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The process of commercialization of art is often referred to as “monetization,” denoting the use of art as an investment class. I discuss the reverse mechanism, defined as “Monet-ization,” where investment is overlaid with artistic value, and unproven art is imbued with aesthetic qualities. This mechanism is derived from a historical overview of key periods in the history of art, such as the flourishing of new genres in early 17th century Dutch art and the rise of Modern art in the early 20th century. An analysis of original data on the leading art collectors in the world in the period 1990–2015 highlights the tendency for collectors with an “investor” profile and eclectic taste to buy contemporary art. Combining artworks from diverse periods and styles, eclectic personal collections contribute to the conversion of economic into aesthetic value by way of spill-overs across genres and to the attribution by association of “old” value to “new” art. The “Monet-ization” process helps elucidate how paradigm shifts occur in the art world and how innovation survives under conditions of insufficient demand.

The main purpose of this conceptual paper is drawing up a framework to assess the company responsibility regarding culture and fine arts. Since a rich cultural life requires variety and commitment to innovative and bold forms of cultural activity, the model should measure the corporate commitment to fostering axiological pluralism in the cultural sphere. A subordinate purpose is testing that model using primary data on the biggest Spanish listed companies. First, we define the corporate cultural responsibility (CCR) as a specific field of the corporate social responsibility. Second, we defend that corporate citizenship involves accepting some risks to be in line with the public expectations on arts and culture. Third, it is proposed an assessment model that takes into account the kind of cultural activities promoted by the firms, from conventional and uncommitted to innovative and provoking. The model makes possible to rank the companies according to the quality of their CCR and take into account the influence of size and sector. The model reveals whether firms support conventional versus challenging cultural activities. This should be taken into consideration both by CSR managers and policy makers. In spite of the mounting economic significance of symbols and creativity, there is still little literature that specifically addresses the role of firms regarding arts and culture as another facet of their responsibility as corporate citizens.

The “first generation” (Lammers, 1978, p. 486) of comparative analysis of organizations in sociology (e.g., Blau, 1965; Stinchcombe, 1959) focused on the “nuts and bolts” of organizational structure as the key criterion with which to derive organizational typologies (Perrow, 1967; Pugh, Hickson, & Hinings, 1969). This initial cohort of analysts saw the intrinsic features – or “organizational attributes” (Blau, 1965, p. 326) – constitutive of the “technical core” of the organization, such as features related to the organization of the production process (Perrow, 1967) or the structure of allocation of discretion and authority (e.g., Etzioni, 1961), as the royal road to the development of a cogent approach to comparative analysis of organizations.

The level of financial development is a key factor influencing long-term economic growth. A high level of financial development allows for the effective diversification of risk and allocation of capital, which, in the long run, improves the growth prospects of an economy. Schumpeter (1911) was one of the first to highlight the importance of financial development as a determinant of economic growth. Recent empirical work supports this relationship (see Beck & Levine, 2002; Levine, 2004; Mishkin, 2007). For example, Levine (2004) summarizes the empirical evidence on financial development and economic growth and states that “the level of financial development is a good predictor of future rates of economic growth, capital accumulation and technological change” (Levine, 1997, p. 689).² Thus, stock and forward markets spread knowledge about market expectations of factors and changes that are important for economic development (Lachmann, 1978).

The general global leadership literature has had little to say about African models of leadership. Despite this, the continent of Africa has deep and rich traditions of relational leadership that have been practiced over centuries to honor individuality, broker difference, and foster unity. This chapter shares a number of these practices and illustrates how they have been used to nurture community at the African Leadership Academy and the African Leadership University. We conclude with our perspective on the relevance of these practices to building community in the wider world.

The construction industry has a fragmented nature which accounts for the highest degree of decentralisation of information. The exchange of information can be made possible and easier by the application of smart computing into the construction process. This creates an opportunity to enhance productivity and communication among stakeholders of the industry. This chapter, therefore, explores the concept of smart contracts, its drivers, challenges and critical success factors for implementing smart computing into construction in the effort to work towards an industry that is functional and sustainable at the same time.