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This paper aims to explore the entangling of economic, social and cultural values which circulate in visual branding, reflect business practice and add intangibles to organisations.

The study is placed in the context of the difficulties and shortcomings of accounting for brands. A conceptual framework is constructed, based in critical theory from arts disciplines, notably from the thought of Barthes, Panofsky and Peirce. The icon is a primary denotation or representation. Iconography is a secondary level of coded meaning. Iconology is an interpretation that calls on the unconscious. Intermingling of the icon and the logos is considered. This accounting context and arts framework are used to compare the financial statements of the Bradford & Bingley Bank with its visual branding.

The financial statements are almost silent regarding brands, in line with regulation. In response to the greater competition that accompanied deregulation and globalisation, the Bank's lending and funding practices become more innovative. The visual framework reveals a changing iconography and iconology where class, detectives, music hall and the bowler‐object may be discerned. An iconology is suggested of dreamlike connotations and magical powers in the collective unconscious. The Bradford & Bingley have actively managed their visual branding to reflect and appeal to a changing society, and a more competitive business environment.

The study provides a model which may be applied to visual aspects of financial reporting and branding. It would benefit from an assessment of readership impact.

The analysis is of interest to accounting researchers, practitioners, trainees and auditors. It illuminates the ways in which visual branding interacts with business practices and conveys intangible values that are not reflected in the accounts.

The paper augments theoretical and empirical work on visual images in accounting.

The purpose of this paper is to understand the subjects contained in the Dunhuang mural images as well as their relation structures.

This paper performed content analysis based on Panofsky’s theory and 237 research papers related to the Dunhuang mural images. UNICET software was also used to study the correlation structures of subject network.

The results show that the three levels of subject have all captured the attention of Dunhuang mural researchers, the iconology occupy the critical position in the whole image study, and the correlation between iconography and iconology was strong. Further analysis reveals that cultural development, production, and power and domination have high centralities in the subject network.

The research samples come from three major Chinese journal databases. However, there are still many authoritative monographs and foreign publications about the Dunhuang murals which are not included in this study.

The results uncover the subject hierarchies and structures contained in the Dunhuang murals from the angle of image scholarship which express scholars’ intention and contribute to the deep semantic annotation on digital Dunhuang mural images.

In analysing the beancounter image's trajectory, from its birth to its persistence, in European French language comics between 1945 and 2016, this paper explores why artists continue beancounter image usage in popular culture.

Beancounter characters have been studied in an application of Iconology (Panofsky, 1955) in order to unravel how individuals make sense of cultural artefacts and how, in turn, the visuals shape cultural belief systems at a given time.

This study reveals that comics artists usage of the beancounter image results from their critical reactions to management and capitalism whilst at other times the usage is an indication of authenticity. Motivation for the usage is not constant over time nor is the impact of the beancounter image. Both appear dependant of the level of artistic freedom experienced by the artist.

Based on a single media (comics) with a unique characters (European French language) this study deepens exploration of the ways in which accounting becomes entwined with the everyday and implies that further research is needed.

Extends the work of Smith and Jacobs (2011) and Jacobs and Evans (2012) by focusing on a genre of popular culture over a long period, and by adopting a critical viewpoint. Also expands the possible applications of Panofsky's (1955) Iconology in accounting studies.

In the last few years, the size of Linked Open Data (LOD) describing artworks, in general or domain-specific Knowledge Graphs (KGs), is gradually increasing. This provides (art-)historians and Cultural Heritage professionals with a wealth of information to explore. Specifically, structured data about iconographical and iconological (icon) aspects, i.e. information about the subjects, concepts and meanings of artworks, are extremely valuable for the state-of-the-art of computational tools, e.g. content recognition through computer vision. Nevertheless, a data quality evaluation for art domains, fundamental for data reuse, is still missing. The purpose of this study is filling this gap with an overview of art-historical data quality in current KGs with a focus on the icon aspects.

This study’s analyses are based on established KG evaluation methodologies, adapted to the domain by addressing requirements from art historians’ theories. The authors first select several KGs according to Semantic Web principles. Then, the authors evaluate (1) their structures’ suitability to describe icon information through quantitative and qualitative assessment and (2) their content, qualitatively assessed in terms of correctness and completeness.

This study’s results reveal several issues on the current expression of icon information in KGs. The content evaluation shows that these domain-specific statements are generally correct but often not complete. The incompleteness is confirmed by the structure evaluation, which highlights the unsuitability of the KG schemas to describe icon information with the required granularity.

The main contribution of this work is an overview of the actual landscape of the icon information expressed in LOD. Therefore, it is valuable to cultural institutions by providing them a first domain-specific data quality evaluation. Since this study’s results suggest that the selected domain information is underrepresented in Semantic Web datasets, the authors highlight the need for the creation and fostering of such information to provide a more thorough art-historical dimension to LOD.

The purpose of this paper is to examine the art historical antecedents of providing subject access to images. After reviewing the assumptions and limitations inherent in the most prevalent descriptive method, the paper seeks to introduce a new model that allows for more comprehensive representation of visually‐based cultural materials.

The paper presents a literature‐based conceptual analysis, taking Panofsky's theory of iconography and iconology as the starting‐point. Panofsky's conceptual model, while appropriate for art created in the Western academic tradition, ignores or misrepresents work from other eras or cultures. Continued dependence on Panofskian descriptive methods limits the functionality and usefulness of image representation systems.

The paper recommends the development of a more precise and inclusive descriptive model for art objects, which is based on the premise that art is not another sort of text, and should not be interpreted as such.

The paper provides suggestions for the development of representation models that will enhance the description of non‐textual artifacts.

The paper addresses issues in information science, the history of art, and computer science, and suggests that a new descriptive model would be of great value to both humanist and social science scholars.

There is a proven linkage amongst the theories, practice, and literatures of entrepreneurship, management, and leadership. Accordingly, this chapter explores these linkages in policing and criminal contexts. Traditionally, the police have adopted a combination of heroic, bureaucratic, and autocratic approaches to leadership although individual police leaders do utilise a wide variety of appropriate leadership styles including charismatic and Laissez–Faire leadership. Great Man theory also influences police leadership styles and actions. Other novel appropriate leadership styles such as ‘humble’ and ‘agile’ leadership are also considered because of their potential fit with entrepreneurial policing philosophy and practice. Police leadership is immersed in the Military model of policing discussed in Chapter 2 and this includes its semiotics and symbolism. There is an inherent and ongoing tension between two very different competing leadership styles namely the ‘Commander Model’ versus the ‘Executive Model’. Both are relevant in different circumstances.

To meet the emerging demand for fine-grained annotation and semantic enrichment of cultural heritage images, this paper proposes a new approach that can transcend the boundary of information organization theory and Panofsky's iconography theory.

After a systematic review of semantic data models for organizing cultural heritage images and a comparative analysis of the concept and characteristics of deep semantic annotation (DSA) and indexing, an integrated DSA framework for cultural heritage images as well as its principles and process was designed. Two experiments were conducted on two mural images from the Mogao Caves to evaluate the DSA framework's validity based on four criteria: depth, breadth, granularity and relation.

Results showed the proposed DSA framework included not only image metadata but also represented the storyline contained in the images by integrating domain terminology, ontology, thesaurus, taxonomy and natural language description into a multilevel structure.

DSA can reveal the aboutness, ofness and isness information contained within images, which can thus meet the demand for semantic enrichment and retrieval of cultural heritage images at a fine-grained level. This method can also help contribute to building a novel infrastructure for the increasing scholarship of digital humanities.

This paper surveys theoretical and practical issues associated with a particular type of information retrieval problem, namely that where the information need is pictorial. The paper is contextualised by the notion of a visually stimulated society, in which the ease of record creation and transmission in the visual medium is contrasted with the difficulty of gaining effective subject access to the world's stores of such records. The technological developments which, in casting the visual image in electronic form, have contributed so significantly to its availability are reviewed briefly, as a prelude to the main thrust of the paper. Concentrating on still and moving pictorial forms of the visual image, the paper dwells on issues related to the subject indexing of pictorial material and discusses four models of pictorial information retrieval corresponding with permutations of the verbal and visual modes for the representation of picture content and of information need.