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The concept of a creative place has been considered by experts, but a review of the research background shows that the definitions provided for creative place are different, and the factors that make an urban space a creative place are not clear. The main purpose of this study is to investigate the concept of creative place and to extract the indicators that make an urban space considered a creative place.

By extensive library studies and using a specialized panel, 59 items in the form of 12 indicators were extracted as identifiers of a creative place and a researcher-made questionnaire was prepared and tested in a case study. Data analysis of this study was performed in two stages by using the factor analysis method in R software.

The factors of “competitive advantage (economically)”, “freedom”, “attractiveness”, “entrepreneurship and professionalism”, “culture and art”, “vitality”, “diversity”, “distinction”, “participation”, “reconstruction, nobility and infrastructure”, “meaning” and “creative experiences” are important as identifiers of creative place, respectively. The evaluation of the case study showed that the total score of creative places in this urban space is 69.6 (out of 100) and “meaning” gained the most point in this urban space.

The factors of this research can be provided to architects and urban planners as identifiers of a creative place and a case study can be evaluated in terms of the degree of compliance with creative place identifiers.

As the application of crowdsourcing contests grows, leveraging the participation of superstars (i.e. solvers who have outstanding performance records in a crowdsourcing platform) becomes an emergent approach for managers to solve crowdsourced problems. Although much is known about superstars’ performance implications, it remains unclear whether and how their participation affects the size of a contest crowd for a crowdsourcing contest. Based on social contagion theory, this paper aims to examine the impact of superstars’ participation on the crowd size and studies how this impact varies across solvers with different heterogeneity in terms of skills, exposure and cultural proximity with superstars in crowdsourcing contests.

This paper uses secondary data from one crowdsourcing platform that includes 6,587 innovation contests to examine superstars’ main and contextual effects on the crowd size of a contest.

Our results reveal that superstars’ participation positively affects the crowd size of a contest in general. This finding suggests that social contagion is a fundamental mechanism underlying crowd formation in crowdsourcing contests. Our results also indicate that in contests that involve multiple superstars, superstars’ effect on crowd size becomes negative when we simultaneously consider other solvers’ heterogeneity in terms of skills, exposure and cultural background, and this negative effect will be intensified by increases in the skill gap, extent of exposure and cultural proximity between superstars and other solvers in the same contest.

Our research enhances the understanding of the influence of superstars and the mechanism underlying the emergence of contest crowds in crowdsourcing contests and contributes knowledge to better understand social contagion in a competitive setting. The results are meaningful for sourcing managers and platform supervisors to design contests and supervise crowd size in crowdsourcing contests.

It is well known that culture is a catalyst for change, helping economies respond to societal problems and demands and that culture is where people turn to in moments of crisis. In this case study around designing and implementing evaluation methodologies/frameworks for Coventry UK City of Culture 2021, it is suggested that in English public policy and within publicly invested arts there is a maturation of thinking around recognising/measuring the public value of culture including its social value. The purpose of this paper is to chart the recent policy of justifying cultural expenditure with social value claims and highlight challenges for evaluating activity within Coventry UK CoC 2021 as a change in wider policy is taking place.

This paper provides creative insights into the design and implementation of the evaluation methodologies/frameworks for Coventry UK City of Culture 2021. The authors of this paper as the collective team undertaking the evaluation of Coventry's year as UK City of Culture 2021 bring first-hand experiences of challenges faced and the need for a cultural mega-event to evidence its value.

The case study aims to address the concepts of measuring value within cultural events and argues that a paradigm shift is occurring in methods and concepts for evidencing the aforementioned value.

The case study within this paper focuses on the build-up period to the UK City of Culture 2021 year and the thinking and logic behind the creation of the evaluation/measurement framework and therefore does not include findings from the actual cultural year.

It is acknowledged that there are papers examining measuring and evidencing the “value” of cultural mega-events, the authors bring real-life first-hand experience of the concepts being utilised by them on the ground in the delivery and evaluation design of Coventry, UK City of Culture 2021.

Online/Digital cultural heritage platforms have the potential to serve as empowering sites and tools for democratic participation, and for promoting social cohesion, acting as convergence points for diverse societal groups. They enable the gathering of multiple voices, including those of minorities and groups often marginalised in mainstream cultural heritage documentation. This research paper examines the ways in which these aspirations of cultural heritage platforms as meeting, learning and dialogic spaces for connecting and empowering online communities have been realised.

Using a qualitative design, interviews were conducted with users of New Zealand’s Auckland War Memorial Museum’s Online Cenotaph. Participants shared their experiences with the platform, perceptions of it as a collective social history resource and views on its role as a participatory space for online communities. They also discussed their expectations for its development as an online space for collective memorialisation.

Interviews revealed that users value Online Cenotaph for placing personal, publicly contributed memories and narratives alongside primary military sources. Participants expressed feelings of civic responsibility, social awareness and a sense of identity and connection through their use and contribution to this online commemorative space. The shift from a one-way flow of information from the Museum towards embracing public contribution embodying a high-trust approach, was a notable finding.

This research underscores the evolving role of museums and other GLAM institutions in recognising the importance of inclusivity, diversity and community participation. It provides insights into how digital cultural heritage social platforms can contribute towards these goals and promote social cohesion. This research is also a starting point for further studies on crowdsourcing and social Web activities on digital cultural heritage platforms as sites of community building through public participation and engagement in historical/cultural heritage narratives.

Based on a lexical analysis of publications on 529 Facebook pages, published between 2013 and 2017, this research explores how Brazilian left-wing activist groups participate on Facebook to coordinate their opposition and engage in social struggles. This chapter shows how activist groups set up two main digital network repertoires of action when mobilizing on Facebook. First, in direct connection with major political events, the platform is used as a media arena to challenge governments’ political actions and second, it is employed as a tool to coordinate mobilization, whether these mobilizations are demonstrations on the street or at cultural events, such as at a music concert. These repertoires of action exemplify ways in which contemporary Brazilian activism is carried out at the intersection of online and offline engagements. While participants engage through these two repertoires, this network of activists is held together over time through a more mundane type of event, pertaining to the repertoire of action allowing the organization of mobilization. Stepping aside from opposition and struggles brought to the streets, the organization of cultural activities, such as concerts and exhibitions, punctuates the everyday exchanges in activists’ communications. Talk about cultural events and their related social agendas structures activist networks on a medium-term basis and creates the conditions for the coordination of (future) social movements, in that they offer the opportunities to stay in contact, in addition to taking part in occasional gatherings, between more highly visible social protests.

The purpose of this paper is to explore how, in a context of economic, political, social and environmental transitions, SMart, a cultural and artistic social enterprise (CASE), has developed a relevant cooperative model to contribute to mitigate the structural labour precariousness of artists and creators.

The research design includes a mixed-method approach that combines qualitative and quantitative methodologies with emphasis on the former. Namely, the organisation is SMartbe and its replication across nine European countries was studied as a revelatory case study. Five main types of techniques were deployed in the course of this research, including desk review, direct (participant) observation, interviews, focus group and questionnaire (Likert-scale survey).

CASEs constitute a specific institutional arrangement that offers innovative labour arrangements for cultural workers and artists to fight against precariousness. Social enterprises are embedded in the social and solidarity economy and stand at the crossroads of markets, civil society and the public, which places them in a critical position: depending on the logic, actors and contexts at play, social enterprises can ensure to varying degrees the general interest through their social mission, their sustainability via the real participation of all their stakeholders and the carrying out of economic activities that are fully consistent with their mission.

It is within this type of sustainability and participation that transformative social innovation can emerge within CASEs. Their potential to contribute to transformative social innovation is based on its four objectives: cultural (to imagine human, participative and sustainable alternatives); social (to achieve a social –including the environment – mission and join the ecosocial transition); participatory (empowering and impacting the public sphere); and economic (being financially sustainable and fair).

This paper aims to analyze the “crafts” of governance within social and solidarity economy (SSE) cultural organizations, considering formal and informal rules, to support their project of democratization of arts and culture and more generally of cultural democracy. The hypothesis is that it is through participatory and democratic governance that SSE can have a transformative role.

This paper builds upon a qualitative, multiple case study of three SSE organizations in the performing arts and audiovisual production in France. Although different in age, size and legal form, they all experiment a more participative governance system, not without tensions, to face deep institutional changes in their environment.

The results show that legal forms from the SSE are necessary safeguards but not sufficient to effectively implement a democratic governance beyond the “one member, one vote” principle. Democratic governance is supported by both formal and informal rules. By experimenting with innovative participative and democratic governance rules, these organizations contribute to the transformation of practices in the cultural field (democratization of art and culture) but also in society at large by fostering cultural democracy.

Building upon three case studies, this exploratory work stresses important issues that are worth to explore on a larger scale to understand by which levers SSE can play a transformative role in the cultural field.

This paper contributes to the literature on SSE and on governance by enlarging the analysis beyond the board of directors and the statutory rules. Applying the approach of collective action and reasonable values developed by Commons to SSE, it shows that participatory governance cannot be based on an ideal or a choice of preestablished values and principles but must leave room for creativity and representations of stakeholders not only to support transformation of practices within the cultural field but also externally by increasing cultural democracy.

Culture is increasingly recognized as a key component of local development, but this attention is largely focused on large cities. This paper aims to focus on the ways in which the innovative, participatory action-research (PAR) methods of IdeaLabs and community intervention workshops are used by two projects with solidarity economy enterprise (SEE) participants to activate place-based cultural resources for local development in small communities.

An in-depth reflexive analysis undertaken by researchers involved in the two projects, taking a feminist ethics of care perspective, demonstrates the ways in which these two PAR methods promote local development with the goal of fighting against the economic, social and cultural degradation of small cities and rural areas.

The PAR methods used by the two projects examined stimulate place-based local development initiatives through collaboration and knowledge co-production among participants and researchers. The projects go beyond an instrumental view of the use of culture and the arts for local development to innovate and demonstrate new methodologies for more participatory approaches.

This paper addresses a gap in social economy literature, presenting methods that can be used in PAR projects to catalyse the use of culture as a local development tool by local SEEs.

This chapter explores the principles of community empowerment and active participation in community development, highlighting the importance of inclusive practices for sustainable and equitable outcomes. It draws from diverse strategies and practical examples, showcasing the transformative potential of empowering community members. Through real-world case studies from places like Namibia, Bangladesh, and Brazil, readers gain insights into effective strategies for amplifying marginalized voices and enabling them to shape their destinies. The chapter addresses the challenges and benefits of participatory approaches, helping practitioners tailor strategies to complex community dynamics. It emphasizes the pivotal role of partnerships in strengthening community bonds and fostering collaborations among stakeholders. By embracing empowerment and participation, practitioners, policymakers, and researchers can contribute to a more equitable and sustainable future where communities thrive, and individuals actively shape their paths.