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This paper aims to assess the face validity to inform content validity of the Quality of Life – Aged Care Consumers (QOL-ACC), a new measure for quality assessment and economic evaluation in aged care.

Semi-structured interviews were conducted with older adults (66–100 years) receiving aged care services at home (n = 31) and in residential care (n = 28). Participants provided feedback on draft items to take forward to the next stage of psychometric assessment. Items were removed according to several decision criteria: ambiguity, sensitive wording, not easy to answer and/or least preferred by participants.

The initial candidate set was reduced from 34 items to 15 items to include in the next stage of the QOL-ACC development alongside the preferred response category. The reduced set reflected the views of older adults, increasing the measure’s acceptability, reliability and relevance.

Quality of life is a key person-centred quality indicator recommended by the recent Royal Commission into Aged Care Quality and Safety. Responding to this policy reform objective, this study documents a key stage in the development of the QOL-ACC measure, a new measure designed to assess aged care specific quality of life.

Myra Hindley is typically described as an ‘icon of evil’. In the 1960s, Hindley and her boyfriend Ian Brady sexually tortured and murdered at least two girls and three boys, aged between 10 and 17 years, in the Manchester area of the UK. All except one were sexually assaulted. She has provoked a huge amount of public commentary for more than three and a half decades after her conviction. This chapter asks how Hindley's actions were understood and interpreted at the time. Central themes are the concept ‘evil’, sexual violence, pornography, permissive society and patriarchy, as refracted through gender and class.

Cultural criminologists have long been interested in the politics of crime and deviance, whether that be in relation to youth subculture resistance or the social reaction to transgression evident in the media construction of folk devils and moral panics. While contemporary ‘new’ cultural criminology continues to be focused on the situated experience of deviant ‘edgeworkers’, this chapter argues cultural criminology’s concern with the crime-media nexus provides particularly fertile ground for exploring insights provided by activists, academics, professional journalists and citizen journalists around informal interventions on formal criminal justice processes using social media and digital technologies. Drawing on examples from a burgeoning body of crime-media research, the chapter makes a case for ‘cultural criminology activism’, which, like activist criminology, is consciously disengaged from mainstream criminology’s alignment with the neoliberal-carceral state and its reformist agenda.

In this chapter, the authors contribute toward building a better understanding of farmers’ responses to behavioral drivers of land-use decision by establishing an alternative analytical procedure, which can overcome various drawbacks suffered by methods currently used in existing studies. Firstly, our procedure makes use of spatially high-resolution data, so that idiosyncratic effects of physical environment drivers, e.g., soil textures, can be explicitly modeled. Secondly, we address the well-known censored data problem, which often hinders a successful analysis of land-use shares. Thirdly, we incorporate spatial error dependence (SED) and heterogeneity in order to obtain efficiency gain and a more accurate formulation of variances for the parameter estimates. Finally, the authors reduce the computational burden and improve estimation accuracy by introducing an alternative generalized method of moments (GMM)–quasi maximum likelihood (QML) hybrid estimation procedure. The authors apply the newly proposed procedure to spatially high-resolution data in England and found that, by taking these features into consideration, the authors are able to formulate conclusions about causal effects of climatic and physical environment, and environmental policy on land-use shares that differ significantly from those made based on methods that are currently used in the literature. Moreover, the authors show that our method enables derivation of a more effective predictor of the land-use shares, which is utterly useful from the policy-making point of view.

The purpose of this paper is to assess the notion of art as a product. This paper develops a detailed understanding of how established visual artists engage with the notion in their art making and market interactions, drawing insight from the longitudinal debate on the essence of art, including its connection with entrepreneurial marketing.

The authors uses a conceptual framework involving artists’ and other stakeholders’ philosophical positions, artists’ career stages, reputation (including branding), market associations and the forms of value generated by artists and consumers to help shape their qualitative research design involving in-depth interviews with 16 established Australian artists. NVivo software aided data analysis to improve theory building.

Market orientation, entrepreneurial market creation, co-creation, co-production activities and sharing value among interested stakeholders are important factors in viewing art as a commercial product. Sustainable value creation is also crucial. Key emergent themes were motivation to create, engagement with the market and artists’ attitudes towards art as a product. This paper identifies a fluidity in the relationship between an artist and their art.

Co-creation, co-production and sharing value among interested stakeholders are important factors as are market orientation versus entrepreneurial market creation activities. Sustainable value creation is also crucial. Key emergent themes were motivation to create, engagement with the market and artists’ attitudes towards art as a product.

Established artists have made a conscious decision to engage, or otherwise with the marketplace. This research uncovers the merits of adopting a product approach in engaging with the market and artist centred creation which avoids marketplace interaction.

This research has the potential to contribute to policy decision-making in the sector and in stimulating future comparative research. There are wider implications for the cultural and creative industries where entrepreneurial market creation can stimulate creativity and innovation.

This study conceptualizes a form of luxury consumption in which luxury brands collaborate with unconventional non-luxury partners. These unconventional luxury brand collaborations are growing in popularity among Chinese luxury consumers of the post-1990s generation. Luxury brands are exploring new branding strategies due to the growing commercial importance of Chinese luxury consumers.

An in-depth qualitative study informs this paper. Interviews with young adult luxury consumers self-identifying as Chinese reveal a growing interest for luxury brands that collaborate with odd partners in social media and online culture.

Unconventional collaborations between luxury brands and non-luxury partners catalyze shifting meanings of luxury through the following juxtapositions: ephemeral instead of timeless, trendy rather than inaccessible, and playful in contrast with traditional. First, young Chinese consumers construct luxury meanings through ephemerality, like digital possessions, social media fame and fleeting experiences. Second, luxury meanings emerge in trendiness among social media influencers and online culture rather than in the seemingly inaccessible taste regimes of the upper class. Third, younger consumers appreciate fun, rebellious and over-the-top aesthetics in luxury brands.

The study contributes to the nascent field of unconventional luxury by conceptualizing how unusual, odd and unexpected collaborations constitute new forms of luxury consumption. The shifting meanings of luxury consumption that this study conceptualizes raise new opportunities and challenges for luxury brands. One of such is the release of limited collections with non-luxury partners seemingly at the opposite spectrum of design, image and values. Moreover, the study adds nuance to the understanding of luxury consumption among young Chinese consumers.