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China has been going through a “museum boom” paralleling the domestic tourism boom since 2000; such growth changed the cultural landscape; museums became a vital characteristic of some Chinese cities for both residents and tourists. Encouraged by this growth, the more ambitious “All-for-one Museum (全域博物馆)” was proposed. The physical boundary between museums and living spaces is infinite ambiguity, challenging the idea of museums as “heterotopias.” This study aims to explore the musealization of urban spaces in the context of anthropology and museology, scrutinizing the cultural-political intentions and meanings of these developments, and seeks to ignite further investigation into the reconstruction of historical imaginaries for tourists and urban populations across related disciplines.

This paper examines two cases in Chinese metropolises, Beijing and Shanghai, to illustrate this development of musealization, that is, how the cities actively leverage museological values and methods to connect with their past. In the Beijing case, the authors explore how the local government is leading the effort to musealize the city; in the Shanghai case, they will see how tourists, especially dweller-tourists, navigate through a curated past story in the city and connect their own experience, memory and identity with the place.

The all-for-one museum creates a museal layer projected onto the bigger urban space, even though the authenticity of the “past” is challenged by the modernization development of the city. The authors also find out that for some tourists (especially dweller-tourists), an existential sense of authenticity plays a more significant role as they not only seek to sightsee the past of the city but also to take part in its creation.

This paper discusses two kinds of musealization in cosmopolitan cities of Beijing and Shanghai: top-down and bottom-up. It approaches questions about the musealization of urban spaces from the perspectives of anthropology and museology, and discusses musealization in the specific historical context of China’s modernization process.

This paper aims to summarize the conditions under which participatory art museums and local commercial traditions can have positive and sustained interactions.

The methods include studying the quantity and content of exhibitions in the four cities of the Bay Area, Guangzhou, Shenzhen, Hong Kong and Shunde, to compare their academic positioning and influence on local commercial production. Through interviewing curators, artists and university scholars who are active in the Bay Area and are invited by the museums on a regular basis, it will let us understand the attitudes from the government, public and capital towards the regional art museums and how these attitudes influence the choice of theme in the participatory art museum practice.

To summarize the findings, the author concludes that a participatory art gallery with commercial production in the Bay Area requires the following: a long tradition of local business and wealth accumulation; a local area is of a size where the community of acquaintances can interact on a regular basis; continued interest of a diverse local elite, including a mix of businessmen and gentry, government officials and various sectors of the public; and museums serving as intermediaries to coordinate the effective integration of the commercial and traditional resources.

Participatory approaches and their impacts are a shared area of interest across urban planning, heritage studies and the creative arts. Crucially, solely relying on either the Latin bottom-up community-oriented approach (Barnes, 2003) or the British top-down policy-oriented approach (Heijnen, 2010) did not maximize benefits, though these distinctive two approaches were convinced that museums should play a larger role in becoming agents of contemporary social change. By contrast, in focusing on Chinese Art Museums, this study will explore participatory practice in the Asian context. In doing so, it will not only diversify the emerging literature on the social and economic impacts of arts and heritage organizations but also challenge the Western lens through which participatory approaches are viewed in the interdisciplinary literature. As Lefebvre acknowledged his lack of non-Western regions in his research, this study will offer new perspectives on museology and its contributions to the Production of Space.

This paper aims to study possible differences between the Outstanding Universal Value (OUV) defined in the designation of Cuenca as a World Heritage (WH) site and its inhabitants' perceptions of heritage value. The study is based on research conducted in the historic centre of Cuenca in Ecuador, which was accorded WH status in 1999.

The research employs both quantitative and qualitative methodologies, providing a complementary approach to the research subject. Quantitative research involved a probability survey of 400 informants randomly selected from the population of the canton of Cuenca, while qualitative research included 40 semi-structured interviews with residents and traders in the historic centre and 150 further written consultations with residents of the city.

Following the introduction, methodology and description, the paper presents the data gathered from the survey and interviews. These indicate inhabitants' perceptions of the meaning, values, and uses of WH in Cuenca and reveal differences between their perceptions and those of the official OUV.

Although there are several studies on WH residents' perceptions of UNESCO OUV, few highlight the mismatch between local community views of heritage and those established by UNESCO. This study reflects critically on the concept of OUV, which is based on technical and political criteria rather than social participation. The study employs methodologies that could be applied in other case studies and used to improve heritage management. This is the only study on local perceptions of Cuenca's OUV.

The purpose of this paper is to discuss the role of ALM organizations within a Nordic model of the public sphere.

This is a conceptual paper discussing the role of archives, libraries and museums in light of a societal model of the Nordic public sphere. Throughout the discussions, the author draw on empirical and theoretical research from sociology, political science, media studies, cultural policy studies, archival science, museology, and library and information science to help advance our understanding of these organizations in a wider societal context.

The paper shows that ALM organizations play an important role for the infrastructure of a civil public sphere. Seen as a cluster, these organizations are providers of information that can be employed in deliberative activities in mediated public spheres, as well as training arenas for citizens to use prior to entering such spheres. Furthermore, ALM organizations are themselves public spheres, as they can serve specific communities and help create and maintain identities, and solidarities, all of which are important parts of a civil public sphere.

Future research should investigate whether these roles are an important part of ALM organizations contribution to public spheres in other regions of the world.

Through introducing a theoretical model developed within sociology and connecting it to ongoing research in archival science, museology, and library and information science, the author connects the societal role of archives, libraries, and museums to broader discussions within the social sciences.

The paper aims to introduce social marketing (SM) as a tool to overcome the low cultural participation, a problem of the arts and culture sector that has worsened in the post-pandemic scenario.

The study uses a multidisciplinary literature review (SM, museum marketing, museology and cultural policy) to address the problem of museums and other cultural heritage institutions, at both the macro-level (prevailing cultural policies and antecedents, barriers and consequences to cultural participation) and micro-level (challenges faced by museums in the 21st century and marketing as a management instrument).

The downstream, midstream and upstream approaches can be used to design and implement SM interventions intended to address the problem of low cultural participation in museums. The three approaches should be considered holistically, with their synergetic and recursive effects.

Due to its introductory and conceptual nature, the study provides a comprehensive intervention framework to be used as a platform for future theoretical and empirical research. Further investigations may expand on the specificities of each approach (down, mid and upstream) and extend the framework to other nonprofit cultural institutions beyond museums, such as libraries and archives, cultural heritage sites and theater, music and dance companies.

The paper proposes a comprehensive SM intervention framework that integrates three interdependent approaches (downstream, midstream and upstream).

The paper provides a starting point for the holistic application of SM in the arts and culture sector. It also encourages researchers, cultural policymakers and cultural heritage professionals to investigate, design and implement SM programs that better understand, expand and diversify the audience and strengthen the legitimacy and relevance of cultural actors and activities to transform them into inclusive, accessible and sustainable institutions.

The concept of sustainable development is now widely accepted as a means of protecting natural resources and cultural heritage. One approach to ensuring sustainability, especially in relation to cultural tourism, is the ecomuseum. Turkey has considerable potential to develop ecomuseological models to encourage local sustainable development. The purpose of this paper is to explore the development of ecomuseums in Turkey by analysing the recent implementation of the concept in Hüsamettindere and Bogatepe villages. Current practices at these two sites are evaluated in comparison with the basic principles of ecomuseum theory.

This paper explores local community involvement in two emerging ecomuseums in Turkey based on several years of participant action research by the author; it describes the nature of the two ecomuseums based on that experience. In addition an in-depth survey was carried out between February and April 2013 by Canakkale Onsekiz Mart University when 45 local participants were interviewed for their views on the ecomuseum developments, using the MACDAB method (Borrelli et al., 2008) as a guide.

Even though the two implementations in Turkey have different features deriving from their local dynamics, they have had a similar experience in terms of the development process. Both began with a volunteer movement, the organisation of the local community, the formation of civil initiatives, a joint decision-making processes and the existence of participation and consensus. This process conforms to the basic principles of ecomuseology. The ecomuseums have also raised concerns about the loss of rural heritage and the mechanisms for conserving it within the model of the “living” ecomuseum. The most significant fact to emerge from this initial review of the two ecomuseums is that it is not necessarily their ability to conserve fragments of tangible and intangible heritage that is paramount in Turkey, but their importance in providing employment opportunities in rural areas.

Ecomuseum movement is a very important and practical model for sustainable development and tourism. Ecomuseums can also be functional tools for protecting of cultural heritage and developing of local areas. Even though Turkey has got many cultural heritage sources, they are not used productively for local sustainable development. The two implementations will be sample to all natural and cultural heritage areas of Turkey for sustainable development.

Despite being an authentic carrier of various cultural practices, the human body is often underutilised to access the knowledge of human body. Digital inventions today have created new avenues to open up cultural data resources, yet mainly as apparatuses for well-annotated and object-based collections. Hence, there is a pressing need for empowering the representation of intangible expressions, particularly embodied knowledge within its cultural context. To address this issue, the authors propose to inspect the potential of machine learning methods to enhance archival knowledge interaction with intangible cultural heritage (ICH) materials.

This research adopts a novel approach by combining movement computing with knowledge-specific modelling to support retrieving through embodied cues, which is applied to a multimodal archive documenting the cultural heritage (CH) of Southern Chinese martial arts.

Through experimenting with a retrieval engine implemented using the Hong Kong Martial Arts Living Archive (HKMALA) datasets, this work validated the effectiveness of the developed approach in multimodal content retrieval and highlighted the potential for the multimodal's application in facilitating archival exploration and knowledge discoverability.

This work takes a knowledge-specific approach to invent an intelligent encoding approach through a deep-learning workflow. This article underlines that the convergence of algorithmic reckoning and content-centred design holds promise for transforming the paradigm of archival interaction, thereby augmenting knowledge transmission via more accessible CH materials.

This study proposes a framework for performance measurement of library consortia services by implementing the indicators listed in ISO 11620. The framework is validated by using real data from HEAL-Link, the national consortium of Greek academic and research libraries to calculate the indicators.

The paper reports on the related work regarding the services consortia offer to their members and the known methods and tools for assessing consortia services; the HEAL-Link case study, the aggregation and handling of data, is presented; ISO 11620 performance indicators for HEAL-Link services are calculated, and the results are discussed in terms of what was learnt- about the consortium, about measuring consortia services performance, and about the standard.

ISO 11620 could be used to measure performance for assessing consortia services. The performance indicators’ results reflect the two major events (mergers and COVID pandemic) that took place during the time of the study. ISO 11620 offers a basic insight that could be well complemented with other tools and standards.

The current study suggests that a widely accepted, easily applied, benchmarking ISO standard could be used to measure common consortia services’ performance, thus contributing to consortia assessment.

The purpose of this paper is to examine how the emergent 3D interactive media technologies are used as a viable tool for enhancing visitors’ overall experiences at an exhibition entitled, 300 Years of Hakka Kungfu – Digital Vision of Its Legacy and Future (Hakka Kungfu Exhibition) – presented and co-organized by the Intangible Cultural Heritage Office of Hong Kong, International Guoshu Association and the School of Creative Media, City University of Hong Kong.

A questionnaire survey in both online and paper-based formats was used for identifying visitors’ experiences in the interactions with the multimedia technologies. For this research study, a questionnaire, consisting of 26 items, was set out to measure the visitors’ experiences at the Exhibition. Since the Exhibition was about presenting a centuries-old Chinese cultural heritage, Hakka Kungfu via the use multimedia technologies, in the context of establishing a dialogue between the past and present, the researchers included questionnaire items that were devoted to enquire about the level of understanding, knowledge and enjoyment, and visitors’ new knowledge about Hong Kong history and culture was successfully disseminated to the respondents at the end of the questionnaire.

A total of 209 completed questionnaires were collected at this Hakka Kungfu Exhibition. The findings reveal that the exhibits did attract people at all ages. This Exhibition gave the visitors a sense of interest and wonder in the object and information presented in the Exhibition. Findings of this study also reveal that this Exhibition has successfully attracted a large number of female visitors, as well as visitors who have never taken any martial arts training. In addition, visitors’ Exhibition experience was found to be memorable, as well as enjoyable. Furthermore, visitors’ experience within the Exhibition suggested that it was entertaining, as well as educational. By creating a long-lasting impact on the minds of these Exhibition visitors about the connections between and relevance of traditional Chinese Kungfu, their collective cultural identity, as well as the contemporary society we live in. The Exhibition exemplified the successful integration of the presentation of Kungfu as a form of cultural heritage with engagement-creating technology, in which technology is unobtrusive but effective.

Although it is already a global trend for the museums to integrate multimedia technologies into their exhibitions, research on the situation and feedback of multimedia technology used in the museum exhibitions in Hong Kong is scarce as well as scattered. Findings of this study could help identify various factors involved in audience participation, thereby exploring the possibility of building a contact point/space for traditional Chinese Kungfu as an intangible cultural heritage, via the integration of the latest media technologies. In particular, the development of multimedia technologies has become increasingly important to museums, and museum professionals have been exploring how digital and communication technologies can be developed to offer visitors a more interactive, personalized museum experience. In general, despite the growing interest in deploying digital technology as interpretation devices in museums and galleries, there are relatively few studies that examine how visitors, both alone and with others, use new technologies when exploring the museum contents.

This chapter explores the approaches to digital representation of Australian Aboriginal art and visitor engagement in museum exhibition spaces from a digital design perspective. It discusses recent developments in the fields of digital representation of Aboriginal art, immersive exhibition design and visitor engagement. Through a case study of an immersive exhibition on Australian Aboriginal art in the National Museum of Australia, Canberra, this chapter identifies how Aboriginal art can be digitally represented by appropriate immersive technologies ranging from augmented realities [ARs] and virtual realities [VRs] to mixed reality [MRs] and extended reality [XRs] for enhancing visitors’ immersive digital experience. According to the analysis, the digital representation of Aboriginal artworks needs to be conducted practically, cognitively and ontologically based on understanding Australian Aboriginal history and culture. Visitors can engage with Aboriginal art stories meaningfully through immersive exhibitions through this holistic approach.