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Id 119
Author McCarthy, K., F.; Ondaatje, E., H.; Zakaras, L., ; Brooks, A.,
Title Gifts of the muse: Reframing the debate about the benefits of the arts.
Reference
McCarthy, K. F., Ondaatje, E. H., Zakaras, L., y Brooks, A. (2004). Gifts of the muse: Reframing the debate about the benefits of the arts. Santa Monica, CA: RAND Corporation.

Link to article https://www.rand.org/content/dam/rand/pubs/monographs/2005/RAND_MG218.pdf
Abstract Understanding the benefits of the arts is central to the discussion and design of policies affecting the arts. This study addresses the widely perceived need to articulate the private and public benefits of involvement in the arts. The findings are intended to engage the arts community and the public in a new dialogue about the value of the arts, to stimulate further research, and to help public and private policymakers reach informed decisions.

Results:


Summary:



This study addresses the widely perceived need to articulate the private and public benefits of involvement in the arts. for exam- ple the multiplier effect driving the direct economic benefits of the arts to local communities is essentially the same whether what is producing the effect is the arts or some other type of economic activity high-technology industry for instance. contemporary critics are rarely interested in the aesthetic experience that lies at the heart of every encounter with a work of art tending to focus instead on the political intrinsic benefits: the missing link what the artist conveys the history of aesthetics is in part a long argument about what art expresses an ar- gument that oscillates between two poles. personal factors come into play in this theory in two ways: the individuals personal skills and interests help shape his or her perceptions of the lessons he or she draws from the social influences and affect his or her ability to translate these beliefs into behavioral intentions and then to act on these intentions. in other words the arts produce economic benefits not only for those who are directly involved in the arts as producers or consumers but also for those who are not directly involved in the artsthrough the multiplier effect.


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