Search results

This paper aims to focus on academic library managers’ learning practices in the context of cooperative work supported by computational artefacts. Academic library managers’ everyday work is mainly cooperative. Their cooperation is supported predominantly by computational artefacts. Learning how to use the computational artefacts efficiently and effectively involves understanding the changes in everyday work that affect managers and, therefore, it requires deep understanding of their cooperative work practices.

Focused ethnography was conducted through participant observations, interviews and document analysis. Ten managers from a university library in Sweden participated in the research. A thematic method was used to analyse the empirical material. Computer supported cooperative work (CSCW) and work-integrated learning was used as the conceptual lens.

Five learning practices were identified: collaboration, communication, coordination, decision-making processes and computational artefacts’ use. The findings show that learning is embedded in managers’ cooperative work practices, which do not necessarily include sufficient training time. Furthermore, learning was intertwined with cooperating and was situational. Managers learned by reflecting together on their own experiences and through joint cooperation and information sharing while using the computational artefacts.

The main contribution lies in providing insights into how academic library managers learn and cooperate in their everyday work, emphasizing the role of computational artefacts, the importance of the work context and the collective nature of learning. It also highlights the need for continual workplace learning in contemporary knowledge work environments. Thus, the research generates contributions to the informatics field by extending the understanding of managers’ work-integrated learning in their everyday cooperative work practices supported by computational artefacts’ use. It also contributes to the intersection of CSCW and work-integrated learning.

This study aims to investigate how art events can enrich novice visitors by transforming their practices.

This research uses an interpretive case study of the art exhibition “1/1/1/1/1” in the Oppenheim gallery in Wroclaw. It draws on multiple sources of evidence, namely, novice visitors’ interviews, observation including photo studies and content analysis of art-makers’ mediation sources. This study is an example of contextual theorizing from case studies and participatory action research with researchers as change agents.

The evidence highlights that aesthetic values and experiences are contextual to practices and are transformable into other values. The findings illustrate the role of practice theory in studying how art-makers inspire the transformation of practices, including values driving the latter.

The findings provide implications for transformations of co-creating contextual values in contemporary visual art consumption and customer experience management.

Practical implications to arts organizations are also provided regarding cultural mediation conducted by art-makers. Exhibition makers should explain the meanings of the particularly visible artefacts to allow visitors to develop a congruent understanding of the meanings. The explanations should not provide ready answers or solutions to the problem art-makers suggest to rethink.

The social implication of our findings is that stakeholders in artistic ventures may undertake adequate, qualified and convergent actions to maintain or transform the defined interactive practices between them in co-creating contextual aesthetic values.

The study provides new insights into co-creating values in practices in the domain of contemporary art exhibitions by bringing the practice theory together with an audience enrichment category, thus illustrating how novice visitors get enriched by transforming their practices led by contextual values of “liking” and “understanding”.

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 study aimed to examine the adoption of consortium blockchain technology to ensure interoperability for the transparency of budgetary control in Ghanaian local government.

This study is based on the design science research (DSR) observational technique for developing a consortium blockchain budgetary control system for Ghana's local government.

The study resulted in the design of a consortium blockchain monitoring and evaluation system to set up a mechanism to monitor various budget projects, processes and transactions for Ghana's local government. The findings also proved Ghana is ideally positioned to gain an advantage from designed artefacts such as ours, given its digital financial service (DFS) policy. In addition, the evaluation of the designed artefact proves there will be a positive impact on budgetary processes by addressing transparency concerns; however, the success of this concern depends on how the local government organisation embraces the artefact.

The study sheds light on budget monitoring and evaluation tied to peer-to-peer (P2P) participation in the public sector via an advanced administrative digitalised networking and communication algorithm (A Distributed Ledger Technology - blockchain). The difference between the designed artefact and the traditional M&E system is argued. The study is limited by the paradoxes and inefficiencies of the integration of blockchain into the Ghanaian local government but, at the same time, presents a high level of certainty and possibility.

The proposed artefact has presented relevance because it is a new solution to existing concerns like trust, transparency, accountability and compliance, thereby improving local government budget administration.

The study has offered unique and new methods, guidelines and designs for tracking various budget projects and processes beyond the conventional technology-driven approach via DSR, exhibiting a unique solution for solving budget transparency, trust, accountability, compliance and data accessibility concerns.

Entrepreneurs prioritise and act on purposeful endeavours instigated to actions by the visions of profits and benefits in the perceived opportunities. In the state of maximum entropy, with disorderliness and disequilibrium, entrepreneurs select the preferred pathway, through the profit-sensing mechanism, with the best probability of success to bet on. Therefore, this paper unpacks the forces at work in the mechanism to explain how entrepreneurs respond to opportunity and interpret the signals to coalesce into organised actions.

This research is primarily a conceptual paper on entrepreneurial action and the mechanism leading to that action. It refers to thermodynamic principles and biological cases to explain the forces at work using mostly analogical comparisons and similarities.

This paper aims to present an alternative theoretical scaffolding for entrepreneurship researchers to explore non-rational entrepreneurial behaviours and actions in uncertain, unstable and non-equilibrium environments, thereby creating new and competing hypotheses under the backdrop of adaptive evolution and thermodynamics phenomena.

The discussion featuring instinctively and naturally forming responses cannot fully explain the real entrepreneurial action as there is an element of free will and choices that are not discussed. While strategic choice and free-will shape decisions, they are preceded first by the attraction of the gradients and the biased motion in the direction of profit-attractant.

There remain essential links and issues not addressed in this “natural science”, constituting life science and physical science, oriented entrepreneurship research and exploration. Conceptualising opportunity-as-artefact and entrepreneurship as design, significant incidences of entrepreneurial actions can be explained by the presence of gradients stimulating entrepreneurial actions.

This viewpoint of information causality in opportunity-as-artefact casts a new look at the venerable question of what causes entrepreneurial actions. Shane and Venkataraman brought into focus this conversation, initiating the conceptual definition of opportunity. To have entrepreneurship, entrepreneurial opportunities must come first. Figuring the signals arising from these opportunities and cueing entrepreneurs to action is the main focus of this study.

Considering the “mechanism” at work and the thermodynamical forces at play, the entrepreneurial design process appears to hold considerable promise for future research development.

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 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.

This study aims to investigate how configurations of boundary objects (BOs) support innovation teams in developing innovative product concepts. Specifically, it explores the effectiveness of different artefact configurations in facilitating collaboration and bridging knowledge boundaries during the concept development process.

The research is based on data from ten undergraduate innovation teams working with an industry partner in a creative industry. Six categories of BOs are identified, which serve as tools for collaboration. The study applies fsQCA (fuzzy-set qualitative comparative analysis) to analyse the configurations employed by the teams to bridge knowledge boundaries and support the development of innovative product concepts.

The findings of the study reveal two distinct groups of configurations: product envisioning and product design. The configurations within the “product envisioning” group support the activities of visioning and pivoting, enabling teams to innovate the product concept by altering the product vision. On the other hand, the configurations within the “product design” group facilitate experimenting, modelling and prototyping, allowing teams to design the attributes of the innovative product concept while maintaining the product vision.

This research contributes to the field of innovation by providing insights into the role of BOs and their configurations in supporting innovation teams during concept development. The results suggest that configurations of “product envisioning” support bridging semantic knowledge boundaries, while configurations within “product design” bridge pragmatic knowledge boundaries. This understanding contributes to the broader field of knowledge integration and innovation in design contexts.

Digital technologies create myriad innovation opportunities and have inspired the establishment of many new start-ups in recent years. Despite the growing knowledge on digital entrepreneurship, few studies explore how start-ups exploit these opportunities to achieve entrepreneurial success. The purpose of this paper is to explore start-ups’ capabilities for successful delivery of digital artefacts in a cloud computing infrastructure.

Empirical data were collected during a qualitative case study of an established start-up in the Chinese market by interviewing 41 interviewees. Informed by the notion of dynamic capabilities and using the Gioia methodology, the case firm's life cycle was analysed in detail.

The study identifies start-ups’ ordinary and dynamic capabilities for successful development and delivery of digital services. The findings provide insights into a portfolio of start-ups’ capabilities, namely adaptation, networking, reengineering and refinement.

The study suggests that start-ups’ capabilities and underlying entrepreneurial actions determine the degree to which adoption of digital technologies create and transfer value to customers. The study offers specific insights into how start-ups successfully develop and deliver digital artefacts in a cloud infrastructure based on entrepreneurs' prior expertise, vision and accumulated experience.

The study aims to delve into the “phygital customer journey” (PCJ), which merges physical and digital interactions in customer experiences, using a practice-based lens to reveal the underlying dynamics of these blended encounters.

Feedback from 60 individuals established the groundwork for a qualitative analysis. They chronicled customer journeys through diaries and used UXPressia software for journey mapping. This strategy enabled a detailed exploration of the PCJ, focusing on customers’ lived experiences and perceptions.

The study presents an integrative framework for the PCJ, identifying four key elements: hybrid artefacts (the melding of digital and physical tools/interfaces), blended contexts (the seamless integration of digital and physical spaces), circular actions (the non-linear paths of customer engagement) and intertwined emotions (the complex emotional responses to phygital experiences). These elements underscore the intricate and interconnected nature of the PCJ.

This study advances the field by applying a practice-based approach to unravel the complexities of the PCJ, illuminating the nuanced interplay between digital and physical realms. This innovative lens foregrounds the significance of practices in consumer experiences, thereby contributing to a deeper academic and practical understanding of phygital integration.