Governments and Theatres: What Next after Covid? A European View

The pandemic that has affected the whole world since March 2020 is shaking up our ways of living, working and being together. In Europe, cultural and creative sectors are among the most severely impacted by the pandemic crisis and according to preliminary estimates by Eurostat, the COVID-19 crisis may affect about 7.3 million cultural and creative jobs across the EU. Over 30% of the people affected are self-employed and lack adequate social protection. Among the cultural subsectors, the performing arts have suffered the most serious consequences with the suspension over many months of their establishments and even the definitive closure of some of them as well as the disappearing of many artists.The fall of the live performances did not create a fall of all of the artistic practices and of their social and psychological positive impact. In general, people during the pandemic have recognized the wellbeing benefits of arts and cultural activities, and according to the data now available, more than 60% or European (and US) citizens believed that access to arts through creative activities, at home or on line, affected them positively. Both online and in-person formats were effective, indicating the potential for the intervention to reach larger audiences.But the day after is not what many people expected, and the public policies aimed to overcome the health crisis have not made possible to find again the starting point. In fact, we can wonder if Covid 19 has not activated problems that already existed but were little visible or underestimated. Two more structural interpretations of the theatre crisis can be evoked here: the first one concerning the whole of the performing arts, and the second focused on the future of "dramatic" theatre as traditionally understood in Europe. It seems that the model began to run out of steam long before the Covid 19 crisis, this latter only accelerating ongoing changes. Then we have to enrich our point of view on the socio-economic model of the live arts in the postpandemic world and put society back into culture if we want public policies more efficient

Who\'s Who in Patents. A Bayesian approach

This paper proposes a bayesian methodology to treat the who’s who problem arising in individual level data sets such as patent data. We assess the usefullness of this methodology on the set of all French inventors appearing on EPO applications from 1978 to 2003.Patents, homonymy, Bayes rule