Public banking for the cultural sector: financial instruments and the new financial intermediaries

Abstract

C 12 H 22 CdN4O14, triclinic, P¯ (no. 2), a = 7.188(2) Å, b = 8.895(3) Å, c = 9.771(3) Å, α = 63.148(3)°, β = 76.750(3)°, γ = 66.225(3)°, V = 509.2(3) Å 3 , Z = 1, Rgt(F) = 0.0253, wR ref (F 2 ) = 0.0676, T = 296(2) K. CCDC no.: 1484775The crystal structure is shown in the gure. Tables 1 and 2 contain details of the measurement method and a list of the atoms including atomic coordinates and displacement parameters. Source of materialThe title compound was synthesized by a hydrothermal method under autogenous pressure. A mixture of CdCl 2 ·H 2 O

Guest editorial

“…Secondly, a better understanding of how creative and social objectives and missions can be balanced and intertwined is needed. In particular, considering how new business models and policy frameworks might facilitate their co-existence, specifically in the area of social finance (Albertson et al, 2018;Monclus, 2015;Trapp, 2017). Finally, we expect CSE research will expand further in relation to the global…”

“…This prominence can be seen in three areas of current academic research. Firstly, new business models for arts and CIs organisation but more broadly a re-thinking of public services and how they could be delivered in alternative ways or with alternative forms of finance, including access to market capital, debt or equity (Monclus, 2015). Therefore, the impact of the GFC also resulted in a convergence of economic and creative agendas, where creative endeavours suddenly were expressed and assessed in financial terms.…”

Ambivalent entrepreneurs: arts-based social enterprise in a neoliberal world

“…More broadly, ASEs are one component of a strong reassertion of the social and economic value of art and cultural practices (Crossik and Kaszynska, 2016). In the context of developed economies like Australia art has been vigorously used in supporting economic participation for communities experiencing economic exclusion – demonstrated by the success of community-based, indigenous art enterprises and arts organisations working with young people, people with disabilities and mental illness, and other groups vulnerable to economic, social and cultural marginalisation (Cooke, 2018; Montgomery, 2017).…”

“…Art is offered as a strategy for engagement, as a source of pleasure, developing diverse social connections and creating pathways into further education and training (Winner et al , 2013; Montgomery, 2017). This may explain the ambivalence of ASE managers, who simultaneously adopt and negate the idea of being disadvantaged, just as they ambivalently affirm and are critical of business and entrepreneurship.…”

“…The hybridity of social enterprise models can be a strength; in terms of forging a revised sense of the relations between creative practices, social inequalities and market values and in moving beyond the entrenched ethos of art for arts' sake. However, there is little evidence that SEs models are having any radiating effects in transforming the wider operation of the markets in which they are obliged to compete (Monclus, 2015;Oakley, 2006;Dees and Anderson, 2006). It thus falls on those who manage and work within ASEs to attempt to reconcile frequently irreconcilable objectives.…”