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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.

The purpose of this paper is to reveal, how newspaper archives can support contextualisation in management history research by providing quantitative and/or qualitative, accurate, contemporary and cost-effective, data which is not always available elsewhere.

The paper comprises a literature review, which summarises research into contextual analysis and newspaper archive theory; combined with content and textual analysis of articles published in the Journal of Management History and Management and Organizational History (2013-2017).

The findings reveal that the concept of contextualisation is absent from recent management history articles and that few management historians use newspaper archival sources as a data collection strategy.

There is compelling evidence to suggest that contextual analysis can – perhaps should – be incorporated into management historians’ research strategies because managerial organisations operate in open systems, which are influenced by external factors.

This paper juxtaposes two neglected aspects of management history research, contextuality and newspaper archives, and proposes that a key source for historic contextual analysis is newspaper data.

Existing brand literature on assemblage practices has focused on providing a map or geography of brand assemblages, suggesting that an artist brand’s ability to evolve and achieve brand longevity remains constant. Using geology of assemblage, this study aims to explore the types and mechanisms of change in brand evolutions to address the problem of identifying when and how a brand can transform in an evolving marketplace.

The authors apply an interpretive process data approach using secondary archival data and in-depth interviews with 31 self-identified fans to explore the artist brand David Bowie over his 50-year career.

As an artist brand, Bowie’s ability to evolve his brand was constrained by his assemblage. Despite efforts to defy ageing and retain a youth audience appeal, both the media and his fans interpreted and judged Bowie’s current efforts from a historical perspective and continuously reevaluated his brand limiting his ability to change to remain relevant.

Brand managers, particularly artist brands and human brands, may find that their ability to change is constrained by meanings in past strata over time. Withdrawal from the marketplace and the use of silence as a communicative practice enabling brand transformations.

The geology of assemblage perspective offers a more nuanced understanding of brand changes over time beyond the possibilities of incremental or disruptive change. We identify the mechanisms of change that result in minor sedimentation, moderate cracks and major ruptures in a brand’s evolution.

Intellectual property owners put themselves at a competitive disadvantage if they rely only on traditional insurance policies to manage risk.

This paper examines the issues and barriers that inhibit faculty from using technology in instruction. It uses the diffusion and adoption theory as a means to understand and explain how individuals and organisations react when an innovation is introduced into their environment. The framework proposed combines the empirical data from research using concept mapping with the theoretical factors identified from the literature to create a structured process that identifies the priority issues and barriers to technology adoption. Multidimensional scaling and cluster analysis were used to analyse the data gathered from the brainstorming session. A barrier definition and classification scheme was created and used to connect issues to barriers of adoption. Descriptive mixed methods approach was also used to develop a pictorial multivariate conceptual framework for understanding the relationships between issues and barriers to adopting instructional technology. Findings suggest that as a higher education institution in the early adoption phase of using instructional technology approaches critical mass of faculty users, it must address the issues of the critical mass, in order for the mainstream faculty to see the utility in the use of instructional technology in the classroom. This research lays the foundation for further research into the development of a systematic process or approach for managing the diffusion and adoption of technology in instruction at an institute of higher education.

Innovation is a necessary function of organisations today. In order to develop innovative products, services and procedures, managers must encourage and promote creative thinking within their organisation. Everyone can be creative but there are some people who have a naturally creative flair. This paper examines some of the behaviour and creative processes that these people undertake in order to develop imaginative and novel ideas. Specifically, the paper describes some of the thoughts, ideas and behaviours of Brian Eno, a rock musician in the 1970s, and compares them with some of the other great creative minds of the past such as George Bernard Shaw and Michael Faraday. The paper concludes with some lessons that have been drawn from exploring the minds of these people and recommends that managers should nurture creativity with their organisation.

This paper aims to compile an annotated list of films about or pertaining to the artist Andy Warhol.

Films were located using library catalogs, databases and online searches. Selections were evaluated through inspection and both academic and popular film reviews. Inclusion was predicated not only on subject matter and merit but also on availability either on home media or online.

Warhol’s many artistic creations can be introduced and evaluated using a combination of visual and auditory representation. Movies and television (TV) depicting Warhol through dramatization, primary source film, biographical documentary and his art in the context of other artists and movements are readily available through a variety of media.

The selected titles provide a comprehensive introduction to the scholarly analysis of Warhol’s art and work through a format that allows the most extensive representation of Warhol’s artistic output.

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.

It's been three years since my previous survey in RSR. Superb reference books in pop music have been appearing so frequently that I've been having trouble keeping up. Let's hope “next year's” survey will only be 12 months in the making and not 36.

The purpose of this paper is to observe the nature of documentation and the description used in object biographies by an auction house catalogue and an online museum collection database in relation opera costumes. This research aims to discuss the issues of cultural and economic value in relation to objects in the art world, and examine examples of object biographies for opera costumes that are sold at an auction and exhibited in a museum.

The object biographies are compared from an auction house catalogue and the online museum collection database, based on two factors: costumes worn by a famous singer and costumes designed by a famous designer.

This study identified the valuation methods of auction houses and museums, including accounting for the market value and fair value, as well as social and cultural values. The nature of the documentation also clearly shows the different purpose of the object biographies. For auction houses the biography needs to be short and specific as it provides sufficient information and is read out at the auction, while art catalogues can also be used by experts as part of the conversation to understanding heritage value, and will also be viewed and used by researchers, investors, other auction house specialists and art world professionals.

By comparing two institutions, auction houses and museums, this study has shown that the information that is documented and how it is presented in object biographies is determined by the goals of the institutions. These goals may vary or overlap in providing information, demonstrating cultural importance, to be spoken allowed to an audience and make sales, or to educate, conserve and preserve.

This study shows that to some extent museum online databases display their collection removed from cultural context, with an isolated image of the item, and in an organised, digitally accessible manner. A potential implication is that museums should not only digitally catalogue an item, but also provide discussion and the cultural background and significance of the item.

Auction catalogues are written for a specific event (the auction), while the online museum collection database is meant to be a permanent record, which aims to digitally preserve objects and provide access to images and information to a general audience, and further could be edited with amendments or new information when future research or events lead to potential updates.

This study adds to the discourse on approaches to the understanding of costumes as an art object of significance and their potential cultural, economic and heritage value, particularly as represented in the documentation of object biographies.