Visualizzazione post con etichetta tyler cowen good and plenty. Mostra tutti i post
Visualizzazione post con etichetta tyler cowen good and plenty. Mostra tutti i post

sabato 15 settembre 2018

5. Toward a Beautiful and Liberal Future

5. Toward a Beautiful and Liberal Future
Note:consigli di policyla bellezza va scoperta o va conservata?proviamo a farci la stessa domanda pensando alla verità scientifica.se va scoperta meglio aprire molte fonti e decentralizzare il processoil sussidio cpn agevolazione fiscale è un buon compromrsdo tra purismo critico e purismo economicole decisioni culturali + importanti: internet copyright.il sussidio funziona quando il panorama è opaco e il divario tra èlites e massa è chiaro. oggi qs condizioni nn ci sono concentrare i sussidi dirrtti: si evita la polverizzazione e si responsabilizza l'entesussidiare anche i for profit se meritevolisussidi e innovazoone? affidati alla discrezionalità di un singolo responsabilela trasparenza nn giova ai funzoonari delle belle arti devono agire in modo indipendente librri da pressioni in uns privacy garantita... la trasparenza fa temere i passi falsi e i passi falsi sono necessari nel processo di scoperta

Note | Page: 133
5@@@@@@@@@@

Yellow highlight | Page: 133
1. The best arts policy stimulates creative discovery
Note:UN OBBIETTIVO SENSATO

Yellow highlight | Page: 133
This implies a strong economy, numerous and diverse sources of decentralized funding
Note:COSA OCCORRE

Yellow highlight | Page: 133
U.S. policy should not be designed to target any narrow notion of art.
Note:COSA EVITARE

Yellow highlight | Page: 133
policy successes are accidents.
Note:MOLTO SPESSO

Yellow highlight | Page: 133
The American system of indirect funding
Note:NN SODDISFA NÈ L ESTETA NÈ L ECONOMISTA MA INTERMEDIA BENE

Yellow highlight | Page: 133
Americans should reject the image of their country or their government as lacking in concern for the arts.
Note:EPPURE C È SEMPRE L ILLUSIONE DEL PRESTIGIO

Yellow highlight | Page: 134
copyright, the Internet, and telecommunications.
Note:I SETTORI CHE RICHIEDONO DECISIONI INPORTANTI

Yellow highlight | Page: 134
a system of compulsory licensing fees, for online music, can improve market competition.
Note:LO STRUMENTO CONSIGLIATO..IN ATTESA DI SVILUPPI..LICENZE A SOPIFY E VITA DURA X IL DOWNLOAD SU YT

Yellow highlight | Page: 134
Direct subsidies have worked best when accountability is absent, when the marketplace is failing to spot many of the best artists,
Note:QUANDO RICORRERE AL DIRETTO

Yellow highlight | Page: 134
we could restore the full ability of the NEA to make grants to individual artists. Currently NEA funds often go to large and well-established art institutions, where they have less of a chance of making a difference.
Note:COME MIGLIORARE IL SUSSIDIO DIRETTO

Yellow highlight | Page: 135
The NEA should be trying to fund projects that otherwise would perish or never come about in the first place. The NEA should be more like a venture capitalist.
Note:LE BELLE ARTI AMERICANE

Yellow highlight | Page: 135
NEA should be free to assist for-profit artistic enterprises.
Note:Ccccccc

Yellow highlight | Page: 135
Finally, we could relax peer review for many direct subsidies.
Note:SE LA MISSIONE È L INNOVAZIONE IL CONSENSO DI GRUPPO È CONTROPRODUCENTE

Yellow highlight | Page: 135
If these changes should prove politically impossible, it would be best to “play it safe”
Note:SOLUZIONE ALTERNATIVA...PRESERVARE

Yellow highlight | Page: 135
This would suggest a concentration of effort on preserving and showcasing the artistic heritage of mankind.
Note:CCCCCCCCCC

Yellow highlight | Page: 135
The value of “accountability” is often counterproductive when applied to direct subsidies for art.
Note:BUROCRAZIA E ARTE NN FUNZIONANO

Yellow highlight | Page: 136
For instance, tenured college professors are not (usually) accountable to university administrators for the content of their ideas.
Note:ESEMPIO DI INCOMPATIBILITÀ

Yellow highlight | Page: 136
an ethic of academic freedom will best
Note:Ccccccc

Yellow highlight | Page: 136
Supreme Court justices are not accountable for the content of their decisions,
Note:ALTRO ESEMPIO

Yellow highlight | Page: 136
direct subsidies stand the greatest chance of making a positive difference when they are insulated from many pressures of accountability.
Note:ALLO STESSO MODO....

Yellow highlight | Page: 136
there are many failures for every success. Too much direct accountability causes the funder to be excessively afraid of failure.
Note:TIPICA SITUAZIONE

Yellow highlight | Page: 136
greater transparency of government policy is not in every way desirable. It may be better not to have too much explicit debate over arts policy, especially if that debate takes place in a centralized forum.
Note:POCO DIBATTITO X NN IMPARIRE CHI DEVE RISCHIARE

Yellow highlight | Page: 137
Which Arguments for Subsidies Remain on the Table?
Note:Tttttttt

Yellow highlight | Page: 137
decentralization and prestige
Note:ARGOMENTI X I SUSSIDI POSTULATI IN PARTENZA

Yellow highlight | Page: 137
The decentralization argument suggested that the government encourage a diversity of funding sources for art.
Note:RIPETIAMO IL PRIMO ARGOMENTO

Yellow highlight | Page: 137
avoiding excess politicization.
Note:UM LATO POSITIVO DELLA DECENTRALIZZAZIONE

Yellow highlight | Page: 137
the decentralization argument for indirect subsidies avoids or at least deflects many of the critiques of government involvement in the arts.
Note:ALTRO LATO POSITIVO

Yellow highlight | Page: 137
indirect subsidies bring only a minimum of outside government interference.
Note:ALTRO VANTAGGIO

Yellow highlight | Page: 137
The libertarian critique claims that individuals should not be forced to pay for arts they do not approve of.
Note:SUSSIDIO IND AMMORTIZZA LA CRITICA LIBERTARIA....PERCHÈ UN CATTOLICO DEVE FINANZIARE MAPPLETHORPE?

Yellow highlight | Page: 138
government policies that promote prosperity also boost the arts,
Note:IL SUSSIDIO LIBERTARIO X ECCELLENZA È DI TIPO INDORETTO

Yellow highlight | Page: 138
if desired, the libertarian view could be superimposed on the policy recommendations of this book,
Note:COMPATIBILITÀ

Yellow highlight | Page: 138
Finally, the decentralization argument has the greatest chance of standing up to the “What about the Haitians?” critique.
Note:ALTRO ELEMENTO POSITIVO

Yellow highlight | Page: 138
Why should we prefer more opera performances to this lifesaving alternative?
Note:LA DOMANDA DEL CRISTIANO

Yellow highlight | Page: 139
At the margin we still have the choice of redirecting funds away from nonprofits and toward poor Haitians. The overall comparison, however, has changed. The comparison is no longer “opera performance versus food for Haitians.”
Note:UN CFR MENO TRAUMATICO

Yellow highlight | Page: 139
We see also that wealthy, decentralized societies are in the best position to digest and assist immigrants. Immigration is the most effective antipoverty program. The migrants not only enjoy higher standards of living; they send billions of dollars back home in the form of remittances. The scientific discoveries of wealthy, decentralized societies also redound to the benefit of poorer regions of the world.
Note:ARGOMENTO PIÙ GENERALE X CONIUGARE DECENTRALIZZAZIONE E POVERTÁ

Yellow highlight | Page: 139
What Aesthetic Claims Underlie the Decentralization Argument, or What Is Art?
Note:Ttttttttttttt

Yellow highlight | Page: 139
The decentralization argument sidesteps many difficult and perhaps unresolvable questions about aesthetics.
Note:IL VANTAGGIO FORSE PRINCIPALE DEI SUSSIDI INDIRETTI....NESSUNO GIUDICA

Yellow highlight | Page: 139
the decentralization argument does not require an explicit account of why the arts are special.
Note:L OSTACOLO SLTATO

Yellow highlight | Page: 140
Direct subsidies cannot handle these questions with equal finesse.
Note:PARAGONE

Yellow highlight | Page: 140
When the NEA was created in 1965, one conservative representative, H. R. Gross of Iowa, offered an amendment
Note:LA PROVOCAZIONE

Yellow highlight | Page: 140
expanded the definition of art to include belly dancing, baseball, football, golf, tennis, squash, pinochle, and poker.
Note:IERI UNA PROVOCAZIONE...OGGI

Yellow highlight | Page: 140
Clothes, at least in their fine form, are arguably a form of art.
Note:INFATTI

Yellow highlight | Page: 140
The Metropolitan Museum of Art has shown Versace dresses and Cartier jewlery,
Note:Cccccc

Yellow highlight | Page: 140
Furthermore, attractive clothes yield external benefits for individuals other than the wearer.
Note:AVANTI CON L ANALOGIA

Yellow highlight | Page: 140
Nonetheless it is rarely argued that the government should subsidize the sale of attractive clothes.
Note:MISTERO

Yellow highlight | Page: 141
The question remains why “culture” should receive different policy treatment than clothing.
Note:RIPETIZIONE DEL MISTEEO

Yellow highlight | Page: 141
Similarly, the government might subsidize personal looks. The government could provide direct or indirect assistance to the producers of skin creams, plastic surgery, Rogaine, and personal deodorant.
Note:ALTRE PROVOCAZIONI

Yellow highlight | Page: 141
Sports are, first and foremost, a form of drama.
Note:ANCORA

Yellow highlight | Page: 141
Governments do, of course, support sports through stadium subsidies at the state and local levels. But the primary argument for these subsidies is economic in nature, to stimulate community development.
Note:SUSSIDI ALLO SPORT

Yellow highlight | Page: 141
It is commonly said that institutions such as the NEA bring the arts to democracy, but direct subsidy partisans are less keen to bring democracy to the arts.
Note:LA DEMOCRAZIA A SENSO UNICO

Yellow highlight | Page: 142
When it comes to dreaming, it may be said that every individual is an artist. Dreams tell stories, involve metaphor and allegory, and are often quite beautiful.
Note:SIAMO TUTTI ARTISTI

Yellow highlight | Page: 142
Of course only a single individual is allowed in the theater
Note:IRRILEVANTE

Yellow highlight | Page: 142
A variety of harmless drugs stimulate dreaming or stimulate the ability to remember one’s dreams.
Note:SUSSIDI ALLA DROGA?

Yellow highlight | Page: 142
along the lines of a Marxian or Trotskyite fantasy,
Note:L UTOPIA REALIZZATA GRAZIE AI SOGNI

Yellow highlight | Page: 142
We might go further and postulate that sex is akin to art. It has drama, beauty, and enriches our lives.
Note:ALTRO CASO

Yellow highlight | Page: 142
“A pretty girl naked is worth all the statues in the world.”
Note:G HARDING

Yellow highlight | Page: 142
And what about toys?
Note:ALTRO CASO

Yellow highlight | Page: 142
Most young children are deeply concerned with matters aesthetic. They are fascinated by colors, shapes, sounds, and textures. Most of all, they love toys.
Note:UN PUBBLICO PARTICOLARE

Yellow highlight | Page: 142
Yet it is rarely suggested that the government subsidize the purchase, production, or invention of toys.
Note:Ccccccccc

Yellow highlight | Page: 143
For whatever reason, the aesthetic behind toys simply does not count as an argument for toy subsidy.
Note:Cccccccc

Yellow highlight | Page: 143
Jean Dubuffet perhaps went furthest in challenging the dividing line between traditional forms of high art and the aesthetic experiences of everyday life.
Note:CHI SI È SPINTO PIÙ IN LÀ

Yellow highlight | Page: 143
The construction of artistic aura places art in the hands of academicians and prestige seekers, where Dubuffet believed it does not belong.7
Note:L AURA COME NEMICO

Yellow highlight | Page: 143
The decentralization argument does not require such a strong skepticism about aesthetic hierarchies; nonetheless Dubuffet’s position yields a further boost to the case for the primacy of indirect subsidies.
Note:IL SUSSIDIO INDIRETTO SODDISFA ANCHE LO SCETTICO

Yellow highlight | Page: 143
take seriously the questions of why we do not subsidize toys, dreams, sports, sex, and clothes, among other manifestations of the aesthetic, rather than just subsidizing high art.
Note:Cccccccccc

Yellow highlight | Page: 144
The Prestige Argument
Note:Ttttttttttt

Yellow highlight | Page: 144
The decentralization argument has suggested the primacy of indirect subsidies over direct subsidies.
Note:CONCLUSIONE

Yellow highlight | Page: 144
prestige argument might overturn this conclusion,
Note:DOMANDA?

Yellow highlight | Page: 144
First, many individuals, especially in the United States, enjoy living under a regime where government does not provide much direct support to the arts.
Note:DOVE STA IL PRESTIGIO?

Yellow highlight | Page: 144
Polls on this issue indicate mixed results.
Note:SONDAGGIO

Yellow highlight | Page: 144
Second, and more conceptually, societies may overinvest in prestige and auras.
Note:ALTRO MOTIVO CONTRO

Yellow highlight | Page: 144
individuals spend too much time and energy investing in relative status.
Note:VEDI IL LAVORO DI ROBERT FRANK

Yellow highlight | Page: 145
Elites may use the aura of high art to exclude outsiders and to reinforce social distinctions.
Note:CON IL PRESTIGIO...I PROLETARI FINANZIANO L ELITE...VEDI OPERA

Yellow highlight | Page: 145
In other contexts we argue whether we should tax such behavior, not whether we should subsidize it. We
Note:LE CONCLUSIONI DI FRANK

Yellow highlight | Page: 146
Arts policy would bring less prestige if it were viewed explicitly in prestige-producing terms. It is not very prestigious to seek prestige.
Note:NOTA L IRONIA

Yellow highlight | Page: 146
Agreeing to Disagree?
Note:Ttttttt POICHÈ IL DIBATTITO È IMPOSSIBILE SERVE AUTOINGANNARSI E UNA POLICY DI SUSSIDI INDIRETTI SERVE ALLA BISOGNA

Yellow highlight | Page: 146
the initial question of why it is so hard to find agreement about arts policy. That is, why do people not recognize their own fallibility
Note:TORNIAMO A BOMBA

Yellow highlight | Page: 146
meta-rationality
Note:XCHÈ NN ANDIAMO D ACCORDO?

Yellow highlight | Page: 146
Arts policy is not just about matters of fact. Arts policy is also about the aesthetic. It is about what kind of state we find beautiful or appealing.
Note:L OGGETTO DELLA DISPUTA PESA

Yellow highlight | Page: 146
Meta-rationality does not apply to matters of taste.
Note:GUSTI

Yellow highlight | Page: 146
if somebody tells me I like ketchup when I do not, I will not listen,
Note:IL GUSTO....NN È SCIENZA

Yellow highlight | Page: 147
If I prefer the Beatles and you prefer The Rolling Stones, how should we proceed?
Note:DILEMMA

Yellow highlight | Page: 147
In part we hold political views, and adhere to an aesthetic of the state, to feel good about ourselves and about our identifications.
Note:È UNA QUESTIONE POLITICA PIÙ CHE RAZIONALE

Yellow highlight | Page: 147
We want to feel pride in our loyalties.
Note:Cccccccc

Yellow highlight | Page: 147
People typically do not wish to put their sources of pride up for rational debate.
Note:Ccccccc

Yellow highlight | Page: 147
Our need for aura and prestige makes us more likely to shut out critics.
Note:DALLA PADELLA NELLA BRACE

Yellow highlight | Page: 147
“feel good about the elevating powers of art”
Note:AURA A SINISTRA

Yellow highlight | Page: 147
“patriotism and virtue”
Note:AURA A DESTRA

Yellow highlight | Page: 147
Defenders of each aesthetic instinctively sense the fragility of that mystery
Note:GIÀ DIBATERE È UNA BESTEMMIA

Yellow highlight | Page: 147
So instead of listening, each side reinterprets the debate in a way to feel better about its own point of view.
Note:QUEL CHE SUCCEDE

Yellow highlight | Page: 148
Arguments for decentralization and indirect subsidies may, of course, be based on illusion and self-deception as well.
Note:ALTRA UTILITÀ DEL DECENTRAMENTO

Yellow highlight | Page: 148
Arts and the Liberal Order: What Is Culturally Central?
Note:Tttttt

Yellow highlight | Page: 150
values as culturally central
Note:QUALI VALORI DOVREBBE ENFATIZZARE UNA CIVILTÀ LIBERALE?

Yellow highlight | Page: 150
Innovation
Note:1

Yellow highlight | Page: 150
Entrepreneurship
Note:2

Yellow highlight | Page: 150
Charity and Generosity
Note:3

Yellow highlight | Page: 151
Poetry and Philosophy Revisited
Note:Ttttttttt

Yellow highlight | Page: 151
the “longstanding quarrel between philosophy and poetry,” as Plato called it?
Note:OGGI COME SIAMO MESSI? L ARTE CI FA BENE O MALE?

Yellow highlight | Page: 151
here poetry comes under the scrutiny of philosophy.
Note:GIÀ SOLO IL FATTO CHE HO SCRITTO UN SAGGIO...

Yellow highlight | Page: 152
Economics—in this context another form of philosophy—was added to the mix to weaken the arguments for investment in the aesthetic at all costs.
Note:IN PIÙ METTIAMOCI ANCHE L ECONOMIA...

Yellow highlight | Page: 152
Poetry (i.e., the arts) is in fact rarely discussed directly in this book. Instead I discuss why some philosophies about poetry should shape arts policy
Note:MA SE ANDIAMO PIÚ A FONDO...

Yellow highlight | Page: 152
In a decentralized system, much of the aesthetic will be furtive and hidden to many outside observers, rather than obvious.
Note:UN SISTEMA CHE EVITA LA LITE INFINITA...UN SISTEMA CHE RICOMPRENDE ANCHE CONCEZIONI COME QUELLA DI DUBUFFET

Yellow highlight | Page: 152
“True art always appears where we don’t expect it, where nobody thinks of it or utters its name. Art detests being recognized and greeted by its own name. It immediately flees. Art is a character infatuated by the incognito.”
Note:DUBUFFET...L ARTE AMA L INCOGNITO

Yellow highlight | Page: 152
Rather than subordinating poetry to philosophy, at most I have subordinated the public conception of art to philosophy.
CONCLUSIONE TORNANDO A BOMBA....LA TESI X IL SUSSIDIO INDIRETTO È IN FONDO ANCHE UNA TESI ESTETICA: LA VERA ARTE È INCOGNITA E VA SCOPERTA

mercoledì 12 settembre 2018

TROPPO POCA DISEGUAGLIANZA?

TROPPO POCA DISEGUAGLIANZA?
Solo il 5% della ricchezza prodotta dall'innovatore finisce nelle sue mani, il resto beneficia il consumatore!
NBER.ORG
NBER Working Paper No. 10433Issued in April 2004NBER Program(s):Economic Fluctuations and Growth, Productivity, Innovation, and Entrepreneurship

venerdì 7 settembre 2018

1. Warring Perspectives

1. Warring Perspectives
Note:l arte va finanziata? 2 partiti che nn tiescono a capirsi. xchè?meglio sussidi diretti o indiretticultura liberale: il valore della diversitàconflitto tra valore ec. e valore estetico: l esperto è un consumatore qlnq?l economista deve demistificare il critico x trattarlo come un consumatore qlqn... x qs è tanto odiatoguardare ai picchi o giudicare dalla varietà dei picchispecializzazione e qualità spacchettatal economia nn muore mai x' è l unico approccio che consente facili comparazionil estetico nn considera i costi opportunità l ec. nn considera valori diversi dalle preferenzeil dogma della preferenza nn è condiviso da tutti. meglio rassegnarsipreferenze poco definite: punto debole dell economiaoccorre una teoria etica.. la ricchezza è solo una proxy x altri valori e nn sempre funzionaeconomista: l arte sussidiata crea esternalità?... esteta: l arte sussidiata crea bellezza?ARGOMENTI PRO SUSSIDIO:1 l argomento dello sviluppo: l arte attira il turismo e bla bla bla... vale x tutte le attività... moltiplicatore e esternalità sono concetti diversi... venezia e il valore della tradizione. argomento cassato2 l argomento del "ci costa poco": a testa... argomento cassato3 largomento della decentralizzazione: il talento è nascosto quanto diffuso vonviene dec. x scoprirlo (hayek). i sussidi possono aiutare il mercato a decentrarsi4 l argomento del prestigio: l orgoglio nazoonale è un esternalità dell arte... i simboli contano4 sembre l argomento sotteso ai finanziamenti centrali: il pop crea + esternalità ma non viene sussidiato... i musei sono un altro segno... l arte fa anche molti danni

Note | Page: 1
1@@@@@@@@@@@@@@@@@@ ricodifica al segnalibro

Yellow highlight | Page: 1
They lament how American artists are underfunded and undervalued by the state, relative to their western European counterparts.
Note:X LA LAMENTELA

Yellow highlight | Page: 2
More significant questions concern the use of our tax system to support nonprofits, creating a favorable climate for philanthropy, the legal treatment of the arts, the arts in the American university, and the evolution of copyright law.
Note:x I PROBLEMI IN CAMPO

Yellow highlight | Page: 2
The central issue is not, as many people suppose, how much money a given governmental agency should receive. It is hard to generate consensus on a question of this kind. Instead a more fruitful inquiry involves what general steps a government can take to promote a wide variety of healthy and diverse funding sources for the arts. For instance should we look more toward direct subsidies or indirect subsidies?
Note:x LA FALSA QUESTIONE E LA DOMANDA MIGLIORE

Yellow highlight | Page: 3
The American model arguably mobilizes government more effectively than do many of the European models for arts support. We are further from artistic laissez-faire than is commonly believed to be the case.
Note:x IPOTESI DA VERIFICARE

Yellow highlight | Page: 3
The American model encourages artistic creativity, keeps the politicization of art to a minimum, and brings economics and aesthetics into a symbiotic relationship. That being said, the model is not necessarily preferable for all other countries, especially those that trade with the United States and already reap benefits from the American system.
Note:x BENEFIVI MODELLO AMERICANO

Yellow highlight | Page: 3
Insofar as we wish to use direct subsidies, we should restructure them to encourage greater innovation and a greater degree of decentralized support for the arts.
Note:IL PROBLEMA DELLA SCOPERTA

Yellow highlight | Page: 3
critical questions in both policy evaluation and political philosophy.
Note:Ccccccc

Yellow highlight | Page: 3
a liberal vision for beauty and creative human achievement.
Note:IL PUNTO FORTE DELLE ARTI AMERICANE

Yellow highlight | Page: 4
a rich diversity of artistic achievement is compatible with the ideas of cultural centrality and the use of culture to bind a polity together.
Note:UNITI MA DIVERSI...CONTROINTUITIVO

Yellow highlight | Page: 4
Aesthetics and Economics
Note:Ttttttttttt

Yellow highlight | Page: 4
The economic approach seeks to give consumers what they want.
Note:L APPROCCIO ECONOMICISTA

Yellow highlight | Page: 4
Economists measure value in terms of willingness to pay or willingness to be paid.
Note:IL VALORE ECONOMICO

Yellow highlight | Page: 5
The aesthetic approach favors products that will “last the ages.”
Note:IL VALORE ESTETICO

Yellow highlight | Page: 5
Matthew Arnold wrote that “culture is, or ought to be, the study and pursuit of perfection;
Note:UN CASO DI ESTETISMO

Yellow highlight | Page: 5
Under the economic approach, high art is simply another minority taste
Note:L ALTA CULTURA X IL MERCATO

Yellow highlight | Page: 5
American public had more respect for bus drivers and baseball players than for art critics
Note:UNA CONSEGUENZA DELL ECONOMICISMO

Yellow highlight | Page: 6
economics serves as a radical attempt to demystify the perspective of the critic.
Note:ECONOMIA E POPOLO

Yellow highlight | Page: 6
The Problem of Commensurability
Note:Ttttttttt

Yellow highlight | Page: 6
It is difficult to decide whether Shakespeare’s Hamlet is better than his King Lear,
Note:IL DILEMMA DELL ESTETICA

Yellow highlight | Page: 6
How many Gershwin songs sum up to a Shostakovich symphony?
Note | Page: 6
Ccccccc

Yellow highlight | Page: 6
When evaluating a government policy or a cultural era,
Note:COME MISURATE IL SUCESSO...PICCHI? QUANTITÀ? MEDIA?...ecc

Yellow highlight | Page: 6
We care more about the successes than about the fate of every cultural undertaking.
Note:È UN FATTO DEL GIUDIZIO

Yellow highlight | Page: 6
“Which age has produced the best symphony?”
Note:ESEMPIO

Yellow highlight | Page: 7
What if one culture (modernity?) produces lesser creative titans but produces many more of them?
Note:DILEMMA

Yellow highlight | Page: 7
we could judge an era by how good its “one hundred best composers” are, or by the aesthetic worth of its “best five thousand hours of music.”
Note:ALTRO PROBLEMA....COME SI GIUDICA UN PICCO?

Yellow highlight | Page: 7
“How many excellent musical genres does an age have?”
Note:ALTRO CRITERIO LA VERIETÀ

Yellow highlight | Page: 7
We have many talented composers today, in many different musical fields, even though today’s best composer is not the equal of Beethoven.
Note:LA SITUAZIONE OGGI

Yellow highlight | Page: 7
Mozart’s Don Giovanni has musical beauty, terror, comedy, and a sense of the sublime, making it a favorite of opera connoisseurs.
Note:NEI GRANDI DEL PASSATO TROVAVI TUTTO

Yellow highlight | Page: 7
what if consumers draw their comedy from one work, their terror from another, their beautiful music from yet another, and so on?
Note:APPROCCIO ALTERNATIVO DELLA PLAYLIST

Yellow highlight | Page: 7
Yet arguably a world with unbundled qualities is superior, since it allows consumers to pick and choose how much of each quality they want, and from which source.
Note:FORSE È ANCORA MEGLIO

Yellow highlight | Page: 7
Few individuals know much about eighteenth-century culture except for its peaks.
Note:XCHÈ LA NOZIONE DI PICCO S IMPONE

Yellow highlight | Page: 7
The economic approach, whatever its weaknesses, has one major virtue. It makes aesthetic values commensurable, at least in principle.
Note:IL VANTAGIO DELL ECONOMIA

Yellow highlight | Page: 7
So if individuals, taken collectively, are willing to pay $100,000 for a new Haydn recording, and $200,000 for a new Gershwin recording,
Note:ESEMPIO

Yellow highlight | Page: 8
economic approach will be invoked repeatedly to adjudicate disputes.
Note:POPOLARITÀ DELL APPROCCIO ECONOMICO

Yellow highlight | Page: 8
They tend to evaluate regimes in terms of the quality of the art that is produced, without considering the opportunity costs of that art. More and better art is equated with a better society.
Note:IL GIUDIZIO DEL PURO ESTETA HA UN VIZIO

Yellow highlight | Page: 8
The economic approach reflects the view of the common man that art is not everything, or even the most important thing.
Note:Cccccccc

Yellow highlight | Page: 8
It is hard to see why nonpreference values should not be admitted to a broader decision calculus.
Note:L ECONOMISTA COL PARAOCCHI VEDE SOLO LE PREFERENZE...PER LUI NN CI SONO ALTRI VALORI

Yellow highlight | Page: 8
pursuing nonpreference values is religious, mystical,
Note:IL PREGIUDIZIO

Yellow highlight | Page: 9
Economists have long treated merit goods as a kind of “add-on” to standard cost-benefit analysis.
Note:EPPURE GLI STRUMENTI CI SAREBBERO

Yellow highlight | Page: 9
It also requires that noneconomic values be squeezed into the economic framework.
Note:TRADE FF TRA I VALORI

Yellow highlight | Page: 9
The economic approach also performs best when the distribution of wealth is given, preferences are fixed and well defined,
Note:SAPERE BENE QUEL CHE SI VUOLE...SPESSO NELL ARTE NN È COSÌ

Yellow highlight | Page: 10
Often art consumers do not know what they want until it is before them,
Note:Ccccccc

Yellow highlight | Page: 10
The economic method, taken alone, is poorly suited for evaluating such choices.
Note:CONCLUSIONE

Yellow highlight | Page: 10
Even Richard Posner gave up his wealth maximization standard, in response to scathing criticism from Ronald Dworkin.
Note:Cccccccc

Yellow highlight | Page: 10
Wealth may be a useful proxy for other values, such as justice, fairness, happiness, and beauty, but if so (and these connections are not self-evident), we should target these other values directly.
Note:VALORI CON CUI SI RELAZIONA LA RICCHEZZA

Yellow highlight | Page: 10
How Do the Differing Approaches View Subsidies?
Note:Ttttttttttt

Yellow highlight | Page: 12
In the economic framework, the arts should be subsidized only when they produce significant “positive externalities” at the relevant margin.
Note:CASO CLASSICO DI SUSSIDIO

Yellow highlight | Page: 12
arts may improve the social and moral climate
Note:ESEMPIO

Yellow highlight | Page: 12
In contrast, most subsidy advocates start by asking whether art subsidies make our society more beautiful.
Note:ALTRO ESEMPIO

Yellow highlight | Page: 13
It may be better, all things considered, to have a less efficient but more beautiful society.
Note:Ccccccccccc

Yellow highlight | Page: 13
many subsidy advocates subordinate efficiency to the aesthetic, whereas the economist subordinates the aesthetic to the individual preferences
Note:SGARBI

Yellow highlight | Page: 13
Rapprochement?
Note:ttttttrr

Yellow highlight | Page: 13
between the economic and aesthetic perspectives.
Note:RICONCILIAZIONE

Yellow highlight | Page: 13
they might produce agreement on a number of practical questions.
Note:LA SPERANZA

Yellow highlight | Page: 14
The Economic Development Argument
Note:Tttttttt ESTERNALITÀ

Yellow highlight | Page: 14
The arts generate employment, attract tourists, and produce tax revenue.
Note:L ARGOMENTO X IL SUSSIDIO

Yellow highlight | Page: 14
The English composer Henry Purcell was an early proponent of arguments of this kind.
Note:UN PRECEDENTE ILLUSTRE

Yellow highlight | Page: 14
In the preface to his opera The Fairy Queen,
Note:DOVE PARLÒ IN QS TERMINI

Yellow highlight | Page: 15
the arts add value to a region, but a region adds value to the arts.
Note:CI ASPETTIAMO L ARTE IN CITTÀ

Yellow highlight | Page: 15
Most urban economic activity both produces and receives synergistic benefits
Note:VALE X TUTTO

Yellow highlight | Page: 15
but this does not imply that all urban activities require government subsidy.
Note:CONCLUSIONE

Yellow highlight | Page: 15
Second, social benefits are not unique to the arts.
Note:INOLTRE

Yellow highlight | Page: 15
The relevant policy question is, not whether the arts involve some positive externality, but whether the “economic development externality” from the arts is greater than from alternative investments.
Note:LA VERA DOMANDA

Yellow highlight | Page: 15
We should be skeptical of “economic impact” studies that show the importance of the arts to a community.
Note:CONCLUSIONE

Yellow highlight | Page: 16
When we look at economic impact studies for one industry at a time, they all appear to show high benefits.
Note:PURTROPPO X L ARTE

Yellow highlight | Page: 16
“multiplier” effect.
Note:STUDI DA SCARTARE SE PRESENTATI ISOLATAMENTE

Yellow highlight | Page: 16
Silicon Valley is an economic powerhouse. Nonetheless the costs of bidding Silicon Valley into Connecticut would probably exceed the benefits.
Note:ANALOGIA

Yellow highlight | Page: 16
when cities court sports teams, arenas, and arts donations, often they are bidding those resources away from other cities. In this regard the gains of a single city (or country) do not always bring net gains for the world as a whole.
Note:EFFETTO SPIAZZAMENTO

Yellow highlight | Page: 17
Venice therefore has no comparably effective way of investing the money it spends on preservation.
Note:CASI PARTICOLARI

Yellow highlight | Page: 17
The “Free-Lunch” Argument: Small Sums vs. Large Sums
Note:tttttt

Yellow highlight | Page: 17
NEA expenditures, at their height, were no more than 65¢ for each American citizen.
Note:UN SUSSIDIO USA....ENTITÀ

Yellow highlight | Page: 17
Some subsidy advocates talk as if subsidy programs literally cost us nothing
Note:L ARGOMENTO...È UN NULLA!!!

Yellow highlight | Page: 17
there is no free lunch,
Note:MA IL MOTTO DEGLI ECONOMISTI.RENDE ASSURDO L ARGOMENTO

Yellow highlight | Page: 17
Arguably there are no major individual “life projects” that will fail to be achieved,
Note:CON QUELLA SOMMA IN MENO PUOI FARE ANCORA TUTTO

Yellow highlight | Page: 17
They die before spending all their money
Note:MICA VOREAI SPENDERE TUTTO?

Yellow highlight | Page: 17
In contrast, government subsidies bring large and visible benefits in the form of discrete projects. The beneficiaries notice the difference,
Note:...E X TANTO POCO...

Yellow highlight | Page: 18
We take small amounts from many individuals to give concentrated benefits to a few,
Note:PRINCIPIO ANTIEGALITARIO

Yellow highlight | Page: 18
distribution of goodness in society becomes less equal, but our peaks of aesthetic achievement become more beautiful.
Note:Ccccccc

Yellow highlight | Page: 18
In more academic terms, the philosophical doctrine known as “perfectionism” suggests that societies should seek to reach their highest possible peaks,
Note:PERFEZIONISMO

Yellow highlight | Page: 18
We could, of course, justify many subsidies on these grounds, not just subsidies to the arts.
Note:TUTTAVIA...

Yellow highlight | Page: 18
The threshold and perfectionist arguments for subsidies have persuasive force, but they also prove too much.
Note:IL DIFETTO

Yellow highlight | Page: 18
Subsidies appear less attractive when evaluated as a bundle.
Note:IL RIMEDIO

Yellow highlight | Page: 19
I am hurt by the taxation of 35 percent of my income.
Note:Cccccccf

Yellow highlight | Page: 19
Subsidy supporters usually prefer to present and evaluate the subsidy in stand-alone terms.
Note:ANALISI DIFETTOSA

Yellow highlight | Page: 19
Subsidy advocates, when they compare arts expenditures to discrete alternatives, frequently have chosen examples from the military
Note:IL PARAGONE PREFERITO

Yellow highlight | Page: 19
Which is the correct comparison to make?
Note:DI CERTO IL CFR CON IL PEGGIORE NN È RIGOROSO

Yellow highlight | Page: 20
We started by presenting the free-lunch argument as a potential reason for arts subsidies. But it is also a potential reason not to have such subsidies. Under one interpretation of the choices before us, we are condemning thousands of innocent children to death and disease when we subsidize the arts.
Note:PARAGONALO CON GLI AIUTI AD HAITI

Yellow highlight | Page: 20
The Decentralization Argument
Note:ttttttALTRO ARGOMENTO X SUSSIDIARE LE ARTI

Yellow highlight | Page: 20
we learn by amassing the cooperation of “the best and the brightest” through centralized institutions. The Manhattan Project
Note:IN ALCUNI CASI CONVIENE CONCENTRARE

Yellow highlight | Page: 20
Other endeavors require more decentralization. Artistic discovery, for instance, is rarely a matter of brute force, or amassing
Note:IN ALTRI...

Yellow highlight | Page: 20
Rather we are hoping that the artist can “look at things differently”
Note:LE VIRTÙ DELLA PERIFERIA

Yellow highlight | Page: 21
Creativity flourishes when many different visions have a chance of succeeding.
Note:CREATIVITÀ

Yellow highlight | Page: 21
Along these lines, we can view arts funding as a portfolio or investment problem.
Note:ED ECCOCI AI SUSSIDI

Yellow highlight | Page: 21
cultural markets resemble Internet start-up firms or classic R & D problems.
Note:ANALOGIA...I PROCESSI DI SCOPERTA

Yellow highlight | Page: 21
it makes sense to try many different approaches,
Note:Cccccccc

Yellow highlight | Page: 21
the American system satisfies the “Hayekian” standard
Note:GUARDIAMO AI FATTI

Yellow highlight | Page: 21
the inability of a central authority to plan discovery.
Note:IL WARNING DI HAYEK

Yellow highlight | Page: 21
American arts policy uses government to induce a more decentralized pattern of financial support than would arise through pure laissez-faire.
Note:SECONDO GLI INTERVENTISTI

Yellow highlight | Page: 21
development and decentralization arguments are distinct.
Note:MEGLIO CHIARIRE

Yellow highlight | Page: 22
Government does not have the knowledge needed to centrally plan innovation.
Note:HAYAK CONTRO LA LOGICA DEGLI INTEEVENTISTI

Yellow highlight | Page: 22
government subsidized research into alternative energy sources, such as synfuels and solar energy. The end result was wasted money and little or no net technological progress with energy conservation.
Note:UN ESEMPIO

Yellow highlight | Page: 22
Most improvements in energy efficiency have come from market-based institutions,
Note:Ccccccc

Yellow highlight | Page: 22
Governments usually stimulate discovery best when they eschew central planning,
Note:AFFIDARSI A MECCANISMI DI MERCATO

Yellow highlight | Page: 22
The real question is not whether decentralization is beneficial in today’s world, but rather how we should encourage decentralization
Note:CONCLUSIONE

Yellow highlight | Page: 22
Why We Should Support Decentralization
Note:TtttttttARGOMENTI X LA DECENTR...NN NECESSARIAMENTE X IL SUPPORTO

Yellow highlight | Page: 22
The first argument for decentralization invokes the aesthetic approach. In this view more art is desirable, especially if the new art meets high critical standards and can stand the test of time.
Note:PRIMO ARGOMENTO...ESTETICO...QUANTITÀ

Yellow highlight | Page: 23
The second argument for decentralization invokes the perspective of the economist, and Paretian welfare economics in particular. Information is to some extent a public good and involves a positive externality.
Note | Page: 23
SECONDO APPROCCIO...ECONOMICO....MENO PUBBLICO PIÙ ESTERNALITÀ

Yellow highlight | Page: 23
Shakespeare, Mozart, and Beethoven all made a good living in their lifetime, but they did not reap anything close to the full value of their labors.
Note:ESEMPIO

Yellow highlight | Page: 23
The greatest creators are undercompensated relative to their efforts.
Note:Cccccccc

Yellow highlight | Page: 23
One estimate (Nordhaus 2004) suggests that creators receive no more than 5 percent of the value of their innovations.
Note:STIMA ESYERNALITÀ..NORDHAUS

Yellow highlight | Page: 23
Copyright law is based on the distinction between an idea and the expression of an idea. At most it protects rights to the expression,
Note:IL DIFETTO DEL COPYRIGHT

Yellow highlight | Page: 23
The third argument for decentralization also comes from economics. Most extant analyses suggest that entrepreneurs undersupply variety to consumers.
Note:ALTRO ARGOMENTO ECONOMICO....STANDARIZZAZIONE

Yellow highlight | Page: 24
Note that the weight of these arguments does not suggest subsidies to art per se.
Note:CHIARIAMO

Yellow highlight | Page: 24
the arguments establish that we should encourage decentralized financial support for all creative activities,
Note:AL MASSIMO...SUSSIDI DECENTRALIZZATI

Yellow highlight | Page: 24
The Prestige Argument
Note:Tttttttttttt

Yellow highlight | Page: 24
Many citizens take pride in the fact that their country produces art of a certain kind,
Note:ORGOGLIO

Yellow highlight | Page: 25
many British and French citizens supported public subsidies to the Concorde
Note:ESEMPIO...NOI ABBIAMO ALITALIA

Yellow highlight | Page: 25
We salute flags,
Note:Cccccccc

Yellow highlight | Page: 25
symbolic reasons.
Note:Ccccc

Yellow highlight | Page: 25
The French in particular appear to hold this motive.
Note:FRANCIA

Yellow highlight | Page: 25
For this reason, it is often beside the point to argue that the arts will flourish without direct subsidies in the instrumental sense.
Note:QUI SUSSIDIO DIRETTO E CONCENTRATO

Yellow highlight | Page: 25
many observers find something objectionable about the idea of allowing the arts to fall exclusively within the private sector.
Note:REPULSA

Yellow highlight | Page: 26
Walter Benjamin’s (1986) famous essay “The Work of Art in an Age of Mechanical Reproduction” spoke of artworks as surrounded by an aura,
Note:AURA...E SETTORE PUBBLICO

Yellow highlight | Page: 26
national parks also have an aura.
Note:Cccccccc

Yellow highlight | Page: 27
Explaining the Pattern of Government Subsidies
Note:Tttttttt

Yellow highlight | Page: 27
The prestige argument helps explain the observed pattern of government subsidies, which the other externality arguments cannot do.
Note:CHE COSA SPIEGA MEGLIO L AZIONE

Yellow highlight | Page: 27
the most serious externalities are for electronically reproducible popular culture. The ease of unauthorized copying,
Note:SE L ESTERNALITÀ FOSSE L ARGOMENTO

Yellow highlight | Page: 27
High culture is less likely to confront an externality of this kind. Many forms of high culture are performed live,
Note:CASO OPPOSTO

Yellow highlight | Page: 28
If Maria Callas performances had not been systematically bootlegged by her fans, her income would not have been substantially higher
Note:POCHE ESTERNALITÀ

Yellow highlight | Page: 28
Nonetheless we see few calls for the subsidy of heavy metal music and rap.
Note:CONTRADDIZIONE?

Yellow highlight | Page: 28
The Netherlands, unlike most other western European countries, has subsidized puppet theater and pantomime. The Japanese subsidize flower arranging.
Note:SI FINANZIA DI TUTTO...PERCHÈ?

Yellow highlight | Page: 28
In this context we should not think of the aura of opera as somehow “causing” government subsidies to high art.
Note:SCARTIAMO ALLORA LE MOTIVAZIONI AURA

Yellow highlight | Page: 28
Why do we focus subsidies on putting art in museums? The display of paintings in the Bellagio casino, in Las Vegas, attracted more attention
Note:ALTRO DILEMMA

Yellow highlight | Page: 29
If “good” artistic works have beneficial social consequences, most likely “bad” artistic works have negative social consequences. Not all art is elevating, ennobling, educational,
Note:ALTRO PROBLEMA

Yellow highlight | Page: 29
most moving artworks tend to be the most dangerous and to hold the greatest appeal
Note:TESI DI PLATONE SOCRATE...

Yellow highlight | Page: 29
In The Republic Socrates speaks of “the war between philosophy and poetry”
Note:ESEMPIO

Yellow highlight | Page: 29
If some artworks make our society worse, the externalities argument suggests that we should discourage them.
Note:COERENZA VUOLE

Yellow highlight | Page: 29
it is a short step from “good art, encourage,” to “bad art, discourage.” Many subsidy advocates will disavow this conclusion (note the contrast with extreme conservatives, who often favor censorship
Note:SE VOGLIAMO ESSERE COERENTI

Yellow highlight | Page: 30
the prestige argument can clash with the decentralization argument. The decentralization argument calls for effective subsidies, whereas the prestige argument calls for visible subsidies.
ALTRA CONTRADDIZIONE @@@@@@@