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The aim of this study is to investigate how the information needs satisfaction of visual art teachers affects their creativity. Visual art teachers’ information seeking behaviour and specifically the association of information needs satisfaction with creativity has been an understudied area, despite competent information seeking being considered essential for high quality practices of art teachers.

A questionnaire survey was developed addressing the information seeking behaviour of art teachers, informed by Wilson’s model (1981), including visual art teachers’ information needs, information resources, obstacles faced while seeking information and the perceived impact of information needs satisfaction on visual art teachers’ creativity.

The study included 298 visual art teachers in Greece. The results demonstrated that the key information needs of art teachers were mainly related to materials’ properties, techniques for creating artwork and artwork promotion methods. Online information sources were the preferred sources of art information, followed by colleagues, personal collections and visits to galleries and museums. Our study identified lack of time, lack of specialized libraries and copyright, as the main barriers to information seeking.

Information about art plays a substantial role in visual art education, while visual art teachers’ information needs satisfaction positively influences their creative endeavours. There is a need to further explore the digital information needs of visual art teachers.

This paper aims to discuss the place-making processes of street art within the context of Toronto, Canada, and potential for street art as alternative tourism to contribute to new urban tourism and encourage urban regeneration in the city.

The study applies reflexive thematic analysis to analyse secondary data sources such as reports, maps, videos, websites, news articles and official documents alongside photographic documentation and field research.

Street art in Toronto has been found to coincide closely with processes of creative place-making. While there is some indication that municipal street art organizations and destination marketing organizations are aware of the possibilities for street art to contribute to tourism in the city, it remains an untapped resource for new urban tourism. As a component of creative place-making, it has great potential as a form of alternative tourism to regenerate a still struggling tourism economy.

This paper explores the nascent research area and practical application of street art as an alternative form of urban tourism in Toronto, Canada. It also fills a gap by connecting the concept of creative place-making with street art, urban regeneration and tourism specifically; a focus that needs wider attention.

This paper aims to explore the opinions of business owners in an industrial area of Abu Dhabi that could be potentially turned into an art tourism destination.

By mobilizing the concept of “gentrification aesthetics,” the authors use a recall technique to explore support toward art from business owners, regression analyses to understand how the type and content of art predicts gentrification support and chi-square to research the differences between respondents who support the area to become a creative place and those who do not.

A model that explains the connection between gentrification aesthetics and art tourism is presented.

The authors’ proposed model results from testing the possibilities for expanding art tourism specifically and may not apply to other types of tourism. Future research is needed to understand whether and how the model can be applied to other forms of tourist consumption.

The current research presents a case study on how tourism can be strategically expanded into more rural places in a city.

The authors found significant differences between respondents who would like to see Mussafah becoming a creative place in five years and those who believe Mussafah needs to be(come) something else.

While work on tourism gentrification has been conducted, the nexus between gentrification aesthetics and art tourism cannot be found. Their relation can help to expend (art) tourism from busy cultural attractions to industrial areas. The present research fills this gap.

The purpose of this paper is to share findings from empirically driven conceptual research into the implications for English teachers of understanding generative AI as a “tool” for writing.

The paper reports early findings from an Australian National Survey of English teachers and interrogates the notion of the AI writer as “tool” through intersectional feminist discursive-material analysis of the metaphorical entailments of the term.

Through this work, the authors have developed the concept of “coloniser tool-thinking” and juxtaposed it with First Nations and feminist understandings of “tools” and “objects” to demonstrate risks to the pursuit of social and planetary justice through understanding generative AI as a tool for English teachers and students.

Bringing together white and First Nations English researchers in dialogue, the paper contributes a unique perspective to challenge widespread and common-sense use of “tool” for generative AI services.

This chapter explores the approaches to digital representation of Australian Aboriginal art and visitor engagement in museum exhibition spaces from a digital design perspective. It discusses recent developments in the fields of digital representation of Aboriginal art, immersive exhibition design and visitor engagement. Through a case study of an immersive exhibition on Australian Aboriginal art in the National Museum of Australia, Canberra, this chapter identifies how Aboriginal art can be digitally represented by appropriate immersive technologies ranging from augmented realities [ARs] and virtual realities [VRs] to mixed reality [MRs] and extended reality [XRs] for enhancing visitors’ immersive digital experience. According to the analysis, the digital representation of Aboriginal artworks needs to be conducted practically, cognitively and ontologically based on understanding Australian Aboriginal history and culture. Visitors can engage with Aboriginal art stories meaningfully through immersive exhibitions through this holistic approach.

In this chapter, Jared Thomas, a Nukunu person from the Southern Flinders Ranges and a Research Fellow at the South Australian Museum and University of South Australia, reflects on his efforts to enhance the Fire Exhibit within the Australian Aboriginal Cultures Gallery [AACG], which has not been updated in 20 years. Thomas draws from an international precedent of involving Indigenous communities in museum displays.

The author outlines the limitations of renovations in terms of budget, space, and Indigenous protocols, while considering the potential impact of the proposed Tarrkarri Centre for First Nations Culture. He emphasises the importance of fostering relationships between Aboriginal and non-Aboriginal peoples, allowing Indigenous voices to speak for themselves.

Thomas focusses on the Fire Exhibit, discussing its significance in Aboriginal culture, the lack of contextualisation, and the need for improved representation. He proposes short-term actions such as adding QR-code-based text for context, and long-term ambitions like incorporating audio-visual and augmented reality elements. He highlights the importance of Aboriginal fire land management practices, especially in the aftermath of the 2019 Australian bushfires.

Thomas proposes strengthening the exhibit’s connection to foods, medicines, and fixatives that benefit from cultural burning. He envisions collaboration with the Adelaide Botanic Gardens and acknowledges the resource constraints faced by the museum. He concludes by envisioning a template for extending improvements across the museum and fostering better understanding and representation of Aboriginal culture.

The interpretation of any emerging form or period in art history was never a trivial task. However, in the case of digital art, technology, becoming an integral part, multiplied the complexity of describing, systematizing and evaluating it. This article investigates the most common metadata standards for the documentation of art as a broad category and suggests possible next steps toward an extended metadata standard for digital art.

Describing several techno-cultural phenomena formed in the last decade, manifesting the extendibility of digital art (its ability to be easily extended across multiple modalities), the article, at first, points to the long overdue need to re-evaluate the standards around it. Then it suggests a deeper analysis through a comparative study. In the scope of the study three artworks, The Arnolfini Portrait (Jan van Eyck), an iconic example of the early Renaissance, The World's First Collaborative Sentence (Douglas Davis), a classic example of early Internet art and Fake It Till You Make It (Maya Man), a prominent example of the blockchain art, are examined following the structure of the VRA Core 4.0 standard.

The comparative study demonstrates that digital art is more multi-semantic than traditional physical art, and requires new taxonomies as well as approaches for data acquisition.

Acknowledging that digital art simply has not yet evolved to the stage of being systematically collected by cultural institutions for documentation, curation and preservation, but otherwise, in the past few years, it has been at the front-center of social, economic and technological trends, the article suggests looking for hints on the future-proof extended metadata standard in some of those trends.

This chapter reports on research that explores new and emerging extended reality [XR] technologies and how they might provide opportunities to trial, investigate, and put into practice their potential to reverse processes of atomisation, polarisation, and intercultural discomfort, in our contemporary society. This transdisciplinary practice-led research was underpinned by disciplines of computer science and engineering, social sciences, history, diverse community economics, human ecology, and Indigenous psychology. The collaboration between these various disciplines with the Māori and non-Māori community members allowed researchers to understand current societal stressors, prioritise relationality, and explore our shared values in the creation of XR experiences for exhibition in the galleries, libraries, archives, and museums [GLAM] sector.

A discursive design framework motivated, inspired, provoked, persuaded, and reminded inspiring collaborators, and visitors to the exhibitions, the value of (re)connecting with people and overcoming interracial awkwardness through these curated experiences. The XR technologies provided women a platform to discuss and reimagine first encounters between people from different cultural backgrounds. The technologies included a 180° stereoscopic projection, Common Sense, in which Māori Elder Irene Hancy shared her insight about social engagement and haptic HONGI in which visitors were greeted by a Māori woman Tania Remana via augmented reality. This research has been motivated by a desire to promote and support intercultural understanding in Aotearoa New Zealand, and it extends research by other non-Māori and Māori scholars.