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This paper considers the exhibition: UnDoing. This research-through-curation project examined interactions within existing spaces and situations. This established links between the selected exhibits, the gallery, the city and with the continuum of the previous exhibition.

Carefully selected architects, designers and artists were invited to contribute—those who pursued a contextual approach; whose practice explored the way buildings, places and artefacts are reused, reinterpreted and remembered.

Through the act of curation, this research uncovered a series of different approaches to constructed sites and existing buildings, from layered juxtaposition, the refusal to undo, to interventions of new elements within architectural works.

Curation offered the opportunity to consider works of architecture and of art through the same lens, for direct comparisons to be made and the influence of one upon the other to be comprehended.

The examination processes the architect employs is similar to that of the artist; the development of an understanding of place, and from this synthesis, creative interpretation. However, despite the similarities in the starting position, the elucidation developed by the artist can be vastly different to that of the architect.

The juxtaposition and new classifications created by the exhibition encouraged visitors to look at art, architecture and the city in a different way; to grasp the direct link between the different subjects; and the possibilities created.

The two driving factors for UnDoing were places of previous occupation and the city of Manchester. The qualities of surrounding constructed environment combined were combined with attitudes towards existing structures and places.

This paper aims to provide a reflection on innovating and repurposing collection development and marketing strategy, particularly for eBooks in libraries.

This paper provides a general review where previous research papers on the phenomenon of the study have been consulted.

The findings indicate that there is a lack of awareness of eBooks and marketing, and virtual bookshelves in the form of LibGuide gallery boxes are identified as a solution in promoting these resources.

This is a valuable contribution that sheds insight on the usage of LibGuide gallery boxes as virtual bookshelves in marketing library resources, particularly eBooks.

This exploratory research seeks to clarify the role of cultural organisations as knowledge-intensive public organisations (KIPOs) and the trend of digital content creation in museum sectors and national strategies through a country case study. It aims to provide a deeper understanding and analysis of museums' roles as KIPOs, specifically focusing on their digitalisation and digital content development for service delivery. Digital technology utilisation in the museum sector has amplified the significance of digital content, not only because of the increasing use of digital technologies among the public but also because it provides attractive new content to appeal to customers, as well as more efficient knowledge management and knowledge reproduction tools for KIPOs. Thus, this paper analyses digital content creation in the museum sector and policy frameworks to provide insights into the role of museums as KIPOs by utilising digital technologies.

We conducted literature review on six keywords, combination of “cultural institution”, “museum”, “digitalization”, “digital content”, and “ICT” to understand the digitalisation of museums amongst academic papers, then used a case study to figure out the common issues as well as case-specific features of these digital offerings through analysis of the digital platforms of museums. Specifically, we choose the case of South Korea, its national strategies and budget allocations and the museum sectors in the country. Thus, the secondary data analysis was provided by the official channels, such as documents from government agencies, media sources, such as articles from newspapers and magazines and academic works of literature, such as papers in scientific journals.

This paper reveals the research trend in museums' digitalisation, especially through the case study, how the South Korean government has argued digital content development in museum sectors through their national strategies and budget allocations, and the trend of museums' digital offerings since 2021. This paper thus presents a novel contribution to the field by delving into the research trend in digitalisation and digital content development in the museum sector and analysing the South Korean government's national strategies and budget allocation in this context. The literature review shows that the digitalisation of museums has increased research interest in the last few years in limited areas. South Korea has allocated budgets and policies to encourage digital content creation in museums, and this study identifies an increase in digital content creation in the museum sector.

The paper chose one-country case study, that of South Korea; thus, there are representative limitations and thus in terms of generalisation of the results. Further research with case studies from other countries and comparative studies are required.

This study highlights the importance of digitalisation and digital content development in the museum sector through government policies, strategies and financial investment.

It highlights the importance of digitalisation and the introduction of digital contents amongst museums to gain new visitors and change the relationship between the institutions and the customers.

It deals with the digitalisation of museums as KIPOs and it is a new and relevant topic per se. This study enhances the understanding of the museum sector’s digital content development and national policies to support its activities. It provides insights into the utilisation of digital technologies in cultural institutions for digital service delivery in public organisations.

This paper proposes a solution for recognizing human faces under mask-wearing. The lower part of human face is occluded and could not be used in the learning process of face recognition. So, the proposed solution is developed to recognize human faces on any available facial components which could be varied depending on wearing or not wearing a mask.

The proposed solution is developed based on the FaceNet framework, aiming to modify the existing facial recognition model to improve the performance of both scenarios of mask-wearing and without mask-wearing. Then, simulated masked-face images are computed on top of the original face images, to be used in the learning process of face recognition. In addition, feature heatmaps are also drawn out to visualize majority of parts of facial images that are significant in recognizing faces under mask-wearing.

The proposed method is validated using several scenarios of experiments. The result shows an outstanding accuracy of 99.2% on a scenario of mask-wearing faces. The feature heatmaps also show that non-occluded components including eyes and nose become more significant for recognizing human faces, when compared with the lower part of human faces which could be occluded under masks.

The convolutional neural network based solution is tuned up for recognizing human faces under a scenario of mask-wearing. The simulated masks on original face images are augmented for training the face recognition model. The heatmaps are then computed to prove that features generated from the top half of face images are correctly chosen for the face recognition.

Art return indices are usually estimated based only on a few means of artistic expression (mainly paintings and drawings). Other forms of expression (e.g. sculptures and installations) are generally ignored, in part because they are three-dimensional and, hence, more difficult to measure. We analyze the price determinants as well as the return and risk of three artistic expressions (paintings, drawings and sculptures) executed by Fernando Botero, the most expensive living Latin American artist, to analyze the degree to which their risk and return attributes differ throughout a 20-year period.

We analyzed all paintings, drawings and sculptures executed by Botero and sold at Sotheby’s and Christie’s between 2000 and 2020 (a total of 707 artworks). The data and the images of each artwork were obtained from the web pages of these two auction houses. A hedonic regression was run to explain the price of each artwork and use explanatory variables that are standard in the literature. Art price indices for paintings, drawings and sculptures were constructed using the year-dummy variables estimated in the regressions. We performed a similar analysis for another artist, Carlos Cruz-Diez, as a robustness to our results.

The performance of Botero’s sculptures through time differs markedly from that of his paintings and drawings. Our results suggest that it is possible that returns estimated in the literature could suffer from a bias, as they have usually ignored the performance of sculptures and other artistic expressions. Botero’s paintings provided a return that was comparable to those of his sculptures (3.36% and 3.20%, respectively), they were two times as high as those of his drawings (1.68%). On the other hand, whereas paintings and drawings had similar annual standard deviations (26% and 25.22%, respectively), sculptures had a much smaller standard deviation (16.96%).

A limitation of the hedonic regression method lies in the need to have a significant and diverse sample to identify the true effect of each variable on the price of a good. Another limitation is that we were only able to use art prices from auctions, as this is the only comprehensive source of art price data that is publicly available. These two limitations are shared by all the studies that use the hedonic pricing model.

Our results have practical applications for art collectors and investors, as well as for artists, galleries and, in general, for the whole art market ecosystem. The risk and return attributes of the various artistic expressions of an artist can be different, and thus it makes sense to analyze each one of them individually, as well as their correlations with the other artistic expressions and with traditional and other alternative investments.

The art market is part of what is known as the “orange economy” (also known as the Creative Economy). According to the World Bank, the economic value of the creative sector is not well known or appreciated, even though cultural, creative and artistic activities are vital for our sense of well-being.

To the best of our knowledge, this is the first paper that compares the financial performance of paintings, drawings and sculptures for the case of a specific artist. We chose Botero for three reasons. First, he is a Latin American living artist who has achieved the highest levels of international sales. Second, Botero has worked extensively on various artistic expressions (oil paintings, drawings on different materials and sculptures) throughout his life, a characteristic that is essential to be able to carry out our study. Third, there is a long record of auction sales for each of Botero’s artistic expressions.

Los índices de rentabilidad del arte generalmente se estiman basándose únicamente en unos pocos medios de expresión artística (principalmente pinturas y dibujos). Otras formas de expresión artística (por ejemplo, esculturas e instalaciones) generalmente se ignoran, en parte porque son tridimensionales y, por tanto, más difíciles de medir. Analizamos los determinantes del precio, así como el retorno y el riesgo de tres expresiones artísticas (pinturas, dibujos y esculturas) ejecutadas por Fernando Botero, el artista latinoamericano vivo más caro, para analizar en qué medida sus atributos de riesgo y retorno difieren a lo largo del tiempo, en un período de 20 años.

Analizamos todas las pinturas, dibujos y esculturas ejecutadas por Botero y vendidas en Sotheby’s y Christie’s entre 2000 y 2020 (un total de 707 obras de arte). Los datos y las imágenes de cada obra se obtuvieron de las páginas web de estas dos casas de subastas. Se realizó una regresión hedonante para explicar el precio de cada obra de arte y se utilizaron variables explicativas estándar en la literatura. Los índices de precios de arte para pinturas, dibujos y esculturas se construyeron utilizando variables ficticias anuales estimadas en las regresiones. Realizamos un análisis similar para otro artista, Carlos Cruz-Diez, como análisis de robustez de nuestros resultados.

El desempeño de las esculturas de Botero a través del tiempo difiere marcadamente del de sus pinturas y dibujos. Nuestros resultados sugieren que es posible que los retornos estimados en la literatura sufran un sesgo, ya que generalmente han ignorado el desempeño de esculturas y otras expresiones artísticas. Las pinturas de Botero proporcionaron un retorno comparable al de sus esculturas (3.36% y 3.20%, respectivamente), pero fueron dos veces superiores a los de sus dibujos (1.68%). Por otro lado, mientras que las pinturas y los dibujos tuvieron desviaciones estándar anuales similares (26% y 25.22%, respectivamente), las esculturas tuvieron una desviación estándar mucho menor (16.96%).

Una limitación del método de regresión hedónica radica en la necesidad de contar con una muestra significativa y diversa para identificar el verdadero efecto de cada variable sobre el precio de un bien. Otra limitación consiste en que solo pudimos utilizar precios de arte de subastas, ya que esta es la única fuente completa de datos sobre precios de arte que está disponible públicamente. Estas dos limitaciones son compartidas por todos los estudios que utilizan el modelo de precios hedónico.

Nuestros resultados tienen aplicaciones prácticas para coleccionistas e inversores de arte, así como también para artistas, galerías y, en general, para todo el ecosistema del mercado del arte. Los atributos de riesgo y retorno de las diversas expresiones de un artista pueden ser diferentes, por lo que tiene sentido analizar cada una de ellas individualmente, así como sus correlaciones con las otras expresiones artísticas y con las inversiones tradicionales y otras alternativas.

El mercado del arte forma parte de lo que se conoce como “economía naranja” (también conocida como Economía Creativa). Según el Banco Mundial, el valor económico del sector creativo no es bien conocido ni apreciado, a pesar de que las actividades culturales, creativas y artísticas son vitales para nuestra sensación de bienestar.

Hasta donde hemos podido comprobar, este es el primer artículo que compara el desempeño financiero de pinturas, dibujos y esculturas para el caso de un artista específico. Elegimos a Botero por tres razones. En primer lugar, es el artista vivo latinoamericano que ha alcanzado los mayores niveles de ventas internacionales. En segundo lugar, Botero ha trabajado extensamente en diversas expresiones artísticas (óleos, dibujos sobre distintos materiales y esculturas) a lo largo de su vida, característica que resulta fundamental para poder realizar nuestro estudio. En tercer lugar, existe un largo historial de ventas en subasta de cada una de las expresiones artísticas de Botero.

The purpose of this paper is to share Victoria Clare’s story.

Victoria wrote a biography of her experiences. Robert then asked a series of questions from the perspective of a mental health academic.

Victoria shared stories from her life, and how her experiences have shaped her life and herself.

Narratives such as this give us an overview of only a single person’s experiences. However, they allow the person with lived experience to explore their story in depth.

What Victoria has written will give readers an insight into her life and experiences.

There is so much to learn from a story like Victoria’s, especially in her approach to creativity.

This is Victoria’s own unique story. The value of this is apparent upon reading it.

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.

The aim of this paper is to evaluate the progress of documentation efforts of the country, India in conserving and preserving its intangible cultural heritage (ICH) elements. This paper also provides few suggestive measures to improve the effectiveness of documentation process.

Available published literature and the initiatives of galleries, libraries, archives and museums (GLAM), government, nongovernment and individual efforts on documentation of ICH have been consulted to analyze the strength and growth.

The use of information and digital technologies can effectively document and enable the communication of ICH values at global level. Community participation plays a pivotal role in conserving the living heritage for its long-term sustainability and to transmit it to future generations. Mutual recognition and respect for cultural diversity, harmony in intercultural relations and sustainable development are essential in safeguarding ICH. More research on preserving the languages, scripts, living heritage and oral traditions has to be carried out. A knowledge modeling framework for ICH has to be developed.

This study evaluated various efforts of the country (India) pertained to the documentation of ICH. Further, it has analyzed only the information available in the published literature and the various information portals developed for this purpose.

In this study, prime consideration is given to discuss about various efforts on the documentation of ICH, which are generally transferred orally through generations. The recommendation aspect highlighted in the results may be useful for policymakers to effectively safeguard and improve the viability of ICH. The paper will also contribute to a better understanding of the problems and challenges faced while documenting the ICH and offer few suggestions to valorize the ICH through its Documentation.

This study deepens the understanding of various documentation efforts of the country. The study will also help those who have been involved in the documentation of ICH to take proper measures to enhance its visibility.

This paper provides an insight into the left and career of the sculptress Victoria Claire, told in her own words.

This is a lived experience narrative.

Diagnosed with retinitis pigmentosa at the age of 19, Victoria’s life was turned upside down. Plunged into the depths of despair, it was her love for and practice of sculpture and music which saved her and gave her purpose. Years of therapy have helped her to understand and love herself as beautiful imperfection.

The vast majority of us inhabit a “sighted world”. Victoria helps us to understand how many of the things we take for granted are so much harder for the visually impaired.

We all need to be sensitive to helping those with sensory difficulties navigate our social world.

When you look at the amazing sculptures that Victoria creates, you cannot help but be impressed that she can create such works of art using her hands, her sculpting tools and her imagination. We can gaze at the beauty of her creations. She cannot.

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.