In many markets for cultural goods, gatekeepers select the cultural goods, relatively few cultural goods are selected, and the criteria for selection are unclear to both artists and gatekeepers. Not knowing whether cultural goods are of the 'right' quality to be selected, artists and gatekeepers become preoccupied with handling quality uncertainty. This thesis studies such handling of quality uncertainty before, during, and after aspiring writers attempt to succeed in the publishing market. Drawing on eighty interviews with mainly aspiring writers and publishers in Sweden, three papers investigate three phases of handling quality uncertainty in the publishing market. First, in attempting to get published, writers handled uncertainty about how the quality of their work would be evaluated in the publishing market by using appraisal devices: trusted, knowledgeable appraisals of their work’s chances of success or failure on the publishing market. Second, publishers responded to uncertainty about the quality of manuscripts by learning to consider means before ends, such that certain qualities of their reading experience became the necessary means for realizing that the manuscript might be publishable. This realization moved the manuscript from the discovery phase to justification phase, in which publishers made a final decision to select or reject the manuscript. Third, for the rejected writer, the uncertainty of not knowing how the publisher had determined the quality of the manuscript made it possible to excuse the course of events. Writers gave reasons why their manuscript had been rejected based on how they imagined publishers had determined its quality. They accepted the occurrence of failure but dismissed the responsibility for having failed. Writers also engaged in justifications, refusals, and concessions of the perceived failure. These concepts for analyzing the publishing market are based on a perspective that takes into account subjectivity, temporality, and the condition of quality uncertainty. The perspective and concepts are useful for understanding other market situations in the cultural industries, wherein the successful hiring of cultural workers and the acquisition of cultural goods are rare relative to the number of aspirants, and wherein assessments are conditioned by quality uncertainty that needs to be handled. / ERC 263699-CEV

Made available in DSpace on 2016-04-26T20:48:56Z (GMT). No. of bitstreams: 1 Leandro de Carvalho.pdf: 647913 bytes, checksum: eed5eabf770713041bd4cad0aa0c8d27 (MD5) Previous issue date: 2009-05-27 / Creative economy is the theme that permeates the discussion of this work. While discussing its definitions, its scope and its size, the attention was focused on two of its aspects: access and distribution of cultural goods. These aspects were chosen based on the tension that was noticed in the cultural production: on the one hand, the music and audiovisual industry with a business model that makes profit, creating scarcity through the medium (physical environment), being controled and restrict; on the other hand, the movement of technology users, especially Internet users, promoting actions that undermine the bases of cultural industry: they make the support desnecessary and the access becomes unrestricted and fast, and change the ways of distribution, through the channels of sharing and viewing of any cultural production, that can be seen using the nearest computer. In light of these events and tensions, the development of the computer is discussed in this research: from the machine for storage only, to the machine of access. It´s also discussed, at this study, the global network as the great diffuser of cultural production, especially for small producers. Finally, it was concluded that the creation of new production facilities for cultural, musical and audiovisual areas reveal an important contradiction: the environments of greatest enhancement of access, innovation, creativity and culture (based on analysis of Rifkin), could be completely appropriated by the cultural industry, taking up the changes in perceptions of the demands. However, alongside this new type of incentive, the global network provides tools in order to completely unlink creation, distribution and access, minimizing any attempt of the cultural industry in the sense of total control of what is produced and distributed as a cultural good. New possibilities for the culture producer were placed and this professional can select and, possibly, depend less on the big cultural industry in order to feed their lives, through their art / Economia criativa é o tema que permeia a discussão deste trabalho. Enquanto se discute suas definições, sua abrangência e sua dimensão, foi focada atenção em dois de seus aspectos: o acesso e a distribuição de bens culturais. Esse recorte foi escolhido pela grande tensão que se percebe nessa produção cultural: de um lado a indústria fonográfica e audiovisual com um modelo de negócio que realiza lucro, gerando escassez por meio do suporte (meio físico), sendo passível de controle e restrição; de outro lado, o movimento de usuários de tecnologia, principalmente internautas, promovendo ações que minam as bases da indústria cultural: tornam o suporte desnecessário e o acesso irrestrito e rápido, e alteram as formas de distribuição, por meio dos canais de compartilhamento e exibição de qualquer produção cultural, ao alcance do computador mais próximo. Diante desses acontecimentos e tensões, discute-se, nessa pesquisa, a evolução do computador: de máquina de armazenamento apenas, para máquina de acesso. Discute-se, também, a rede mundial como grande difusora de produção cultural, principalmente para os pequenos produtores. Por fim, concluiu-se que as novas facilidades de criação de produção cultural, nas áreas musical e audiovisual, revelam uma contradição importante: os ambientes de maior valorização do acesso, da inovação, da criatividade e da cultura (com base nas análises de Rifkin), poderiam ser completamente apropriados pela indústria cultural, aproveitando-se das mudanças nas percepções das demandas. Entretanto, paralelamente a este novo modelo de incentivo, a rede mundial passa a disponibilizar ferramentas para que a criação, a distribuição e o acesso sejam totalmente desintermediados, minimizando qualquer tentativa da indústria cultural no sentido de controle total do que é produzido e distribuído como bem cultural. Novas possibilidades para o produtor cultural foram colocadas em cena e esse profissional poderá escolher e, possivelmente, dependerá menos da grande indústria cultural para geração de seu sustento, por meio de sua arte

O trabalho \"A normativa de protecao ao tráfico ilícito do patrimônio cultural: acervo arqueológico do Instituto Cultural Banco Santos\", visa a analisar a normativa de proteção do patrimônio cultural no que tange os contornos jurídicos construídos sobre o tráfico ilícito de bens culturais, por meio de normativas internacionais e nacionais, com destaque aos bens culturais arqueológicos. Como objeto de estudo, será tomado o acervo de obras arqueológicas do Instituto Cultural Banco Santos, pertencente ao Banco Santos S/A, composto por aproximadamente 2.100 peças. Sua constituição contribui para o entender a respeito do funcionamento das normas juridicas de combate ao tráfico de bens culturais no Brasil, especialmente no que tange ao tráfico de bens patrimoniais culturais na escala internacional. / The work \"The rules of protection against the illicit trafficking of cultural heritage: the archaeological collection of the Instituto Cultural Banco Santos aims to analyze rules on the protection of cultural heritage, regarding the legal contours on illicit trafficking of cultural goods, through international and national law, with emphasis on archaeological cultural goods. The archeological collection of the Instituto Cultural Banco Santos, which belongs to Banco Santos S/A, with approximately 2,100 goods in taken as subject of study. Its constitution contributes to understand the enforcement of legal rules on trafficking of cultural goods in Brazil, taking into consideration the trafficking of cultural heritage on an international scale.

O trabalho \"A normativa de protecao ao tráfico ilícito do patrimônio cultural: acervo arqueológico do Instituto Cultural Banco Santos\", visa a analisar a normativa de proteção do patrimônio cultural no que tange os contornos jurídicos construídos sobre o tráfico ilícito de bens culturais, por meio de normativas internacionais e nacionais, com destaque aos bens culturais arqueológicos. Como objeto de estudo, será tomado o acervo de obras arqueológicas do Instituto Cultural Banco Santos, pertencente ao Banco Santos S/A, composto por aproximadamente 2.100 peças. Sua constituição contribui para o entender a respeito do funcionamento das normas juridicas de combate ao tráfico de bens culturais no Brasil, especialmente no que tange ao tráfico de bens patrimoniais culturais na escala internacional. / The work \"The rules of protection against the illicit trafficking of cultural heritage: the archaeological collection of the Instituto Cultural Banco Santos aims to analyze rules on the protection of cultural heritage, regarding the legal contours on illicit trafficking of cultural goods, through international and national law, with emphasis on archaeological cultural goods. The archeological collection of the Instituto Cultural Banco Santos, which belongs to Banco Santos S/A, with approximately 2,100 goods in taken as subject of study. Its constitution contributes to understand the enforcement of legal rules on trafficking of cultural goods in Brazil, taking into consideration the trafficking of cultural heritage on an international scale.

Esta dissertação tem por objetivo a investigação dos trabalhos de inventário do patrimônio da cidade de São Paulo, realizados entre os anos de 1974 e 1978, que tinham o objetivo de identificar imóveis a serem preservados na Área Central e na Zona Leste da cidade. Procurou-se compreender estes trabalhos como parte integrante das novas abor-dagens no campo da preservação do patrimônio que estavam em gestação na capital paulista, tanto no que diz respei-to aos conceitos quanto às metodologias neles adotados. Os trabalhos de inventário, assim como, as ações efetivas para a preservação de imóveis são compreendidos como parte de uma nova sensibilidade em relação ao patrimônio da cidade, então em rápido processo de transformação em decorrência das demolições advindas da verticalização ou da implantação de grandes obras viárias e de infra-estrutura, como a implantação do metrô. Procura-se estabelecer os nexos entre esses estudos e as práticas de planejamento urbano e de regulamentação do uso do solo realizados no período. Foram investigados os critérios e conceitos defendidos pelos agentes dos inventários focalizados, procuran-do-se detectar as referências e os diálogos intelectuais mantidos com as experiências nacionais e internacionais, crité-rios considerados decisivos na formação dos novos discursos e métodos empreendidos, especialmente àqueles que contribuíram à construção, entendimento e afirmação do conceito de \"patrimônio ambiental urbano\", utilizado pelos agentes preservacionistas a partir desse período. / This work has as its goal to analyse the inventory works of the heritage of the city of São Paulo, performed between 1974 and 1978, which had as objective to identify real estates to be preserved in the Downtown and East areas of the city. While reviewing these works, it was persued to comprehend them as a fundamental part of the new ap-proaches in the field of heritage preservation in development in the São Paulo state capital, concearning either the concepts and the methodologies adopted in them. The inventories, as well as the effective actions for the preserva-tion of the selected properties, are taken as part of a new sensitivity towards the city patrimony, so far in a quick transformation process due to demolishings caused by verticalization or by the implantation of great road construc-tions or of infrastructure, like subway stations. The focus is to establish the logical aspects between these studies and the practices of urban planning and the regulation of the use of the ground performed in this period. The criteria and concepts defended by the focused inventory agents were studied, trying to detect the references and dialogues kept with national and international experiences, intellectual dialogues considered decisive in the formation of new criteria, speeches and undertaken methods, specially those that contributed to the construction and stating of the concept of \"urban environmental heritage\", used by preservational agents from this period on.

Denna uppsats rör sig inom fältet kritiska kulturarvsstudier och fokuserar på svensk utförselreglering av kulturhistoriska föremål genom tiderna. Utgångspunkten ligger i 2014 års omformulering av kulturmiljölagens portalparagraf, vilken numera inkluderar mångfaldsmål. Kulturmiljölagens utförselreglering (reglerad i 5:e kapitlet), som inte uppdaterades samtidigt, är tänkt att läsas mot bakgrund av de inledande bestämmelserna. Eftersom den sedan tidigare uppfattats vila på ålderdomliga nationalistiska värdegrunder, uppstod frågan ifall det fanns en diskrepans i förhållande till de nya målen. För att hitta svar söker sig uppsatsen tillbaka till utförselregleringens formativa moment samt förändring från 1920-talet och framåt och sätter detta i relation till nuvarande kulturpolitiska mål och kulturvård i dagens samhälle. Motiv till utförselreglering men också vilka föremålstyper som skyddats genom tiderna har studerats, analyserats och jämförts kvalitativt. Källmaterialet utgörs framförallt av lagtexter, statliga offentliga utredningar och propositioner. Undersökningen visar att lagen från att ha skyddat ett fåtal föremåltyper succesivt har utökats och detaljerats både vad gäller föremålstyp, ålder, värde och ursprung. Med den högre graden särskiljning och utpekande följer problematik kring vad som räknas in och inte. Vissa traditionellt högt värderade föremålstyper och perioder har skyddats hela tiden medan andra mindre värderade konsekvent har uteslutits, trots långt gånga diskussioner om en mer inkluderande lagstiftning redan i tidiga förarbeten. Den breddade synen kring vad som är bevarandevärt, vilken kan skönjas i museers nutida insamlingspolicys, återspeglas inte i lagtexten. Istället har tydliga ekonomiska, kulturella, etniska och åldersmässiga hierarkier skapats. Flytt från en ursprunglig historisk miljö till en annan plats i Sverige kan orsaka skador på kulturarvet som är större än de skador som kan uppstå om ett föremål som redan flyttats från sin ursprungliga miljö istället flyttas utomlands, något som ignoreras i lagtexten. Lagen utgår ifrån att vissa föremål är svenska folkets egendom och att nationen Sverige är en trygg, ursprunglig och naturlig miljö för dem trots att motsatsen ofta har bevisats. En paradox skönjas i det faktum att vanskötsel och förvanskning av värdefulla och utförselskyddade kulturföremål inte är olagligt, så länge föremålet stannar innanför landsgränsen. De kulturpolitiska målen har alltsedan 1970-talets slut påverkat de uttalade motiven till utförsellagstiftningen. Eftersom ålderdomliga värdegrunder och normer, däribland en hel del nationalistiska sådana, där svensk kultur ses som tydlig avgränsad, högtstående och suverän, fortfarande lyser igenom i utförsellagstiftningen, tydliggörs tendensen till en retorisk men inte grundläggande förändring inom kulturarvssektorn. Hypotesen om att kapitel 5 fortfarande står på en grund av nationalistiska värderingar, nationell protektionism och nationellt identitetsskapande kan därmed sägas stämma. / This paper is located in the field of critical heritage studies and focusses on Swedish cultural heritage law and the export control of moveable heritage objects. The starting point for the research lies in the 2014 redrafting of the opening section of the cultural heritage law, which for the first time includes objectives relating to pluralism and diversity. Export control (which is regulated in the 5th chapter of the cultural heritage law), was not updated at the same time, but it is nevertheless intended to be read in the light of the preliminary provisions. Since chapter 5 previously was perceived to rest on outdated nationalistic values, the question arise as to whether there is a discrepancy in relation to the new objectives that were formulated in 2014. In order to address the question the study looks back at the formative moments and change of the export control regulations from the 1920s onwards and relates this to current cultural policy objectives and goals of conservation. The motives for export control and the type of objects protected through the ages are analysed and compared qualitatively. The source material primarily consists of legal documents, state government investigations and government bills. The study shows that the law gradually changed from protecting a few object types to become more expansive and detailed in terms of the type of artifact and it´s age, value, and origin. This increased degree of segregation and designation leads to concerns relating to what is included and what is not. Some traditionally highly valued object types and periods have continued to be protected whilst others are consistently less valued and excluded, despite ongoing discussions about the need for a more inclusive legislation since the early preparatory work. The broadened idea about what is worth preserving, which can be seen in the contemporary collection policies of museums, is not reflected in the legislation. Instead evident economic, cultural, ethnic and age hierarchies have been created. The law ignores the fact that moving an artifact from its original historical setting to another location in Sweden can cause greater harm than moving an object that has already been moved from its original location overseas. Instead the law assumes that certain objects are the property of the Swedish people and that the nation of Sweden is a safe, original and “natural” environment for them, despite the fact that the opposite often proves to be the case. A paradox is evident in the fact that the mismanagement and distortion of valuable artifacts that are protected against export is not illegal, as long as the object stays inside the borders of Sweden. Cultural policy objectives have, since the late 1970s, influenced the stated rationale for cultural heritage law and export legislation. Since outdated values and standards, including numerous nationalistic ones, where Swedish culture is seen as being distinct, high-cult and sovereign, still shines through in the export legislation, it is clear that there is a tendency to a rhetorical but not a fundamental change in parts of the cultural heritage sector, including the legislative context. The hypothesis that chapter 5 is still underpinned and characterised by nationalistic values, national protectionism and the creation of national identity can thus be said to be proven.

Esta dissertação tem por objetivo a investigação dos trabalhos de inventário do patrimônio da cidade de São Paulo, realizados entre os anos de 1974 e 1978, que tinham o objetivo de identificar imóveis a serem preservados na Área Central e na Zona Leste da cidade. Procurou-se compreender estes trabalhos como parte integrante das novas abor-dagens no campo da preservação do patrimônio que estavam em gestação na capital paulista, tanto no que diz respei-to aos conceitos quanto às metodologias neles adotados. Os trabalhos de inventário, assim como, as ações efetivas para a preservação de imóveis são compreendidos como parte de uma nova sensibilidade em relação ao patrimônio da cidade, então em rápido processo de transformação em decorrência das demolições advindas da verticalização ou da implantação de grandes obras viárias e de infra-estrutura, como a implantação do metrô. Procura-se estabelecer os nexos entre esses estudos e as práticas de planejamento urbano e de regulamentação do uso do solo realizados no período. Foram investigados os critérios e conceitos defendidos pelos agentes dos inventários focalizados, procuran-do-se detectar as referências e os diálogos intelectuais mantidos com as experiências nacionais e internacionais, crité-rios considerados decisivos na formação dos novos discursos e métodos empreendidos, especialmente àqueles que contribuíram à construção, entendimento e afirmação do conceito de \"patrimônio ambiental urbano\", utilizado pelos agentes preservacionistas a partir desse período. / This work has as its goal to analyse the inventory works of the heritage of the city of São Paulo, performed between 1974 and 1978, which had as objective to identify real estates to be preserved in the Downtown and East areas of the city. While reviewing these works, it was persued to comprehend them as a fundamental part of the new ap-proaches in the field of heritage preservation in development in the São Paulo state capital, concearning either the concepts and the methodologies adopted in them. The inventories, as well as the effective actions for the preserva-tion of the selected properties, are taken as part of a new sensitivity towards the city patrimony, so far in a quick transformation process due to demolishings caused by verticalization or by the implantation of great road construc-tions or of infrastructure, like subway stations. The focus is to establish the logical aspects between these studies and the practices of urban planning and the regulation of the use of the ground performed in this period. The criteria and concepts defended by the focused inventory agents were studied, trying to detect the references and dialogues kept with national and international experiences, intellectual dialogues considered decisive in the formation of new criteria, speeches and undertaken methods, specially those that contributed to the construction and stating of the concept of \"urban environmental heritage\", used by preservational agents from this period on.

[pt] Esse trabalho investiga o papel da descoberta de produto na demanda por jogos eletrônicos. Nós mostramos que o padrão de vendas para jogos eletrônicos é bastante variado, com alguns jogos tendo suas vendas imediatamente depois de seus lançamentos, e outros com caldas de venda maiores. Para entender essas diferenças nós propomos um modelo de demanda em que consumidores são periodicamente informados sobre a existência de um jogo e exploramos o padrão de vendas que isso implica. Em seguida aplicamos o modelo aos dados usando dados de preços e vendas da plataforma digital Steam e dados e busca online do google trends. Nossos resultados sugerem que vendas três meses depois do lançamento são em média metade do que seria caso consumidores tivessem informação completa. / [en] This paper investigates the role of product discovery in the demand for video games. We show that the lifetime sales patterns for video games vary widely, with some games selling most of their units in the first months after launch and others having longer tails. To understand these differences we propose a demand model in which consumers are periodically informed about the existence of a game and explore the lifetime sales patterns that this implies. We then take it to the data using price and sales figures from the Steam digital platform and web search figures from google trends. Our results imply that sales three months after launch are on average half of what they should be were consumers fully informed.

Après les secteurs de la musique et de l’audiovisuel, c’est au tour du monde de l’édition de connaître sa révolution numérique. Le bon fonctionnement des industries culturelles repose notamment sur une législation ancienne en matière de propriété intellectuelle : le droit d’auteur. Celui-ci est appréhendé en économie comme le garant d’un équilibre subtil entre le maintien de l’incitation à la création des auteurs et la bonne diffusion de leurs œuvres. L’irruption du numérique bouleverse l’environnement économique dans lequel s’applique le droit d’auteur et en modifie donc les effets traditionnels. Cette thèse de doctorat en économie vise ainsi à saisir ces nouvelles conséquences sur le marché du livre afin d’évaluer la pertinence du droit d’auteur dans sa forme actuelle ainsi que celle de son éventuelle réforme. L’analyse des deux versants du droit d’auteur montre qu’il ne génère pas les mêmes effets dans l’univers du livre numérique que dans celui du papier : malgré l’abaissement des contraintes économiques, subsiste la rigidité du cadre juridique qui ne permet ni l’assurance du maintien de la rémunération des auteurs ni le saisissement des opportunités de diffusion du numérique. C’est pourquoi nous nous interrogeons sur l’avenir du droit d’auteur en proposant à la fois quelques principes généraux pour la forme future d’un droit d’auteur efficace et un exemple de disposition de droit d’auteur renouvelé qui permettrait de se saisir des opportunités ouvertes. / After the music and the audiovisual industries, it is the turn of the publishing world to start its digital revolution. The proper functioning of the cultural industries is based on a specific and old intellectual property law: the copyright. Economics usually identifies it as the guarantor of a subtle balance between the incentive for the creation of authors and good dissemination of their works. The emergence of digital technology modifies the economic environment in which copyright applies and therefore alters its traditional effects. This doctoral thesis in economics aims at seizing such new consequences on the book market in order to assess the relevance of copyright in its current form and its possible revision. The analysis of the two aspects of copyright shows that it does not produce the same effects in the market of digital books than in the traditional one: despite the decrease of economic constraints, the current legal framework remains rigid and challenges both the stability of author’s remuneration and the sound management of the dissemination opportunities on the digital book market. That is why we discuss some general principles applicable to an effective copyright and suggest some guidelines for the renewal of the copyright regulation allowing to seize opportunities offered by the digital technology both in terms of encouraging the creation and distribution of books.

Ayant pour ambition de « rendre la parole » aux populations déshéritées de la ville de Pikine, banlieue de la capitale sénégalaise, Débat local est l’émission politique interactive de la radio communautaire Air’Jeunes fondée à la fin des années quatre-vingt-dix à l’initiative des associations de jeunes de la région dakaroise avec le soutien d’une grande ONG canadienne. Cette thèse étudie les usages de cette émission par les citoyens locaux dans les trois domaines principaux où les militants et promoteurs de la démocratie participative s’attachent à développer des dispositifs d’action citoyenne visant à corriger les défauts et insuffisances du gouvernement représentatif au regard de l’idéal démocratique : la place des citoyens dans le système de production des biens publics locaux, les relations symboliques entre les élus et les électeurs et l’espace public de débat sur les politiques publiques et l’action des représentants. À partir d’une étude de terrain à caractère ethnographique menée en trois séquences de 2006 à 2011 dans les studios de la radio et sur les lieux d’écoute de l’émission, il apparaît que si l’émission a permis à des formes de contestation du pouvoir local de s’exprimer publiquement sans médiation, la réalisation du projet originel de l’émission s’est heurtée à un contexte local défavorable marqué par l’absence de moyens donnés aux élus locaux pour exercer leurs compétences récemment décentralisées et par un journalisme politique local polarisé autour de deux formes dominantes laissant peu de place au débat argumenté : le journalisme antagonique des grands groupes privés et de la petite presse du secteur informel et le journalisme légitimiste du groupe public. En dépit de leur attachement militant au projet, les responsables de la radio et les animateurs de l’émission dont les origines sociales et les formations scolaires les tenaient très éloignés des formes de consommation des biens informationnels des Pikinois ainsi que des activités des associations informelles de quartier très vivantes dans la banlieue dakaroise ont progressivement cédé aux forces d’attraction qu’exerçaient les radios privées ordinaires sur leur vision de leur avenir professionnel personnel et, corrélativement, sur leur pratique journalistique. / Aspiring to “give a voice” to the poor people of Pikine, a suburb of the Senegalese capital, “Local Debate” is an interactive political programme of the community radio Air’Jeunes, created in the late nineties at the initiative of youth associations in the Dakar region with support from a major Canadian NGO. This thesis explores the use of this programme by local citizens in three main areas where activists and proponents of participatory democracy are committed to developing citizen action mechanisms, aiming to correct the defects and shortcomings under the democratic ideal of representative government: the role of citizens in the production system of local public goods, symbolic relationships between elected leaders and electors, and the public space for debate on public policies and the actions of representatives. Based on an ethnographic field study conducted in three phases between 2006 and 2011 in the radio production studio and the show’s listening sites, it appears that, even if the programme has enabled forms of contestation of local authority to be voiced publicly without mediation, the realisation of the original project faced an unfavourable local context marked by the lack of resources given to local officials to exercise their newly decentralised powers and a local political journalism polarised around two dominant forms, leaving little room for debate: the antagonistic journalism of big private groups and small informal press, and the legitimising journalism of the public service group. Despite their militant commitment to the project, radio staff and hosts whose social origins and educational backgrounds distance them from the forms of consumption of information goods and activities of Pikine’s inhabitants, as well as the dynamic activities of informal neighbourhood associations in the suburbs of Dakar, have gradually yielded to forces of attraction exercised by mainstream private radios, influencing their vision of their professional future and, in turn, their journalistic practice .