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This chapter discusses the impact of tourism on the Kampong Glam Islamic heritage site in Singapore. For tourism development purposes, the main artery of the district was converted into a pedestrian mall. Planners tried to connect contemporary marketing initiatives for Islamic heritage with the historic role of Kampong Glam as a pilgrim destination, and attempted to legitimize the intense interventions. Despite these efforts, the rapidly induced changes have caused alienation of parts of the local Muslim community from the district. The chapter portrays the challenge to showcase Kampong Glam as a center of Singapore's Islamic heritage for interested tourists, while retaining the district's role as a homestead for the local Muslim minority.

Glam metal of the 1980s represented a notable development in popular music at this time. A subgenre of 1980s heavy metal, glam metal combined elements of late 1960s and 1970s heavy rock, glam rock and punk rock, enriching both the visual and aural aesthetic diversity of 1980s heavy metal as a result. Moreover, 1980s glam metal bands such as Guns N’ Roses and Poison, Cinderella and Mötley Crüe, Ratt and Warrant, dominated the music video airwaves and sold out venues across the United States. Yet, for all its comparative individuality and widespread popularity, the vast majority of mainstream glam metal bands were marginalised by social action groups mainly, but not exclusively, because of misogynist-type themes that the bands represented in their aesthetics.

During the 1990s, scholars began scrutinising 1980s glam metal’s misogynist aesthetics, for example, Lisa Sloat’s (1998) analysis of glam metal’s sexist and misogynist themed song lyrics concludes that, ‘if exploiting women for sex sells, [glam metal] musicians will [continue] record[ing] songs which do so’ (Sloat, 1998, p. 299). Yet none of these accounts seem to be able to sufficiently unpack the idea that 1980s glam metal’s representation of misogyny was anything other than fundamentally egregious. An alternative reading of the aesthetics shows us how many of the bands creatively appropriated misogyny to idiomatically hallmark metal glam, thus differentiating the style from the broadly homogenous displays of machismo that generally defined the aesthetics of other 1980s heavy metal subgenres. In response then, this chapter should be thought of as a doctrine provactive, intended to elicit a debate about the need to look alternatively at how misogyny is/was used as an artistic aesthetic device, not only in 1980s glam metal, but throughout culture more widely.

The purpose of this study is to offer a checklist that can be used for both creating and evaluating digital collections, which are also sometimes referred to as data sets as part of the collections as data movement, suitable for computational use.

The checklist was built by synthesising and analysing the results of relevant research literature, articles and studies and the issues and needs obtained in an observational study. The checklist was tested and applied both as a tool for assessing a selection of digital collections made available by galleries, libraries, archives and museums (GLAM) institutions as proof of concept and as a supporting tool for creating collections as data.

Over the past few years, there has been a growing interest in making available digital collections published by GLAM organisations for computational use. Based on previous work, the authors defined a methodology to build a checklist for the publication of Collections as data. The authors’ evaluation showed several examples of applications that can be useful to encourage other institutions to publish their digital collections for computational use.

While some work on making available digital collections suitable for computational use exists, giving particular attention to data quality, planning and experimentation, to the best of the authors’ knowledge, none of the work to date provides an easy-to-follow and robust checklist to publish collection data sets in GLAM institutions. This checklist intends to encourage small- and medium-sized institutions to adopt the collection as data principles in daily workflows following best practices and guidelines.

The purpose of this paper is to find out the status/levels of using crowdsourcing in galleries, libraries, archives and museums (GLAM) around the globe and to give suggestions on how Indian GLAM can take the benefit of this global trend.

The study is based on the analytical study of the literature available on the embracing crowdsourcing for diverse tasks with special emphasis on the efforts of GLAM domain regarding the development of digital repositories.

Meticulous analysis of literature and case studies give an overview of the diverse practices of public participation/crowd collaboration in the development of digital repositories around the globe. However, Indian GLAM are far behind in adopting such practices.

With the rapid growth in digital information and Web-based technology, GLAM around the world encourage and engage public participation in various digitization projects to enrich and enhance their digital collections and place them on the Web. However, Indian GLAM still refrain to accept and adopt such practices. Thus, this paper will encourage and motivate the Indian GLAM to enrich and enhance their collection with crowd contribution and uploading them on Web.

This is an original paper and has great implementation value. During the study, enormous literature was available on crowd participation in various areas around the globe, as well as in India. International examples of crowd participation in GLAM creation are found in the literature; however, not sufficient evidences are found regarding crowd contribution in Indian GLAM. Hence, the paper, by presenting the evidences of crowd participation in GLAM domain, proposes the Indian GLAM to exploit the benefits of this practice for Indian digital repositories to expedite the creation and development of various national digital repositories.

In order to develop a common framework for strategic planning and evaluation, the Gardens, Libraries and Museums (GLAM) of Oxford undertook a process for defining digital audiences, undertaking user research to inform a new audience framework, which, in turn, is feeding a new approach and the application of the research across the Libraries’ web redevelopment. The paper aims to discuss this issue.

GLAM used qualitative and quantitative techniques to understand how visitors engaged with GLAM digitally: visitor shadowing, exit interviews, diary studies, remote interviews, social media and data evaluation. From these, GLAM focussed on motivational archetypes that apply to visitors across the institutions as well as pen portraits to support those archetypes, and a template for creating new portraits.

The framework helped GLAM develop digital priorities and outline how digital output met the needs of all audiences from a bottom-up user perspective, rather than only through top-down institutional decision making. Most relevant here, learning from the user research hugely informed the Bodleian Libraries’ website redevelopment. The Bodleian Libraries’ work within that framework shows that such a body of research is not solely high level; it can be applied on an institutional and project level to great effect.

Focussing on motivations rather than demographics is a less common way to approach digital audiences. Developing such a cohesive framework for digital audiences before undertaking strategic planning and specific development projects proved a valuable piece of work from which other institutions can learn.

This research delves into the realm of Business Model Innovation (BMI), integrating it with the human-centric, sustainable, and resilient principles of Industry 5.0, proposing a new theoretical framework.

An abductive approach has been chosen to expand existing knowledge developing new ideas based on emerging phenomena. Data were gathered via semi-structured interviews with directors, managers and curators of public institutions in Italy, Switzerland, Germany and Spain encompassing Galleries, Libraries, Archives, and Museums (GLAM). These data were subsequently subjected to thematic analysis.

The findings indicate that the main enablers for Business Model Innovation (BMI) in combination with Industry 5.0 encompassed stakeholder, customer and organizational engagement, collaborative environment, knowledge and innovation management, and sustainability. These drivers were effectively leveraged through three pivotal facilitators-inhibitors: technology, resources, and leadership.

The principal constraints are rooted in the narrow contextual focus and the limited participants number. However, upcoming research efforts may broaden the horizons of this multifaceted and extensive investigation.

This study is groundbreaking as it fills a significant gap in the existing literature by integrating Business Model Innovation (BMI) with the Industry 5.0 paradigm, a novel approach that has not been explored previously. Additionally, the inclusion of GLAM institutions in this research adds a unique dimension, as they have been largely overlooked in both research domains.

This chapter explores the Aboriginal artefacts ‘clapsticks’ as a form of cultural data – a means of disseminating cultural knowledge in the galleries, libraries, archives, and museums [GLAM] sector. How might alternative methods of curation animate clapsticks as active objects that deliver effective knowledge transfer? This research aims to explore and extend current industry practices of the curation of clapsticks, within the existing parameters of technology, spatial capacity, financial support, and governance as part of the operation of the GLAM sector. The research problem, therefore, explores the past limitations of colonial framing of cultural institutions that once hindered the revealing, the disseminating, and the ‘awakening’ of the complexities of knowledge intrinsic to Aboriginal cultural artefacts. Informal communication with Aboriginal community members and academics was critical to providing cultural context as well as personal beliefs and aspirations vital to conceptualising the future of cultural representation. This investigation explores how a cultural centre offers a space and an opportunity to facilitate the clapsticks datasets in its capacity as a performance-focussed building rather than solely an exhibition space or keeping place. This potential represents a shift in thinking around the clapsticks being a lens through which the stories of Aboriginal culture can be disseminated.

This paper aims to examine the fundraising strategy known as crowdfunding because it applies to galleries, libraries, archives and museums (GLAM) and to share a crowdfunding case study experience.

A rich literature review provides the basis for understanding the central issues related to crowdfunding. Survey data provides information about the perception and experiences of other GLAM organizations with crowdfunding, and a case study shares an experience with the fundraising method.

Some GLAM organizations are attempting crowdfunding projects with varied levels of success, whereas others remain unsure but curious. The case study shares one academic library’s direct experience with crowdfunding.

There is little research currently available related to library use of crowdfunding.

This paper provides a resource and research starting point for GLAM organizations interested in the crowdfunding model.

In a comprehensive manner, this article provides much needed research on the current state of crowdfunding as it pertains to GLAM organizations.

The increased use of, and reliance upon, technology and digitalisation, especially in the galleries, libraries, archives and museums [GLAM] sector, has motivated innovative approaches to the curation of cultural material. These changes are especially evident when collaborating with Indigenous partners. Indigenous Data Governance [IDG] and Indigenous Data Sovereignty [IDS], with an emphasis on self-determination of Indigenous peoples, have called for an emerging focus on ethical and culturally sensitive approaches to data collection and management across a range of disciplines and sectors.

This chapter reports on broader discussions, specifically with mid-North South Australia, Indigenous community members around the appropriate and ethical collection, representation and curation of cultural material on Country applying digital formats. It investigates ways to create a ‘future identity’ through built form as well as providing a ‘safe’ place for preservation of their oral histories.

It highlights the many questions raised around the ethically and culturally sensitive aspects of the collection, curation and archiving of Indigenous cultural material. It documents the preliminary outcomes of these conversations in the context of current research on IDS best practices in the field. The non-Aboriginal authors acknowledge our supporting position in the realisation of effective IDS and self-determination of our Aboriginal partners.