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Cities and the tourism industry are closely related. Cities are destinations that serve for the welfare of the people and the tourists visiting the city. The tourism sector, on the other hand, uses the environmental and sociocultural resources of the cities, ensures that these resources are transferred to the future by protecting them, and contributes to the economic development of the cities by creating employment. Several urban models have been created within this framework to make urban tourism viable. Eco-city tourism is one of these urban design concepts. Eco-city tourism aims to protect cities from sociocultural, economic, and environmental factors while promoting their growth. Eco-city tourism, which includes a number of practices such as prevention of pollution, protection of biological diversity, consumption of renewable energy, production of local products, employment, and protection of cultural values, is easily implement in cities in an integrated manner with smart technological systems. Smart building and smart energy systems for energy saving, mobile applications, Wi-Fi, big data, Internet of Things (IoT), and cloud computing are among the smart technological systems used in the tourism sector.

A social studies teacher shared the unique experience of leading one of the most profound changes in the culture of a junior high school. This manuscript includes the context of the work that had a significant impact at a Western New York junior high school. Moreover, pragmatic strategies and approaches to enhance school climate in any school are expanded upon.

In his inauguration speech of 1961, John F. Kennedy, the first Catholic and youngest-ever holder of the office of US President, famously exhorted citizens to ‘Ask not what your country can do for you; ask what you can do for your country.’ At the time, few would have interpreted this as a call for open innovation or even citizen crowdsourcing: neither the language nor the architecture then existed for either. But the sentiment he expressed marked the beginning of a campaign of citizen engagement in developing ideas for government. It was, in effect, the first national exhortation for the crowdsourcing of ideas, and Kennedy’s words have subsequently been adapted by Jeff Howe for the modern crowdsourcing context.

Citizen crowdsourcing is now well-established. This chapter sets out to assess how successful it has been as a mechanism for finessing original and meaningful ideas that advance social goals. We look briefly at leading examples of crowdsourcing for social good. We also look at the underlying factors that support it, including the knowledge and input solicited from the crowd; the crowd’s willingness to participate; and the mechanisms through which the crowd can engage. We trace the idea and practice of crowdsourcing back to Socrates in ancient Athens. We look at prosocial behaviour, exploring selected annals of public intellectuals, including Emerson. We examine citizen science as a forerunner of crowdsourcing, then move into the business strategy of open innovation and, finally, we arrive at crowdsourcing for social good in various guises. In conclusion, we explore what has been learned from initiatives that can now be considered current best practice in this area.

Duchamp caused a revolution in the art of the twentieth century with the readymade concept, and simultaneously he opened Pandora's Box, which converted art into a simulation and made it dependent on discursive practices. This degenerated into a deconstructive vulgate when, from the 1960s onwards, an ‘aesthetic of banality’ was accentuated and the media institutionalized the ‘guerrilla’ between the practices and the discourses. Art ‘wrecked’ in a regime of hyper-reality of the image, and the art paradigms and criteria shifted from aesthetics to the law of the financial markets. At the same time, the proliferation of coexisting cultural ideas and a revolving cultural miscegenation ended up splitting the kingdom of the art. In the art world today, there is a cleavage between artists: on one side, the adepts to the heteronomy (a line that was born with ready-made products), those who, following dominant rules, work for the market and the organizations; on the other side, those, more passionate, for whom art is a hermeneutics for self-knowledge. Meanwhile, Picasso's aura returns to the art scene, in a panorama that until now was adverse to him.

For a book claiming that it “introduces the reader to the major concepts,” I was quite disappointed by the papers devoted to the application of economic reasoning to legal rules. No one directly defined the core of the Chicago approach. There were no quotations from Becker about the “economic way of thinking” and no mention of Posner's famous claim that “the common law bears the stamp of economic reasoning.” This section provides examples from three papers to illustrate the lack of a clear presentation of the meaning of the economic analysis of the law, as defined by the Chicago school.

Social media networks make their services freely available to all users. Users pay for the service received with the time and attention taken by the advertisements. This chapter argues that social media platforms are a unique form of monopoly driven by “the more the merrier” effect (i.e., network effects) in users' consumption. These monopolies exercise market power, not by charging higher prices to users but by “tying” larger amounts of advertising to their content. Traditional antitrust instruments designed to address excessive pricing and reduced output by monopolies need to be reframed to tame the attention economy problems in the social media industry. This chapter discusses five antitrust instruments grouped in three categories: structural, behavioral, and market-based remedies. Market-based solutions are the least explored in the literature, despite being the most promising instruments to lower the attention costs imposed on users, while preserving the economies of scope in production and the network effects in consumption, and possibly maintaining free access to social media, as we know it today.