Filtering by
- Member of: Artivate: A Journal of Entrepreneurship in the Arts
- Member of: Arougheti, Stephen
- Member of: MLFC Learning Futures Collaborative Collection
The essay seeks to effectively identify and compare strategies used by libraries throughout the United States. Beyond analyzing the structure of author funds, the essay explores the value of such programs in promoting OA values of not only free to read, but free to publish. Asking the question, are libraries best suited to expend resources by paying publishing fees and does it achieve its purpose of promoting OA journals? Overall, the essay outlines the role of OA in expanding the potential for libraries to develop its role in scholarly publishing; particularly by promoting researchers’ publications in OA journals using author funds.
PDA involves the inclusion of bibliographic records to the catalog for titles the library does not own and permits the patron an opportunity to initiate a purchase. Beyond the practical implications of managing costs and liberating staff time, the PDA model provides patrons easier and quicker access to the widest range of information possible. The service model of populating a collection to protect against the possibility of patrons requiring access is increasingly unsustainable. Although not without its challenges, allowing the patron to provide a collaborative role with librarians in developing a collection serves to manage costs and streamlines the process of creating a collection which best addresses the needs of a constituency.
A book review appearing in the periodical "Library Journal." The book is "Where Nobody Knows Your Name: Life in the Minor Leagues of Baseball" by John Feinstein. © 2014. Library Journal. All rights reserved.
A book review appearing in the periodical "Endnotes: The Journal of the New Members Round Table." The book is "Becoming an Embedded Librarian: Making Connections in the Classroom" by Michelle Reale.
Over the 2000s, Toronto initiated and instituted a process of cultivating itself as a creative city. Entrepreneurial city visionaries found that in order to enter the global market, their planning had to be strategic. This paper explores how Toronto’s policy entrepreneurs used planning, partnerships, and an expanded definition of economic development to create a “Cultural Camelot.” In addition to competing on the financial and revenue-generating fronts, a coalition of cross-sector leaders took on the challenge of fostering a livable city with a deep social ethos imbued within a variety of dimensions of urban life. This new focus gave Toronto the chance establish itself as a center for innovation, which strengthened urban cultural capital and helped promote the strategic agenda of becoming a competitor in the creative economy sector. Investment in research and creative city strategic planning, coupled with the allocation of financial and human capital resources across a variety of industries, served to encourage creativity, promote culture and competitiveness, and drive economic development.
The two authors are members of punk rock trio the Eruptörs. Both also teach in higher education – one in popular music, and the other in management and marketing. Writing from experience in the Eruptörs, we present a case study of the band, and draw on theoretical perspectives from our respective, intersecting fields to explore the Eruptörs’ entrepreneurship, collaborations, networks, and creativities in the “DIY” underground punk rock scene. The paper provides cross-disciplinary insights into internal and external cultures of the Eruptörs. Proposing this as a teaching case, the authors conclude that students, scholars, and practitioners in music education, popular music studies, and related disciplines and fields involving entrepreneurship could benefit from engaging in reflexive and entrepreneurial practice which explores and incorporates ideas, models, and syntheses discussed in this paper.
As the first peer reviewed research journal in the field of arts entrepreneurship, Artivate: A Journal of Arts Entrepreneurship takes its role as a framer of the discourse in and around arts entrepreneurship seriously. To advance that discourse, in addition to the articles and book reviews that have been regular features of Artivate, we have invited members of our editorial board and staff to contribute short think pieces. For these pieces we asked contributors to consider open-ended questions to which they could respond in whole or in part: what is their position in relation to arts entrepreneurship; how is arts entrepreneurship situated in relation to other disciplines or fields; what are the problems we are grappling with as scholars, practitioners, teachers, and artists; and what are the research questions we are attempting to answer individually or as a field? Following, you will find responses from: Andrew Taylor, Associate Professor of arts management at American University; Paul Bonin-Rodriguez, Assistant Professor of performance as public practice at UT-Austin and author of Performing Policy (reviewed in this issue); and Artivate’s publisher and co-editor, Linda Essig, Evelyn Smith Professor and director of the Pave Program in Arts Entrepreneurship at Arizona State.