Samtida diskursiva skeenden som en ekonomisering av det kulturella fältet och en estetisering av det ekonomiska fältet kan förklara att nya samarbetsformer mellan kultur och näringsliv möjliggjorts. Samarbetena har dock ännu inte konceptualiserats. Genom att vända blicken bort från sponsringsbegreppet och istället förstå samarbetenas dynamik skapad i samarbetet per se, möjliggörs ett perspektiv, där förståelsen samarbetenas dynamik tillåts införliva social interaktion och utveckling av attityder, värderingar, trosföreställningar och målsättningar. Utbytesrelationen kan då förknippas med andra former av utbyten än ekonomiska transaktioner, däribland kunskapsutbyte och lärande. Denna studie som syftar till att förstå samarbeten mellan kultur och näringsliv har utvecklats runt två empiriska undersökningar av samarbeten som uppfattades gå bortom sponsringsbegreppet. Fallstudierna utgjordes av samarbetet mellan S-Lab, en forskningsgrupp inom Telia och realtidskonstnärerna i Splintermind samt projektet ”Hör upp Stockholmare!”, i vilket konst- och designhögskolan Konstfack samarbetade med Gallerian, ett köpcentrum i centrala Stockholm. Tillsammans med tidigare teori och utvidgad förståelse, har tolkningen av de studerade fallen inneburit en studie i syfte att förstå samarbetenas dynamik. Den kunskapsmodell som använts har av den anledningen varit den abduktiva. Studien har resulterat i en modell över samarbeten mellan kultur och näringsliv, vilken kategoriserar samarbetsformerna efter varaktig och strategisk funktion. Samarbeten, vare sig det rör sig om kortsiktiga projekt eller långsiktiga relationer möjliggörs då ingå i ett samlat teoretiskt ramverk, vilket bidrar till ökad förståelse för samarbetena. Framförallt för de samarbeten som faller utanför sponsringsbegreppet

<p> This thesis, presented in partial fulfillment of the requirement for the degree of Master of Business Administration/Master of Fine Arts in Theatre Management, analyzes the origins and limitations of the traditional subscription model used by performing arts organizations. As subscription sales continue a nationwide, decade-long decline, some companies are exploring nontraditional models, while in other industries new media is facilitating innovative alternative methods of monetization. These new models are successful when they customize offerings and increase value provided to patrons, who increasingly desire flexibility and dialogue. Based on a SWOT analysis and Quantitative Strategic Planning Matrix, these alternative patronage models are evaluated with respect to their viability for implementation by California Repertory Company (Cal Rep).</p>

<p> Single donor museums like the Isabella Stewart Gardner in Boston, the McNay Museum of Art in San Antonio, the Walker Art Center in Minneapolis and The Barnes Foundation in Merion and Philadelphia, provide an intimate experience for their visitors, donors, supporters and staff members. They must compete with larger, more encyclopedic museums, with larger budgets and more resources. Like all museums, they hold art in the public trust and are responsible to the public. Contemporary museology asks not only that all museums protect their collections and educate the public, but that they also engage with their communities. None of the single donors highlighted had to donate their art, their money or their homes, but all chose to. Each museum chose to expand or relocate in response to difficult problems, whether financial, logistical (need for more space) or legal. Each engages new publics in creative ways. Certain predictable problems arose for each and they creatively resolved (and continue to resolve) those problems. Lessons learned from the experience of four single donor museums may suggest new thinking for those anticipating similar expansions or moves.</p>

<p> In this thesis, I strive to expose societal rules and regulations that constrict and restrict our social interactions in a way that promotes prejudice and xenophobia. Through interacting with the series of sculptures, viewers are given the opportunity to question these societal norms and start a process of self-reflection to truly understand the freedom that comes without prejudice. Interaction is the main element that ties the series of works together, to form a seamless journey of self-discovery. The following artists are discussed in relation to this series of work: Niki de Saint Phalle and Bj&ouml;rk Gu&eth;mundsd&oacute;ttir. Their art works share the same spirit of liberation and social revolution.</p>

xii, 54 p. : ill. / Advertising agencies trade on their creativity, which is supplied by teams of creative and account workers to create customer-centered advertising that is both novel and interesting. This research explores the magic of the advertising creative team - the team of creative, strategy and management staff that is responsible for creative execution - to find out more about how creative teams function at the goal level (team effectiveness) and at the individual level (individual cognitive styles). To study creativity and decision making, individuals involved in the creation of ads were tested for their innovator traits. Also, connections were explored between an industry effectiveness award and innovator scores. Innovativeness was judged by individual performance on a scale to measure cognitive style. Effie Awards were not associated with innovation in agency personnel. However, account planners and creatives scored higher on an aggregated innovator scale than did administrative and account executive staff. / Committee in charge: Prof. Kim Sheehan, Chair; Prof. Harsha Gangadharbatla, Member; Prof. Deborah Morrison, Member; Prof. David Koranda, Member

abstract: Imitation is the genesis of change. One basic principle of human nature is that people imitate what they see and hear. In the professional choral arena, musicians extend the high art of imitation through fine-tuning, and creative reinterpretation. Stimulated by this cycle, the color of the twenty-first-century professional choir shifted compared to that of professional choirs from the 1950s through 1970s, causing an evolution in choral sound. In a series of interviews with iconic composers and conductors of professional choirs, the subjects involved in the study conveyed comprehensive and personal accounts outlining how professional choirs have refined the standard of choral sound. The paper is organized into three sections: (1) where have we been, (2) where are we now and (3) where are we going? It explores various conductors' perceptions of how and why choirs are unique when compared to earlier generations and what they believe caused the shift in choral tone. Paired with this perspective is the role of modern composers, whose progressive compositional techniques helped shape the modern choral sound. The subjects involved in the study further theorize how current inclinations may potentially shape the future of professional choral music. Although the subjects expressed differing opinions about the quality of the twenty-first-century choral tone, many agree that there have been specific transformations since the 1970s. The shift in choral tone occurred due to developments in vocal technique, exploration of contemporary compositional extended techniques, an adherence to historically informed performance practice, imitation of vocal colors from numerous cultures, incorporation of technology and emulation of sound perceived on recordings. Additionally, choral music subtly became prominent in film scores, and innovative conductors created progressive concert programming, and developed novel approaches to entertain audiences. Samplings of contributors involved in this study include: John Rutter, Harry Christophers, Charles Bruffy, Nigel Short, Craig Hella Johnson, Alice Parker, Michael McGlynn, Phillip Brunelle, Craig Jessop, Libby Larsen, Ola Gjeilo, Cecilia McDowall, Jaakko Mäntyjärvi and Stephen Paulus. / Dissertation/Thesis / D.M.A. Music 2013

Internships have become a vital part of museum training, the premier way to gain field experience, and a service often required of perspective museum professionals (Danilov, 1994). One of the museum field's top organizations AAM (1978) wrote a collection of minimum standards for internship training programs; however a study conducted by Spanard (1983) established those minimum standards were not yet being met. In a field where internships are being used extensively for museum training we do not know what these programs consist of other than through our own individual experiences or anecdotal passages. The components, intent, and practices of internship coordinators in AAM-accredited academic art museums were collected through a national survey to develop evidence-based literature on the curriculum of internship programs using Van den Akker's Spiderweb Model (2003) and AAM's (1978) internship minimum standards as a model. The majority of museums are not meeting the AAM minimum standards but many are meeting or exceeding curriculum components. This study encourages the museum community to consider its own practices and re-evaluate the current minimum standards set forth by AAM. Examining current practices in the field has revealed the need for self-evaluation and further development of socialization methods through formalization of internship program curriculum. Including evaluation methods will also provide the museum with evidence they can showcase to their host university and thereby reach their cited purpose: to increase their value, visibility, and perceived worth to the university while also expanding insight into their primary audience (students). / A Dissertation submitted to the Department of Art Education in partial fulfillment of the requirements for the degree of Doctor of Philosophy. / Spring Semester 2015. / April 30, 2015. / curriculum design, experiential learning, internship, museum training / Includes bibliographical references. / Pat Villeneuve, Professor Directing Dissertation; Lisa Waxman, University Representative; Tom Anderson, Committee Member; Antonio Cuyler, Committee Member.

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