Search results

Cultural heritage archiving is experiencing an increase in digitalisations of artefacts in the last 15 years. The reason behind this trend is a demand for providing information about the artefact in a more accessible way to the audience, for example, through online delivery or virtual reality. Other reasons might be to simplify and automate the management of artefacts. Having a ‘digital copy’ of artefacts, allows one to search an archive and plan its storage and dissemination in a comprehensive manner. With the increased digitalisation comes an increased use of artificial intelligence [AI] applications. AI can be very beneficial in classifying artefacts automatically through machine learning [ML] and natural language processing [NLP]. For example, an algorithm can identify the source and age of artefacts based on an image and can do this much faster for a large collection of photos than a human. Although AI provides many benefits, it also presents challenges: Sophisticated AI techniques require certain insights on how they work, need specialists to customise a solution, and require an existing large dataset to train an algorithm. Another challenge is that typical AI techniques are regarded as black boxes, which means they decide, but it is not obvious why a decision has been made. This chapter describes a project in collaboration with the South Australian Museum [SAM] on the application of AI to extract material lists from a description of artefacts. A large dataset to train an algorithm did not exist, and hence, a customised approach was required. The outcome of the project was the application of NLP in combination with easy-to-customise rules that can be applied by non-IT specialists. The resulting prototype achieved the extraction of materials from a large list of artefacts within seconds and a flexible solution that can be applied on other collections in the future.

This chapter details a practice-based investigation of a 19th-century astronomical device known as ‘Janssen’s apparatus’. It questions traditional narratives of linear technological advancement and ‘sole inventor’ to reframe the historical artefact as a site which makes visible a network of technological knowledge interconnecting astronomy and visual culture. Approached from this perspective, the Janssen artefact is reframed as an ‘intersite of knowledge’, exploring how the various know-how contained within the device is located across disciplines rather than within a single field. Originally developed to calculate the Astronomical Unit during the 1874 Transit of Venus, Janssen’s apparatus failed in its endeavour as a measuring instrument, but its motion mechanism was successfully adapted into early cinema technologies. This chapter applies praxis through the development of a prototype artwork and the concept of ‘techne’ as speculative means of understanding how this mechanism was transferred from astronomy to the Western cultural realm. It proposes that the development of the apparatus was partially gleaned from moving image techniques already in use within 19th-century visual culture. The development of the prototype artwork is discussed in relation to the specific timing mechanism of the Janssen apparatus and how it establishes its own ‘intersite of knowledge’ relevant to its contemporary context. Finally, this chapter elaborates on how witnessing the Janssen mechanism in motion provided unique insight and how creating a dialogue between historical and contemporary apparatus facilitates a reconsideration of how galleries, libraries, archives, and museums [GLAM] and other host institutions that contain artefacts might share their hidden stories.

This chapter explores the use of three different approaches to capturing other perspectives in lesson study: lesson artefacts, pupil voice and pupil participatory approaches. Lesson artefacts and pupil voice appear to be the more common, whereas pupil participatory approaches are more recent initiatives in a lesson study context. Observation of pupils provides one perspective, but is limited because, among other things, it does not include the pupils’ perspectives. These approaches, especially when used together in triangulation, can provide a broader and potentially deeper understanding of pupil learning.

This chapter explores the Aboriginal artefacts ‘clapsticks’ as a form of cultural data – a means of disseminating cultural knowledge in the galleries, libraries, archives, and museums [GLAM] sector. How might alternative methods of curation animate clapsticks as active objects that deliver effective knowledge transfer? This research aims to explore and extend current industry practices of the curation of clapsticks, within the existing parameters of technology, spatial capacity, financial support, and governance as part of the operation of the GLAM sector. The research problem, therefore, explores the past limitations of colonial framing of cultural institutions that once hindered the revealing, the disseminating, and the ‘awakening’ of the complexities of knowledge intrinsic to Aboriginal cultural artefacts. Informal communication with Aboriginal community members and academics was critical to providing cultural context as well as personal beliefs and aspirations vital to conceptualising the future of cultural representation. This investigation explores how a cultural centre offers a space and an opportunity to facilitate the clapsticks datasets in its capacity as a performance-focussed building rather than solely an exhibition space or keeping place. This potential represents a shift in thinking around the clapsticks being a lens through which the stories of Aboriginal culture can be disseminated.

Australian mining projects frequently undertake cultural salvage, involving archaeological consultants and Aboriginal Elders to identify important artefacts. However, the storage conditions within shipping containers present challenges, such as weather, insects, and limited access for Traditional Owners. The author, reflecting on his experience working as a project heritage advisor in Western Australia’s Pilbara region, emphasises the need for collaborative engagement between the mining sector and Aboriginal communities to develop effective storage strategies that prioritise both scientific integrity and cultural significance. The author raises questions about the purpose and sustainability of storing cultural artefacts in containers, while highlighting the need to balance safeguarding heritage with the evolving needs of Indigenous communities. Ultimately, the author emphasises the importance of empowering Traditional Owners in decisions about artefact storage and engaging in meaningful consultation to preserve cultural heritage. The author suggests that the process should prioritise not just tangible artefacts but also intangible aspects like stories and songlines that make up the living Indigenous culture.

A creative identity, the incorporation of creativity into self-definition, is associated with creative outcomes. Given the importance of creativity to organizational success, understanding creative identity and in particular creative identity work (the formation and maintenance of creative identity) can be useful in understanding creatives within organizations. To be considered creative, individuals need to not only produce unique artefacts, but these artefacts need to be assessed by legitimate judges as being creative. Judges may be within an organization (e.g., senior researchers within a laboratory) or may be external to an organization (e.g., award judges in international advertising competitions). Underpinning creative identity work is the creative assessment, however this assessment is ambiguous and contextual. In other words, what is considered creative in one context or by one judge may not be considered creative in another context or by different judges. The ambiguity of the creative assessment makes creative identity work a precarious undertaking. Based on two case studies – a R&D laboratory and an advertising agency – this research explores the strategies which creative individuals employ in their creative identity work in response to the ambiguity of the creative assessment. This research contributes to the growing area of creative identity research by unpacking three specific strategies used as part of identity work of creatives: defending, emotional distancing and differentiating. These strategies assist the creatives in maintaining a coherent sense of who they are within the organizational context despite the unpredictability of the creative assessment.

Based on a critique of reductive understandings of physicality, this chapter explores the significance of embodied materiality, the artefactual physical, the role of the living body and embodiment in relation to ‘intra and inter’ practices of leadership from a phenomenological perspective. Using a phenomenological and cross-disciplinary approach, issues of an embodied physicality in leadership are systematically explored and implications discussed beyond physicalist empiricism and meta-physical idealism. Furthermore, the chosen phenomenological approach reveals problematising limitations of naturalist and constructionist approaches.

Following Merleau-Ponty an extended understanding of physicality as well as the significance of the co-constitutive role of embodiment, inter-corporeality and intra-action in and of leadership practices in organisational life-worlds are identified and discussed. Insights into the role of corporeal materio-socio phenomena and expressions of meaningful practices of leading and following are rendered. The chapter concludes by noting limitations and implications of embodied physicality and physical inter-becoming of ‘bodiment’ for a more integral and sustainable conception of leader-and followership in organisations. Through its specific post-dualistic approach the chapter provides an innovative perspective on the interrelations between living, material, bodily and embodied dimensions of physicality in leadership.

Post-acquisition integration matters for overall M&A outcome. However within this phase researchers have struggled to identify clear links between integration activities and post-acquisition outcome. This may be due to using organisational levels of analysis, where sub-organisational issues serve to confound findings. In order to unpack the post-acquisition phase, and to delve more deeply into organisations, this paper adopts a more granular perspective on integration activities by focusing upon the building blocks of organisations. Specifically we investigate ordinary routine amalgamation and their impact upon meta-routine outcome during acquisition integration. Drawing upon two longitudinal integration cases and using ‘retroductive’ analysis, two types of amalgamation are identified, namely ‘combination’ and ‘superimposition’. We find that, while the basic nature of routines, such as multiplicity and nestedness, inhibit routine amalgamation, external interference in the form of context, structural change or introduction of additional routines is needed to stabilise amalgamated routines. From our findings we are able to suggest a number of testable propositions about the factors that influence the amalgamation of routines. This empirical study contributes to the M&A literature by opening up the ‘black box’ of post-acquisition integration by providing details at a granular level of what actually happens during integrations.