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This paper investigates the information behaviour of creative DJs, a group previously not considered from the perspective of information studies. The practice of DJing is a musically creative process, where a performance can draw on a vast range of music to create a unique listening and dancing experience. The authors study what are the information behaviour processes involved in creative DJing and what roles embodied information play in DJing practice.

From a set of semi-structured interviews with 12 experienced DJs in Scotland, UK, that were subjected to inductive thematic analysis, the authors present a model of how DJs undergo the process of planning, performing and evaluating a DJ performance.

From this study, a model of creative DJs’ information behaviour is presented. This three-stage model describes the information behaviours and critical factors that influence DJs’ planning, decision-making and verification during the pre-performance, performance and post-performance stages, with particular emphasis on DJs’ performances as a rich site of embodied information interactions.

This research provides insight into a new activity in information behaviour, particularly in the use of embodied information, and presents a model for the information behaviour of creative DJs. This opens the way for future studies to consider minorities within the activity, the audience as opposed to the performer, as well as other creative activities where physicality and performance are central.

This chapter presents theoretical and empirical studies that investigate the influence of digital culture on the educational process of university students where mobile devices and the internet have become increasingly present as resources in everyday school life. The researchers investigate how such devices and the internet interact with university environments in ways that change the more traditional academic practices, such as reading, writing, and studying. Moreover, in the context of what has been widely labeled as humanities studies, interest has grown in understanding how “culture” may be studied via varied strands of interpretative lines of inquiry, each configured by different methods and ways of reflection. At master education levels, digital technology becomes even more present as a means of academic activity and, as a result, amplifies the impacts of digital culture on contemporary university culture. The purpose of this work is to study the concept of culture, digital culture, and scholarly culture, and, on a second approach, to review aspects of the development of communication methods and their impacts on university educational environments. As a methodological theoretical procedure, this research builds on authors who have raised practical and scholarly cultural questions, such as Pierre Bourdieu, Pierre Levy, Raymond Williams, Roger Chartier, Anne Marie Chartier, and Bernard Lahire, among others. This study engages in empirical research with students in an Advertising and Marketing course in a private higher educational institution in the city of Araraquara, which is located in the “interior” of the state of São Paulo in Brazil.

This study aims to investigate the everyday life information seeking behavior of transgender people in Pakistan.

A quantitative study, based on a survey design, was conducted to explore the everyday information needs of transgender people along with the types and frequency of using information sources. This study further explored the barriers to seeking everyday life information. Data were collected from 378 transgender people from Pakistan.

Music related information was the most important daily life information need and television appeared as one of the primary information sources frequently consulted by the transgender people. The respondents revealed a variety of challenges in accessing information including lack of education, lack of understanding about available information sources, biased treatment by the public and lack of technological skills. Furthermore, a statistically significant difference was found in everyday information needs and sources consulted on the basis of their age and education.

The findings provide a guideline to educate information providers, government agencies and other stakeholders about the information needs of this marginalized community in Pakistan. This study also suggests ways in which stakeholder may improve information systems and services to better assist transgender people.

Arts-integration is a promising approach to building students’ abilities to create and critique arguments with data, also known as informal inferential reasoning (IIR). However, differences in disciplinary practices and routines, as well as school organization and culture, can pose barriers to subject integration. The purpose of this study is to describe synergies and tensions between data science and the arts, and how these can create or constrain opportunities for learners to engage in IIR.

The authors co-designed and implemented four arts-integrated data literacy units with 10 teachers of arts and mathematics in middle school classrooms from four different schools in the USA. The data include student-generated artwork and their written rationales, and interviews with teachers and students. Through maximum variation sampling, the authors identified examples from the data to illustrate disciplinary synergies and tensions that appeared to support different IIR processes among students.

Aspects of artistic representation, including embodiment, narrative and visual image; and aspects of the culture of arts, including an emphasis on personal experience, the acknowledgement of subjectivity and considerations for the audience’s perspective, created synergies and tensions that both offered and hindered opportunities for IIR (i.e. going beyond data, using data as evidence and expressing uncertainty).

This study answers calls for humanistic approaches to data literacy education. It contributes an interdisciplinary perspective on data literacy that complements other context-oriented perspectives on data science. This study also offers recommendations for how designers and educators can capitalize on synergies and mitigate tensions between domains to promote successful IIR in arts-integrated data literacy education.

There is growing scholarly discourse towards COVID-19 pandemic and creative entrepreneurship in the perspectives of Global South. Extant literature lacks sufficient empirical evidence on the subject matter. This paper therefore provides insights into business models and business model shifts in response to the COVID-19 pandemic among creative entrepreneurs in Ghana.

In working towards achieving the purpose of the study, a qualitative design was deployed. Four artistic communities in three regions were understudied. The study conducted working interviews, Focus Group Discussions and field observations on the creative entrepreneurs.

The results showed a unique business model that captured ministries, agencies and departments; traditional authorities, foreigners and the diaspora community as key creative partners. The creative entrepreneurs equally proposed value via quality deliveries, attractive pattern mix, pure handy crafts, mart finishing, imbibing culture into productions and symbolic meanings. Their key activities include cutting and gluing, sewing and coloring, sketching and prototyping, annual Kente festivals, film shooting and editing. The creatives stream revenue through sales, advances, profit margins, contracts, gate proceeds, loans, friends and family support. The results also point at a regime of business model shifts among the creatives, deploying digitalization and diversification in response to the COVID-19 pandemic.

The research by design is limited to the qualitative tradition; despite knowing well about the quantitative approach that could have provided a wider scope and coverage for effective generalizability. Certainly, it would be of future research interest to design a comparative mix-method study to achieve a wider coverage feat. Indeed, the paper does achieve the goal of providing an original empirical account, hence making a valid contribution to knowledge in the area of study.

The knowledge on demystified business models relative to the Ghanaian creative entrepreneurs has practical implications for practice: first, it generates a ground-up knowledge as to what creative entrepreneurial business models are, why they exist and exactly how to create one in a Global South perspective.

These creative business models and the COVID-19 induced model shifts among the Ghanaian creative entrepreneurs imply continuous creative livelihoods, sustainable business models and assurance for innovation in creative entrepreneurship space.

The study is of high scientific value, creative entrepreneurial essence and public interest to better demystify creative entrepreneurial business models and theoretically framed them. It offers strong empirical evidence on COVID-19 induced business model shifts. These creative business models and the COVID-19 induced model shifts among the Ghanaian creative entrepreneurs imply continuous creative livelihoods, sustainable business models and assurance for innovation in creative entrepreneurship space.