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This study aims to address the research gap about value in the holistic discourse of creative placemaking. It identifies and synthesises the often discounted social and environmental values of creative placemaking along with typically emphasised economic values.

This paper builds upon two research phases; first, a review and extraction of creative placemaking value indicators from relevant current urban, cultural and planning literature; and second, the identification of relevant, practice-based, value indicators through interviews with 23 placemaking experts including practitioners, urban planners, developers and place managers from the two largest cities of NSW, Australia; Sydney and Newcastle.

This study identifies three broad thematics for valuing creative placemaking along with several sub-categories of qualitative and quantitative indicators. These indicators reveal the holistic value of creative placemaking for its key stakeholders, including expert placemakers, designers, building developers, government and community groups. A key conclusion of the research is the need for tools that grasp the interconnected, and at times conflicting, nature of placemaking’s social, economic and environmental outcomes.

While a variety of value indicators exist to understand the need for ongoing resourcing of creative placemaking, stakeholders identified the limitations of current approaches to determine, represent and appraise the value of creative placemaking. The indicators of value proposed in this research consolidate and extend current discourse about the value of creative placemaking specifically. The indicators themselves have profound practical implications for how creative placemaking is conceived, executed and evaluated. Theoretically, the study builds on the deep relationships between values and practice in creative placemaking, as well as critiquing narrow forms of evaluation that entrench economic benefits over other outcomes.

Frank Lloyd Wright's famous house Fallingwater has been the subject of enduring scholarly debate centred on the allegedly clear parallels between its form and that of its surrounding natural setting. Despite these claims being repeated many times, no quantitative approach has ever been used to test this argument. In response, this paper uses a quantitative method, fractal analysis, to measure the relationship between the architecture of Fallingwater and of its natural surroundings.

Using fractal dimension analysis, a computational method that mathematically measures the characteristic visual complexity of an object, this paper mathematically measures and tests the similarity between the visual properties of Fallingwater and its natural setting. Twenty analogues of the natural surroundings of Fallingwater are measured and the results compared to those developed for the properties of eight views of the house.

Although individual results suggest various levels of visual similarity or difference, the complete set of results do not support the claim that the form of Frank Lloyd Wright's Fallingwater exhibits clear visual similarities to the surrounding landscape.

In addition to testing a prominent theory about Wright's building for the first time, the paper demonstrates a rare application of fractal analysis to interpreting relations between architecture and nature.

Urban flooding in developing countries of the Global South is growing due to extreme rainfall and sea-level rise induced by climate change, as well as the proliferation of impervious, built-up areas resulting from unplanned urbanisation and development. Continuous loss of traditional knowledge related to local water management practices, and the de-valuing of such knowledge that goes hand-in-hand with globalised aspirations, is inhibiting flood resilience efforts. This paper aims to address the need to include traditional water knowledge (TWK) in urban living and development processes in the Global South.

This paper commences with a review of existing frameworks that focus on natural resource management, critically assessing two existing frameworks of traditional ecological knowledge (TEK). The assessment of the existing approaches contributes to this paper’s development of a novel framework to promote TWK with regard to resilience and risk reduction, specifically for developing flood adaptive strategies, which is the second stage of this paper. Finally, the paper explains how the framework can contribute to the field of urban design and planning using examples from the literature to demonstrate challenges and opportunities related to the adaptation of such a framework.

The framework developed in this paper reveals three proposed vertices of TWK, named as place-based landscape knowledge, water use and management and water values. This framework has the potential to produce context-specific knowledge that can contribute to flood-resilient built-environment through urban design and practices.

The framework developed in this paper reveals three proposed vertices of TWK, named place-based landscape knowledge, water use and management and water values. This framework has the potential to produce context-specific knowledge that can contribute to flood-resilient built-environment through urban design and practices.

Within the field of TEK research, very few researchers have explored the field of developing flood resilience in an urban context. The proposed TWK framework presented in this paper will help to fill that gap.

This paper explores the relationship between social movement protest, economic sabotage, state capitalism, the “Green Scare,” and public forms of political repression. Through a quantitative analysis of direct action activism highlighting the Earth Liberation Front and Animal Liberation Front, the discourse surrounding mechanisms of social change and their impact on state power and capitalist accumulation will be examined. The analyses examines the earth and animal liberation movements, utilizing a Marxist-anarchist lens to illustrate how these non-state actors provide powerful critiques of capital and the state. Specifically, the discussion examines how state-sanctioned violence against these movements represents a return to Foucauldian Monarchical power. A quantitative-qualitative history will be used to argue that the movements’ actions fail to qualify as “terrorism,” and to examine the performance of power between the radical left and the state. State repression demonstrates not only the capitalist allegiances between government and industry, but also a sense of capital’s desperation hoping to counter a movement that has produced demonstrable victories by the means of bankrupting and isolating corporations. The government is taking such unconstitutional measures as a “talk back” between the revolutionary potential of these movements’ ideology as well as the challenge they present to state capitalism.

For centuries, death has proved itself a well-spring of inspiration for artists and musicians. In particular, an artist's own experiences with death and bereavement often overflow into their creative process, giving birth to artworks which channel grief and embodied experience. Morning Heroes by the British composer Sir Arthur Bliss (1891–1975) is a paradigm of such praxis.

Morning Heroes (1930) was written in memory of Bliss's brother, Kennard, who was killed in action during the First World War. Using an anthology of texts, the work aims to enshrine a universal experience of war for both soldier and civilian and maintains its connection with the British War Requiem through its use of musico-funerary rhetoric. Bliss, who converted to Catholicism during the war, wrote several times in his later life about the spiritual nature of music, specifically its ability to heal and bring peace. It is significant, therefore, that Morning Heroes was to act as a catharsis for Bliss, sublimating his recurring nightmares of the war.

Adopting Douglas Davies' (2017) ‘words against death’ idea, this chapter considers Sir Arthur Bliss's Morning Heroes as ‘music against death’ through an examination of Bliss's use of text and music to craft a requiem in sound. It explores Bliss's use of death rhetoric and embodied experience to create a vehicle for grief and situates this process within the context of his own spiritual philosophies.

So far as the London activities of librarianship are concerned, the Winter opened propitiously when Mr. J. D. Stewart and Mr. J. Wilks addressed a goodly audience at Chaucer House, Mr. Stewart on American, and Mr. Wilks on German libraries. There was a live air about the meeting which augured well for the session. The chief librarians of London were well represented, and we hope that they will continue the good work. It was the last meeting over which Mr. George R. Bolton presided as Chairman of the London and Home Counties Branch, and he is succeeded by Mr. Wilks. Mr. Bolton has carried his office with thorough and forceful competence, and London library workers have every reason to be grateful. The election to chairmanship of the librarian of University College, London, gives the Branch for the first time a non‐municipal librarian to preside. The change has not been premature, and, apart from that question, Mr. Wilks is cultured, modest and eloquent and will do honour to his position.

Although more than 30 years of research has established the power of word‐of‐mouth (WOM), little work has focused on how it could be managed more effectively. This study examines how incentives would work to actively encourage WOM, and how incentives would potentially interact with other variables that have been shown to drive WOM. In particular, a 3 × 3 × 2 experiment was conducted to examine the impact of incentives, tie‐strength, and satisfaction on WOM behavior. Consumer deal proneness was investigated using a quasi‐experimental design. Suggests from the findings that satisfaction does not necessarily increase the likelihood of WOM being generated. Shows incentives to be an effective catalyst to increase the likelihood of WOM being generated by satisfied consumers and tie strength to be an important variable in explaining WOM behavior. Suggests from the findings that deal prone consumers generate more WOM, independent of incentives. The findings have important implications, and suggest that satisfied customers are a necessary but not sufficient condition for getting positive WOM, and that incentives may be an effective way to get satisfied customers to recommend a firm. Furthermore, incentive programs targeted at strong ties are likely to be more effective than those targeted at weak ties, provided customers are genuinely happy with the service provided.

This study was designed to investigate the information needs and use of the private construction materials sector in Kuwait.

A structured instrument, expert‐reviewed and pilot‐tested, was used for data collection. A total of 20 companies were surveyed by interviewing a senior official identified by each firm.

These firms mostly used financial, marketing, legal, forecasting, and managerial information. Personnel and statistical information was the least used. The most important sources of information included government agencies, the internet, the Kuwait Chamber of Commerce and Industry (KCCI), and financial service agencies in addition to several informal sources. Information use activity was found to be at a low level.

Since the study was limited to private companies that dealt with construction materials, its findings should be used for this sector only.

The KCCI, following one of its official roles of supplying information to the business community, needs to upgrade its resources and services and conduct vigorous marketing of its services. Similarly, Kuwait University has a stake in conducting research and educating business leaders in improving their in‐house information services and making optimal use of KCCI services.

This is the first study of its type in the Arabian Gulf region. Hopefully, government agencies, the KCCI and the business community will use its findings to improve the current business information infrastructure, which is less than satisfactory.

In this chapter, we explore perceptions of exclusion and inclusion among students registered with the office of disability services at a large urban university in the United States. Our goal is to extend the current discourse on inclusion in higher education settings by drawing attention to social and cultural participation as an underemphasized aspect of educational inclusion and by bringing the perspectives of university students themselves into the discourse. While the general consensus among our interviewees seemed to be that schools and universities do a reasonably good job of developing classroom accommodations to meet their individual academic needs, stigma and social exclusion persist in damaging ways, in and outside of the classroom. A number of participants found solace and empowerment in interactions with other students with disabilities and suggested that until the forces of exclusion and stigmatization can be entirely eradicated, disability-friendly social and cultural activities and spaces designed by and for students with disabilities might provide an oasis of relief in a disabling world. Thus, we conclude that in addition to working towards the ultimate goal of making all aspects of university life disability-friendly, universities might better serve needs of current students by providing social spaces in which students with disabilities can socialize with each other and through which they might co-create and promote their own agendas for future institutional change.

The purpose of this paper is to explore the adoption of major exhibitions, often called blockbusters, as a sub-branding strategy for art museums. Focusing the experience around one location but drawing on a wide data set for comparative purposes, the authors examine the blockbuster phenomenon as exhibition packages sourced from international institutions, based on an artist or collection of quality and significance. The authors answer the questions: what drives an art museum to adopt an exhibition sub-brand strategy that sees exhibitions become blockbusters? What are the characteristics of the blockbuster sub-brand?

Using extant literature, interviews and content analysis in a comparative case study format, this paper has three aims: first, to embed exhibitions within the marketing and branding literature; second, to identify the drivers of a blockbuster strategy; and third, to explore the key characteristics of blockbuster exhibitions.

The authors present a theoretical model of major exhibitions as a sub-brand. The drivers identified include the entrepreneurial characteristics of pro-activeness, innovation and risk-taking, while the four key characteristics of the blockbuster are celebrity; spectacle; inclusivity; and authenticity.

These exhibitions are used to augment a host art museum’s own collection for its stakeholders and differentiate it in the wider cultural marketplace. While art museum curators seek to develop quality exhibitions, sometimes they become blockbusters. While blockbusters are a household word, the terms is contested and the authors know little about them from a marketing perspective.

Art museums are non-profit, social organisations that serve the community. Art museums therefore meet the needs of multiple stakeholders in a political environment with competing interests. The study draws on the experiences of a major regional art museum, examining the characteristics of exhibition sub-brands and the paradox of the sub-brand being used to differentiate the art museum. This paper fills a gap in both the arts marketing and broader marketing literature.

The use of the identified characteristics develops theory where the literature has been silent on the blockbuster sub-brand from a marketing perspective. It provides an exemplar for institutional learning on how to initiate and manage quality by popular exhibition strategies.