The author describes the struggle of American cities to reinvent themselves for the post-industrial economy and the pivotal role the arts play in that process.

The Internet is often depicted as the ultimate arena for unfettered capitalism, erasing geographic boundaries and barriers to entry while providing a plethora of goods and services to consumers. This article traces how public and private reactions by the five major record companies to new Internet distribution technologies have undermined this popular myth.

This volume explores how consumption and entertainment change cities. But it reverses the "normal" causal process. That is, many chapters analyze how consumption and entertainment drive urban development, not vice versa.

The article seeks to examine some intellectual property issues in order to add to the discussion. It proposes to review the latest trends in digital rights management technologies and examine the 'appropriateness' for the protection of cultural heritage content on the Internet.

This article invokes contemporary German philosopher Jürgen Habermas's notion of the public sphere for the insight it can provide to museums as they reflect on what it means to be a public institution at this particular time in our history.

This article, written by AMIs director discusses why California believed social marketing was a critical tool and what social marketing entails. It asks the question, How does social marketing work?ﾝ and answers it with approaches to analyzing behaviors and determining how to position messages that connect with peoples social values and sense of community purpose.

For nonprofit organizations the Internet represents an unprecedented and highly cost-effective opportunity to build and enhance relationships with supporters, volunteers, clients and the community they serve. As ePhilanthropy has emerged, organisations have discovered that consistent and deliberate e-mail communication that drives traffic to the organisation's well-organised and informative website has become the key to success.

The Internet revolution has come. Some say it has gone. In The Future of Ideas, Lawrence Lessig explains how the revolution has produced a counterrevolution of potentially devastating power and effect.

Within the last decade, there has been a surge of scholarship, media commentary and experimentation on what is rather loosely referred to as the “new economy.” In the opening essay of this issue of the Journal of Arts Management, Law, and Society, Kieran Healy describes the major attributes of the “new economy” as the term is being used by philosophers, pundits, and practitioners. He suggests that three defining assumptions drive the “new economy.”

In this article I review and evaluate recent work that argues for the rising importance of the cultural sector, and creativity in general, in the context of the new economy.