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    <title>Towse, R.M.</title>
    <link>http://repub.eur.nl/res/aut/7872/</link>
    <description>List of Publications</description>
    <language>en</language>
    <image>
      <url>http://repub.eur.nl/static-eur/img/logo.png</url>
      <title>RePub, Erasmus University Rotterdam</title>
      <link>http://repub.eur.nl</link>
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    <item>
      <title>Creativity, copyright and the creative industries paradigm (Article)</title>
      <link>http://repub.eur.nl/res/pub/20370/</link>
      <pubDate>2010-08-01T00:00:00Z</pubDate>
      <description>SUMMARY: The starting point of this article is the paradigm shift in cultural policy from the arts to the broader view of the creative industries that has taken place in many countries, in the European Union and in UN agencies. The emphasis on creative industries as a source of economic growth has highlighted the role of creativity and of copyright as an incentive for it. Little is known, however, about the economics of creativity or what economic incentives it responds to and this is a gap in our understanding of cultural supply that requires detailed research. The application of 'crowding' theory to the motivation for creativity forms a basis for that research, as does work in cultural economics on artists' labour markets. Likewise, economists have almost no empirical evidence about copyright as an incentive to creativity generated by individual creators. Research is, however, held back by data problems concerning the measurement of creative industry output and employment and especially of the supply of core creative content, making claims of the impact of copyright difficult to assess. The impetus for the article is to express these concerns and to emphasis the need for empirical research in this area.</description>
    </item> <item>
      <title>Chapter 24 Human Capital and Artists' Labour Markets (Article)</title>
      <link>http://repub.eur.nl/res/pub/16551/</link>
      <pubDate>2006-12-01T00:00:00Z</pubDate>
      <description>It is argued that human capital theory applies only weakly to artists' decisions about investment in schooling and training and about occupational choice. However, the same can be said about the sorting model. What is lacking in cultural economics is an understanding of talent and creativity, what economic factors motivate artists and how creativity can be encouraged as part of government cultural policy. Bringing social and cultural capital into the equation do not seem to add much in the way of understanding artists' labour markets. A novel argument is made that the reproducibility of works of art in combination with copyright law alters the established view that human capital cannot be separated from labour, in this case that of the artist.</description>
    </item> <item>
      <title>Copyright and Creativity: cultural economics for the 21st century (Inaugural Lecture)</title>
      <link>http://repub.eur.nl/res/pub/7772/</link>
      <pubDate>2006-05-30T00:00:00Z</pubDate>
      <description>Inaugural lecture for the personal Chair in Economics of Creative Industries, Faculty of History and Arts</description>
    </item> <item>
      <title>Opera (In Book)</title>
      <link>http://repub.eur.nl/res/pub/794/</link>
      <pubDate>2003-01-01T00:00:00Z</pubDate>
      <description></description>
    </item> <item>
      <title>Introduction (In Book)</title>
      <link>http://repub.eur.nl/res/pub/843/</link>
      <pubDate>2003-01-01T00:00:00Z</pubDate>
      <description></description>
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