The digital revolution fundamentally changed how cultural heritage is created, documented, analyzed, and preserved. The book focuses on this transformation's impact. How must museums and archives meet the challenges of digitally generated cultures and how does the digital revolution influence traditional object collection, research, and education? How do digital technologies and digital art and culture affect our interaction with images? Leading international experts from various disciplines break new ground. Pioneering interdisciplinary research results collected in this book are relevant to education, curators and archivists in the arts and culture sector and in the digital humanities.

Beyond their often beautiful exhibition halls, many museums contain vast, hidden spaces in which objects may be stored, conserved, or processed. Museums can also include unseen archives, study rooms, and libraries which are inaccessible to the public. This collection of essays focuses on this domain, an area that has hitherto received little attention. Divided into four sections, the book critically examines the physical space of museum storage areas, the fluctuating historical fortunes of exhibits, the growing phenomenon of publicly visible storage, and the politics of objects deemed worthy of collection but unsuitable for display. In doing so, it explores issues including the relationship between storage and canonization, the politics of collecting, the use of museum storage as a form of censorship, the architectural character of storage space, and the economic and epistemic value of museum objects. Essay contributions come from a broad combination of museum directors, curators, archaeologists, historians, and other academics.

European cultural policy is based on the exchange of artists. It has devoted decades to the objective of encouraging dialogue and enabling cooperative production; especially between the countries of the so-called Global North and Global South. Cultural policy makers and agents in Europe, such as those working in cultural institutions and at the ministries responsible for cultural relations, constantly stress their claims of a dialogue of equals. However, if and how cultural cooperations really are in practice brought to life on equal terms is an open question.

Annika Hampel analyzes the working conditions of partnerships to understand how current artistic collaborations function, what structures and processes they involve, on what premises and within what frameworks the collaborators work, and what challenges they have to cope with.The foundation of her reflections are the experiences and insights of actors in cooperative projects who are responsible for the implementation of the goals of the European Cultural Policies in practice.

Annika Hampel uses five case studies, which offer insights across the spectrum of artistic cooperation, to display the wide range of Indo-German collaborations in the arts. From her analysis of the practical reality, Annika Hampel develops and proposes cultural and political measures to foster a new culture of international cooperation on an equal footing. The author shows how to minimize power relations, promote cultural diversity, and exploit the underused potential of cooperative work. 284 pages, P.I.E-Peter Lang S.A., Éditions Scientifiques Internationales; New edition.

In Fill Every Seat - EVERY Week, Magnus Still shares what he has learned about the underlying philosophy and foundations necessary to rapidly build a strong and lasting subscription base, and how subscriptions interact with all other activities of the organization.

As machine-readable data comes to play an increasingly important role in everyday life, researchers find themselves with rich resources for studying society. The novel methods and tools needed to work with such data require not only new knowledge and skills, but also a new way of thinking about best research practices. This book critically reflects on the role and usefulness of big data, challenging overly optimistic expectations about what such information can reveal; introducing practices and methods for its analysis and visualization; and raising important political and ethical questions regarding its collection, handling, and presentation. 272 pages, Hardcover.

'Evaluation' - one of the key words in national, European and international cultural policies - is considered with mixed feelings by practitioners: as a burdensome and pointless process, as a meaningful tool for self-improvement, or as something in-between. This toolkit aims to guide you through the key steps of evaluation, whether you have chosen to do it yourself or if a funder or decision-maker asks you to do so and provides you with pre-conceived tools. In the first case, this toolkit can help you to design, carry out and use the evaluation; in the second, it can help you to identify the risks and traps along the way, and to control the process. The book can be downloaded by the link below.

This book focuses on innovations in culture having the potential to drive overall development. It analyses public policies and offers inspiring examples of innovations in culture which solve various societal problems as well as recommendations for public policies. The culturinno effect (culture + innovations), thus presents evidence of the inherent power culture has in fostering development. The volume leads us through the role of culture in different concepts of development, providing the theoretical and historical context of development and theory of change. Analysis of theoretical cultural policy models is followed by practical examples of innovations in culture, culminating in a text that is a must have for innovative decision makers ready to respond to the challenges of today as well as students, artists and cultural workers who are prepared to offer a new view on arts/culture. 112 pages, Hardcover.

Cultural managers are increasingly engaged ininternational projects; they work in international art festivals, globalcompanies of the creative industries, or international tourism. They areinvolved in cultural diplomacy and cultural development cooperation; andmoreover, in times of an increasing worldwide migration, cultural managers areengaged in moderating intercultural change management processes in their owncountries. How is internationalization influencingcultural management? Is there a tendency towards harmonization of managementpractices due to cultural globalization? How do cultural managers from different worldregions describe their working conditions also in terms of cultural policy, andwhich differences can be observed? What are the main challenges of internationalcultural cooperation, which competencies are needed for working ininternational and intercultural contexts, and which training concepts ininternational cultural management proved to be successful? These questions are investigated on the basisof a world wide survey of cultural managers. 244 pages

Leadership Framed by Art uncovers the eye-opening parallel between modern art and business leadership. Iris Lavy shows how modern art can inspire influential and charismatic leadership. The refreshing takes this book offers will inspire the leaders-artists who make sure that the cogs of motivation, innovation and entrepreneurship continue to buzz as they color the old familiar boxes with out-of-the-box shades and hues.

Leadership Framed by Art breathes new life into the concept of leadership with innovative originality. The book sheds new colors on commonplace issues such as vision, change management and womens leadership by drawing inspiration from predominant artists and linking their ideas to the current world of management. Drawing on the wisdom of Bill Gates of Microsoft, Jack Dorsey of Twitter, Sheryl Sandberg, VCOO at Facebook, Jamie Dimon, CEO and Chair of JP Morgan Chase and countless other giants.

Iris Lavys thesis is clear and concise: Pablo Picasso or Andy Warhol were and still are cultural leaders. They ran counter to the accepted models of the time, promoted fresh thinking while breaking the boundaries to oppose blind obedience to norms. Modern artists called on their peers to follow them out and to gallop ahead on the high wire between consensus and the great unknown. This is exactly the kind of leadership needed in the current challenging and yet exciting business world arena of the 21st century. 182 pages, Publisher: CreateSpace Independent Publishing Platform

This book offers a concise, rigorous presentation of the economic fundamentals of the music industry in particular and the music economy in general. It highlights the economic principles that govern the music business as an economic good protected by copyright law. The book examines the core sectors of the industry music publishing, sound recording, the live music market, and secondary markets such as advertising and merchandising and shows how they operate together. It includes analysis of the income streams of musicians and the wider music lobby. The impact of digitization and the economic relevance of new digital formats is given special attention download services, streaming platforms, mobile music providers, cloud music services as well as music recognition and recommendation systems are all discussed. The book shows how a combination of established publishers (Universal, Sony/ATV, Warner/Chappell), new promoters (LiveNation), and a new generation of music providers (Apple, Google, Amazon) has created a heady mix of competing and collaborative economic models. Throw in the problem of piracy and ever-changing consumer behavior and, the author shows, we have one of the most dynamic and fascinating business sectors in the world. Paperback: 208 pages

"Dr Lukasz Wroblewski's book Culture Management: Strategy and Marketing Aspects clearly recognises that the pressures on the cultural sector in the 21st Century are greater than ever before. Based on robust academic research within a practical industry context, this book addresses all the key issues related to marketing strategy and planning for the cultural industries. It will be an invaluable tool for managers, policy-makers and all those working in the creative and cultural world, and will help them to develop sound strategies for the future." Dr Kim Lehman Tasmanian School of Business and Economics, University of Tasmania "Dr Wroblewski's book explains clearly what has changed to make the use of business models necessary, even in organizations which might have resisted in the past. Globalization has resulted in a population which understands and appreciates art and culture created in other countries. While it might be agreed that this is beneficial for society, it means that cultural arbitrators within a country no longer have the authority to dictate what is accepted as culture. Managers now understand that to gain the support of the public they must explain the benefits of consuming their cultural product." Dr Bonita M. Kolb Professor Emeritus of Lycoming College in Pennsylvania "A thoughtful and penetrating analysis of culture management addressing marketing strategies and cultural institutions. An important must read' book for those involved in this exciting sector." Prof Adrian Payne University of UNSW Business School, University of New South Wales; Logos Verlag Berlin; 194 pages

This groundbreaking Handbook brings together leading international experts in creativity and culture research to provide an overview of current debates. It showcases the wealth of topics, approaches and definitions specific for this new, interdisciplinary field within creativity research. The theoretical and methodological innovations emerging from the joint study of creativity and culture highlight the role of creativity within today's innovation-based, multicultural societies.

Drawing on theoretical and empirical reflections, including case studies from different continents and different creative domains, this Handbook provides a truly global outlook on current creativity research within an emergent, interdisciplinary field. This variety is highlighted by the Handbook's structure as it is divided into five sections: Creativity and Culture in the Psychology of Creativity; Creativity in Socio-Cultural Psychology; Creativity in Cultural Context; Creativity and Culture in Applied Domains; Cross-disciplinary Perspectives on Creativity and Culture. These sections provide a clear overview of the debates and questions of this research area as contributors share their interest in creativity not only as an individual but also a social and cultural phenomenon, and in culture as both the foundation and outcome of creative action.

The Handbook will be an essential resource for researchers, particularly those based in social science and humanities disciplines. Hardcover, 782 pages.

This book places the study of public support for the arts and culture within the prism of public policy making. It is explicitly comparative in casting cultural policy within a broad sociopolitical and historical framework. Given the complexity of national communities, there has been an absence of comparative analyses that would explain the wide variability in modes of cultural policy as reflections of public cultures and cultural identity. The discussion is internationally focused and interdisciplinary. Mulcahy contextualizes a wide variety of cultural policies and their relation to politics and identity by asking a basic question: who gets their heritage valorized and by whom is this done? The fundamental assumption is that culture is at the heart of public policy as it defines national identity and personal value.

This book develops important new insights into the conditions that enable effective collaborations between arts and humanities researchers and SMEs in the creative economy. Drawing on the work of Creativeworks London, an AHRC-funded Knowledge Exchange Hub for the Creative Economy, this is an in-depth study of how co-created and collaborative research projects work on the ground and will be of immense value to all these audiences. Chapters by researchers and practitioners examine a range of collaborative research projects supported by Creativeworks Londons vouchers, which cover a large number of creative industry sectors and academic disciplines. The book identifies key learning from these projects that has wider relevance for academics, funders, policy makers, and SMEs in the creative economy.

Morag Shiach is Professor of Cultural history at Queen Mary University of London, UK, where she is also Director of Creativeworks London and Vice-Principal for Humanities and Social Sciences. Her publications include Modernism, Labour and Selfhood in British Literature and Culture; Feminism and Cultural Studies; Hélène Cixous: A Politics of Writing; and Discourse on Popular Culture.

Dr. Virani obtained his PhD from Kings College London, UK. He is a full time researcher for Creativeworks London research project at Queen Mary University of London, UK. His research interests include the role of knowledge in the cultural economy, artistic knowledge within locally bounded artistic communities, and new work spaces in the creative and cultural economy.

Performing arts centers (PACs) are an integral part of the cultural and creative industries, significantly influencing the cultural, social, and economic vitality of communities around the world. Virtually all PACs are community-based and serve the public interest, whether structured as a public, nonprofit, for-profit, or hybrid entity. However, there is a lack of knowledge about the important community role of performing arts centers, especially those that mainly host and present work produced by other arts organizations. This gap is startling, given the ubiquitous presence of PACs in urban centers, small communities, as well as colleges and universities.

This co-edited reference book provides valuable information at the intersection of theory and practice in the professional field of executive leadership of performing arts centers. Drawing on the expertise of leading academics, consultants, and executives, this book focuses on institutions and practices in the United States, and is contextualized within additional fields such as cultural planning, urban revitalization, and economic development.

Performing Arts Center Management aims to provide valuable theoretical, conceptual, empirical, and practice-based information to current and future leaders in creative and cultural industries management. It serves as a unique reference for researchers, university students, civic leaders, urban planners, public venue managers, and arts administrators aspiring to improve or advance their work in successfully managing performing arts centers.

International Entrepreneurship in the Arts focuses on teaching students, artists, and arts managers specific strategies for expanding creative ventures that are already successful domestically to an international audience. Varbanovas accessible writing outlines a systematic theoretical framework that guides the reader from generating an innovative idea and starting up an international arts enterprise to its sustainable international growth.

Applying concepts, models, and tools from international entrepreneurship theory and practice, Varbanova analyzes how these function within the unique setting of the arts and culture sector. The book covers:

- Domestic inception of an arts enterprise, followed by international expansion
- Starting up an international arts venture in the early stages of its inception
- Presenting an arts activity or project in a foreign country or region
- Financing a startup venture with international resources
- Implementing diverse models of international partnership
- Starting up an arts venture that is run by a multinational team
- Creating an art product with international dimension

The books 23 case studies and 54 short examples feature disciplines from fine arts and photography to music, theatre, and contemporary dance, and cover ventures in over 20 countries to provide students with practical insight into the issues and challenges facing real arts organizations. Aimed at students interested in the business aspects of arts and cultural ventures, it will also be of use to practitioners looking at ways to internationalize their own enterprises.