Experimental Testbeds for ECOSEL: A Market Framework for Private Provision of Forest Ecosystem Services

We attempt to design a market framework (which we call ECOSEL) for private provision of forest ecosystem services. ECOSEL is a non-regulatory framework that uses a voluntary public good provision mechanism (in a form of an auction) in conjunction with a multiobjective optimization algorithm to create a market for forest ecosystem services. It is expected to be attractive to the demand side of the ecosystem service market since only Pareto-efficient bundles of services are offered for auction, and it is expected to be attractive to the supply side as well by creating a source of non-timber income for forest landowners. ECOSEL is capable of flexible response to demand for other relevant dimensions of forest-related environmental amenities such as biodiversity, viewshed or recreational services. Following Roth’s (2002) advice on behavior of economists as “market engineers”, we use both experimental economics to improve the design of the ecosystem services market. Concurrently, we provide experimental evidence on the efficiency and revenue-generating properties of a multi-good subscription game of incomplete information.Environmental Economics and Policy, Marketing,

Theatre Facts 2014: A Report on the Fiscal State of the U.S. Professional Not-For-Profit Theatre Field

"Theatre Facts" is Theatre Communications Group's (TCG) annual report on the fiscal state of the U.S. professional not-for-profit theatre field. The report examines attendance, performance, and fiscal health using data from TCG Fiscal Survey 2014, for the fiscal year that member theatres completed anytime between October 31, 2013, and September 30, 2014. Theatres' artistry, the contributions they make to their communities, and their influence on the artistic legacy of the nation transcend the quantitative analyses that are described here. This report is organized into 3 sections that offer different perspectives:The "Universe" section provides a broad overview of the U.S. not-for-profit professional theatre field in 2014.The "Trend Theatres" section presents a longitudinal analysis of the 118 TCG Member Theatres that responded to the TCG Fiscal Survey each year since 2010. This section provides interesting insights regarding longer-term trends experienced by a smaller sample of mostly larger theatres.The "Profiled Theatres" section provides an in-depth examination of all 177 Member Theatres that completed TCG Fiscal Survey 2014

New Model Unions: Options for the 21st Century

The purpose of this short paper is threefold. First we discuss the underlying properties of the dominant organisational model for trade unions in Britain. Second, we look at options for changing this organisational model. Third, we conclude by looking at what this might imply for the future operation and organisation of trade unions and their engagement with their members

Screen industry: 2013/14

New Zealand screen industry revenue was $3.155 billion, up$7 million from 2013. Key facts New Zealand screen industry revenue was $3.155 billion, up$7 million from 2013. 91 percent of businesses in the screen industry are small businesses, earning less than half a million dollars. Government funding increased, while private financing dropped. Auckland based businesses lead TV production, while Wellington leads film production. International revenue remained stable. Total revenue for the screen industry for 2014 was $3.155 billion, only a small$7 million increase from 2013. The growth in the number of businesses in the industry was also stable. Even though the overall revenue was similar to previous years, there were changes within the different formats

Social network market: Storytelling on a web 2.0 original literature site

This article looks at a Chinese Web 2.0 original literature site, Qidian, in order to show the coevolution of market and non-market initiatives. The analytic framework of social network markets (Potts et al., 2008) is employed to analyse the motivations of publishing original literature works online and to understand the support mechanisms of the site, which encourage readers’ willingness to pay for user-generated content. The co-existence of socio-cultural and commercial economies and their impact on the successful business model of the site are illustrated in this case. This article extends the concept of social network markets by proposing the existence of a ripple effect of social network markets through convergence between PC and mobile internet, traditional and internet publishing, and between publishing and other cultural industries. It also examines the side effects of social network markets, and the role of market and non-market strategies in addressing the issues

Building Deeper Relationships: How Steppenwolf Theatre Company Is Turning Single-Ticket Buyers Into Repeat Visitors

Describes the company's strategies to engage all audience members, including through post-show discussions, special events, diverse online content, and equal treatment of subscribers and non-subscribers; outcomes; and contributing factors

Getting beer during commercials: adverse effects of Ad-Avoidance

This paper studies the impact of ad-avoidance behavior in media markets. We consider a situation where viewers can avoid advertisement messages. As the media market is a two-sided market, increased ad-avoidance reduces advertisers' value of placing an ad. We contrast two financing regimes, free-to-air and pay-TV. We find that increased avoidance opportunities decrease profits and entry in the free-to-air regime. In contrast, in the pay-TV regime, lower income from advertisements are compensated by higher subscription income leaving profits and the number of channels unaflected. Bypassing advertising messages affects welfare ambiguously. --Media Markets,Two-Sided Markets,Ad-avoidance

Money for Something: Music Licensing in the 21st Century

[Excerpt] The laws that determine who pays whom in the digital world were written, by and large, at a time when music was primarily performed via radio broadcasts or distributed through physical media (such as sheet music and phonograph records), and when each of these forms of music delivery represented a distinct channel with unique characteristics. With the emergence of the Internet, Congress updated some copyright laws in the 1990s. It applied one set of legal provisions to digital services it viewed as akin to radio broadcasts and another set to digital services it viewed as akin to physical media. Since that time consumers have increasingly been consuming music via digital services that incorporate attributes of both radio and physical media. However, companies that compete in enabling consumers to access music may face very different costs to license music, depending on the technology they use and the features they offer. These differences in technology and features also affect the amount of money received by songwriters, performers, music publishers, and record companies. U.S. copyright law allows performers and record labels to collectively designate an agent to receive payments and to negotiate the licensing fees that certain types of digital music services must pay to stream music to their customers. Groups representing public radio and educational stations reached voluntary agreements with the agent, SoundExchange, in 2015. Rates paid by parties that do not reach voluntary agreements with SoundExchange during a limited negotiation period are instead set by the Copyright Royalty Board (CRB), a panel of three judges appointed by the Librarian of Congress. On December 16, 2015, the CRB set rates for online music streaming services for the period 2016 through 2020. For nonsubscription services, the CRB reduced the per-stream rate it had set in the previous rate proceeding, but the costs paid by several “small” music streaming services are likely to increase. Advocates of the small streaming services have launched a petition asking Congress to either allow their previous agreements to continue indefinitely or discontinue the requirement that small streaming services pay royalties to performers and record labels. SoundExchange has objected that the rates set by the CRB do not provide adequate compensation to performers and record labels. Members have introduced several bills in the 114th Congress that would change the amounts various participants in the music industry pay or receive in royalties. These bills are controversial, as they could alter the cost structures and revenues of broadcast radio stations, songwriters, performers, and others at a time when the music industry’s overall revenues are not growing. At the same time, the U.S. Department of Justice (DOJ) is continuing a review of consent decrees it entered into with music publishers in the 1940s. The outcome could affect the extent to which songwriters can control the use of their works

On Digital Distribution’s Failure to Solve Newspapers’ Existential Crisis: Symptoms, Causes, Consequences and Remedies

This chapter examines some of the symptoms and causes of the crisis facing newspapers via analyses of their finances and of audience measures. The consequences of the crisis, and whether there are any realistic remedies, are also considered, both in relation to journalism as a product and to the institutions, such as newspapers, that have traditionally produced it. We start with an analysis of the financial performance of multiplatform news publishers in Australia, Europe and the USA, which leads us to conclude that digital distribution is not reversing newspapers’ decline, and raises questions about the support for journalism in the long term. Next, some of the consequences of the declines that have already taken place are discussed. Moving from consequences to possible remedies, the chapter focuses on two areas. Firstly, media policy, and secondly, journalism as a product: what news should be produced and how it should be delivered. Another strand of the chapter concerns audience measures. They are used to help explain newspapers’ continuing dependency on print revenues, and are understood, depending on their constitution and use, as both a party to the crisis and as an able assistant in its alleviation

Digital news report: Australia 2015

This report gives a clear picture of how the Australian news consumer compares to eleven other countries surveyed in 2015: Denmark, Finland, France, Germany, Ireland, Italy, Japan, Spain, UK, USA and urban Brazil. The Digital News Report: Australia is part of a global survey by the Reuters Institute for the Study of Journalism at the University of Oxford. Further in-depth analysis of Australian digital news consumption has been conducted and published by the News & Media Research Centre at the University of Canberra