By Louise C. Johnson
This can be an confident ebook concerning the strength of the humanities to augment urban photos, city economies and groups. Anchored in educational dialogue of the Cultural Industries - what they're, how they've got emerged, why they subject and the way they need to be theorized - the e-book bargains a sequence of case stories drawn from 5 international locations (Australia, Singapore, Spain, united kingdom, US) to help an issue for the humanities contributing to sustainable city regeneration. delivering unique theorizations of cultural capital and sustainable improvement, the booklet makes use of different literatures - on megastar, post-modernity, the post-colonial, tourism, illustration and picture - to interrogate a few websites, occasions and gadgets within the case-study nations. utilizing unique learn in addition to latest fabric, the ensuing remedy is either empirical and theoretical, grounded within the specific but additionally comparative. it really is modern, the world over comparative, go disciplinary and thematic.
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Additional info for Cultural Capitals (Re-Materialising Cultural Geography)
A. Mills examined the gentrifying landscapes of 1980s Vancouver through readings of promotional material as well as of houses, to relate stories of different landscape meanings for those moving into and leaving these older areas of the city (Mills 1993). Gentrification was and continues to be seen as a key process by which many western cities replaced industrial spaces with residential ones around port and inner urban areas (Ley 1993; Zukin 1991). Associated with this process is a re-imagining of previously blighted areas of the city.
This stock gives rise to a flow of capital services which might enter final consumption directly or might be combined with other inputs to produce further capital goods and services. For example, the operation of a museum restoration project will generate longer term economic and cultural benefits. While describing these various dimensions with great eloquence, Throsby also suggests that the appraisal of any one cultural artefact can be reduced to a formula and quantified, such that the many dimensions of an art work express linear and causal relations within a neo-classical logic driven by the market (Throsby 1999).
The changing place of the artist in Western societies – from the artisan and independent contractor of the Renaissance to individual professionals in the 20th century – was accompanied by growing interest from the emergent field of economics. As Jason Potts notes, by the second half of the 20th century, the arts were widely understood to produce both private and public goods and though these markets were subject to endemic failure, they were given a social and political imperative to succeed (Potts 2007: 9).