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1 – 10 of over 5000
Article
Publication date: 13 May 2019

Krystyna K. Matusiak, Anna Harper and Chelsea Heinbach

The purpose of this study is to explore how undergraduate and graduate students use visual resources in their papers and presentations and what role images play in their academic…

Abstract

Purpose

The purpose of this study is to explore how undergraduate and graduate students use visual resources in their papers and presentations and what role images play in their academic work. It also focused on analyzing the types of image use/reuse in academic work.

Design/methodology/approach

This study was designed using an exploratory, qualitative approach. In all, 15 participants were recruited. Multiple sources of data were collected, including visual evidence, questionnaires and interviews. It adopted consensual qualitative research for data analysis.

Findings

This study finds a prevalent reuse of images in student presentations but limited use and reuse in papers. Images in presentations were primarily reused as objects for engaging and esthetic purposes. Reuse of images as a source of information was not common and in some cases problematic when students were missing context. The type of use/reuse of images in the papers was more varied with examples of creative use and transformative reuse.

Practical implications

This paper contributes to a better understanding of how students use and reuse images for academic papers and presentations. Results have important implications for teaching visual literacy and re-purposing images in higher education.

Originality/value

This paper analyses educational use/reuse of images along the data/object spectrum and distinguishes between different types of image use and reuse.

Article
Publication date: 1 November 2019

Foteini Valeonti, Melissa Terras and Andrew Hudson-Smith

In recent years, OpenGLAM and the broader open license movement have been gaining momentum in the cultural heritage sector. The purpose of this paper is to examine OpenGLAM from…

Abstract

Purpose

In recent years, OpenGLAM and the broader open license movement have been gaining momentum in the cultural heritage sector. The purpose of this paper is to examine OpenGLAM from the perspective of end users, identifying barriers for commercial and non-commercial reuse of openly licensed art images.

Design/methodology/approach

Following a review of the literature, the authors scope out how end users can discover institutions participating in OpenGLAM, and use case studies to examine the process they must follow to find, obtain and reuse openly licensed images from three art museums.

Findings

Academic literature has so far focussed on examining the risks and benefits of participation from an institutional perspective, with little done to assess OpenGLAM from the end users’ standpoint. The authors reveal that end users have to overcome a series of barriers to find, obtain and reuse open images. The three main barriers relate to image quality, image tracking and the difficulty of distinguishing open images from those that are bound by copyright.

Research limitations/implications

This study focusses solely on the examination of art museums and galleries. Libraries, archives and also other types of OpenGLAM museums (e.g. archaeological) stretch beyond the scope of this paper.

Practical implications

The authors identify practical barriers of commercial and non-commercial reuse of open images, outlining areas of improvement for participant institutions.

Originality/value

The authors contribute to the understudied field of research examining OpenGLAM from the end users’ perspective, outlining recommendations for end users, as well as for museums and galleries.

Details

Journal of Documentation, vol. 76 no. 1
Type: Research Article
ISSN: 0022-0418

Keywords

Open Access
Article
Publication date: 17 January 2022

Ayla Stein Kenfield, Liz Woolcott, Santi Thompson, Elizabeth Joan Kelly, Ali Shiri, Caroline Muglia, Kinza Masood, Joyce Chapman, Derrick Jefferson and Myrna E. Morales

The purpose of this paper is to present conceptual definitions for digital object use and reuse. Typically, assessment of digital repository content struggles to go beyond…

2028

Abstract

Purpose

The purpose of this paper is to present conceptual definitions for digital object use and reuse. Typically, assessment of digital repository content struggles to go beyond traditional usage metrics such as clicks, views or downloads. This is problematic for galleries, libraries, archives, museums and repositories (GLAMR) practitioners because use assessment does not tell a nuanced story of how users engage with digital content and objects.

Design/methodology/approach

This paper reviews prior research and literature aimed at defining use and reuse of digital content in GLAMR contexts and builds off of this group’s previous research to devise a new model for defining use and reuse called the use-reuse matrix.

Findings

This paper presents the use-reuse matrix, which visually represents eight categories and numerous examples of use and reuse. Additionally, the paper explores the concept of “permeability” and its bearing on the matrix. It concludes with the next steps for future research and application in the development of the Digital Content Reuse Assessment Framework Toolkit (D-CRAFT).

Practical implications

The authors developed this model and definitions to inform D-CRAFT, an Institute of Museum and Library Services National Leadership Grant project. This toolkit is being developed to help practitioners assess reuse at their own institutions.

Originality/value

To the best of the authors’ knowledge, this paper is one of the first to propose distinct definitions that describe and differentiate between digital object use and reuse in the context of assessing digital collections and data.

Details

Digital Library Perspectives, vol. 38 no. 3
Type: Research Article
ISSN: 2059-5816

Keywords

Article
Publication date: 25 October 2021

Jinju Chen and Shiyan Ou

The purpose of this paper is to semantically annotate the content of digital images with the use of Semantic Web technologies and thus facilitate retrieval, integration and…

Abstract

Purpose

The purpose of this paper is to semantically annotate the content of digital images with the use of Semantic Web technologies and thus facilitate retrieval, integration and knowledge discovery.

Design/Methodology/Approach

After a review and comparison of the existing semantic annotation models for images and a deep analysis of the characteristics of the content of images, a multi-dimensional and hierarchical general semantic annotation framework for digital images was proposed. On this basis, taking histories images, advertising images and biomedical images as examples, by integrating the characteristics of images in these specific domains with related domain knowledge, the general semantic annotation framework for digital images was customized to form a domain annotation ontology for the images in a specific domain. The application of semantic annotation of digital images, such as semantic retrieval, visual analysis and semantic reuse, were also explored.

Findings

The results showed that the semantic annotation framework for digital images constructed in this paper provided a solution for the semantic organization of the content of images. On this basis, deep knowledge services such as semantic retrieval, visual analysis can be provided.

Originality/Value

The semantic annotation framework for digital images can reveal the fine-grained semantics in a multi-dimensional and hierarchical way, which can thus meet the demand for enrichment and retrieval of digital images.

Details

The Electronic Library , vol. 39 no. 6
Type: Research Article
ISSN: 0264-0473

Keywords

Article
Publication date: 26 October 2020

Trilce Navarrete and Elena Villaespesa

This study aimed at understanding the use of paintings outside of an art-related context, in the English version of Wikipedia.

Abstract

Purpose

This study aimed at understanding the use of paintings outside of an art-related context, in the English version of Wikipedia.

Design/methodology/approach

For this investigation, the authors identified 8,104 paintings used in 10,008 articles of the English Wikipedia edition. The authors manually coded the topic of the article in question, documented the number of monthly average views and identified the originating museum. They analysed the use of images based on frequency of use, frequency of view, associated topics and location. Early in the analysis three distinct perspectives emerged: the readers of the online encyclopaedia, the editors of the articles and the museum organisations providing the painting images (directly or indirectly).

Findings

Wikipedia is a widely used online information resource where images of paintings serve as visual reference to illustrate articles, notably also beyond an art-related topic and where no alternative image is available – as in the case of historic portraits. Editors used paintings as illustration of the work itself or art-related movement, but also as illustration of past events, as alternative to photographs, as well as to represent a concept or technique. Images have been used to illustrate up to 76 articles, evidencing the polysemic nature of paintings. The authors conclude that images of paintings are highly valuable information sources, also beyond an art-related context. They also find that Wikipedia is an important dissemination channel for museum collections. While art-related articles contain greater number of paintings, these receive less views than non-art-related articles containing fewer paintings. Readers of all topics, predominantly history, science and geographic articles, viewed art pieces outside of an art context. Painting images in Wikipedia receive a much larger online audience than the physical painting does when compared to the number of museum onsite visitors. The authors’ results confirm the presence of a strong long-tail pattern in the frequency of image use (only 3% of painting images are used in a Wikipedia article), image view and museums represented, characteristic of network dynamics of the Internet.

Research limitations/implications

While this is the first analysis of the complete collection of paintings in the English Wikipedia, the authors’ results are conservative as many paintings are not identified as such in Wikidata, used for automatic harvesting. Tools to analyse image view specifically are not yet available and user privacy is highly protected, limiting the disaggregation of user data. This study serves to document a lack of diversity in image availability for global online consumption, favouring well-known Western objects. At the same time, the study evidences the need to diversify the use of images to reflect a more global perspective, particularly where paintings are used to represent concepts of techniques.

Practical implications

Museums wanting to increase visibility can target the reuse of their collections in non-art-related articles, which received 88% of all views in the authors’ sample. Given the few museums collaborating with the Wikimedia Foundation and the apparent inefficiency resulting from leaving the use of paintings as illustration to the crowd, as only 3% of painting images are used, suggests further collaborative efforts to reposition museum content may be beneficial.

Social implications

This paper highlights the reach of Wikipedia as information source, where museum content can be positioned to reach a greater user group beyond the usual museum visitor, in turn increasing visual and digital literacy.

Originality/value

This is the first study that documents the frequency of use and views, the topical use and the originating institution of “all the paintings” in the English Wikipedia edition.

Details

Journal of Documentation, vol. 77 no. 2
Type: Research Article
ISSN: 0022-0418

Keywords

Article
Publication date: 18 June 2021

Amy Seely Flint, Rebecca Rohloff and Sarah Williams

Young children often enter formal schooling with a range of digital experiences, including using apps on tablets and engaging with interactive educational toys. The convergence…

Abstract

Purpose

Young children often enter formal schooling with a range of digital experiences, including using apps on tablets and engaging with interactive educational toys. The convergence and increased accessibility of digital resources has made it more convenient for young children to navigate multiple modes (e.g. words, images, sound and movement) as they construct meaning across many different texts. The purpose of the study is to examine affordances and choices when students compose multimodal texts.

Design/methodology/approach

Three lines of inquiry support this study: the social construction of writing practices, multiliteracies and multimodality and intertextuality. Data analysis used an iterative two-tiered process of reading, rereading and coding students’ multimodal compositions and supplemental field notes (Creswell, 1998; Strauss and Corbin, 1998).

Findings

Analysis of the 23 multimodal compositions revealed three significant findings related to choice and affordances of multimodal texts: the popularity of Minecraft as a topic choice based on the social interactions of students; semiotic concurrence and semiotic complementarity and sophisticated use of literary techniques (e.g. nonlinear structures, shifting point of view, asides and emojis) across the multimodal stories, particularly those that carried Minecraft themes.

Originality/value

Students’ intentionality with the modes in their compositions suggested they were fully aware of the “complexity, interrelatedness and interdependence between image [animation and sound] and language” (Shanahan, 2013, p. 213).

Details

English Teaching: Practice & Critique, vol. 20 no. 3
Type: Research Article
ISSN: 1175-8708

Keywords

Article
Publication date: 1 July 2022

Maayan Zhitomirsky-Geffet, Inna Kizhner and Sara Minster

Large cultural heritage datasets from museum collections tend to be biased and demonstrate omissions that result from a series of decisions at various stages of the collection…

Abstract

Purpose

Large cultural heritage datasets from museum collections tend to be biased and demonstrate omissions that result from a series of decisions at various stages of the collection construction. The purpose of this study is to apply a set of ethical criteria to compare the level of bias of six online databases produced by two major art museums, identifying the most biased and the least biased databases.

Design/methodology/approach

At the first stage, the relevant data have been automatically extracted from all six databases and mapped to a unified ontological scheme based on Wikidata. Then, the authors applied ethical criteria to the results of the geographical distribution of records provided by two major art museums as online databases accessed via museums' websites, API datasets and datasets submitted to Wikidata.

Findings

The authors show that the museums use different artworks in each of its online databases and each data-base has different types of bias reflected by the study variables, such as artworks' country of origin or the creator's nationality. For most variables, the database behind the online search system on the museum's website is more balanced and ethical than the API dataset and Wikidata databases of the two museums.

Originality/value

By applying ethical criteria to the analysis of cultural bias in various museum databases aimed at different audiences including end users, researchers and commercial institutions, this paper shows the importance of explicating bias and maintaining integrity in cultural heritage representation through different channels that potentially have high impact on how culture is perceived, disseminated, contextualized and transformed.

Details

Journal of Documentation, vol. 79 no. 2
Type: Research Article
ISSN: 0022-0418

Keywords

Article
Publication date: 14 March 2016

Sik Sumaedi, Medi Yarmen, I Gede Mahatma Yuda Bakti, Tri Rakhmawati, Nidya J Astrini and Tri Widianti

The purpose of this paper is to investigate the simultaneous effect of attitude, subjective norm, perceived behavioral control (PBC), perceived value, and image on public…

1600

Abstract

Purpose

The purpose of this paper is to investigate the simultaneous effect of attitude, subjective norm, perceived behavioral control (PBC), perceived value, and image on public transport passengers’ intention to reuse.

Design/methodology/approach

The empirical data were collected through survey. The respondents of the survey are 293 public transport passengers in Tangerang, Indonesia. Multiple regressions analysis was performed to test the conceptual model and the proposed hypotheses.

Findings

The findings showed that attitude, subjective norm, and image influence public transport passengers’ intention to reuse. However, this research also found that perceived value and PBC does not influence public transport passengers’ intention to reuse significantly.

Research limitations/implications

The survey was only conducted at one area in Indonesia. In addition, convenience sampling method was employed. These conditions may cause that the research results cannot be generalized to the other contexts. Therefore, replication research is needed to test the stability of the findings in the other contexts.

Practical/implications

Public transport service managers need to pay attention to attitude, subjective norm, and image in order to ensure public transport passengers’ intention to reuse public transport services.

Originality/value

This study is believed to be the first to develop and test public transport passengers’ intention to reuse model that integrated theory of planned behavior with perceived value and image.

Details

Management of Environmental Quality: An International Journal, vol. 27 no. 2
Type: Research Article
ISSN: 1477-7835

Keywords

Article
Publication date: 14 September 2015

Melissa Terras

The purpose of this paper is to situate the activity of digitisation to increase access to cultural and heritage content alongside the objectives of the Open Access Movement…

6829

Abstract

Purpose

The purpose of this paper is to situate the activity of digitisation to increase access to cultural and heritage content alongside the objectives of the Open Access Movement (OAM). It demonstrates that increasingly open licensing of digital cultural heritage content is creating opportunities for researchers in the arts and humanities for both access to and analysis of cultural heritage materials.

Design/methodology/approach

The paper is primarily a literature and scoping review of the current digitisation licensing climate, using and embedding examples from ongoing research projects and recent writings on Open Access (OA) and digitisation to highlight both opportunities and barriers to the creation and use of digital heritage content from galleries, libraries, archives and museums (GLAM).

Findings

The digital information environment in which digitised content is created and delivered has changed phenomenally, allowing the sharing and reuse of digital data and encouraging new advances in research across the sector, although issues of licensing persist. There remain further opportunities for understanding how to: study use and users of openly available cultural and heritage content; disseminate and encourage the uptake of open cultural data; persuade other institutions to contribute their data into the commons in an open and accessible manner; build aggregation and search facilities to link across information sources to allow resource discovery; and how best to use high-performance computing facilities to analyse and process the large amounts of data the author is now seeing being made available throughout the sector.

Research limitations/implications

It is hoped that by pulling together this discussion, the benefits to making material openly available have been made clear, encouraging others in the GLAM sector to consider making their collections openly available for reuse and repurposing.

Practical implications

This paper will encourage others in the GLAM sector to consider licensing their collections in an open and reusable fashion. By spelling out the range of opportunities for researchers in using open cultural and heritage materials it makes a contribution to the discussion in this area.

Social implications

Increasing the quantity of high-quality OA resources in the cultural heritage sector will lead to a richer research environment which will increase the understanding of history, culture and society.

Originality/value

This paper has pulled together, for the first time, an overview of the current state of affairs of digitisation in the cultural and heritage sector seen through the context of the OAM. It has highlighted opportunities for researchers in the arts, humanities and social and historical sciences in the embedding of open cultural data into both their research and teaching, whilst scoping the wave of cultural heritage content which is being created from institutional repositories which are now available for research and use. As such, it is a position paper that encourages the open data agenda within the cultural and heritage sector, showing the potentials that exists for the study of culture and society when data are made open.

Details

Online Information Review, vol. 39 no. 5
Type: Research Article
ISSN: 1468-4527

Keywords

Article
Publication date: 1 December 2005

Claudia Roda, Ann Murphy Borel, Eugeni Gentchev and Julie Thomas

By reporting the experience gained in the development of a digital image library in the academic environment, this paper aims at providing perspective developers with insights on…

1824

Abstract

Purpose

By reporting the experience gained in the development of a digital image library in the academic environment, this paper aims at providing perspective developers with insights on the main usability issues raised by this type of project.

Design/methodology/approach

The paper addresses three common needs in academia with respect to image collections: preservation, access, and reuse. In the framework of the specific project experience, it discusses how usability issues have been tackled at design time, highlights the usability problems revealed by tests on the first implemented prototype, and advances proposals on how these problems may be addressed.

Findings

Team formation and high turn‐over impact usability design; collection management functionalities effect final product usability; usability and resource reuse levels are severely reduced if the services are limited to those of classic digital libraries.

Research limitations/implications

All usability issues are discussed with respect to the specific project characterized by a small, in‐house development team with high turn‐over; a participatory design approach; a fairly small, accessible, and heterogeneous user (and stakeholder) population; very limited financial resources but also limited time constraints.

Practical implications

A usability guide for future developers of digital image libraries in academia.

Originality/value

Addressing usability issues related specifically to the design of digital image libraries rather than text‐based digital libraries. Addressing the objectives of image reuse and of widespread adoption. Discussing usability design by a team of students with heterogeneous background in academic environment.

Details

OCLC Systems & Services: International digital library perspectives, vol. 21 no. 4
Type: Research Article
ISSN: 1065-075X

Keywords

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