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short while to showcase work they had commissioned (they also served the visitors coffee). Other examples cited in the paper include Benetton who set up Fabrica: a centre that develops and hosts artistic projects, the company thereby enhanced its public image but also supported in-house creative product development.
Investing in the arts really matters in the 21st Century knowledge economy
Arts and culture play a heightened role in a post-industrial world where goods and services are sold more

This research was conducted by Hasan Bakhshi and David Throsby at the National Endowment for Science, Technology and the Arts, UK and Macquarie University, Australia
Summary
This paper tackled the question of whether digital broadcasts of live events lead to an increase or reduction in the number of attendees at those live events. The competing theories are that either audiences substitute their live experience for a more convenient digital one, or that the digital broadcasts bring in new

(not solely relying on what the subjects reported about their own health). The authors are able to assert that 'people who are actively engaged in clubs, voluntary societies, hobbies or in cultural, recreational and civic activities seem to live longer than people with moderate leisure participation, and people with no or little leisure participation live the shortest life. Conventional health-related risk factors do not explain these associations.' This was true even after leisure activities

on stage
Sitting in the dark, the use of a musical score and close ups of a particular character enables cinema audiences to become emotionally engaged in a performance. Theatregoers can be rather more detached, choosing for themselves where to look, and engaging in a ‘suspension of disbelief’. The cinema experience can lack the type of involvement that could lead to spontaneous applause and the sense of a shared occasion with others in person.
Streaming audiences are similar to live theatre

, etc.). The fourth motivation was 'being there' (where the status of attendees is raised by being in the same space as the artist). The fifth component was 'uniqueness' (live music's unpredictability and once-in-a-lifetime feel). The sixth motivational component was 'music specific' and was related to the artist and their repertoire. People visited festivals for social and personal reasons – to hang out with others and discover new experiences. They predominantly

. However, after controlling for all those factors the authors were able to say that 'our results show that people attending cultural events seem to live longer than those who attend rarely'.
The study looked at adults in Sweden over a 10 year period
The researchers used data from a national survey that took a representative sample of the population and interviewed them about a range of cultural activities, their health, lifestyle and other demographic details. They then followed up with 12,675 of

This research was conducted by Jonathan Corning and Armando Levy at the Federal Reserve Bank of Kansas City, USA.
Summary
This study took box office data from three venues used by a theatre company based in southern California, the Pacific Conservatory of the Performing Arts (PCPA), to analyse the preferences of single ticket buyers. The findings revealed that audiences have pre-existing preferences for five genres of performance (Shakespeare; Comedy; Drama; Holiday; Musical) and that on the

post-1960s jazz. The research describes the ‘bittersweet struggle’ between performers and their audiences to ‘keep at bay the aspects of the relationship which are unhelpful whilst drawing on those that make live performance a worthwhile activity for them’. To be successful, the expectations of all involved must be balanced, for example in relation to the choice of repertoire or use of stylistic innovation.
From passive to active audiences: a new area of interest for research and practice
The

This research was conducted by Hei Wan Mak, Rory Coulter and Daisy Fancourt at University College LondonSummaryThis paper looked at the relationship between people’s arts engagement and the characteristics of where they live. The study uncovered geographical differences in the levels and types of arts engagement. For example, active arts participation was lower in the North of England (and not just because people there tended to be poorer than average). When it came to arts attendance, the

and duration of that exposure made a difference. The results show that exposure to music at any time in life increases the likelihood of developing a taste for classical music and opera. The likelihood of acquiring that taste increases with the duration of exposure someone has had in life, even if the exposure is interrupted at some point. Importantly, early childhood exposure to music ‘does not have an outsized influence’ relative to exposure in other periods of life.The data for the study