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In recent years, there has been a “heritagisation” of pop culture, including music, whereby cultural institutions, such as galleries and museums in primarily Western countries, have run exhibitions based on pop culture to successfully market to a new audience of visitors. The purpose of this qualitative study is to explore the issue of the “heritagisation” of pop culture by museums and observe visitor response to a specific music-related exhibition, linking intangible and tangible elements of the exhibition to provide a framework to understand the visitor experience.

The purpose will be achieved by observing the “heritagisation” of pop culture in the literature and past exhibitions, proposing how cultural institutions have linked the intangible and tangible elements of music in pop culture for an exhibition and observe visitors' feedback from online comments posted on Tripadvisor undertaken during the original “David Bowie is” exhibition at the Victoria and Albert Museum (V&A), London.

From the Leximancer analysis, a new conceptual framework for visitor experience at an exhibition was developed, which contains three visitor-related categories: pre-exhibition, exhibition space and exhibition experience, with five themes (tickets, exhibition, displayed objects, David Bowie and visitors) and 41 text concepts.

For cultural institutions the implications are that there can be opportunities to curate exhibitions on pop culture or music-related themes, which can include intangible and tangible elements, such as songs, videos, tickets, costumes, musical instruments and posters. These exhibitions can also explore the changing socio/political/historical/cultural background that contextualises pop cultural history.

This theory-building study advances the body of knowledge as it links music in pop culture and cultural institutions, specifically in this case a highly successful music-related exhibition at a museum, and provides a theoretical model based on tangibility elements. Further, it analyses museum visitor comments by using the qualitative software program, Leximancer, to develop a new conceptual framework for visitor experience.

The purpose of this paper is to observe the nature of documentation and the description used in object biographies by an auction house catalogue and an online museum collection database in relation opera costumes. This research aims to discuss the issues of cultural and economic value in relation to objects in the art world, and examine examples of object biographies for opera costumes that are sold at an auction and exhibited in a museum.

The object biographies are compared from an auction house catalogue and the online museum collection database, based on two factors: costumes worn by a famous singer and costumes designed by a famous designer.

This study identified the valuation methods of auction houses and museums, including accounting for the market value and fair value, as well as social and cultural values. The nature of the documentation also clearly shows the different purpose of the object biographies. For auction houses the biography needs to be short and specific as it provides sufficient information and is read out at the auction, while art catalogues can also be used by experts as part of the conversation to understanding heritage value, and will also be viewed and used by researchers, investors, other auction house specialists and art world professionals.

By comparing two institutions, auction houses and museums, this study has shown that the information that is documented and how it is presented in object biographies is determined by the goals of the institutions. These goals may vary or overlap in providing information, demonstrating cultural importance, to be spoken allowed to an audience and make sales, or to educate, conserve and preserve.

This study shows that to some extent museum online databases display their collection removed from cultural context, with an isolated image of the item, and in an organised, digitally accessible manner. A potential implication is that museums should not only digitally catalogue an item, but also provide discussion and the cultural background and significance of the item.

Auction catalogues are written for a specific event (the auction), while the online museum collection database is meant to be a permanent record, which aims to digitally preserve objects and provide access to images and information to a general audience, and further could be edited with amendments or new information when future research or events lead to potential updates.

This study adds to the discourse on approaches to the understanding of costumes as an art object of significance and their potential cultural, economic and heritage value, particularly as represented in the documentation of object biographies.

June 5, 1967 Master and Servant — Redundancy — Redundancy payment — Calculation — “Normal working week” — “Normal working hours” — Variable hours of overtime — Whether to be taken into account — Whether overtime compulsory — Redundancy Payments Act, 1965 (13 & 14 Eliz.11, c. 62), Sch.1, para. 5 — Contracts of Employment Act, 1963 (11 & 12 Eliz.II, c.49), Sch.2, paras.1(1), 3(1).

In order to deepen understanding of team processes in dynamic organizational contexts, we suggest that analyses employing techniques to identify and analyze team member interaction patterns and trajectories are necessary. After presenting a brief review of interaction data coding and reliability requirements, we first review examples of two approaches used in the identification and analysis of interaction patterns in teams: lag sequential analysis and T-pattern analysis. We then describe and discuss three statistical techniques used to analyze team interaction trajectories: random coefficient modeling, latent growth modeling, and discontinuous growth analysis. We close by suggesting several ways in which these techniques could be applied to data analysis in order to expand our knowledge of team interaction, processes, and outcomes in complex and dynamic settings.

May 23, 1968 Redundancy — Dismissal — “Work of a particular kind at the place where … so employed” — Complex of factories — Employer's contractual right to transfer employees to other jobs — Closure of particular plant and erection of new plant using fewer employees — Unavailability of work at closed plant to employee after 10 years — Process worker — No redundancy of process workers at same factory complex — Employee's refusal of transfer to any job offered to him — Whether subsequent dismissal “by reason of redundancy” — Redundancy Payments Act, 1965 (c.62), s. 1(1)(a). 1(2)(b).

April 8, 1974 Factory — Asbestos dust — Crocidolite — Demolition work including process of removal of lagging — No knowledge or reasonable grounds for supposing crocidolite involved in lagging — Obligation to give advance notice of beginning of process — Obligation to provide approved respiratory protective equipment and protective clothing — Whether absolute — Asbestos Regulations, 1969 (S.I. 1969 No. 690), regs. 6(2), 8(1) (a) (b).

Prior research into multinational enterprises’ (MNEs) entrepreneurial initiatives has drawn from various theoretical bases, including entrepreneurial cognition, knowledge-based view, and management control theory. Empirical studies and cases have consistently pointed to the temporal dimension, highlighting the dynamic elements of learning, capability development and evolution, and consequences of conflict. By incorporating theory on time use into the analysis, we develop a new theoretical insight regarding the temporal dimension of MNE entrepreneurial initiatives. Our analysis offers a basis for a more explicit focus on time use in studies of entrepreneurial initiatives in MNEs than has been offered to date. Implications for research and practice are discussed.