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The purpose of this paper is to investigate the organization and design of a real-life digital collection for the field of Book Arts. This paper also examines the challenges in building digital libraries for visual domains with specialized user pools.

A qualitative study was conducted. An online survey asked participants from the field of Book Arts to provide free-text descriptions of randomized visual representatives taken from the collection using open-ended question and answer boxes. Themes extracted from the survey were coded and presented using basic statistical measures.

The results of this study identified a set of specialized access points for items that were selected as being significant for Book Arts and perhaps other areas in the Fine Arts. Results informed retrieval of visual information for this domain along with user interface design and evaluation strategies. In addition, the survey used in this study demonstrated the ability to collect longer, more in-depth answers and category terms alike from the participants.

This study was necessary for the practical purpose of organizing a digital collection of the Book Arts, a unique collection. While similar studies have been conducted, even for collections deemed to be from the “Fine Arts”, previous studies do not agree on what is important for organizing digital collections including varying opinions of certain bibliographic access points and visual representation.

The live streaming of theatrical performances to cinemas has become increasingly common in recent years. The practice offers potentially positive returns for audience reach, audience development, revenue streams and global cultural exchange (Cochrane and Bonner, 2014; Nesta, 2011; King, 2016). However, the conceptualisation of live performance transmissions remains under-explored. The purpose of this paper is to review critically selected literature on event experience and apply it to the growing practice of live-streaming theatre (LST). In doing so, the paper develops a new conceptual model that can be used to guide future research on audience expectations, motivations and experience of LST.

A comparative historic case study approach combines a structured review of relevant academic literature and industry sources. Theories of live cultural experience and authenticity are critically reviewed. The opportunities and threats of LST to performing arts companies are summarised. The approach considers cognitive, affective and behavioural factors in probing themes of audience awareness, perceptions, expectations and experience of LST. The paper uses these factors to develop an original conceptual model for LST.

The research finds that the practice of cinematic live transmission of performing arts challenges existing conceptual categories and marketing strategies. Fundamental events studies factors such as “attendance”, “authenticity” and “experience” are re-evaluated. The model suggests that despite improvements in digital technology traditional theatre and broadcasted theatre are two different experiences, not substitutes.

As a conceptual paper, the results are subject to being tested in the field. The findings reveal implications for the evolving future of hybrid and mixed event experiences. The potential for LST screenings to attract new audiences requires further study.

The implications of the research reflect the changing business models and supply side dynamics of theatre production and touring. The results suggest that live streaming is of limited effectiveness in addressing the capacity limits of Baumol and Bowen’s (1966) “cost disease” in live arts performance. LST allows major brands to penetrate regional markets thereby potentially squeezing out smaller touring companies and restricting innovation.

The findings reveal implications for the evolving future of hybrid and mixed event experiences.

The influence of digital technology on live arts experience is currently under-explored and under-theorised. This paper develops a new conceptual model that captures in greater detail than previously the various factors that may determine audience engagement with, and experience of, LST. The paper contributes to knowledge by expanding the discourse on the gaps between the competing aims of access and authenticity. The analysis expands the academic understanding of hybrid and virtual event experiences.

The COVID-19 pandemic has accelerated the need to embrace digital ways of producing work and reaching audiences in the hard-hit sectors such as performing arts. In the context of post-pandemic recovery, this paper explores the notion of digital performance and proposes a framework for categorisation of digital skills currently associated with the digital making and sharing of performance work. It also aims to review the current digital skills offering in the performing arts training at Scottish universities and suggests strategies to drive accelerated digital skills development in performance education.

Literature on digitalisations, digital skills and digital performance have been reviewed to provide the context and inform the proposed Digital Skills for Performance Framework. Subsequently, a pilot desk-based study selected 15 Scottish Higher Education Institutions in the area of performance and analysed their publicly available programme documentation for the presence of digital skills.

While all of the programme specifications mentioned the use of “digital portfolios” and “digital performance”, there was little specific detail concerning “baseline” (transferable) and “specific” (technical) digital skills such as competency in the use of specific technologies. More notably, there was a complete absence of content relating to digital aesthetic identity.

Upskilling future performance makers in digital competencies seems particularly important at present. This paper offers a useful categorisation of the digital skills in performing arts context, which higher education programmes can use to update their curricula, prepare the work-ready graduates and explore technological opportunities for the sector's long-term post-pandemic recovery.

This paper discusses art and sustainability in the 21st century; therefore, we can't ignore the huge technological revolution that currently exists. Art throughout history has been associated to religion, politics and economics, but now it is also connected to technology. Hence, the question arises: Can digital technologies achieve sustainability? In this regard, the research will address the effective role of digital technology in achieving sustainability in art field and its practices.

The main research material is derived from my interviews with artists, professors, curators, gallerists and art historians. In addition to the references of sustainability in various fields that are related to art, as Sustainability has become a goal that all sectors are striving to achieve to preserve our planet, as much as we can, especially in the field of art which is closely related to the environment.

This paper explores the possibility of achieving sustainability in art field and its practices through digital technologies. In addition, it reveals that countries that have developed digital technologies are able to apply the digital technologies in art and its practices to achieve sustainability, in contrast, developing countries they could not achieve sustainability through digital technologies.

As part of a joint research project between a developing and developed country, the paper clarifies the different opinions from 14 countries about the extent to which sustainability in art is achieved through digital technology. It also outlines some successful and unsuccessful experiences in achieving sustainability in art.

The aim of the present study is to reflect upon the use of digital audiovisual content for the marketing of cultural events in the relative organisations and foundations during the turbulent times of the COVID-19 pandemic by conveying experts' interviews. The main question that the study seeks to touch upon is whether the digital audiovisual techniques implemented by cultural foundations and festivals in Greece during the COVID-19 pandemic were efficient in promoting artwork and stressing on social presence and whether their marketing and distributing processes of the artistic and cultural products manage to attract audience engagement and further enhance the foundations' brand. What the research seeks to examine is issues such as digital content creation, arts marketing, use of digital media and new technologies, brand identity and strategy building. Particular digital campaigns of foundations will be reviewed from a closer focus.

The qualitative research is based on experts' interviews. The primary foundations that are in focus are the organisations of Thessaloniki International Film Festival (TIFF), Dimitria Festival in Thessaloniki, Greece and a major cultural foundation in Athens, Greece the Onassis Foundation.

A proper combination of interesting audiovisual content and precise brand aspirations in terms of identity and vision are what will lead a foundation to the audience it desires. Adaptability is the element that defined the foundations in the turbulence of the times of a pandemic, and creativity is what made some foundations differentiate themselves from others. The digitization that the pandemic brought can be considered as a positive dimension as well, since foundations can combine digital and physical spectacles in the near future so that they can always be relevant.

This study identifies certain limitations that could be investigated by future research, the main one being the small number of the organisations and foundations under research and the limited number of interviewees. Furthermore, the fact that the research was performed in cultural institutions and that audiovisual features were integral in the artwork they serve could be considered as a limitation.

The originality of this research lies in the examination and registration of the implementation of innovative digital audiovisual techniques by cultural foundations in Greece to reach their audience during the COVID-19 pandemic.

The purpose of this paper is to examine the impact of digital platforms on the contemporary visual art market. Drawing on the theoretical insights of the technology acceptance model, the meaning transfer model and arts marketing literature, the authors conceptualise the role of user participation in creating the meaning and value of contemporary artworks in the online art market.

The authors conduct a qualitative study of Saatchi Art as an instrumental case for theorising. It is an online platform for trading visual artworks created by young and emerging artists. The data for this study were collected through direct observation and documentary reviews, as well as user comments and buyer reviews from Saatchi Art. The authors reviewed 319 buyer comments Art and 30 user comments. The collected data are supplemented with various secondary sources such as newspapers, magazines, social media texts and videos.

The growth of digital art platforms such as Saatchi Art provides efficiency and accessibility of information to users while helping them overcome the impediments of physical galleries such as geographical constraints and intimidating psychological environments, thereby attracting novice collectors. However, users’ involvement in the process of valuing artworks is limited and still guided by curatorial direction.

The first limitation of this research is that the data in this research cannot capture interactions between users, though users’ intention to use Saatchi Art is affected by the social influence of other users. Second, this research has not examined artists as users of digital art platforms and their interactions with other types of users. Artists’ intention to use the online platform might be underlined by enhancing their status in the peer group or seeking legitimacy in the field by following other artists and getting recommendations from important referents.

The outcomes of this research suggest that newcomers in the online art market should acknowledge that users’ intention to use the online art platform is determined by not only technological usefulness of the website but also the symbolic capital of the information provider.

User participation in the online art market is guided by curatorial direction rather than social influence. This confirms re-intermediation of marketing relationships, highlighting the role of new intermediaries such as digital platforms in arts marketing.

Technology usage habits and the development of creative arts experiences and productivity are effective. In 2007, Lui argued that digital art can integrate the concept of information technology, which is at the forefront of the development of the child, with art education based on the dynamics of digital culture and art. In the discovery of artistic acquisitions, it is seen that they used digital art for play in the early stages of children's lives. In the stages of development, they were seen to improve their reading, writing and arithmetic skills, respectively. In young children, it was seen as a result of research that used information gathering and artistic expression skills more effectively with multi-interactive games. We see that digital visual culture and visual intelligence, technologies such as computer games, virtual museums, movies and the internet, change children's aesthetic perspective. Digital culture art gives children and young people who are centered on learning with their own dynamics the opportunity to produce art with new technologies, expressing themselves and carrying out more activities that are independent. Children can also be brought together with artists, software developers, designers, engineers and experts in various professional groups. While the child is using the possibilities of the digital world unlimitedly, he and the experts have developed their creative thinking skills and processed new records in their visual memory with different aesthetic perspectives. Children will be examined in this study to see how they develop and benefit from an awareness of artwork, production, creativity and discovery using digital special technological equipment.

This study aims to investigate how, in forming their policy towards open data (OD), art museums interact with the OD ecosystems they are part of, comprising internal and external components such as cultural policy, legal frameworks, user groups and economic conditions and incentives.

The authors structure their research as a multiple case study based on three OD ecosystems, each defined by a mid-sized European art museum at its centre. Qualitative analysis of the case studies proceeds from interviews with museum management staff and policy-related agencies in three European countries, in addition to document analysis.

The results of this study suggest that museums are sensitive towards their environments and respond to their ecosystem based on what is communicated within their networks. However, museums are not effective in communicating with their users, limiting the informational interdependence necessary for well-functioning OD ecosystems. EU policy appears to be a driving force along with national financial incentives, though institutional conditions are limiting progress. Advancing the field relies instead on an epistemological shift to understand the museum as part of a larger information network.

As the first comparative case study of art museum OD ecosystems that the authors are aware of, the study provides a qualitative analysis of the complex dynamics impacting OD policy within the mid-sized art museum. The authors identify specific dynamics that are thus far restricting further development of the OD ecosystem of the mid-sized European art museum.

Information makes an important contribution to the promotion of the creativity of visual artists. This work aims to explore relevant research through a systematic review of the literature and discuss the impact of information on visual artists' creativity.

A systematic literature review was conducted through Preferred Reporting Items for Systematic reviews and Meta-Analyses method. The authors searched and retrieved 1,320 papers from which, after evaluation, 41 papers have been analyzed.

Two thematic categories were identified for visual artists' information needs: (1) the need for professional development and (2) the need for creative techniques and materials. In terms of information sources visual artists employ, the authors have also identified seven broad categories: (1) conventional resources (galleries, museums, etc.), (2) professional scholar sources, (3) digital art websites, (4) informal information online and colleagues, (5) libraries, (6) personal collections and (7) professional scholar social networks. In addition, the study proceeded to classify the obstacles faced by visual artists in their search for visual information into two general categories: (1) environmental barriers and (2) digital literacy barriers.

Although the investigation of the information needs satisfaction of visual artists as well as the evaluation of their information behavior patterns and information literacy competences is essential, it is understudied. This paper summarizes the relevant literature in a concrete and systematic way providing evidences to be considered in a variety of situations, i.e. developing lifelong learning programs, managing visual art library collections, library services development for artists, etc.

This chapter provides case illustrations at the sub-regional creative hubs from East to West, and North to South Africa. Starting off with a broad overview of creative hubs – notably African Tech Hubs, and how they have been at the forefront of culture and innovation on the continent, the chapter moves on to discuss a few examples from the Co-Creation Hub in Lagos Nigeria to the South African Cultural Observatory, Starplace Hub and Playable City Lagos. A Sectoral Journey in other Places & Spaces is also undertaken from the African Literature sub-sector to the Music and Fashion sub-sectors. Finally, a selection of Art Galleries and Cultural Centres such as The Bruce Onobrakpeya Foundation and the Nike Center for Art and Culture and the Dak’Art Biennial, Dakar, Senegal are highlighted alongside the Kó Art Space, Lagos, Nigeria.