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The purpose of this paper is to investigate the preservation practices of new media artists, in particular those working outside of the scope of major collecting institutions, examining how these artists preserve new media artworks in their custody.

The paper builds case studies of seven new media artists of differing practices and artistic approaches. For each case study, semi-structured interviews with the artists were conducted in conjunction with visits to the artists’ studios.

The study finds that new media artists face a number of shared preservation challenges and employ a range of preservation strategies, and that these challenges and strategies differ markedly from that of art museums and cultural heritage institutions.

This study considers preservation practices for new media artists generally. Further research into specific communities of artistic practice could profitably build upon this overall framework.

The findings of this research pose a number of implications for art museums and cultural heritage institutions, suggesting new ways these institutions might consider supporting the preservation of new media artworks before works enter into institutional custody.

The literature on new media art preservation emphasizes the importance of working with artists early in the life cycle of digital artworks. This study advances this by investigating preservation from the perspective of new media artists, deepening the understanding of challenges and potential preservation strategies for these artworks prior to entering or outside of institutional custody.

New Towns were exemplars of Utopian social and economic visions allied to Modernist ideas of design and architecture. Initially hailed as the answer to the ailments of the historic European city and the urgent need for housing after the War, they came under considerable scrutiny when the ideas of New Urbanism on design, density and community became one of the most vocal critics on Modernist town planning.

The UK Arts and Humanities Research Council recently funded a New Town Heritage Research Network Project. Drawing on case studies from the network, this chapter will refer to the original questions posed by the above-mentioned network project: How are the Utopian social and economic visions which accompanied the New Town Movement embodied in the masterplanning, urban design and architecture of the New Towns? How can the New Town architectural and urban design heritage be evaluated? How can future planning for these towns accommodate and build on this heritage in a meaningful way, and be integrated into regeneration and growth? How can key stakeholders in New Towns create an identity and pride for their town as well as a sense of belonging, by building cultural capital through their heritage, including architecture, public art and cultural activities?

This chapter will analyse how New Towns and their associated Modernist Heritage have been perceived by different audiences and are positioned in the overall heritage discourse including the question of a shared European Heritage.

In this paper, a call to the library and information science community to support documentation and conservation of cultural and biocultural heritage has been presented

Based in existing Literature, this proposal is generative and descriptive—rather than prescriptive—regarding precisely how libraries should collaborate to employ technical and ethical best practices to provide access to vital data, research and cultural narratives relating to climate.

COVID-19 and climate destruction signal urgent global challenges. Library best practices are positioned to respond to climate change. Literature indicates how libraries preserve, share and cross-link cultural and scientific knowledge. With wildfires, drought, flooding and other extreme or slow-onset weather events presenting dangers, it is imperative that libraries take joint action toward facilitating sustainable and open access to relevant information.

An initiative could create an easily-accessible, open, linked, curated, secure and stakeholder-respectful database for global biocultural heritage—documenting traditional knowledge, local knowledge and climate adaptation traditions.

Ongoing stakeholder involvement from the outset should acknowledge preferences regarding whether or how much to share information. Ethical elements must be embedded from concept to granular access and metadata elements.

Rooted in the best practices and service orientation of library science, the proposal envisions a sustained response to a common global challenge. Stewardship would also broadly assist the global community by preserving and providing streamlined access to information of instrumental value to addressing climate change.

Archaeological, palaeontological and geological research has been conducted in Kenya for many years. These research efforts have resulted in exceptional depth of understanding of the region's cultural heritage including those with rock art. Unfortunately, very few of the research programmes have engaged communities as active participants in conservation and consumers of the research findings. The purpose of this paper is to report how collaboration between the National Museums of Kenya and the Trust of African Rock Art (TARA) is creating a link between research, conserving heritage and community engagement.

An overview of two rock art tourism community projects undertaken by TARA will reveal that engaging communities and disseminating research findings does not only foster preservation of sites but is critical in transforming rock art sites into economic endeavours whose outcomes are providing alternative livelihoods.

Community engagement remains the only viable way of ensuring long-term conservation of heritage sites going forward.

TARA is the only organization conducting this kind of work in the African continent. This case study therefore, provides authentic information on local community involvement as a conservation strategy in the African context.

The purpose of this paper is to describe the creation of a catalogue of museum objects associated with two media art collections. The proposal was formulated under the Voremetur Project “Vocabularios para una Red de Archivos y Colecciones de Media Art y sus efectos: metaliteracy y turismo de conocimiento” (thesauri for networked media art archives and collections and their effects: metaliteracy and knowledge tourism) (HAR2016-75949-C2-1-R). Collection characteristics and typologies are discussed along with the difficulties encountered and the interoperability of the platform chosen with other Web resources that foster visibility.

This paper describes a case study and a review of the protocols and standards used to catalogue media art collections. Digitised descriptions were processed with Omeka software in conjunction with the expanded Dublin Core metadata schema. This paper also reviews the literature on the conceptualisation of these collections and the challenges involved in their conservation and management.

The result was the creation of a digital repository for two media art collections: one linked to Espacio P; and the other the outcome of digitising part of the MIDECIANT collection (Archivo Media ART AEMA).

The methodology innovates the description and analysis of museum objects on media art in Spain. The proposed cataloguing method can be replicated and used to describe similar collections and lays the grounds for creating a Spanish network of media art archives and collections.

The aim of this paper is to investigate the nature of public value in the context of Swedish public museum management and how it is created.

The museum context is introduced, and assumptions and principles underpinning new public management (NPM) and public value management, along with examples of applicability and implementation in museums, are presented. Three key issues of convergence and divergence within the theoretical framework – strategic orientation, accountability and performance – are identified and introduced as a gateway to the empirical findings and the ensuing discussion.

NPM-oriented values have become part of the strategic orientation of the museum sector. The results of this study show that there exist at least three conceptions of museum management that are based on two different strategic orientations, that is, accessibility and conservation, which also point to different conceptions of value.

Museum management can be seen as the management of tensions between conservation and accessibility and between customer orientation and stakeholder orientation towards the creation of museum value.

The findings will assist museum management determine not only what value is but also for whom it is valuable, taking into account both present and future generations.

In recent years, there has been a “heritagisation” of pop culture, including music, whereby cultural institutions, such as galleries and museums in primarily Western countries, have run exhibitions based on pop culture to successfully market to a new audience of visitors. The purpose of this qualitative study is to explore the issue of the “heritagisation” of pop culture by museums and observe visitor response to a specific music-related exhibition, linking intangible and tangible elements of the exhibition to provide a framework to understand the visitor experience.

The purpose will be achieved by observing the “heritagisation” of pop culture in the literature and past exhibitions, proposing how cultural institutions have linked the intangible and tangible elements of music in pop culture for an exhibition and observe visitors' feedback from online comments posted on Tripadvisor undertaken during the original “David Bowie is” exhibition at the Victoria and Albert Museum (V&A), London.

From the Leximancer analysis, a new conceptual framework for visitor experience at an exhibition was developed, which contains three visitor-related categories: pre-exhibition, exhibition space and exhibition experience, with five themes (tickets, exhibition, displayed objects, David Bowie and visitors) and 41 text concepts.

For cultural institutions the implications are that there can be opportunities to curate exhibitions on pop culture or music-related themes, which can include intangible and tangible elements, such as songs, videos, tickets, costumes, musical instruments and posters. These exhibitions can also explore the changing socio/political/historical/cultural background that contextualises pop cultural history.

This theory-building study advances the body of knowledge as it links music in pop culture and cultural institutions, specifically in this case a highly successful music-related exhibition at a museum, and provides a theoretical model based on tangibility elements. Further, it analyses museum visitor comments by using the qualitative software program, Leximancer, to develop a new conceptual framework for visitor experience.

This paper aims to document a case study of recent use of the International Records Management Trust's Records Management Assessment System (RMCAS) software tool.

The author used RMCAS as the primary data collection tool in an assessment of records management across the London Museums Hub.

The application of RMCAS in a museum context underlined its flexibility for use within the public sector outside of central government ministries. While RMCAS continues to serve as an excellent data collection tool that can deliver high‐level analyses, its use outside central government highlights the potential benefits of some re‐design in its next generation.

This paper can serve as a guide to others considering the use of RMCAS outside its original context.