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Recursos bibliográficos en papel y digitales -
- libros, artículos de revistas,
ponencias de eventos, etc. -
» Resultado: 3 registros
| Registro 1 de 3 | |
| Autor: | Galenson, David W. - Lenzu, Simone |
| Título: | Pricing genius: the market evaluation of innovation |
| Fuente: | Journal of Applied Economics. v.19, n.2. Universidad del CEMA |
| Páginas: | pp. 219-248 |
| Año: | Nov. 2016 |
| Resumen: | Economists have neglected a key issue for understanding and increasing technological change, in failing to study how talented individuals produce innovations. This paper takes a quantitative approach to this problem. Regression analysis of auction data from 1965-2015 reveals that the age-price profiles of Jackson Pollock and Andy Warhol - the two greatest painters born in the 20th century - closely resemble the profiles of the two artists’ careers derived both from textbooks of art history and from retrospective exhibitions. The agreement of these sources confirms that the auction market assigns the highest prices to the art that scholars judge to be the most important, and examination of the artists’ careers reveals that this art is the most important because it is the most innovative. These results lend strong support to our understanding of creativity at the individual level, with a sharp contrast between the extended experimental innovation of Pollock and the sudden conceptual innovation of Warhol. |
| Palabras clave: | CREATIVIDAD | CAMBIO TECNOLOGICO | CICLOS ECONOMICOS | MODELOS | INNOVACIONES | MERCADO | PREFERENCIAS COMERCIALES | CAMBIO ESTRUCTURAL | PRECIOS DE MERCADO | TENDENCIAS | COMERCIALIZACION | |
| Solicitar por: | HEMEROTECA J + datos de Fuente |
| Registro 2 de 3 | |
| Autor: | Galenson, David W. - |
| Título: | Understanding creativity |
| Fuente: | Journal of Applied Economics. v.13, n.2. Universidad del CEMA |
| Páginas: | pp. 351-362 |
| Año: | Nov. 2010 |
| Resumen: | The discipline of economics has traditionally refused to study the behavior and achievements of specific individuals. Yet creativity - a primary source of the technological change that drives economic growth - is largely the domain of extraordinary individuals or small groups. For the first time in the history of the discipline, within the last decade economists have begun to study how these extraordinary individuals make their discoveries, and the results have been dramatic. Research done to date has demonstrated that artistic innovators can usefully be divided into two types. Experimental innovators seek to record their perceptions. They proceed tentatively, by trial and error, building their skills gradually, and making their greatest contributions late in their lives. In contrast, conceptual innovators use their art to express ideas and emotions. The precision of their goals allows them to plan their work, and execute it decisively. Their most radical new ideas, and consequently their greatest innovations, occur early in their careers. The research that has established these patterns has several central components. A key element is the systematic measurement of an artist’s creativity over the course of the life cycle: this not only establishes when the artist made his greatest contribution, but also provides an objective identification of his greatest innovation. This facilitates another key element of the research, the categorization of the artist as experimental or conceptual. This effectively depends on whether the artist works inductively, building his contribution incrementally from observation, or deductively, creating his innovation as a consequence of a new idea. These patterns have been established empirically, by a large number of studies of important practitioners of a wide range of arts. It is now time to extend economic research on creativity, by applying this analysis to other intellectual domains. It is important to recognize that economists’ failure to study individuals has prevented them from understanding the sources of the contributions of the most productive people in our society. Breaking this disciplinary taboo may now allow us not only to understand, but perhaps also to increase, the creativity of these remarkable individuals, and to help others to follow them. |
| Solicitar por: | HEMEROTECA J + datos de Fuente |
| Registro 3 de 3 | |
| Autor: | Galenson, David W. - Weinberg, Bruce A. - |
| Título: | Age and the quality of work : the case of modern american painters |
| Fuente: | Journal of Political Economy. v.108, n.4. The University of Chicago Press |
| Páginas: | pp. 761-777 |
| Año: | Aug. 2000 |
| Resumen: | Psychologists have found that the age at which successful practitioners typically do their best work varies across professions, but they have not considered whether these peak ages change over time, as economic models suggest they might. Using auction records, we estimate the relationship between artists’ ages and the value of their paintings for two successive cohorts of leading modern American painters: de Kooning, Pollock, Rothko, and others born during 19001920 and Frank Stella, Warhol, and others born during 192140. We find that a substantial decline occurred over time in the age at which these artists produced their most valuableand most importantwork and argue that this was caused by a shift in the nature of the demand for modern art during the 1950s |
| Solicitar por: | HEMEROTECA J + datos de Fuente |
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