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The aim of this paper is to attempt to measure the effect of location on residential house prices and to endeavour to integrate spatial and aspatial data in terms of developing a hybrid predictive model. The research methodology investigates the traditional hedonic approach to modelling location using multiple regression techniques. Alternative approaches are considered which specifically model the spatial distribution of house prices with the objective of developing location adjustment factors. These approaches are based on the development of surface response techniques such as inverse distance weighting and universal kriging. The results generated from the surfaces created are then calibrated within MRA.

Aim of the present monograph is the economic analysis of the role of MNEs regarding globalisation and digital economy and in parallel there is a reference and examination of some legal aspects concerning MNEs, cyberspace and e‐commerce as the means of expression of the digital economy. The whole effort of the author is focused on the examination of various aspects of MNEs and their impact upon globalisation and vice versa and how and if we are moving towards a global digital economy.

In October 1984, the Chairman and Chief Executive Officer of the McDonnell Douglas Corporation in St. Louis, Missouri, directed that each of the company's major components establish a competitive intelligence organization to improve its understanding of the competition. One premise behind this directive was that an assessment of the competition in the marketplace was essential, and that the company's current informal methods of competitive‐intelligence gathering were inadequate. Another premise was that only ethical and legal data‐gathering techniques were to be used, especially since there was so much information available from a wide variety of public sources. The directive specified that the overall process must be action oriented with a focus on analysis, assessment, and communication.

The purpose of this paper is to develop an understanding for the social inclusion of disabled performers in a developing country to create awareness and improve policies/practices.

The study employed qualitative methodology, and data were collected through semi-structured interviews, site visits/observations and review of secondary data.

The data from different respondent groups showed the social inclusion should be reviewed at three levels: the state, society and individual. The review of existing policies revealed the neglect of the state regarding disabled people in general and even more so in performing arts due to the lack of enforcement of national and international agreements. Findings indicate that social inclusion of disabled performers is a minor issue, especially in a developing country where access to basic human rights and needs may be difficult. Amidst such difficulties, performing arts is not seen as a priority compared to other needs of disabled people and performers.

Limitations include the limited number of disabled performers who could be identified and were willing to participate in the study. Those working in venues/public offices were also reluctant to participate. The greatest limitation was the broad lack of interest in disabled performers.

In Türkiye, studies on disabled people tend to focus on basic needs like health, education and employment. None, to best of researchers' knowledge, explore the social inclusion of disabled performers. This is an original study because it collects and discusses primary data on this topic, revealing the state-level negligence/oversight, the apathy of society and the degree to which an individual with disabilities must struggle to participate in performing arts. Consequently, this study shows the difficulty of developing social inclusion, equality and diversity in an emerging economy for disabled performers to raise awareness and present grounds for further legal enforcement. Moreover, implications allow for a global understanding of social inclusion that moves beyond a biased or privileged understanding/critique of disability centered on the developed world.

In this keynote address, I use Georg Simmel’s sociology of social forms approach to amend Erving Goffman’s interaction order perspective into a contemporary analytical framework for empirical analysis of everyday life in our twenty-first century mediated social order. For Goffman, the interaction order provides a foundational basis for social order. As a cornerstone of the human condition, Goffman maintained that most of us spend our daily lives in the direct presence of others. However, rapid advancements in interactive media formats in the last few decades have given rise to an unprecedented twenty-first century interaction order. Many of us now also spend our everyday lives in the mediated presence of others, the effects of which parallel those of face-to-face interaction in importance. These changes, I contend, provide a necessary occasion to reimagine Goffman’s interaction order. In what follows, I first provide a brief synopsis of Goffman’s interaction order. Next, I outline the twenty-first century interaction order and illustrate the importance of Simmel’s formal sociology in amending Goffman’s original framework in relation to this unforeseen order. Finally, to highlight a few key points – I incorporate empirical examples from my work as it relates to police legitimacy. I conclude with some suggestions for future research and note a few limitations.

City identity is a distinct form of collective identity based on the perceived uniqueness and meanings of place, rather than group category and membership. A city’s identity is constructed over time through architecture, which involves three sign systems – material, visual, and rhetorical – and multiple institutional actors to communicate the city’s distinctiveness and identity. We compare Barcelona and Boston to examine the identity and meaning created and communicated by different groups of professionals, such as architects, city planners, international guide book writers, and local cultural critics, who perform the semiotic work of ­constructing city identity.

Scholars mostly emphasise the social inclusion of people with disabilities; however, in most of these studies, disability is often touched on as ‘something that should be overcome instead of accommodated’ and frequently considered as a ‘passive recipient’ of policies (Knight, 2015, p. 4). There have been very few disability studies in Turkey, and these generally focus on issues such as employment, education, accessibility to health care and, recently, accessible tourism. Consequently, the main focus of this study is the impact of the social inclusion of people with disabilities in performing arts events audiences on cultural value and cultural policy in Turkey. A qualitative study was conducted in order to explore social inclusion of audiences with disabilities regarding inequalities in attending performing arts events from multiple perspectives and their impact on cultural value. The study included sources from: (1) semi-structured interviews (n = 32); (2) site visits and observations across four sites (venues, offices, performance spaces) and (3) reviews of secondary data such as websites, policies, legislation, promotional materials, annual reports and internal documents. The most important impact of this study is that it is the first study conducted on participation of people with disabilities in performing arts events in Turkey. Moreover, the most pressing issues mentioned by almost all participants were the need for people with disabilities to demand inclusion, which is actually a birthright, by participating and making their needs visible.

This chapter introduces the Arts and Humanities Research Council (AHRC) Cultural Value Project and the ensuing legacy work. It suggests that this work has resulted in the re-positioning of the field of enquiry into cultural value by shifting attention away from policy constructs and towards lived experiences; away from measuring the outcomes of cultural participation and towards understanding the process of engagement. The challenge still remaining is to develop an empirically grounded pragmatist account of cultural value as a form of practice – a situated interface of agents, actions and structures taking place in an institutionalised and materially circumscribed environment. Reconceiving cultural value in these terms will have profound methodological implications, not least the challenge of finding methodologies appropriate to its analysis within the realm of historically and geographically variable relations and structures. It is, however, a challenge worth taking. The proposed shift, it is suggested, will provide a way of addressing some long-standing ‘problems’ arising in relation to cultural value: the separation of conditions and consciousness; the overemphasis on the cognitive at the cost of the bodily; the separation between ‘the best and the brightest’ and the ‘everyday’ conceptions of culture. The proposed approach may also drive the refinement of flat(ter)-ontology methodologies which neither succumb to methodological individualism nor overemphasise methodological structuralism.

Previous research suggests that women receive less critical attention and acclaim in popular music. The authors expect that gender differences in the amount and content of media discourse about popular musicians occur because music critics draw on the cultural frame of gender as a primary tool for critical evaluation. In order to explore the role of gender as a frame through which aesthetic content is evaluated, the authors conduct detailed content analyses of 53 critical reviews of two versions of the popular album 1989 – the original released by Taylor Swift in 2014 and a cover version released by Ryan Adams less than a year later. Despite Swift’s greater popularity and prominence, the authors find that reviews of her version of the album are more likely to focus on her gender and sexuality; less likely to describe her as emotionally authentic; and more likely to use popular aesthetic criteria in evaluating her music. By contrast, Ryan Adams was more likely to be seen by critics as emotionally authentic and to be described using high art aesthetic criteria and intellectualizing discourse. The authors address the implications of the findings for persistent gender gaps in many artistic fields.