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The purpose of this research is to understand the differences in information tasks as well as the pattern and use characteristics of information sources by postgraduate students in arts and engineering faculties in Nigeria's premier university, the University of Ibadan.

Data were collected from samples of 153 and 162 postgraduate students from engineering and arts/humanities respectively using a questionnaire. Data were collected on the tasks – popular, occupational and scholarly tasks – for which the students used identified sources.

Altogether popular tasks or everyday common activities dominate the information needs of the students, although more arts students required such information than engineering students. Arts and engineering students consulted interpersonal sources but arts students consulted the library in addition more than engineering students.

The research focused only on one institution, thus limiting the applications of the results to other institutions.

Discussion forums and similar opportunities for interpersonal interaction are useful for both faculties, but arts students should have forums in the learning environment to enable them to interact with their colleagues and experts.

There is no study in Nigeria focusing on the benefits of discriminating information services to students according to their disciplines.

This study investigates the transmission of art-related aspects (i.e. art products or services and people's experiences at museums) via word-of-mouth (WOM) from a personality perspective. Specifically, the study explores the effects of the Big Five personality traits (based on the five-factor model) and market mavenship (i.e. the propensity to provide general marketplace and shopping information) on intention to spread WOM in the art context.

Data were gathered through two field surveys, conducted via a structured questionnaire and analyzed using multiple regression analysis.

Results indicate that extraversion is the only Big Five personality trait that increases WOM intention (e.g. by talking to others about a visit to a museum). Market mavenship also increases such an intention (e.g. by talking to others about art services).

The study's findings could motivate arts managers to formulate and/or refine segmentation strategies around their consumers' personality traits, since these variables may differently motivate them to spread art-related WOM. The findings may also help companies and institutions operating in the art industry to design communication strategies oriented around their consumers' personality type to appropriately connect with different groups of customers based on their innate human drives.

This is the first study to assess the effects of Big Five personality traits and market mavenship on WOM intention in the art context, thus expanding scholarly understanding of psychological drivers behind arts-related WOM.

The purpose of this paper is to provide novel insights into arts consumption behaviour and patterns of communication displayed by arts consumers using Peterson’s theoretical framework, and to identify differences in the use of communication channels across arts segments.

The authors conducted an a priori market segmentation study, with two variables serving as segmentation criteria, namely, the frequency of and the variety of arts events attended. The authors tested for differences in communication patterns.

Four segments were created: low-frequency univores, low-frequency multivores, high-frequency multivores and high-frequency omnivores. They differ in their communication patterns and online behaviours, including their online activities before and after attending arts events. Printed materials and e-mail newsletters were the most effective communication channel for raising awareness of all arts consumers.

Understanding these communication patterns can help arts marketers to increase the attendance of low-frequency segments and broaden the variety of arts events attended by the univore and multivore segments. The generalisability of the findings is limited as the survey was conducted among online Australian arts consumers only.

The paper adds the dimension of arts consumption frequency to the taxonomy of omnivores and univores proposed by Peterson, which is based on the variety of consumed arts only. The paper contributes to communication and arts marketing literature by identifying key differences in communication patterns across segments of arts consumers and the most promising communication channels to engage them.

Describes the results of an investigation on the information gathering behaviour of arts scholars in Sri Lanka’s universities. The method involves a questionnaire to collect both qualitative and quantitative data and descriptive statistical methods were applied in the analysis of data. The overall response rate was around 70 per cent and each university was considered as a cluster. Arts scholars gather information for three basic types of activities; teaching, research and administration. The respondents spend 45‐55 per cent of their time in the library and the majority ranked “to keep up with current developments” as the main reason for seeking information. In comparison to scientists, arts scholars appear to use publishers’ catalogues as the most important source for new developments in their relevant fields. Many do not use index card files or outside assistance in searching literature.

The purpose of this study is to examine the diffusion of ebooks among postgraduate students in arts and technology faculties of the University of Ibadan, Nigeria. Electronic books have become increasingly popular in recent years, but factors influencing their adoption and use are not understood in many institutions.

Guided by a sample survey design, data were collected from 1,518 postgraduate students, 438 from the arts and 1,080 from technology, using a questionnaire and an interview schedule.

Students from both faculties used ebooks, identified through serendipitous browsing of the internet, and mainly Google searching. Many of the ebooks they find are not recommended by their lecturers, while those that are recommended are not available free of charge. Students therefore use ebooks mainly to cross-validate and gain extra insights about what they have been taught. There are significant differences between arts and technology students ' use of ebooks with respect to cost, ease of use and other aspects, with technology students having the advantage. There is no programme in the university aimed at harvesting and organising ebook resources for students to access.

The study focused on only one institution.

Institutionalising ebooks could be a useful strategy to address the dearth of current and relevant texts in universities, although ebooks may pose challenges to existing library management processes.

An ebook revolution will cause great changes in information services in libraries – how would university libraries partner to benchmark this evolving practice with respect to questions about standards, technologies, licensing and pricing, particularly in the developing world?

There is no empirical study on this subject matter either in the University used in the study or in any other.

This paper reports on an evaluation project conducted at the University of Melbourne during 2002. The objective of the project was to evaluate selected information literacy programs that were provided to students in the Arts Faculty. The three programs that were evaluated used different modes of delivery. The paper discusses the rationale of the project, the methodology and the results of the evaluation.

Information makes an important contribution to the promotion of the creativity of visual artists. This work aims to explore relevant research through a systematic review of the literature and discuss the impact of information on visual artists' creativity.

A systematic literature review was conducted through Preferred Reporting Items for Systematic reviews and Meta-Analyses method. The authors searched and retrieved 1,320 papers from which, after evaluation, 41 papers have been analyzed.

Two thematic categories were identified for visual artists' information needs: (1) the need for professional development and (2) the need for creative techniques and materials. In terms of information sources visual artists employ, the authors have also identified seven broad categories: (1) conventional resources (galleries, museums, etc.), (2) professional scholar sources, (3) digital art websites, (4) informal information online and colleagues, (5) libraries, (6) personal collections and (7) professional scholar social networks. In addition, the study proceeded to classify the obstacles faced by visual artists in their search for visual information into two general categories: (1) environmental barriers and (2) digital literacy barriers.

Although the investigation of the information needs satisfaction of visual artists as well as the evaluation of their information behavior patterns and information literacy competences is essential, it is understudied. This paper summarizes the relevant literature in a concrete and systematic way providing evidences to be considered in a variety of situations, i.e. developing lifelong learning programs, managing visual art library collections, library services development for artists, etc.

Art reference publishing has not been quite as voluminous this year as last year, but there is some evidence of greater selectivity and organization in the tools produced during the period of this survey. The continued publication of the Repertoire International de la Litterature de l'Art (RILA Abstracts), now complete through the 1977 volume, is helping to fill some of the vast gaps which previously existed in current bibliographical coverage of modern art and contemporary art historical research on an international basis. Retrospective bibliographical coverage is slowly but surely being filled in by the subject, country, and period bibliographies on which many scholars and several publishers have been concentrating in the past few years. Some excellent examples of these may be found in three established series of continuing value: the “Art and Architecture Information Guide Series” from Gale Research Company, “Art and Architecture Bibliographies,” published by Hennessey & Ingalls, and selected titles from the “Garland Reference Library of the Humanities.” In addition, there are outstanding titles to be found in some bibliographical series with broader subject bases, such as the “Information Resources Series” from ABC‐Clio.

It has been close to two years since the last survey of art reference materials in Reference Services Review. Consequently this column will cover as much as possible of the intervening period, roughly from the winter of 1979–1980 until early fall of 1981. It has been a relatively lean period in volume of material produced, but the art reference sources which have appeared are all of high quality and cover aspects of the field which are in need of coverage or of updating.

The greatest gains in art reference sources have been experienced this year in practical tools for the student and teacher of art history, especially at the undergraduate level. Next in line have been specialized encyclopedias for various periods of art history and bibliographies for highly specialized subject areas within both art history and applied arts. Some subject areas previously poor in reference tools of any kind have experienced enrichment this year, and some useful trends pointed out last year in this column, notably in the publication of reference sources for the decorative arts and crafts, and of indexes to reproductions of works of art, have continued to blossom. In addition, at least one new and very useful directory in the field of art education has appeared on the art reference scene this year.