Podcasts about viscopy

What role does economics play in the cultural and creative industries?Tandi is joined by PwC’s Chief Economist Jeremy Thorpe for a frank chat about policy and funding. During this episode we cover topics such as how cost-benefit analysis assists with decision making, how economists measure benefit, what “lobbynomics” is, and the power of specialisation in a technology-driven world.The discussion covers:How cost benefit analysis differs from impact analysis and why cost benefit analysis helps people make better decisionsWhy economics the best way for Treasuries to measure benefit compared to social research or qualitative research“Lobbynomics” and how economic analysis is used in lobbying and advocacy to recast an organisation’s narrativeWhy technology is now at the core of every challengeHow to appeal to the bureaucratic heart and the political heart in order to advocate effectivelyWhat the current constrained economic environment means for the artsWhy consumer demand for experiences rather than material goods has affected the marketHow a more globalised world can result in government choosing to consolidate funding in the culture and creative sectorThe power of specilisation in showing defined value and how that can assist with funding.Jeremy Thorpe is PwC's Chief Economist in Australia and a Partner in its national Economics & Policy team.With more than two decades of experience, Jeremy’s experience spans a range of diverse area including: cost-benefit analysis, the valuation of the economic contributions of companies, industries, not-for-profits and specific activities, the economics of copyright and reviews of government programs and regulatory changes.Jeremy also serves on the board of Flourish Australia. Flourish Australia works in local communities to help people on their mental health recovery journey.Previously, Jeremy was the Chairman of the not-for-profit, Viscopy. For a decade he was also Director of a leading Australian-owned consulting firm. Prior to this, Jeremy was economist with Australia’s Department of Treasury and the Productivity Commission.https://www.linkedin.com/in/jeremythorpeFor more details, including the full transcript of the conversation, you can head to the episode webpage: https://www.thepatternmakers.com.au/podcast-episodes/episode3Connect with Tandi Palmer Williams & Patternmakers on:LinkedIn: https://www.linkedin.com/in/tandiwilliams/Instagram: https://www.instagram.com/thepatternmakers/Twitter: https://twitter.com/tandi_willFacebook: https://www.facebook.com/thepatternmakers.com.au/To stay in the loop with the latest research, big ideas and useful tools, you can sign up to get Patternmakers' free, monthly Culture Insight & Innovation Update direct to your inbox each month: https://thepatternmakers.us10.list-manage.com/subscribe?u=7f009b1b1f874eddcffa4d79c&id=1408ed145f

Emily Kam Kngwarray, Anmatyerr people (c.1910-1996), Ntange Dreaming 1989. Painting, synthetic polymer paint on canvas, 135.0 h x 122.0 w cm. Purchased 1989 © Emily Kam Kngwarray. Licensed by Viscopy.

Hans Heysen (Germany 1877 – Australia 1968),The saplings 1904–06. Oil on canvas, 120.5 x 90.3 cm. Bequest of Millie Hay Joyner 1993. © Hans Heysen. Represented by VISCOPY, Australia.

Margaret Preston (1875 - 1963), Flying over the Shoalhaven River [Flying over the Shoalhaven] 1942. Painting, oil on canvas 50.6 h x 50.6 w, framed 68.6 h x 68.6 w x 6.8 d cm. Purchased 1973. © Margaret Rose Preston Estate. Licensed by Viscopy.

Margaret Preston (1875 - 1963), Dry river bed NT 1953. Print, stencil, printed image 30.0 h x 34.8 w cm, sheet 34.0 h x 37.0 w cm. Purchased 2000. © Margaret Rose Preston Estate. Licensed by Viscopy.

Tony Tuckson (1921 Egypt – 1973 Australia), Watery [No.22 Watery] c.1960. Painting, oil on composition board, 122.2 h x 183.0 w cm. Gift of Margaret Tuckson 2002. © Tony Tuckson. Licensed by Viscopy.

Tony Tuckson (1921 Egypt – 1973 Australia), White over red on blue c.1971. Painting, synthetic polymer paint on two composition boards, 213.4 h x 244.0 w cm. Purchased 1978. © Tony Tuckson. Licensed by Viscopy.

John Olsen (1928), Sydney sun [King sun] 1965. Painting, oil on three plywood panels, overall 305.0 h x 412.5 w x 5.0 d cm. Purchased with funds from the Nerissa Johnson Bequest 2000. © John Olsen. Licensed by Viscopy.

Rosalie Gascoigne (1917 New Zealand – 1999 Australia), Suddenly the Lake 1995. Sculpture, formboard plywoods, galvanised iron sheeting, synthetic polymer paint on composition board, four panels, overall (approx.) 130.7 h x 361.2 w x 7.7 d cm. Given by the artist in memory of Michael Lloyd 1996. © Rosalie Gascoigne. Licensed by VISCOPY, Australia.

John Mawurndjil AM, Kuninjku (Eastern Kunwinjku) people (1952), Rainbow Serpent (Ngalyod) with female mimi spirit 1984. Painting, Bark painting, natural earth pigments on eucalyptus bark, 123.5 h x 74.0 w cm. Purchased 1984 © John Mawurndjul. Licensed by Viscopy.

Hector Jandany, Gija/Kija people, 1925/1929–2006, Ascension [Kimberley] 1993. Painting, natural earth pigments and binders on canvas, 190.0 h x 196.0 w cm. Purchased 2005 © Hector Jandany, Licensed by VISCOPY, Australia.

Paddy Jupurrurla Nelson, Warlpiri people (1919–1999), Paddy Japaljarri Sims, Warlpiri people (1917) and Kwentwentjay Jungurrayi Spencer, Warlpiri people (1919–1990), Yanjilypiri Jukurrpa (Star Dreaming) 1985. Painting, synthetic polymer paint on canvas, 372.0 h x 171.4 w cm. Purchased 1986 © Kwentwentjay Jungurrayi Spencer. Licensed by VISCOPY, Australia. © Paddy Jupurrurla Nelson. Licensed by VISCOPY, Australia. © Paddy Japaljarri Sims. Licensed by VISCOPY, Australia.

Emily Kam Kngwarray, Anmatyerr people (c.1910-1996), Anoranngait, healing plant 1990. Utopia, central Australia, Northern Territory, Australia. Painting, synthetic polymer paint on canvas, 212.0 h x 121.0 w cm. Purchased 1990. Licensed by Viscopy.

Michael RILEY, Toni and Maria (Polly) Cutmore, early 1980s, NADOC portraits c. 1980, colour photograph, 14.3 (h) x 23.7 (w) cm, on loan from Cathy Craigie, Reproduced courtesy of the Michael Riley Foundation and VISCOPY, Australia

Michael RILEY, Untitled, from the series cloud [bible] 2000, photograph, chromogenic pigment print, printed on Epson Stylus Pro 9600, by Sandy Barnard, 110.0 (h) x 155.0 (w) cm, reproduced courtesy of the Michael Riley Foundation and VISCOPY, Australia

Michael RILEY, Untitled, from the series cloud [locust] 2000, photograph, chromogenic pigment print, printed on Epson Stylus Pro 9600, by Sandy Barnard, 110.0 (h) x 155.0 (w) cm, reproduced courtesy of the Michael Riley Foundation and VISCOPY, Australia

Michael RILEY, Untitled, from the series cloud [feather] 2000, photograph, chromogenic pigment print, printed on Epson Stylus Pro 9600, by Sandy Barnard, 110.0 (h) x 155.0 (w) cm, reproduced courtesy of the Michael Riley Foundation and VISCOPY, Australia

Michael RILEY, Untitled, from the series cloud [boomerang] 2000, chromogenic pigment print, printed on Epson Stylus Pro 9600, by Sandy Barnard, 110.0 (h) x 155.0 (w) cm, reproduced courtesy of the Michael Riley Foundation and VISCOPY, Australia

Michael RILEY, Untitled, from the series cloud [cow] 2000, photograph, chromogenic pigment print, printed on Epson Stylus Pro 9600, by Sandy Barnard, 110.0 (h) x 155.0 (w) cm, reproduced courtesy of the Michael Riley Foundation and VISCOPY, Australia

Michael RILEY, Untitled from the series Sacrifice [palms with stigmata], 1992, gelatin silver photograph, 3/10, sight printed image 22.0 (h) x 15.2 (w) cm, signed l.l., fibre-tipped pen "M Riley" dated l.l., fibre-tipped pen "1993" editioned l.r., fibre-tipped pen "3/10", Collection of the National Gallery of Australia, Purchased with the assistance of the KODAK (Australasia) PTY LTD Fund 1993, Reproduced courtesy of the Michael Riley Foundation and VISCOPY, Australia

Michael RILEY, Untitled, from the series flyblown [galah], 1998, Photograph, chromogenic pigment print, 113.0 (h) x 87.0 (w) cm, framed (overall) 105 (h) x 129 (w) x 65 (d) cm, Collection of the National Gallery of Australia, Purchased 2004, Reproduced courtesy of the Michael Riley Foundation and VISCOPY, Australia

Michael RILEY, Niigarr, from the series 'They call me niigarr', 1995 Photograph, collaged direct positive colour, Number in series 10, 87.8 (h) x 110.4 (w) cm, On loan from Boomalli Aboriginal Artist Co-Operative Ltd, Reproduced courtesy of the Michael Riley Foundation and VISCOPY, Australia

Michael RILEY, Willy Hill, from the series Yarns from Talbragar Reserve, 1998, gelatin silver photograph, Number in series 18, image 51.0 (h) x 61.0 (w) cm, Gift of the Artist - Guardianship of Dubbo Regional Gallery, Reproduced courtesy of the Michael Riley Foundation and VISCOPY, Australia

Michael RILEY, Moree kids, from the series A common place: Moree Murries, 1991 [Two Moree Aboriginal Children] gelatin silver photograph, Number in series 15 Number in edition 10, image 55.8 (h) x 39.8 (w) cm, Moree Plains Gallery Collection: Presented in 1990 by the artist, Reproduced courtesy of the Michael Riley Foundation and VISCOPY, Australia

Michael RILEY, Linda Burney and Binni (baby), Miscellaneous portrait series after Portraits by a Window, 1990, Hogarth Galleries, Sydney c. 1980, direct positive colour photograph, 23.0 (h) x 33.2 (w) cm, On loan from Linda Burney, Reproduced courtesy of the Michael Riley Foundation and VISCOPY, Australia

Michael RILEY, Darrell, 1989/1990, Portraits by a Window, 1990 c.1980, gelatin silver photograph vintage print, 1/10, image 38.4 (h) x 37.8 (w) cm, sheet 63.0 (h) x 50.4 (w) cm, Collection of the National Gallery of Australia, purchased 2004, Reproduced courtesy of the Michael Riley Foundation and VISCOPY, Australia