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The purpose of this paper is to elaborate on how people navigate the social media ecosystem and how they decide, which social network site (SNS) to use. To this end, the current study draws from uses and gratifications (U&G) theory to elicit and compare motives for the use of Facebook and Twitter and uses behavioral data to examine the findings in the context of technology non-use.

An online survey was administered to 232 Facebook users and the results were complemented with 12 usage variables collected via the Facebook application programing interface for the same users. Exploratory factor analysis identified and described the motives for using Facebook and Twitter and multiple regression models examined the relationships between the motives for using the two sites. A multivariate analysis of variance and a series of t-tests investigated the differences in actual behavior between Twitter users and non-users.

Results suggest that SNS users will use both sites to gratify their need for information, but will only do so for entertainment that has social characteristics. Furthermore, Facebook users that are more embedded in the site and use the site to support their offline life are more likely to also use Twitter.

The paper includes implications for SNS researchers, designers and managers by highlighting the motivational and behavioral differences between users of the two sites and the importance of technological affordances for understanding and explaining SNS selection.

This study extends previous cross-site U&G and non-use research by combining survey and behavioral data.

Local organisations have been established on participatory approach whose central purpose is to establish development activities bringing about positive change as four pillars of developments: to establish decentralised robust local organisation for sustainable forest management to enhance livelihood of rural people, to meet the forest products basic needs of local people, targeted interventions for poverty alleviation and social mobilisation initiatives and biodiversity conservation climate change mitigation and adaptation.

Local organisational elites designed/conceptualised the concept, where it can be operated organisationally and in local organisational context that provides new ways and methods to develop conceptual framework (Table I), which sheds light on involvement of poor and underprivileged members in decision-making process and distribution of benefit on equity basis.

The findings will lead to a positive change through the organisational elite model through both reorganising organisations and restructuring of power with change in the society and reduce the impact of rational choices, vested interests of elites (leaders of local organisation) and political factors, which are otherwise playing a game or tragedy of commons.

Because of the limited resources and time, the authors are unable to verify it on the other development line agencies such as drinking water scheme, livestock, health and cooperative.

It considerably appears that the impacts are very sound to conclude from the review of above models of elites that provide a very clear understanding and useful conceiving lens to formulate how participation occurs in the executive committee of the community forestry user groups (CFUG) and community-based organisations based on three key elements. First are the caste and the caste structure of the community. Second is the wealth status of the individual, and third is power created both from wealth and caste. This should be determined from the local organisational elite model (Table I) about the nature of interactions on the executive of the CFUGs and other vehicles of local community-based development organisations.

Local organisations will provide an opportunity in reality to both elites and non-elites to considerably change, make aware and create a realistic situation to determine the dialectical opportunity to develop relationship, interaction and configuration between elite and non-elite members both outside and inside of the local organisations.

It has not been found in literatures yet such sort of concept developed in development field particularly in the development activities performed by participation of local users. Hence, it is certainly original conceptual framework.

The overall aim of this chapter is to investigate whether the notion of cultural value can have utility as a context for urban and regional development strategies. It does this by proposing a conceptualisation of ‘cultural assets’ that encompasses both tangible and intangible resources, as well as resources existing and yet to be created. The purpose of the conceptualisation is to establish a framework within which we can better understand how cultural value might be activated or generated in urban and regional areas and so become a context for developmental strategies. Importantly, this paper also sets out to provide further insight into the notion of cultural value itself, particularly in relation to matters of definition, and the notion's utility in other areas of theory and practice.

This chapter explores the role of entrepreneurship within the careers of fine artists. This is positioned within the context of the discourse of cultural value. How artists manage their artistic and, sometimes conflicting, entrepreneurial identities is explored. The fields of entrepreneurship, and more recently the creative industries, have received much attention from both policy makers and researchers. Fine artists are perhaps one of the least employable, and arguably most entrepreneurial (by necessity), as Higgs et al. suggest ‘some occupations naturally have substantially higher numbers of self-employed people such as “Artists” with 91% self-employment’ (Higgs, Cunningham, & Bakhshi, 2008, p. 94).

The study captures the career histories of a cohort of fine art graduates, all of whom had graduated at the same time (1994), from the same institution. Taking a narrative approach, detailed career stories were obtained. The relationship to and tensions surrounding entrepreneurship and artistic practice were explored in detail. While artistic identity emerges as a strong force for this group, artistic identity and entrepreneurial identity are sometimes at odds with each other. The practicalities of making a living as an artist, arguably, call for entrepreneurial activity. However, the findings suggest that this presents a conflict for some artists, both aesthetically and emotionally. This chapter explores what this means in the context of cultural value, and cultural value as a ‘lens’ for understanding an artist's career.

The aim of the study is to contribute to the extending body of literature on ‘the different effects of cultural engagement’ through cases from Turkey. In the context of art and society interaction, the study seeks to find evidence from practice within the scope of the ‘cultural value’ and ‘arts marketing’ literature. ‘Co-creation’ is mentioned as an important term in the cultural engagement context, and purposeful co-creation acts are investigated in the art industry. Therefore, the research focuses on interaction in the context of culture in order to explore the complex nature of co-creation of cultural value in alternative places and cultural frames. From this perspective, the study underlines the roles of place and atmosphere in the cultural engagement process. The cultural engagement areas of art and the public are determined in three different fields: nature (art in the village), science (campus) and business (shopping mall). The case study research is realised in order to gain a detailed and holistic view of the process. While the intention of all art events is the interaction of art and society, all three cases lead to different dimensions of ‘cultural engagement’ in different contexts. In this manner, these different cultural frames enlarge our comprehensive view of the constitution of ‘art and cultural value’ in terms of place and cultural frame of the field. The study underlines that society-oriented local art events and organisations are supporting the art and society link rather than focussing the economic value of art and artists as the actors of a commercial art industry.

States that the idea of grouping a number of cultural, commercial and industrial activities together under the banner of the “creative industries” is relatively new but it has already been the focus of considerable interest, discussion and policy making within the UK. Acknowledges that the government has been keen to promote the creative industries as a major success story and a key element in the knowledge economy. Looks at what is seen to constitute the creative industries, reviews some of the evidence about their contribution to the economy and outlines some of the management challenges and the support and promotion initiatives associated with these industries.

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.

The Museo Archeologico Nazionale di Napoli (MANN, National Archaeological Museum of Naples) is one of the most important archaeological museums in the world. In 2017, MANN launched several projects, such as Father and Son, the first video game made by an archaeological museum, and Ancient Present (Antico Presente), a series of five short films produced by the museum in five different languages and based on different artworks selected from the museum's permanent collections. The idea behind these projects was to ‘bring the museum outside the museum’, with the assumption that some tools may improve the museum's ability to speak and interact with its audiences, both in the spatial sense (outside its physical perimeter) and the temporal dimension (not only during the visit experience, but also before and after it). We have studied these two MANN projects, as this museum has explicitly targeted audience development as one of its main objectives (MANN, 2016, p. 72) and these projects are important examples of how to use new ‘languages’ (the digital and the cinematographic) to start a dialogue with new audiences and to address museum accessibility in a new way.