Cultural Entrepreneurship and
Innovation
Created @July 30, 2023 9:05 PM
Semester SEM 1
Date @October 30, 2023
Lecture Dr. Monika Kackovic, Dr. Laura Dupin, Dr. Isabella Pozzo, Prof. Mr.
Contact Dr.Nachoem Wijnberg
Table of Contents
Week 1: Cultural markets and Creative competitors
Bradshaw & Holbrook (2007) Remembering Chet: theorizing the mythology of the self-
destructive bohemian artist as self-producer and self-consumer in the market for
romanticism
Dubois (2012), Recognition and renown, the structure of cultural markets: evidence from
French poetry
Piano & Al-Bawwab (2021), The artist as entrepreneur
Velthuis (2003), Symbolic meanings of prices: constructing the value of contemporary art
in Amsterdam and New York galleries
Cultural Entrepreneurship and Innovation 1
, Week 2: Entrepreneurship, Risk and Innovation
Menger (1999), Artistic labor markets and careers
Hayward, Shepherd & Griffin (2006), A Hubris Theory of Entrepreneurship
Mol, Chiu & Wijnberg (2012), Love me Tender: New Entry in Popular Music
Ebbers & Wijnberg (2012), Nascent Ventures Competing for Start-up capital: Matching
Reputations and Investors
Week 3: Creative production and Management of creatives
Cowen (1996), Why I don’t believe in the cost-disease (comment on Baumol)
Dunham & Freeman (2000), There is no business like show business
Turbide & Laurin (2009), Performance measurement in the arts sector: the case of the
performing arts
Bhansing, Leenders, & Wijnberg (2012), Performance Effects of Cognitive
Heterogeneity in Dual Leadership Structures in the Arts: The Role of Selection System
Orientations
Week 4: Critics and Publics
Eliashberg & Shugan (1997), Film critics: influencers or predictors?
Shrum (1991), Critics and publics: cultural mediation in highbrow and popular
performing arts
Gemser, Van Oostrom & Leenders (2007), The Impact of Film reviews on the Box Office
Performance of Arthouse versus Mainstream Motion Pictures
Dempster (2006), Managing Uncertainties in the Creative Industries: Lessons from Jerry
Springer The Opera
Cultural Entrepreneurship and Innovation 2
, Week 5: Big Data and Big Art
Fraiberger, Sinatra, Resch, Riedl & Barabási (2018), Quantifying reputation and success
in art
Wachs, Daróczy, Hannak, Pall & Riedl (2018), And now for something completely
different: visual novelty in an online network of designer
Xu, Zhang, Zhou (2019), Validity concerns in research using organic data
Gervais(2019), The Machine As Author
Week 6: Art and Policy
Frey (2003), Public support. In: A handbook of cultural economics
O’Hare (2008), Arts policy research for the next 25 years: a Trajectory after Patrons
Despite Themselves
Alexander (1996), Pictures at an exhibition: conflicting pressures in museums and the
display of art
Bakhshi & Throsby (2012), New technologies in cultural institutions: theory, evidence
and policy implications
Week 1: Cultural Markets & Creative
Competitors
Literature
Bradshaw & Holbrook (2007) Remembering Chet: theorizing the mythology of the self-
destructive bohemian artist as self-producer and self-consumer in the market for
romanticism
Dubois (2012), Recognition and renown, the structure of cultural markets: evidence from
French poetry
Piano & Al-Bawwab (2021), The artist as entrepreneur
Velthuis (2003), Symbolic meanings of prices: constructing the value of contemporary art
in Amsterdam and New York galleries
Cultural Entrepreneurship and Innovation 3
, Bradshaw & Holbrook (2007) Remembering Chet:
theorizing the mythology of the self-destructive bohemian
artist as self-producer and self-consumer in the market for
romanticism
Self-destruction aesthetics of artists and how that can be utilised as a marketing /
strategy mechanism. They explore the tragedy of Chet Baker. How does the distinction
between artistic producer and aesthetic consumer, or the collapse of this distinction, shape
the pattern of martyr-like self-destruction? What guilt for the early demise of artistic
geniuses in jazz must perhaps be borne by the marketplace of cultural consumers? In both
life and death, romantic narratives of enigma, mystery and tragic self-destruction become
the primary mechanisms for remembering chet
Self destruction can be a way to generate attention and create a distinction against the
oversupply of creative labour, resulting from competing career orientations from
contradictory demands for high-brow lovers while facing the need to earn from mass
markets
self-destructive behaviour as proof that you are not in it for the money (audiences
don’t think people use this strategy to gain attention and increase revenues)
Bohemian ideal is created due to the musician trying to balance conflicting demands and
becoming both the producer and self-consumer of their own music (musicians see
audiences as uninformed and unenlightened)
Bohemia refers to artists who perform primarily for themselves as expert self-consumers
seeking to maximise their own profound aesthetic experience as an audience for the
consumption of their own playing
opposite of bohemia: alienation, which refers to music made purely for commercial
pursuit of monetary reward and aimed at audience of non-expert consumers who
have no special knowledge of the art form and likely respond favourably to the art
only if it is dumbed down in ways that make it easily accessible (complete
subservience to marketplace)
Cultural Entrepreneurship and Innovation 4
Innovation
Created @July 30, 2023 9:05 PM
Semester SEM 1
Date @October 30, 2023
Lecture Dr. Monika Kackovic, Dr. Laura Dupin, Dr. Isabella Pozzo, Prof. Mr.
Contact Dr.Nachoem Wijnberg
Table of Contents
Week 1: Cultural markets and Creative competitors
Bradshaw & Holbrook (2007) Remembering Chet: theorizing the mythology of the self-
destructive bohemian artist as self-producer and self-consumer in the market for
romanticism
Dubois (2012), Recognition and renown, the structure of cultural markets: evidence from
French poetry
Piano & Al-Bawwab (2021), The artist as entrepreneur
Velthuis (2003), Symbolic meanings of prices: constructing the value of contemporary art
in Amsterdam and New York galleries
Cultural Entrepreneurship and Innovation 1
, Week 2: Entrepreneurship, Risk and Innovation
Menger (1999), Artistic labor markets and careers
Hayward, Shepherd & Griffin (2006), A Hubris Theory of Entrepreneurship
Mol, Chiu & Wijnberg (2012), Love me Tender: New Entry in Popular Music
Ebbers & Wijnberg (2012), Nascent Ventures Competing for Start-up capital: Matching
Reputations and Investors
Week 3: Creative production and Management of creatives
Cowen (1996), Why I don’t believe in the cost-disease (comment on Baumol)
Dunham & Freeman (2000), There is no business like show business
Turbide & Laurin (2009), Performance measurement in the arts sector: the case of the
performing arts
Bhansing, Leenders, & Wijnberg (2012), Performance Effects of Cognitive
Heterogeneity in Dual Leadership Structures in the Arts: The Role of Selection System
Orientations
Week 4: Critics and Publics
Eliashberg & Shugan (1997), Film critics: influencers or predictors?
Shrum (1991), Critics and publics: cultural mediation in highbrow and popular
performing arts
Gemser, Van Oostrom & Leenders (2007), The Impact of Film reviews on the Box Office
Performance of Arthouse versus Mainstream Motion Pictures
Dempster (2006), Managing Uncertainties in the Creative Industries: Lessons from Jerry
Springer The Opera
Cultural Entrepreneurship and Innovation 2
, Week 5: Big Data and Big Art
Fraiberger, Sinatra, Resch, Riedl & Barabási (2018), Quantifying reputation and success
in art
Wachs, Daróczy, Hannak, Pall & Riedl (2018), And now for something completely
different: visual novelty in an online network of designer
Xu, Zhang, Zhou (2019), Validity concerns in research using organic data
Gervais(2019), The Machine As Author
Week 6: Art and Policy
Frey (2003), Public support. In: A handbook of cultural economics
O’Hare (2008), Arts policy research for the next 25 years: a Trajectory after Patrons
Despite Themselves
Alexander (1996), Pictures at an exhibition: conflicting pressures in museums and the
display of art
Bakhshi & Throsby (2012), New technologies in cultural institutions: theory, evidence
and policy implications
Week 1: Cultural Markets & Creative
Competitors
Literature
Bradshaw & Holbrook (2007) Remembering Chet: theorizing the mythology of the self-
destructive bohemian artist as self-producer and self-consumer in the market for
romanticism
Dubois (2012), Recognition and renown, the structure of cultural markets: evidence from
French poetry
Piano & Al-Bawwab (2021), The artist as entrepreneur
Velthuis (2003), Symbolic meanings of prices: constructing the value of contemporary art
in Amsterdam and New York galleries
Cultural Entrepreneurship and Innovation 3
, Bradshaw & Holbrook (2007) Remembering Chet:
theorizing the mythology of the self-destructive bohemian
artist as self-producer and self-consumer in the market for
romanticism
Self-destruction aesthetics of artists and how that can be utilised as a marketing /
strategy mechanism. They explore the tragedy of Chet Baker. How does the distinction
between artistic producer and aesthetic consumer, or the collapse of this distinction, shape
the pattern of martyr-like self-destruction? What guilt for the early demise of artistic
geniuses in jazz must perhaps be borne by the marketplace of cultural consumers? In both
life and death, romantic narratives of enigma, mystery and tragic self-destruction become
the primary mechanisms for remembering chet
Self destruction can be a way to generate attention and create a distinction against the
oversupply of creative labour, resulting from competing career orientations from
contradictory demands for high-brow lovers while facing the need to earn from mass
markets
self-destructive behaviour as proof that you are not in it for the money (audiences
don’t think people use this strategy to gain attention and increase revenues)
Bohemian ideal is created due to the musician trying to balance conflicting demands and
becoming both the producer and self-consumer of their own music (musicians see
audiences as uninformed and unenlightened)
Bohemia refers to artists who perform primarily for themselves as expert self-consumers
seeking to maximise their own profound aesthetic experience as an audience for the
consumption of their own playing
opposite of bohemia: alienation, which refers to music made purely for commercial
pursuit of monetary reward and aimed at audience of non-expert consumers who
have no special knowledge of the art form and likely respond favourably to the art
only if it is dumbed down in ways that make it easily accessible (complete
subservience to marketplace)
Cultural Entrepreneurship and Innovation 4
