The Purpose of this paper is to show the importance of a philosophy in public cultural support. Since the last 1980s in Japan, they made various improvements of the creative environment in the cultural support system, especially on the diversification of source of revenue. But the fundamental problem in Japanese public cultural support system is the misuse of a philosophy concerning arts and culture. For the appropriate use the philosopy, this paper points out the importance of “collective distinction”.

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In general, Japanese public museums have such ways to evaluate the activities as 1) advisory committee held in accordance with Article 20 of the Museum Act, 2) internal conferences held by the museums, and 3) repeated visitor surveys.
First, this paper will introduce the actual conditions of these ways, on the basis of the research by questionnaires and hearings on them. Moreover, this paper will outline recent evaluation studies, and make a proposal for future evaluation in public museums.

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This paper attempts to examine whether there exist unmet legal needs among artists in Japan and to propose measures to meet such legal needs, if any. A questionnaire survey was used to study present situation of legal aids for artists. In conclusion, we think unmet legal needs exist, and the following measures can be effective solution: i) to expand legal aids in general with increase in budget allocation; ii) to develop a legal aid program designed to serve legal needs of artists, such as Volunteer Lawyer for Arts in New York; iii) to educate and train entertainment lawyers.

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It is said that 21th century will be the era of the Information-oriented society. The Information technology can combine the life and the science and the art. On reflection, 20th century is the era of the machinery and great industry. In the beginning of 20th, the Russian Avant-Garde has intended to combine the art and the life on the base of great industory. Especialy, REF (the Reft Front of the Arts) has developed the idea of William Morris.

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The purpose of this study is to explain the distribution pattern of entertainments in Kansai area by analyzing characteristics and numbers of entertainments placed in the commercial magazine “PIA”. Characters of cities showed by movement of workers and conditions of location reflect in numbers and kinds of entertainments. There is difference between Osaka city and Kyoto city in covering area and quantities of played entertainments. But we can say that they are the main cities supplying entertainments in Kansai area. On behalf of the difference in location of and environment around cities, performing categories of played entertainments differ between the suburban city and the central city of the area.

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There are two purpose to be at work on Public Art in USA. The first is to decorate urban space and the second is to support the arts for next generation. In Japan, it is more important the first and results in failure frequency because of bureaucratic origin. There is a financial system suitable for both purpose at Seattle Arts Commission which bear urban policy for arts support. They have stable financial resource and wide powers to distribute it. Besides they network outside their commission and keep the artist, the staff and people communicating together.

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In the local governments, cultural promotion policies are aggressively tried as the part of the area activation. For the corporation to shape and to execute a cultural policy, the data on fine quality for the policy execution is necessary. The more cooperation with the artists concerned seems to become more necessary in the future with the local governments or the relation for the host organization, too.
The active expenses are an average of 80 million yen but there is that many scattering is done. Also, there is little relation between the expenses and the number (the excursionist and so on) of the participants and it can not crawl generally when the excursionist gathers if multiplying expenses to be said to. Rather, it is possible to say the state of the area culture activity in the future that the fullness of the active contents connects with the area activation.

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The number of education programmes in public arts centres such as “workshop” is on the increase in recent years in Japan. These education programmes differ greatly in their aims and contents, and there is no definite standard way of assessing the programmes yet. The purpose of this study is to grasp the status quo and the current problems of education programmes in public arts centres. For this a questionnaire survey was conducted. This study summarizes the current practices and demonstrates that the public arts centres share common problems in producing education programmes.

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