Preface; Art History; Artisanship; Project Start; Philosophy of Science; Practical Culture Production; Venice; Contract; Springer; Acknowledgements; Contents; List of Figures; 1 Culture and Civilization; 1.1 Current Threats; 1.2 Reversed Perspective; 1.3 Civilization: Frazer; 1.4 Culture: Use and Abuse of the Concept; 1.5 Western Perspective; 1.6 Embodiment; 1.7 Specialization: Castiglione; 1.8 Development; 1.9 Reswitching; 2 Public Goods; 2.1 The Concept; 2.2 Embodied Ideas; 2.2.1 Vivaldi's Oevre; 2.2.2 The Nature of Ideas; 2.3 Protection of Originals; 2.3.1 The Marais

2.3.2 Paris and Vienna2.3.3 Piazza San Pietro; 2.4 Performing Arts; 2.5 Property Rights; 2.5.1 Richard Strauss and Copyright; 2.5.2 Trade Secrets Historically; 2.5.2.1 Schmelzer; 2.5.2.2 Tartaglia; 2.5.2.3 Le Sieur de Sante Colombe; 2.5.2.4 Mozart; 2.5.3 Mersenne and the French Academy; 2.6 The Stock of Knowledge; 2.6.1 Knowledge and Capital; 2.6.2 Storage; 2.6.3 Accessibility; 2.7 Explosion of Science and Education; 2.7.1 Difficulties to Control and Access Information; 2.7.2 Fragmentation; 2.7.3 Open Access; 2.8 Universities; 3 Patronage; 3.1 Introduction; 3.1.1 Diversity of Institutions

3.2 Uncertainty in Production3.2.1 Lifetime of Cultural Products; 3.2.2 Uncertainty; 3.2.3 Being in Advance of One's Time; 3.2.4 Risk and Insurance; 3.3 Patronage in Culture; 3.4 Oppression from Patrons; 3.4.1 Mozart; 3.4.2 Monteverdi; 3.4.3 Bach; 3.5 Generous Patronage; 3.5.1 Scarlatti; 3.5.2 Dowland; 3.5.3 Wagner; 3.6 Entrepreneurs; 3.6.1 Händel and Telemann; 3.6.2 Advantage of Scattered Central Europe; 3.7 Patrons of Science; 3.8 Today; 4 Changing Attitudes; 4.1 Introduction; 4.2 Dissipation of Culture; 4.2.1 Thomas Mace's Concert Hall; 4.2.2 Opera Houses; 4.3 Leisure; 4.4 Addiction

4.5 Dilettantism4.6 Amateur Scientists; 4.6.1 Schliemann; 4.6.2 Galois; 4.6.3 Fermat; 4.7 Specialization; 4.7.1 Ultimate Purpose; 4.8 Florence and Vienna; 4.8.1 Renaissance Engineers/Scientists; 4.8.2 Brunelleschi; 4.8.3 Leonardo as Scientist; 4.8.4 Fin-de Siècle Vienna; 4.9 An International Shift of Taste; 4.9.1 The End of the Creative Periods; 4.10 Classical Economics of Smith and Ricardo; 4.10.1 Extreme Specialization and Superstars; 4.11 Removing Constraints to Consumption of Culture; 4.11.1 Performing Arts; 4.11.2 Historical Monuments; 4.12 Standardization; 4.12.1 Opera Repertory

4.12.2 Concentration4.12.3 Multiplicity of Distribution Modes; 4.12.4 Disagglomeration; 5 Evolution in Science; 5.1 Logical Empiricism; 5.1.1 Newton, Kepler, and Galileo; 5.1.2 Refutation; 5.1.2.1 Initiation Stage; 5.1.2.2 Laws, Theories, Principles, Models; 5.1.3 Approximate Truth; 5.1.4 Ad hoc Explanation; 5.2 Kuhn and Normal Science; 5.3 Supertheories; 5.3.1 Schumpeter; 5.3.2 Reductionism; 5.4 Unified Science Versus Multiple Explanations; 5.4.1 Dismounting Macroeconomics; 5.4.2 Superstrings; 5.5 Principia Mathematica and Hilbert's Programme; 5.5.1 Gödel; 5.6 Chaos and Predictability