is fascinating, gripping, and full of the wisdom imparted by age and by scholarly lifeÍs ups and downs.Í _ Andrew J. Oswald, University of Warwick, UK ïAlthough each has followed his or her own road, these scholars share a passion for economics and a commitment to the research enterprise. The best economists lie sleepless, gripped by their questions.Í _ Joshua Angrist, Massachusetts Institute of Technology, US ïThis is a wonderful book of interviews with some of the most respected economists in the world. It is full of insights into academic life, and clearly conveys the joy of doing economics research.Í _ Jon Levin, Stanford University, US ïThe relaxed frame of the interviews gives interested parties exciting insights into the thoughts and concerns of leading economists and might well inspire some of the best young minds to continue with economics in their later lives.Í _ Ernst Fehr, University of Zurich, Switzerland The Art and Practice of Economics Research provides an in-depth look into the research methods of leading economists from across the United States and Europe. This innovative volume contains 25 interviews with practicing economists, presenting insightful personal accounts into an often-misunderstood field. Contributors to this volume were asked to reflect on their own experience in economics research, including their methods of working, the process of scientific discovery and knowledge creation, and the challenges of successfully disseminating their work. The unique and compelling interview format showcases each contributorÍs personal connection to his or her work, presenting a view of current economics research that is technical, comprehensive, and refreshingly human. Both students and current scholars in economics will find much to admire in this bookÍs window into the inner workings of some of the brightest and best-known minds in the field. This volume would also make a great companion to the authorÍs 2010 book, The Heart of Teaching Economics, which showcases the personal experiences of teachers and professors of economics.

Which is more important to New York City's economy, the gleaming corporate office--or the grungy rock club that launches the best new bands? If you said "office," think again. In The Warhol Economy, Elizabeth Currid argues that creative industries like fashion, art, and music drive the economy of New York as much as--if not more than--finance, real estate, and law. And these creative industries are fueled by the social life that whirls around the clubs, galleries, music venues, and fashion shows where creative people meet, network, exchange ideas, pass judgments, and set the trends that shape popular culture. The implications of Currid's argument are far-reaching, and not just for New York. Urban policymakers, she suggests, have not only seriously underestimated the importance of the cultural economy, but they have failed to recognize that it depends on a vibrant creative social scene. They haven't understood, in other words, the social, cultural, and economic mix that Currid calls the Warhol economy. With vivid first-person reporting about New York's creative scene, Currid takes the reader into the city spaces where the social and economic lives of creativity merge. The book has fascinating original interviews with many of New York's important creative figures, including fashion designers Zac Posen and Diane von Furstenberg, artists Ryan McGinness and Futura, and members of the band Clap Your Hands Say Yeah. The economics of art and culture in New York and other cities has been greatly misunderstood and underrated. The Warhol Economy explains how the cultural economy works-and why it is vital to all great cities.