Spill

Mellom næring og kultur: en studie av norsk spillpolitikk

Jørgensen, Kristine
Norsk medietidsskrift
2013
Norge
Scenekunst

Operasjon Operanasjon. Evaluering av region- og distriktsopera/musikkteater

Berge, O.K.,
Dahl Haugsevje, Å.,
Torvik Heian, M.,
Hylland, O.M.

Da Stortinget 15. juni 1999 vedtok at det skulle oppføres et operahus i Bjørvika, var dette en virkeliggjøring av en 100 år gammel drøm. Sjelden har en kulturpolitisk sak vekket så stor interesse i norsk offentlig samfunnsdebatt. Å bygge et nytt operahus forutsatte en stor statlig investering, og operadebatten dreide seg om prioritering og fordeling innad på kulturfeltet, mellom samfunnssektorer og ikke minst mellom Oslo og resten av landet. Stortinget besluttet denne dagen også å styrke operavirksomheten i landet for øvrig. I dag får 10 operainstitusjoner utenfor Oslo statlig støtte gjennom satsingen på region- og distriktsopera, og det produseres opera i alle landsdeler.  Denne rapporten presenterer resultatene fra evalueringen av den helhetlige kulturpolitiske satsingen på region- og distriktsopera og musikkteater. 

2016
Norge
Rapport
Opplevelser

Creativity and tourism: The State of the Art

Richards, G.
Annals of Tourism Research

The rapidly developing relationship between tourism and creativity, arguably heralds a ‘creative turn’ in tourism studies. Creativity has been employed to transform traditional cultural tourism, shifting from tangible heritage towards more intangible culture and greater involvement with the everyday life of the destination. The emergence of ‘creative tourism’ reflects the growing integration between tourism and different placemaking strategies, including promotion of the creative industries, creative cities and the ‘creative class’. Creative tourism is also arguably an escape route from the serial reproduction of mass cultural tourism, offering more flexible and authentic experiences which can be co-created between host and tourist. However the gathering critique also highlights the potential dangers of creative hype and commodification of everyday life.

2011
Vitenskapelig artikkel
Opplevelser

Heritage tourism

Bonet, L.

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
Opplevelser

Et helhetlig og koordinert reiselivstilbud

Flagstad, A.,
Ingul, B. K.,
Ravndal, M.,
Uglebakken, H.

Denne rapporten kartlegger hindringer for et mer helhetlig og koordinert tilbud i norsk reise- livsnæring. Videre skisseres det forslag til tiltak som arbeidsgruppen mener kan bidra til å løse utfordringene. Avslutningsvis presenteres utvalgte eksempler/case som har som formål å synliggjøre hva utfordringene består i og hva som kan gjøres for å løse dem.

For å kartlegge utfordringene har arbeidsgruppen tatt utgangspunkt i at det skal bli enklere for potensielle besøkende å velge Norge som reisemål, ta seg frem som turist i Norge og ha verdifulle opplevelser underveis når det gjelder overnatting, bespisning, transport og kultur- og opplevelsesaktiviteter. Målet for arbeidsgruppens arbeid er å bidra til en mer verdiska- pende norsk reiselivsnæring. 

2009
Norge
Rapport
Opplevelser
2015
Norge
Bokkapittel
Opplevelser

Evaluering av NCE Tourism

Kildal Iversen, E.,
Jakobsen, E.W.,
Wifstad, K.

På oppdrag fra Innovasjon Norge har Menon evaluert to NCE-prosjekt og fire Arena-prosjekt. NCE Tourism har gjennom andre kontraktsperiode utviklet seg fra å være en forskningstung klynge til å bli langt mer bedriftsrettet. NCE Tourism har spisset strategien, knyttet seg nærmere bedriftene og tonet ned forskning som ikke er etterspurt av partnerbedriftene. Markedsrettet, tematisk produktutvikling på tvers av geografi er nå kjernen i klyngen. Andre kontraktsperiode var preget av utskiftninger av personell, men fra og med den nye prosjektledelsen kom på plass i 2014/2015 har det blitt jobbet systematisk for å få framdrift og resultater i prosjektene.

NCE Tourism er et ambisiøst prosjekt. Å skulle engasjere og involvere aktører i ulike typer virksomheter over fire fylker, seks opplevelsestema og tre tverrgående tema er utfordrende. Å skape resultater over et så stort virksomhetsområde krever sterk innsats fra personene som er involvert i prosjektet. At NCE Tourism dermed opplevde for svak framdrift i årene med utskiftning av personell er ikke overraskende. Selv med fullt bemannet stab krever klyngens brede nedslagsfelt mye av prosjektorganisasjonen. Vi mener at NCE Tourism bør prioritere tydeligere de aktivitetene som har størst potensial for å skape synergier på tvers av fylker og bedrifter.

2016
Norge
Rapport
Musikk

A rewarding experience? Exploring how crowdfunding is affecting music industry business models

Gamble, Jordan Robert,
Brennan, Michael,
McAdam, Rodney
Journal of Business Research

This paper provides an exploratory study of how rewards-based crowdfunding affects business model development for music industry artists, labels and live sector companies. The empirical methodology incorporated a qualitative, semi-structured, three-stage interview design with fifty seven senior executives from industry crowdfunding platforms and three stakeholder groups. The results and analysis cover new research ground and provide conceptual models to develop theoretical foundations for further research in this field. The findings indicate that the financial model benefits of crowdfunding for independent artists are dependent on fan base demographic variables relating to age group and genre due to sustained apprehension from younger audiences. Furthermore, major labels are now considering a more user-centric financial model as an innovation strategy, and the impact of crowdfunding on their marketing model may already be initiating its development in terms of creativity, strength and artist relations.

2017
Vitenskapelig artikkel
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
Musikk

Consolidating the music scenes perspective

Bennett, A.
Poetics

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

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