This extended paper focuses on contemporary debates around the social impacts of the arts and the problem of their measurement and evaluation. It attempts to put forward a new framework for the understanding of the so-called transformative powers of the arts, by suggesting that a historical-critical approach is needed to tackle this research topic. The paper therefore presents a detailed critical analysis of the numerous claims that have been made in the West over time, from Classical Greece (V century BC) to the present day, for the ways in which the arts can affect individuals and transform society. It offers a taxonomy of these suggested impacts, both positive and negative, with a view to establishing an appropriate conceptual basis for the discussion and investigation of what the social impact of the arts might mean.

Under pressure from rampant file-sharing and dwindling sales, major record labels are closer than ever to releasing music online with no copying restrictions, a step they once vowed never to take.

The article explores the challenges of community involvement and of equal representation agendas in museums in a multicultural society. The aim is to contribute to an increased understanding of power struggles and controversies associated with community dialogue and shared authority approaches in museums. These topics are analyzed in relation to the colonial legacy of Western museums and to discourses of multiculturalism, representation and inclusion.

Dr. Harry Hillman Chartrand examined five significances of the Canadian Copyright Act from the historical, cultural, economic, legal and political sectors in this paper. However, what are his viewpoints and individual statutes?

The main aim of the Cultural Policy Research Award (CPRA) is to stimulate academic research in the field of cultural policy. The overall area covered by the award is applied comparative cultural policy research. Emphasis is placed on research which analyses various aspects of cultural diversity in Europe and which seeks to inform policymaking and benefit practitioners active in the field.

What can Cultuur 2.0 mean? Is it dangerous, a precious gift, or maybe even both? How can art & cultural institutions, artists and Web 2.0 companies conspire to make the most of the opportunities Web 2.0 brings?

The international conference will take place on May 30 - 31, 2007 in Amsterdam, Holland.

This paper deals with the Danish cultural heritage understood as the tangible heritage, mainly buildings. The paper briefly describes the political economy of conserving the cultural heritage and the means of preserving it. The main focus of the paper is, however, on the present Danish conservation policy. The paper presents estimates of the costs of preserving the cultural heritage on a national scale. It is concluded that while the level of conservation probably conforms to the wishes of the Danish people marginal decisions are probably misguided. In particular, a detailed examination of the practices of the Danish Conservation Board is presented. The Board is not guided by the recommended cost-benefit perspective but rather in practice devoted to preserving architectonical values.

In November 2006, ICOM held the annual meeting and conference in Taipei, Taiwan. The main theme was New Roles and Mission in Museums, which focused on fivefold:
1. A New Social Relevance Human vs. Economic Values
2. Local, Regional and National Identity
3. Different Types / Roles for Museums from the Perspectives of Management
4. International Activity
5. New Challenges: What Role for Central / Local Governments?

Museums and the Web addresses the social, cultural, design, technological, economic, and organizational issues of culture, science and heritage on-line. Taking an international perspective, senior speakers with extensive experience in Web development review and analyze the issues and impacts of networked cultural and natural heritage. Together, we are transforming communities and organizations. The annual conference will take place from April 11 to 14, 2007.

This paper investigates consumers perception of the three kinds of sponsor that play a role in backing financially Canadian artistic and cultural organisations: government departments, crown corporations and private companies.

This report presents 10 strategies for Newfoundland and Labrador Arts Council, which aims to protect cultural heritage, reduce cultural diversities, and improve arts development. It includes: to recognize and support professional artists, to foster creative communities and regions, to support aboriginal peoples and regions, to increase and enhance creative education, to provide creative workforce and career development, to preserve and strengthen tangible cultural heritage, to safeguard and sustain intangible cultural heritage, to increase and promote cultural industries and creative enterprises, to develop and encourage cultural tourism, and to establish creative cultural research and information.

Let us begin with a story about art. In this story, art produces aesthetic works of durability and stability things that stand up on their own. The act of artistic production doesnt come from nowhere; neither is it born in the heads of private individuals. It doesnt dwell in a social nothingness. Nor does it start with a blank canvas. Any moment of production involves the reassembling and rearranging of the diverse materials, practices and inuences that came before it and which surround it. Out of this common pool, art creates aesthetic works with emergent properties of their own. From the social world in which it lives, art creates affect and precept. It forms new ways of feeling, seeing and perceiving the world. It gives back to us the same object in different ways. In so doing, art invents new possibilities and makes available new forms of subjectivity and life. Art is creative
and productive.

This is the second of two articles on the generational transitioning of leadership in the arts. The first article, Boomers, XY's and the Making of a Generational Shift in Arts Management, sets the stage by outlining the similarities and differences in style, education and perspective that define arts and culture leaders from the Baby Boom and Generations X and Y (XY's). It further explores how this generational overlap can affect the ways in which they work together in the field of arts management.

As the introduction mentioned, which just published by Arts Council Ireland, the study provides up-to-date information what Irish people think about the role of the arts in society and about arts funding. Through the profiles of comparison and analysis between 1994 to 2006, it describes the giant changes of the whole arts industries during 12 years due to cultural policy, arts funding and complete society.

There is a substantial and growing interest in developing entrepreneurship and the related area of equipping students for selfemployment or 'portfolio careers' in the arts and entertainment sector. The PACE project is building on the work of performing arts departments in this field by funding further initiatives, and developing resources and networks to support graduate entrepreneurship. This guide presents a review of recent literature on cultural entrepreneurship and discusses the issues surrounding the transition from arts higher education to professional artistic practice. It also highlights innovative approaches in drama, dance and music departments, and outlines the work of the PACE project in supporting and promoting new initiatives in this area.

The John F. Kennedy Center for the Performing Arts Fellowship Program offers 10 highly motivated arts managers - a structured blend of independent and collective learning experiences and the opportunity to work in o­ne of the busiest and most artistically diverse performing arts centers in the United States.

Drawing on an analysis of critics reviews of Atlanta Symphony Orchestra (ASO) performances, we investigate how broader shifts in institutional logics shape the discourse of critics and their judgment of performances. We highlight how the aesthetic logic that traditionally informs the practices of the symphony yielded, in the face of declining orchestral resources, to a more commercially oriented market logic. As institutionalists have argued, shifts in logics are often catalysed by exogenous shocks.

Marketing, as it relates to the arts, is not about intimidation or coercion or abandoning an artistic vision. It is not hard-selling or deceptive advertising. It is a sound, effective technology for creating exchanges and influencing behaviour that, when properly applied, must be beneficial to both parties involved in the exchange (Kotler and Scheff, 1997). The focus of this paper is on how owners / managers of small and medium sized Independent businesses in the music industry (cultural entrepreneurs) create exchange and influence behaviour when accessing finance for their businesses. The paper is based on Leadbeater and Oakleys (1999) description of a new model of work and creative production, derived from cultural entrepreneurs characteristic independence.

We define cultural entrepreneurship as the process of storytelling that mediates between extant stocks of entrepreneurial resources and subsequent capital acquisition and wealth creation. We propose a framework that focuses on how entrepreneurial stories facilitate the crafting of a new venture identity that serves as a touchstone upon which legitimacy may be conferred by investors, competitors, and consumers, opening up access to new capital and market opportunities. Stories help create competitive advantage for entrepreneurs through focal content shaped by two key forms of entrepreneurial capital: firm-specific resource capital and industry-level institutional capital.

Dr. Terry Flew sectored threefold at this paper, which he presented at the Cultural Studies of Australasia Conference, includes:

(1) emergent knowledge production frameworks, and how cultural studies is positioned in relation to them;
(2) the relationship of cultural studies academics to developments in creative industries fields, most notably the rise of cultural enterprise; and
(3) the question of how conceptual frameworks are related to empirical developments in creative labour markets.