EMPIRICAL TESTS OF SOME SEMI-SURVEY UPDATE PROCEDURES APPLIED TO RECTANGULAR INPUT-OUTPUT TABLES*

ABSTRACT. This paper examines the RAS, Mc Menamin and Haring, and Lagrange-multiplier update methods in the context of the dual accounting system of the rectangular input-output model. The motivation was to determine if the additional information contained in the dual system is exploitable, while maintaining the integrity of the rectangular structure with all its advantages. Tests were conducted on the performance of the various algorithms for a derivative Leontief model relative to their performance on the rectangular structure. The results obtained for rectangular tables were generally better than those obtained for the more conventional Leontief ones.     

DIRECTIONS FOR DIVERSIFICATION WITH AN APPLICATION TO SASKATCHEWAN*

ABSTRACT. Traditional models of regional diversification do not capture the trade-off between stability and living standards. In this paper, we characterize regions as open activity models subjected to both productivity and price shocks. We then partially rank small diversification policies by the direction in which they point away from the current industrial structure in mean-variance space. Some general patterns emerge. In particular, diversification for regional self-sufficiency and away from regional comparative advantage may be undesirable.     

The autonomous world reversed: comparing liberal policy and autonomy in the performing arts

Comparative studies of cultural policy commonly emphasize the way in which states treat the autonomy of the arts. Such studies often claim that liberal states promote autonomy, while social democratic states promote more external, instrumental values, such as solidarity, universalism and equality. This article challenges this conception by claiming that in actual cultural policy-making it is in fact the other way around. Based on a comparative study of theater policy in England, Norway and the Netherlands, I find that the focus on artistic autonomy is surprisingly absent in the liberal state of England, compared to what it is in the social democratic state of Norway. Conversely, English theaters are more obliged to work for, and with, the citizens and the community than theaters in Norway are. In the Netherlands, where recent development in general policy has headed in a liberal direction, artistic autonomy actually appears to be increasingly challenged.