Search results

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.

The monetary valuation of cultural heritage of a selection of 16 major public, not-for-profit Australian cultural institutions is examined over a period of almost three decades (1992–2019) to understand how they have responded to the paradoxical tensions of heritage valuation for financial reporting purposes.

Accounting for cultural heritage is an intrinsically paradoxical practice; it involves a conflict of two opposite ways of attributing value: the traditional accounting and the heritage professionals (or curatorial) approaches. In analysing the annual reports and other documentary sources through qualitative content analysis, the study explores how different actors responded to the conceptual and technical contradictions posed by the monetary valuation of “heritage assets”, the accounting phraseology of accounting standards.

Four phases emerge from the analysis undertaken of the empirical material, each characterised by a distinctive nature of the paradox, the institutional responses discerned and the outcomes. Although a persisting heterogeneity in the practice of accounting for cultural heritage is evident, responses by cultural institutions are shown to have minimised, so far, the negative impacts of monetary valuation in terms of commercialisation of deaccessioning decisions and distorted accountability.

In applying the theoretical lens of paradox theory in the context of the financial reporting of heritage, as assets, the study enhances an understanding of the challenges and responses by major public cultural institutions in a country that has led this development globally, providing insights to accounting standard setters arising from the accounting practices observed.

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.

The purpose of this paper is to assess the recent emergence of contemporary art in Asia from a macro, sociocultural perspective.

This commentary is based on secondary research and recent visits to contemporary art centres in major cities across Asia.

The author argues that contemporary art in Asia emerges by extension of the Western contemporary art world and suggests that more must be done if Asia is to create a contemporary art world that is both internationally recognised and distinct from its Western precedent.

This commentary debunks the hyperbole surrounding contemporary art in Asia as a regional phenomenon and provides a critical examination of the global (power) dynamics at play.

The purpose of this study is to determine which metadata schemas are used in the museums and university collections of the main universities in Spain and other European countries. Although libraries and archives are also university memory institutions (according to a Galleries, Libraries, Archives and Museums perspective), their collections are not included in this study because their metadata systems are highly standardized and their inclusion would, therefore, skew our understanding of the diverse realities that the study aims to capture.

The analysis has three components. The first is a bibliographic review based on Web of Science. The second is a direct survey of the individuals responsible for university collections to understand their internal work and documentation systems. Finally, the results obtained are complemented by an analysis of collective university heritage portals in Europe.

The results of this study confirmed the hypothesis that isolation and a lack of resources are still major issues in many cases. Increasing digitalization and the desire to participate in content aggregation systems are forcing change, although the responsibility for that change at universities is still vague.

Universities, particularly those with a long history, have an important heritage whose parts are often scattered or hidden. Although many contemporary academic publications have focused on the dissemination of university collections, this study focuses on the representation of information based on the conviction that good metadata are essential for dissemination.

This paper aims to explore the Google Arts and Culture platform in terms of parameters used for categorizing the digital collections by it; the total number of items and their types; top contributing artists; top ten historical events and figures; and the top ten countries having maximum artworks.

An online method was used to collect the relevant data for achieving the objectives of the study. Data were harvested from the official website of Google Arts and Culture (https://artsandculture.google.com/) during the period of 15 May to 31 May 2018, and the same was tabulated in MS Excel for analysis and interpretation.

The findings revealed that Google Arts and Culture includes a total of 6,272 artists, 228 media and 121 art movements. Moreover, there are a total of 641 historical movements; 6,250 historical figures; 9,692 places; 3,226 museum views; 1,702 zoom views; 39,607 featured videos; and 5,528 featured stories; 122 items organized by color and 954 organized by time.

The present study is first of its kind that focuses on exploration of diverse arts and cultural heritages of different countries and by diverse artists made visible by Google Arts and Culture initiative. It will significantly reinforce the art and cultural heritage lovers to acquire the knowledge pertinent to various types of arts and cultures that prevailed in antiquity across the globe and also make aware the conservators about how to use digital technologies for efficient preservation and visibility of unique artworks, artists and the places whom they belong.