Arkitektur

Den tette byens verdi. En litteratur- og metodestudie av den samfunnsøkonomiske verdien av byfortetting

Magnussen, K.,
Gierløff, C. W.,
Seeberg, A. R.,
Navrud, S.
Menon
Publikasjon 44/2017

Det pågår betydelig fortetting i mange norske byer og kommuner, ofte uten en helhetlig planlegging. Muligheter til gode løsninger kan dermed oversees, og verdier kan forsvinne. Det er også sannsynlig at fortetting ikke bare bringer med seg positive virkninger. Det er sannsynlig at i noen områder kan de positive virkningene være avtakende eller ikke-eksisterende, enten som følge av at det blir et for stort press på bygodene (infrastruktur, service, tjenester, uteliv, variert kulturtilbud, flere restauranter, spesialisert handel osv.) som følge av trengsel, eller at fortettingen er gjort uten helhetlig planlegging. Byfortetting kan innebære kortsiktige kostnader for samfunnet, for eksempel i form av høye tomtekostnader, og disse kostnadene er ofte lett synlige og enkle å beregne. Det er dermed viktig at også nytten av tiltak blir synliggjort i økonomiske termer. Det kan bidra til bedre forståelse for, og gi økte insentiver til å gjennomføre byfortetting. God byfortetting kan defineres av at den har en verdi for nåværende og kommende generasjoner. Mange er enige i at byfortetting har verdi og betydning for samfunnet, men den totale samfunnsnytten kan være vanskelig å måle. Økt kunnskap om verdien av byfortetting kan derfor føre til at det blir enklere å fatte gode og riktige beslutninger hvor man tidligere har undervurdert samfunnsnytten.
For å forbedre dette kunnskapsgrunnlaget har formålet med dette prosjektet vært å:
- Gjennomføre en forskningsbasert litteraturstudie over hva som finnes av verdsettingsstudier av byfortetting og elementer av byfortetting og byliv
- Oppsummere resultater om hvilke goder som er verdsatt, og hvilke verdier som er funnet for disse godene og tjenestene, og vurdere om disse kan overføres til andre sammenhenger (ved hjelp av verdioverføringsmetoder) 
- Vurdere og gi en anbefaling om hvilke metoder som synes best egnet for verdsetting av denne typen goder.

2017
Norge
Musikk

Hvor mange gullplater henger på veggen? Om danseband og kvalitet

Stavrum, H.
Sosiologi i dag
44 (1) (s. 90-116)

Kvalitet er et sentralt begrep i norsk kulturpolitikk. I kulturpolitiske dokumenter betones nødvendigheten av at kvalitet må ligge til grunn for kulturpolitiske ordninger og tiltak, og kvalitet er i de fleste tilfeller et avgjørende kriterium for å motta offentlig støtte til kunst og kultur (jf. for eksempel St.meld. nr. 21 (2007â2008); St.meld. nr. 48 (2002â2003)). Men samtidig som kvalitet er et grunnleggende premiss i kulturpolitikken, er det også et paradoksalt begrep (Hylland 2012; Hylland m.fl. 2011). Selv om kvalitet kontinuerlig benyttes som argument i kulturpolitisk praksis, er det ofte uklart hvordan kvalitet skal defineres. For hvilken type kvalitet er det man snakker om, hva slags kvalitetsbegrep ligger til grunn for vurderingene som blir gjort og sist, men ikke minst, fra hvilket ståsted eller perspektiv er det kvaliteten defineres?

2014
Norge
Artikkel
Musikk

Consolidating the music scenes perspective

Bennett, A.
Poetics
32(2004) 223–234

The concept of scene has long been used by musicians and music journalists to describe the clusters of musicians, promoters and fans, etc., who grow up around particular genres of music. Typically, this everyday usage of scene has referred to a particular local setting, usually a city or district, where a particular style of music has either originated, or has been appropriated and locally adapted. Examples here would include Chicago blues, New Orleans jazz and Nashville Country music, as well as numerous lesser known instances of local musical innovation and production.

Since the early 1990s, the concept of scene has also begun to acquire currency as an academic model of analysis. Scene’s significance in this respect has resulted partly from the criticism and rejection of prior theoretical frameworks used in research on music, and the local, notably subcultural theory (see, for example, Clarke, 1981; Bennett, 1999), and also due to the influential work on ‘‘art worlds’’ and cultural industries (Becker, 1982). Peterson and Bennett (2004) observe as an academic research model that the concept of scene can usefully be subdivided into three categories: local (Cohen, 1991; Shank, 1994), trans-local (Kruse, 1993; Hodkinson, 2002) and virtual (Kibby, 2000; Bennett, 2002). The purpose of this paper is to assess the different ways that scene has been conceptualised in academic research as a means of understanding music as a ‘resource’ in contemporary everyday life. 

2004
Artikkel
Musikk

A Creative Industry In Transition: The rise of digitally-driven independent music production

Hracs, B. J.
Growth and Change
Volume 43 (3): 442-461

This paper nuances our understanding of the ongoing transition within the North American music industry. It extends the existing analysis of the so-called “MP3 Crisis” by exploring the ways in which digital technologies have challenged the entrenched power of the major record labels. In particular, new insights are offered based on interviews with music industry executives who have been active in shaping the industry's response to illegal file sharing. The paper also uses interview data from musicians to investigate the implications of restructuring at the macroscale on creative talent at the microscale. As such, it documents the structures and spatial dynamics of digitally driven independent music production in Canada for the first time.

2012
Artikkel
Musikk

The Evolution of Taipei’s Music Industry: Cluster and Network Dynamics in the Innovation Practices of the Music Industry

Lin, C. Y.
Urban Studies
51(2) 335–354

This paper aims to explore the spatial and organisational dynamics of innovation activities in the evolution of cultural industry using Taipei’s music industry as a case study. The existing literature has emphasised that innovation and creativity are driving the evolution of the cultural industry as a result of the spatial proximity effect generated by production systems. However, few studies have examined the innovation practices of the cultural industry resulting from interactive relationships between the urban cluster environment and the mobilisation process of project networks. An evolutionary perspective is used to illustrate how the cluster and network elements of the music industry are intertwined in innovation practices within the Taipei context. As a contribution to the cluster–network debates, this paper argues that the innovation dynamics of Taipei’s music industry are a hybrid feature of Taipei’s cluster environment and the strategic competencies of music project networks rather than the local cluster effect. In conclusion, a different trajectory for the evolution of Taipei’s music industry is presented. Additionally, this dynamic process between cluster and network makes Taipei a hybrid creative platform that is an active element in the cultivation of the innovative competencies of Taipei’s music producers and related workers. 

2014
Artikkel
Opplevelser

Experiencescapes. Tourism, Culture and Economy

O'Dell, T.,
Billing, P.
Copenhagen Business School Press, Copenhagen

Experiences have become the hottest commodities the market has to offer. No matter where we turn, we are constantly inundated by advertisements promoting products that promise to provide us with some ephemeral experience that is newer, better, more thrilling, more genuine, more flexible, or more fun than anything we have previously encountered. In turn, consumers themselves are increasingly willing to go to great lengths, invest large sums of money, and take great risks to avoid "the beaten track" and "experience something new." Working with an interdisciplinary approach, this book critically analyzes the significance this market for experiences (and interest in them) is having as a generative motor of cultural and socioeconomic change in modernsociety. The book's contributors are active scholars working in the Department of Service Management at Lund University, the Copenhagen Business School, and the Center for Regional and Tourism Research. They come from the disciplines of anthropology/ethnology, business administration, and cultural geography.

2005
Denmark
bok
Musikk

The Production and Consumption of Music in the Digital Age

Hracs, B. J.,
Seman, M.,
Virani, T. E.
New York: Routledge

The economic geography of music is evolving as new digital technologies, organizational forms, market dynamics and consumer behavior continue to restructure the industry. This book is an international collection of case studies examining the spatial dynamics of today’s music industry. Drawing on research from a diverse range of cities such as Santiago, Toronto, Paris, New York, Amsterdam, London, and Berlin, this volume helps readers understand how the production and consumption of music is changing at multiple scales – from global firms to local entrepreneurs; and, in multiple settings – from established clusters to burgeoning scenes. The volume is divided into interrelated sections and offers an engaging and immersive look at today’s central players, processes, and spaces of music production and consumption. Academic students and researchers across the social sciences, including human geography, sociology, economics, and cultural studies, will find this volume helpful in answering questions about how and where music is financed, produced, marketed, distributed, curated and consumed in the digital age.

2016
bok
Opplevelser

Ansats til en begivenhetsfilosofisk utlegging av opplevelsens fenomenologi og ontologi

Sletterød, N. A.
Tapir Akademiske Forlag, Trondheim
(s. 175-210)
2012
Norge
Bokkapittel
Opplevelser
2012
Norge
Bokkapittel
Opplevelser

Heritage tourism

Bonet, L.
Chapter 19, ISBN: 978 0 85793 099 6

Cultural and heritage tourism began to expand as a mass phenomenon in the 1970s and ’80s with a considerable economic and social impact. It was a consequence of the self-development of the tourism industry and its need for diversification (Bull, 1991). During the previous decades and stimulated by a long period of unbroken economic growth in most developed countries, tourism enjoyed a great expansion (Timothy, 2011). This was largely based on standardized products, mainly offered by tour operators through the travel agencies system. The result was an increase in the number of destinations and resorts. Over the years, many of them have followed a life-cycle profile, from involvement and consolidation, to stagnation and, in some cases, even decline (Butler, 1980). So, the need to adapt the current offer to a more exigent demand, fuelled by a rising competition with new destinations, developed the specializations of many tourism areas and the search for added-value products. The resulting scene is characterized by being much more dynamic and competitive, in which a multitude of specialized offers proliferate at lower costs. Tourism products can be segmented by travel motivation (business, holiday, health, academic or religion, among many other driving forces), by user groups (families, senior citizens, professional people or students), by destination (cities, coast areas, countryside regions or countries), by time (holiday seasons, weekends, special events or business periods), and by the level of maturity of the destination (more or less emergent, with larger or weaker touristic supply, level of social reputation).

2013
Bokkapittel
Antall publikasjoner i denne databasen: 26

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