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1 – 10 of 536Sofia Baroncini, Bruno Sartini, Marieke Van Erp, Francesca Tomasi and Aldo Gangemi
In the last few years, the size of Linked Open Data (LOD) describing artworks, in general or domain-specific Knowledge Graphs (KGs), is gradually increasing. This provides…
Abstract
Purpose
In the last few years, the size of Linked Open Data (LOD) describing artworks, in general or domain-specific Knowledge Graphs (KGs), is gradually increasing. This provides (art-)historians and Cultural Heritage professionals with a wealth of information to explore. Specifically, structured data about iconographical and iconological (icon) aspects, i.e. information about the subjects, concepts and meanings of artworks, are extremely valuable for the state-of-the-art of computational tools, e.g. content recognition through computer vision. Nevertheless, a data quality evaluation for art domains, fundamental for data reuse, is still missing. The purpose of this study is filling this gap with an overview of art-historical data quality in current KGs with a focus on the icon aspects.
Design/methodology/approach
This study’s analyses are based on established KG evaluation methodologies, adapted to the domain by addressing requirements from art historians’ theories. The authors first select several KGs according to Semantic Web principles. Then, the authors evaluate (1) their structures’ suitability to describe icon information through quantitative and qualitative assessment and (2) their content, qualitatively assessed in terms of correctness and completeness.
Findings
This study’s results reveal several issues on the current expression of icon information in KGs. The content evaluation shows that these domain-specific statements are generally correct but often not complete. The incompleteness is confirmed by the structure evaluation, which highlights the unsuitability of the KG schemas to describe icon information with the required granularity.
Originality/value
The main contribution of this work is an overview of the actual landscape of the icon information expressed in LOD. Therefore, it is valuable to cultural institutions by providing them a first domain-specific data quality evaluation. Since this study’s results suggest that the selected domain information is underrepresented in Semantic Web datasets, the authors highlight the need for the creation and fostering of such information to provide a more thorough art-historical dimension to LOD.
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Eleonora Masiero, Giulia Leoni and Carlo Bagnoli
This paper aims at exploring the historical roots of ideals-based accountability (IBA) in a family business of the past. It examines the narrative accounts of the history of an…
Abstract
Purpose
This paper aims at exploring the historical roots of ideals-based accountability (IBA) in a family business of the past. It examines the narrative accounts of the history of an Italian long-lived family business written by one of its latest business owners to determine how and to what extent it was used to discharge a more ethical form of accountability.
Design/methodology/approach
An extensive thematic analysis informed on the conceptual framework of IBA is conducted on the unpublished manuscript by Angelo Barovier, the oldest leader of the Barovier’s family business.
Findings
The retrospective narrative served the family owner as a means for IBA, unveiling to the present and future generations of family owners the values and ideals that had motivated the ancestors to sustain the family business throughout the centuries despite the financial performance or the adversities.
Research limitations/implications
This paper reveals the historical roots of IBA as grounded in family business historical narratives. It contributes to management and family business history by showing the historical relevance of ideals and values for the development and sustainment of a family business.
Practical implications
This study opens to a larger application of IBA also in contemporary businesses, as a tool to foster and disseminate a more ethical form of accountability and to a further extent support the construction of a more ethical society.
Originality/value
This paper connects the newly developed IBA framework, conceived for family businesses, to a management history perspective showing its potential for the intergenerational transmission of business culture.
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The purpose of this paper is to discuss findings from an Arts and Humanities Research Council (AHRC)-funded research project into the heritage culture of British folk tales. The…
Abstract
Purpose
The purpose of this paper is to discuss findings from an Arts and Humanities Research Council (AHRC)-funded research project into the heritage culture of British folk tales. The project investigated how such archival source material might be made relevant to contemporary audience via processes of artistic remediation. The research considered artists as “cultural intermediaries”, i.e. as actors occupying the conceptual space between production and consumption in an artistic process.
Design/methodology/approach
Interview data is drawn from a range of 1‐2‐1 and group interviews with the artists. These interviews took place throughout the duration of the project.
Findings
When artists are engaged in a process of remediation which has a distinct arts marketing/audience development focus, they begin to intermediate between themselves and the audience/consumer. Artist perceptions of their role as “professionals of qualification” is determined by the subjective disposition required by the market context in operation at the time (in the case of this project, as commissioned artists working to a brief). Artists’ ability (and indeed willingness) to engage in this process is to a great extent proscribed by their “sense-of-self-as-artist” and an engagement with Romantic ideas of artistic autonomy.
Originality/value
A consideration of the relationship between cultural intermediation and both cultural policy and arts marketing. The artist-as-intermediary role, undertaking creative processes to mediate how goods are perceived by others, enables value-adding processes to be undertaken at the point of remediation, rather than at the stage of intermediation.
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Lluís Solé, Laia Sole-Coromina and Simon Ellis Poole
Creativity is nowadays seen as a desirable goal in higher education. In artistic disciplines, creative processes are frequently employed to assess or evaluate different students'…
Abstract
Purpose
Creativity is nowadays seen as a desirable goal in higher education. In artistic disciplines, creative processes are frequently employed to assess or evaluate different students' skills. The purpose of this study is to identify potential pitfalls for students involved in artistic practices in which being creative is essential.
Design/methodology/approach
Three focus groups involving Education Faculty members from different artistic disciplines allowed for the identification of several constraints when creativity was invoked. This initial study used a quantitative approach and took place in the “Universitat de Vic” (Catalonia, Spain).
Findings
Findings suggest a correlation with existing literature and simultaneously point at some nuances that require consideration: emerging aspects embedded in creative processes that may help decrease some limiting effects that being creative can generate.
Research limitations/implications
The main limitations of this research derive from the very nature of the methodological approach. Focus group has been the single used source. Other means of collecting data, such as the analysis of programs, could be used in the future.
Originality/value
This case study, while culturally specific, offers a useful insight into the potential of further work in non-artistic disciplines but crucially across disciplines. It has tremendous value for the development of intercultural understanding in the higher education sector, specifically in terms of assessment.
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Matteo Corciolani, Kent Grayson and Ashlee Humphreys
Cultural intermediaries define the standards many consumers use when evaluating cultural products. Yet, little research has focused on whether cultural intermediaries may…
Abstract
Purpose
Cultural intermediaries define the standards many consumers use when evaluating cultural products. Yet, little research has focused on whether cultural intermediaries may systematically differ from each other with regard to the standards they emphasize. The purpose of this paper is to build on Bourdieu’s theory of cultural production to examine how the type of subfield reviewed and/or the cultural intermediary’s expertise (or “field-specific cultural capital”) affect the standards an intermediary uses.
Design/methodology/approach
This paper employed a computer-aided content analysis of the full corpus of “Rolling Stone” music album reviews (1967-2014).
Findings
Critics with lower field-specific cultural capital reflect the same logic as the subfield they are critiquing. Critics with higher field-specific cultural capital reflect the opposite logic.
Research limitations/implications
Bourdieu was ambivalent about whether cultural intermediaries will reflect the logic of a subfield. Results show that the answer depends on the intermediary’s field-specific cultural capital. The results also reinforce previous findings that individuals with high field-specific cultural capital are more likely to break with the logic of a field.
Practical implications
Not all intermediaries are created equal. Producers and consumers who rely on cultural intermediaries should understand the intermediary’s critical analysis within the context of his/her experience.
Originality/value
This is one of the first studies to examine how a cultural intermediary’s field-specific cultural capital impacts his or her work. The findings are based on a large review sample and include reviewers’ analyses as they developed from having lower to higher field-specific cultural capital.
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