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The paper aims to analyse the meaning and extension of discretionary power of social service professionals within network-based interventions.

Empirically, the paper is based on a case study of a network-based policy involving private and public organisations in the Northeast of Italy (Province of Trento).

The paper identifies netocracy as a social policy logic distinct from bureaucracy and professionalism. What legitimises netocracy is neither authority nor expertise but cooperation, the activation of connections and involvement, considered “good” per se. In this framework, professionalism and discretion acquire new and problematic meanings compared to street-level bureaucracy processes.

Based on a case study, the research results cannot be generalised but pave the way to further comparative investigations.

The paper reveals that the position of professionals in netocracy is to some extent trickier than that in a bureaucracy because netocracy seems to have the power to encapsulate them and make it less likely for them to deviate from expected courses of action.

Combining different literature streams – street level bureaucracy, professionalism, network organisations and welfare governance – and building on an original case study, the paper contribute to understanding professionalism in welfare contexts increasingly characterised by the combination of bureaucratic, professional and network logics.

The definition of the collection employed in this essay accounts for it as an assemblage of information sources made accessible systematically in any format by the library or information center for the purposes of the community that is to intended to serve.

Digital language has meant a revolution in the methods of production, distribution and conservation of contemporary art. The purpose of this paper is to reflect on the new status of museums within the digital age. Works using new media must be understood as spaces of non-hierarchical communication where an artist’s role is diluted and the public becomes a user that completes an open process. Therefore, the function of the museum is challenged, being no longer a moral authority or a place of storing physical works. Because of its instability and obsolescence, the only valid method for the conservation of digital art is permanence through change.

This research contrasts the theoretical material emerged in the past years related to the characteristic of new media to the practical work of conservation of digital pieces made by the new generation of museums and cultural centres. In addition, the fresh material offered by the Web itself allows analyzing the virtual activity of the museums themselves and the new platforms (online labs, databases, websites and blogs) arisen in the past decades. The latter are perfect examples of the new paths opened by the digital contemporary technology offering collective sites of communication in real time.

The preservation of digital and intangible heritage is understood as a form of development of a collective memory that can help in the understanding of our age in the future. In this way, the goals and the responsibilities are common; citizens are required to keep an active culture that is no more a culture of the accumulation and concentration by a minority. In present context, there is a new possibility, maybe for the first time in history, of achieving a new narrative really democratized and decentralized through the new ways of interacting and sharing information offers by digital media.

The urgency of getting an open and free access to information and technology is part of the idiosyncratic of digital art. There is a real aim of generating alternative spaces of knowledge serving public interest, being apart from the economic and political interests of large corporations. In this respect, the role of the museum will be controversial. First of all, as an institution originally created to impose power and moral authority by the governments.

Museums remains as the main artistic institution nowadays. However, they are in a difficult position as a traditional space for preserving and exhibiting art. That is why, they are adapting themselves to the new digital context helped by offering practical databases and updated information on their collections via websites and social networks.

The paper's aim is to describe the problems encountered when a performance management system such as the balanced scorecard (BSC) is implemented in the culture of a developing country.

The article is based on a case study of a government agency in Croatia that initially wanted to purchase information technology software but discovered that it did not have a performance measurement system on which to base the software.

National and organizational cultures influence the degree of difficulty of implementing performance measurement systems such as the BSC. Exactly which cultural aspects and the degree that they create difficulty have only recently been studied in academic literature. The paper identifies several factors in common with previous studies, but also finds that some factors identified in other studies did not play a significant role in Croatia, while problems occurred in Croatia that have not been mentioned in previous research.

The authors emphasize the importance of adjusting performance measurement systems to the specific cultures in developing countries as well as modifying performance indicators to include the impact of information technology on performance indicators.

The paper emphasizes the importance of adjusting performance measurement systems to the specific cultures in developing countries as well as modifying performance indicators to include the impact of information technology.