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This paper aims to explore how accounting is entwined in the cultural practice of popular music. Particular attention is paid to how the accountant is constricted by artists in art and the role(s) the accountant plays in the artistic narrative. In effect this explores the notion that there is a tension between the notion of the bourgeois world of “the accountant” and the world of “art for art's sake”.

This paper draws on the cultural theory of Pierre Bourdieu to understand how the character of the accountant is constructed and used by the artist. Particular attention is paid in this respect to the biography and lyrics of the Beatles.

Accounting and accountants play both the hero and the villain. By rejecting the “accountant villain”, the artist identifies with and reinforces artistic purity and credibility. However, in order to achieve the economic benefits and maintain the balance between the “art” and the “money”, the economic prudence of the bourgeois accountant is required (although it might be resented).

The analysis focuses on a relatively small range of musicians and is dominated by the biography of the Beatles. A further range of musicians and artists would extend this work. Further research could also be constructed to more fully consider the consumption, rather than just the production, of art and cultural products and performances.

This paper is a novel consideration of how accounting stereotypes are constructed and used in the field of artistic creation

Bourdieu clearly articulates how cultural capital works at the macro-level and how it leads to the reproduction and legitimation of inequality. He is less clear about other levels of analysis. We address this gap by drawing on social psychological theories and by suggesting that cultural capital is best treated as a multi-level concept – with “cultural capital” produced at the macro-level, “subcultural capital” produced at the meso-level, and “multicultural capital” produced at the micro-level. We illustrate with an exploratory analysis of an advertising agency in Eastern Europe, thereby highlighting legitimacy processes occurring among its departments and personnel.

To show how the double nature of audiovisual material, that it is viewed and referenced, is reflected at the access points of a documentary database.

To achieve this aim a journey through the indexation elements – supported by explanatory examples – is undertaken, so as to identify and analyze onomastic, thematic, geographical and chronological aspects.

The findings reveal the need to identify in indexation the elements viewed in the image track and referenced in the sound track; such a need is supported by user/journalist requests, so that the documentation service is adapted to such information needs.

The management method displayed is only valid for medium and large television companies. This derives from the complexity and cost of human resources and time dedicated.

The practical value lies in the fact that the best proven structure for indexation of TV audiovisual documents is shown, with this being a useful and agile guide for the implantation of information services.

There are few studies that develop the documentation management of audiovisual documents, of those that count on valid work that stems from the study of indexation in television.

The purpose of this paper is to provide an overall picture of the five articles included in this issue highlighting their contributions and revealing the importance of academic research for arts and culture management as a nascent topic in the Latin American context.

This paper elaborates a critical description of the main aspects of the papers included. The contributions are grouped together around central topics pertaining to arts and culture management such as: audience creation and environment; museums, competition and efficiency; and management skills and entrepreneurship.

The contributions of the articles are as diverse as the topics included in them. Some highlight the importance of the context in audience creation processes, others reveal the determinants of the institutional variables in the efficiency of artistic organisations, and a final one, reveals the deconstruction of an artistic genre and its contribution to the comprehension of organisations’ innovation processes. However, the most important contribution, within the Latin American context, consists basically in a process of dissemination and knowledge of the research developed in different international contexts and which may apply to the analysis of arts and culture management in the region.

As noted in the body of this paper, the topic of cultural management is novel and has acquired notable importance in developed economies in which the arts and culture sector has strategic value. Latin America reveals an institutional revolution which situates the cultural sector in a predominant position where its contribution to the creation of social and economic value turns it into a key field in Latin American societies. Arts and culture constitute a factor of value creation which requires carefully planned and pertinent management processes. This publication, through its five contributions, all European, is a valuable tool of dissemination for knowledge and management in Latin America, where academic research into the sector is, as yet, incipient.

El propósito del presente texto consiste en proporcionar una visión de conjunto de la Gestión del arte y la cultura, a través de cuatro artículos, señalando sus aportes y mostrando la importancia de la investigación académica, proceso naciente en el contexto Latinoamericano. Sus aportes son diversos, algunos muestran la importancia del contexto en los procesos de creación de públicos, otros la importancia del concepto de competencia en la gestión de los museos, y un último, la deconstrucción de un género artístico y su aporte a la comprensión de los procesos de innovación en las organizaciones.

El texto presenta una descripción crítica de los aspectos más importantes de los artículos incluidos. Las contribuciones incluidas se agrupan alrededor de temas centrales relacionados con la gestión del arte y la cultura como son: Creación de audiencias y entorno; Museos, competencia y eficiencia; y habilidades administrativas y emprendimiento.

Sin embargo, la contribución más importante, dentro del contexto latinoamericano, consiste básicamente en un proceso de difusión y conocimiento de los procesos de investigación que se desarrollan en diferentes contextos internacionales y que pueden tener vigencia en el análisis de los procesos de gestión artística y cultura, propios de la región. Como se señala en el cuerpo del artículo, el tema de la gestión cultural es novedoso y ha adquirido una notable importancia en los países de economías desarrolladas donde el sector del arte y la cultura cumple un valor estratégico.

En América Latina se observa una evolución institucional que está situando al sector cultural en un lugar preponderante, donde su contribución a la creación de valor social y económico, lo convierte en un dominio clave en las sociedades latinoamericanas. El arte y la cultura es un factor de creación de valor que requiere procesos de gestión cuidadosos y pertinentes. La presente publicación a través de sus cinco contribuciones, todas Europeas, constituye una valiosa herramienta de difusión para el conocimiento y gestión en América Latina, donde el desarrollo de la investigación académica del sector es aún incipiente.

Continuous training in professional teaching competencies has become one of the challenges of the school of the 21st century, especially if we refer to the mastery of digital competence. The aim of this study is to analyze the degree of digital competence of secondary school teachers of different areas of knowledge during the global pandemic of COVID-19 in the Galician autonomous community and obtain data that allow us to infer whether there is an association between individual variables such as age, gender, degree, work experience and their mastery of digital competence.

A cross-sectional descriptive quasi-experimental study is performed using an accidental sample of secondary school teachers from different fields of knowledge.

The different results obtained determine that the level of knowledge and use of digital media and tools is low. There are no significant differences depending on the variables analyzed, but it is necessary to establish specific continuing education plans for the improvement of digital competence in secondary school teachers to enable the effective use and management of information and communication technologies in future professionals.

Therefore, the findings of this study allow the development of educational interventions focused on increasing the digital competence of teachers, taking into account their individual characteristics.

This chapter revisits social space and field theory, constructs foundational to the work of Kurt Lewin but largely abandoned by his followers. It describes the “mystification” surrounding these concepts in the work of Lewin and the sociologist, Pierre Bourdieu. It then attempts to demystify social space and field theory by looking at their roots in the idea of “relational thinking” – an idea set forth by the philosopher Ernst Cassirer, who had a powerful influence on both Lewin and Bourdieu. Finally, it suggests how these concepts can generate innovative thinking about organizational change and development.

In the context of the protest against the recent Iraq War, some art and entertainment celebrities have used their access to mass media to publicly contest the legitimacy of governmental action. By doing so, they have turned themselves into new spokespeople, claiming to be more authentic intermediaries for the will of the voiceless. This paper – based on sociological interviews with various types of art professionals – focuses on how these representational claims were constituted and how they competed, objectively and sometimes explicitly, with the prerogatives that politicians hold by virtue of their election. I first analyze the public posture adopted by the artists. They fashioned themselves into “celebrity citizens,” which enabled them to assume a role of popular representation while maintaining a clear separation between this public function and their regular professional activity, in their particular art world. They based their legitimacy to talk politics on their access to and influence over extended audiences. The second section of this paper analyzes how the public of the arts is thus symbolically converted into a political public. In giving themselves a mission of political and civic education, the artists participated in publicly designing and promoting a new model of the “good citizen” mirroring their reinvention of the “good representative.”

This chapter examines the professional identities of Brazilian journalists. It does so through an analysis of the growing professional autonomy of journalism from 1950 to 1990 through the life stories of 10 intellectual-journalists, individuals whose journalistic activities have crossed over into other intellectual fields.

This study applies a symbolic interactionist framework to understand how these actors managed their reputations and careers within the intellectual world. The narratives were taken from qualitative semi-structured interviews, and supported by additional research such as interviews, biographies, and articles which have been published about their lives.

The life stories were compared to the extensive structural changes affecting the world of journalism and the world of intellectuals in Brazil. This comparison revealed gaps between these two spheres of practice, within which the ambivalent form of journalists’ identities have been constructed.

This chapter offers two contributions to the study of Brazilian journalists. From a theoretical and methodological viewpoint, it advances beyond other studies that focus more on the prevailing representations of journalists’ professional identities and their role in society. From an empirical standpoint, it describes the complex negotiations between the worlds of journalism, culture and politics. This chapter also reexamines the current dominant explanation for the changes in Brazilian journalism. It shows that building careers and new levels of interpersonal cooperation for intellectuals and journalists has been a slow process. Ultimately, this development has left some behind, especially those actors stretched between multiple professional identities such as those who self-identify as intellectual-journalists.

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.