Economics & aesthetics; how can art economists obtain the aesthetic knowledge they need for their economic purposes?

The insurmountable obstacle against which economists’ attempts to confront and solve the economic problems of art – public funding as the first among many – and that has forced them to retreat after the ignominious attempt to save face by promoting art as a ‘merit good’ is the total lack of any form of aesthetic knowledge whatsoever. No one knows what the nature of art is, hence what need it satisfies, and as a consequence, the nature and dynamics of the act of consumption are unknown, as is, more generally speaking, the social function of art. Thus, art economists are not able to confront a problem of industrial efficiency. The problem seems to be unsolvable: how can the economist acquire unlimited aesthetic knowledge – because this is what it is all about – and then: how can this knowledge be used in a professional, scientific way, and in complete autonomy? In this study, a solution to the problem is put forward. Constructed thanks to an innovation brought about by Chance, it enables the economist to acquire unlimited aesthetic, pedagogic and critical tools that he/she can use professionally – not as a dilettante – and in complete autonomy, so as to be able to confront and solve the economic problems of art, which are problems in marketing and industrial economics.