Performing arts

Abstract: Preface Introduction: Economic Properties of Creative Activities Part I: Supplying Simple Creative Goods 1. Artists as Apprentices 2. Artists, Dealers, and Deals 3. Artist and Gatekeeper: Trade Books, Popular Records, and Classical Music 4. Artists, Starving and Well-Fed Part II: Supplying Complex Creative Goods 5. The Hollywood Studios Disintegrate 6. Contracts for Creative Products: Films and Plays 7. Guilds, Unions, and Faulty Contracts 8. The Nurture of Ten-Ton Turkeys 9. Creative Products Go to Market: Books and Records 10. Creative Products Go to Market: Films Part III: Demand for Creative Goods 11. Buffs, Buzz, and Educated Tastes 12. Consumers, Critics, and Certifiers 13. Innovation, Fads, and Fashions Part IV: Cost Conundrums 14. Covering High Fixed Costs 15. Donor-Supported Nonprofit Organizations in the Performing Arts 16. Cost Disease and Its Analgesics Part V: The Test of Time 17. Durable Creative Goods: Rents Pursued through Time and Space 18. Payola 19. Organizing to Collect Rents: Music Copyrights 20. Entertainment Conglomerates and the Quest for Rents 21. Filtering and Storing Durable Creative Goods: Visual Arts 22. New versus Old Art: Boulez Meets Beethoven Epilogue Notes Index

Abstract: Transformer model architectures have garnered immense interest lately due to their effectiveness across a range of domains like language, vision and reinforcement learning. In the field of natural language processing for example, Transformers have become an indispensable staple in the modern deep learning stack. Recently, a dizzying number of "X-former" models have been proposed - Reformer, Linformer, Performer, Longformer, to name a few - which improve upon the original Transformer architecture, many of which make improvements around computational and memory efficiency. With the aim of helping the avid researcher navigate this flurry, this paper characterizes a large and thoughtful selection of recent efficiency-flavored "X-former" models, providing an organized and comprehensive overview of existing work and models across multiple domains.

Abstract: quoted generously from the authors. The subtitle, \"The Economic Dilemma,\" succinctly points to the key to the problem and states that in the performing arts the financial basis for the existence of the performing arts is in a continuing crisis. The authors explore the reasons for the crisis and offer explanations for the status; their conclusions offer to society the economic requirements for existence and continuance, and by so doing, offer to the public a rational basis for public expenditure for support of the live performing arts. The public has yet to realize that live performing arts are part of the division of the general economy where efficiency and production cannot be increased in proportion to the rest of the economy. Production costs, therefore, mount with the general cost of all things but because there can be no efficiency in the production of live performance of the arts as in manufacturing of goods, the revenues from the performing arts cannot and do not keep pace with the rest of the econ-

Abstract: A Handbook of Cultural Economics includes over 60 eminently readable and concise articles by 50 expert contributors. This unique Handbook is both highly informative and readable; it covers a wide area of cultural economics and its closely related subjects. While being accessible to any reader with a basic knowledge of economics, it presents a comprehensive study at the fore-front of the field. Of the many subjects discussed, chapters include: Art (including auctions, markets, prices, anthropology), artists' labour markets, arts management and corporate sponsorship, globalization, the internet, media economics, museums, non-profit organisations, opera, performance indicators, performing arts, publishing, regulation, tax expenditures, value of culture and welfare economics.