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This article shares research, an empirical psychological case study, about cognition in higher degree art education. It proposes cognitive curation as a concept and practice that can develop knowledge and learning autonomy in and beyond the academy. Informed by the autoethnographic stories, interviews, and artworks of three academic art educators, this article's research demonstrates how cognition and its curation can manifest and develop in the teaching, research, and practice of higher degree art education. Open coding and framework alignment (cognitive, nexus orientated and visual) helped understand, locate, and exemplify cognition and curation in the research. Informed by the data, this article acknowledges how movement, identities, and frameworks, as learning strategies, can help facilitate cognition and cognitive curation. Cognitive curation provides means to responsibly form and follow learning, it is consequently relevant to the arts, education, and life. Art education's cognitive value is often questioned, this article dialogically contributes to the defense of its cognitive integrity whilst foregrounding cognitive curation. [ABSTRACT FROM AUTHOR]

The focus of most academic analysis of subscription video-on-demand (SVOD) services so far has been on "first tier" platforms like Netflix and Prime Video. These platforms are spending and charging significant amounts of money to adopt a generalist strategy that rhetorically disregards demographics. However, not all SVODs operate in this manner. This article will consider examples of second (subsidiary) and third (independent) tier SVODs for whom traditional demographic thinking remains fundamental to their core business model. We examine second tier service Hayu and third tier service Passionflix as female-targeted SVODs that represent a spectrum of approaches to gendered curation, from the online extension of reality programming long-linked to cable interests, to the production and promotion of softcore erotica SVOD originals. We combine analyses of catalogues, interfaces, marketing, paratexts, and original production to consider how SVODs conceptualise, address, and court female audiences in different ways. [ABSTRACT FROM AUTHOR]

The way in which platforms curate and assemble the music they present plays an important role in mediating fields of artistic practice to audiences. The different curatorial logics of platforms help shape the way audiences understand the contours of a field of creative practice and the extent to which they are exposed to novel and unfamiliar sounds. This article draws on a large-scale content analysis of how classical music is represented on each of radio, digital playlists and live concert programming to investigate the degree to which each platform supports audiences to engage with unfamiliar music. Incorporating novel approaches to measuring familiarity, the results demonstrate that concerts provide the most diverse and varied programming, whereas digital playlists assemble the most homogeneous musical landscape for listeners. As audiences increasingly shift to digital platforms, these curatorial patterns have significant implications for artistic practices by limiting opportunities for less established and more esoteric voices. [ABSTRACT FROM AUTHOR]

This study examines how the British band Radiohead have decentralized their authority over their lyrics, music, song titles, artwork, music videos, Web sites, and business practices to allow listeners to participate in the meaning-making process. In pursuit of this goal, the band has supported and developed digital spaces for fan interpretations, playlists, and remixes. As a result, Radiohead have empowered their fans to act as cultural intermediaries, curating and sharing personal interpretations, histories, and collections of the band's work through digital media. [ABSTRACT FROM AUTHOR]

This paper argues that we need to challenge transcendent modes of evaluating creative practices in geography, both in order to question dominant ways of thinking about creativity and to cultivate a broader playing field on which to transform concepts and practices of aesthetics. This is important because the intervention of creative research must be coupled with a framework that can amplify it and make it count thereafter, or we risk returning to a familiar conceptual apparatus over the greater challenge of developing how creative practices make us think differently. In doing so, the paper presents five propositions for immanent evaluation elaborated through Gilles Deleuze, which are crucial for exploring a plurality of 'aesthetic justifications'. Empirically, the paper draws on an exhibition entitled Sounding the City, which the author curated in Bristol, UK, in August 2014. The aim is not to explore the politics of curation, but to experiment with a mode of presenting research that supports the propositions for evaluation staged in the paper. [ABSTRACT FROM AUTHOR]

Self-regulated learning (SRL) is an important method in STEM courses that can help learners acquire knowledge by discovering, organizing, and integrating materials. However, learners may not perform well without scaffolding, which results in purely participation in tasks without solid knowledge acquisition. To guarantee SRL effectiveness, scaffolding that can support learners' knowledge discovery, organization and integration is needed when curation is introduced to support high-level cognition in STEM courses focusing on these facets. The researchers analyzed the advantages and procedures of curation and developed a curation tool and a curation activity-based SRL mode. To verify the effects of the proposed tool and mode, 64 Grade 7 students were involved and assigned to the experimental and control groups and learned with specific tasks. The results revealed that the experimental group showed interest in the mode and achieved better learning outcomes. Learners in the experimental group also submitted higher-quality practical work that demonstrated the effectiveness of the mode. Moreover, this approach promoted deep thinking without increasing the learners' cognitive load. Finally, this study provided an innovative scaffolding tool and mode for SRL that leveraged learners' knowledge acquisition and task completion. This idea has positive implications for future SRL research. [ABSTRACT FROM AUTHOR]

The rise of highly curated networks is a pivotal dimension of social media history, yet its diverse origins remain overlooked. Here, two inductive studies investigated the case of Path: a platform (2010–2019) designed around so-called "Dunbar's Numbers" and core networks (i.e., close friends). Study 1 conducted manual and automated text analyses using App Store archives via the Wayback Machine to evaluate changes in the industry presentation over time. Analyses showed how Path placed consistent emphasis on its ability to reinforce close ties and provide a curation-centered version of authenticity. Study 2 analyzed how users and commenters discussed Path over the same period via topic modeling of a Twitter corpus, revealing the centrality of rise-and-fall narratives to conversation about the platform. Together, the studies displayed how Path's growth foretold changes in the social media ecosystem and how online conversation diverged from industry logics. To conclude, we discuss how Path's history parallels theories on personal network changes, including the importance of user-driven versus algorithm-driven curation. To that end, we showcase the potential (and challenges) of using digital traces to uncover the evolution of platforms from the perspectives of different stakeholders. [ABSTRACT FROM AUTHOR]

Curated exhibitions are places where research practice, creative design, storytelling, and aesthetics converge. In this article, we use the term "fashion exhibition" to refer to the organized display of extant dress-related items within museums or other public spaces. Curation, as a form of creative design research, produces numerous outcomes including museum exhibitions, digital archives, and associated publications; however, our field has not yet established a method to peer review fashion exhibitions. In this article, we build upon the work of previous scholars to propose criteria for evaluating fashion exhibitions. In doing so, we aim to elevate the scholarly status of fashion exhibitions, particularly those mounted by modestly funded institutions, and use the recent fashion exhibition, "Women Empowered: Fashions from the Frontline," as an example to illustrate our argument. [ABSTRACT FROM AUTHOR]

Digital and networked media are characterized by a fundamental disconnection between the modes of operating of these media, the human sensorium and knowledge. In order for humans to consciously participate in this expanded domain of sensibility, additional mediation is required to 'presentify' what is not accessible to human perception. This situation has motivated the creation of manifold 'data objects' in the form of visualizations, soundscapes and sonifications, 3D materializations, and data-driven interactives in the neighboring domains of art, design, science, and humanities scholarship. These new knowledge objects, as we propose to call them, both produce and mediate knowledge in the process of making data experienceable. They turn that what essentially does not correlate to human sensory capacities into something that the human sensorium is capable of engaging with. As such, they can play a crucial role in providing access, and thereby modalities of critical and creative relating, to what Hansen (2015) describes as the expanded domain of sensibility. Yet, the effects and implications of the sensory specificities of these knowledge objects remain underacknowledged, as are the potentials of these modes of presentifying data. Here, we explore and compare a diversity of such knowledge objects and look at their different media modalities and different experiential qualities, and how these afford ways of knowing. By approaching several knowledge objects as 'theoretical objects' (Bal (2013); Damisch in Bois et al. (1998), we investigate which and how experimental sensory techniques are used for data presentification. With this, we want to draw attention to the onto-epistemological implications of the design of these knowledge objects, the main implications being relationality and performativity. Understanding the potential and implications of this performativity would benefit from what we call a creative humanities approach that combines insights from the critical and digital humanities with those from the fields of creative arts and design. [ABSTRACT FROM AUTHOR]

The contemporary retail landscape is in flux, and there is a growing perception that shopping at bricks and mortar stores is more expensive and time-consuming than shopping online. For music, illegal downloading and streaming have restructured the retail landscape and put thousands of record shops out of business. Yet, some retailers remain attractive consumption spaces. Drawing on a qualitative case study of independent record shops in Stockholm, this article considers three value-creating strategies that sustain these physical retailers in the digital age: cultivating in-store consumer experiences, creating value through curation, and tapping into global markets by going online. [ABSTRACT FROM AUTHOR]

This study presents a constructivist grounded theory study of curation and biopiracy of the San people's knowledge about Hoodia. The "discoveries" and records of the Hoodia species by Carl P. Thunberg, Francis Masson, as well as the recorded experience of Rudolf Marloth, led to scientific experiments and commercial trials in an attempt to develop slimming drugs. This study has identified key layers and knowledge domains that have added new layers of information and knowledge to traditional knowledge concerning the use of Hoodia for medicinal purposes. The study traces the movement of Indigenous knowledge from the San to the CSIR, from CSIR to Phytopharm, Pfizer and Unilever, through the licencing of a patent on Hoodia. An emergent theory based on the concept of palimpsest suggests that erasures of the existing traditional knowledge occurred as new layers of knowledge were added or applied. [ABSTRACT FROM AUTHOR]

Producers of large government-sponsored surveys regularly use Computer-Assisted Interviewing (CAI) software to design data collection instruments, monitor fieldwork operations, and evaluate data quality. When used in conjunction with responsive survey designs, last-minute modifications to problems in the field are quickly addressed. Complementing this strategy, but little discussed, is the need to implement similar changes in the post data collection stage of the survey data life cycle. We describe a continuous data processing system where completed interviews are carefully examined as soon as they are collected; editing, recode, and imputation programs are applied using CAI tools; and the results are reviewed to correct problematic cases. The goal: provide higher quality data and shorten the time between the conclusion of data collection and the appearance of public use data files. [ABSTRACT FROM AUTHOR]

The contemporary marketplace for cultural products, such as music, fashion and film, features an abundance of goods, services and experiences. While producers struggle to differentiate and monetize their offerings, some consumers are overwhelmed by the amount of choice and information available to them. As a result, many consumers are turning to a range of intermediaries who help them make sense of the marketplace. While intermediation is nothing new, its value is increasing and there has been a shift in relative importance from those who create products to those who curate products. As curation remains a ‘fuzzy concept’ – with definitions and connotations that vary by industry and occupation – this paper aims to contribute to existing conceptualizations by focusing on the case of recorded music. Based on interviews and observation with a subset of curators, including record shops and music writers, the paper provides a typology of curation-related activities and highlights the range of economic and non-economic rewards that motivate different actors to perform curation. It also interrogates the importance and role of space by identifying physical, temporary and virtual spaces where curation is performed and relationships between specific spatial dynamics and curation-related processes. [ABSTRACT FROM AUTHOR]

As the use of technology evolves in education, an extensive range of new smart devices and digital applications is becoming available to academics. Digital magazines are an example of such technologies, which can help educators to improve the learning experience of their students inside and outside of the classroom. Digital magazines are widely available and some can be further customized and curated by instructors using mobile apps. This article explores the impact of curated digital magazines, created and distributed via a mobile app--Flipboard, in enhancing students' engagement, enjoyment, and learning of class-related content. Overall, students responded favorably to the adoption of this technological innovation. Students exposed to the digital magazines and mobile app displayed higher levels of enjoyment with class content and performed better on a knowledge assessment, relative to students in a control condition. The article concludes with a discussion of results and implications for future research. [ABSTRACT FROM AUTHOR]

This article explores the implications of photographic affect for curatorial practice by examining the exhibition Through The Body: Lens-Based Work by Contemporary Chinese Women Artists (Art Museum at University of Toronto, 2014). The author focuses on the curatorial task of situating the work of three of the artists, Chen Zhe, Fan Xi and Chun Hua Catherine Dong that employs affect in related but potentially incompatible ways. Chen’s visceral series The Bearable documents her practices of cutting as an attempt to overcome shame and begin healing. Fan’s portraits of topless Chinese lesbians use affect to assert the human dignity of her subjects and make their presence visible in a culture that erases them. Dong’s photographic and video documentations of her mail-order bride performances use affect to disrupt and complicate the power relations her performances expose. By situating their works in the exhibition, the article investigates the issues raised by photographic affect for curatorial practice. [ABSTRACT FROM AUTHOR]

Over the past decade, event-based narratives have become a norm in discussions of the British Neolithic. Statistical analyses of radiocarbon dates, combined with a detailed approach to individual contexts, have produced chronological resolutions that have enabled a greater understanding of the construction and use of some monuments. While these have been informative, they sometimes manifest exclusionary nomenclature, with terms such as ‘outliers' and ‘residuality' applied to data that does not agree with other data. In addition, theoretical approaches have seen a similar turn to examine individual contexts and artefacts with which to describe Neolithic life. This paper argues that the current dominance of event-based narratives, extrapolated from small-scale action, is inadvertently ignoring evidence of wider cultural understandings. In particular, evidence of the deliberate inclusion of already old bone in Neolithic deposits has been identified. It is argued that this bone represents a particular past focus on already old material that may have had social currency in British Neolithic symbolic practices. [ABSTRACT FROM AUTHOR]

This article considers the notion that to document or inscribe our lives not only leaves a trace of our creaturely presence, but may also become a form of juris-writing, a writing that concerns and aims at Justice. Employing an expanded notion of Justice that takes it beyond the institutions of law, therefore, it asks about forms of documentality (Ferraris) that put us ‘before memory’ in Derrida’s sense. How is it possible to think curation in relation to a violent past in such a way that neither attempts to deny the lacunae nor surrenders in the face of the difficulties of such attempts? How should we consider the relation between the delimited encounter with an ‘invitation to imagine’ (Didi-Huberman) and processes of institutionalisation that build a society? What about those things that it is not possible to show, including relations of power, that arise analytically? Reflecting on current memory spaces, especially within ex-clandestine centres for detention, torture and extermination (ex-ccdtyes) in Argentina, the article offers five theses in order to consider what is at stake in the encounters staged at these sites. [ABSTRACT FROM AUTHOR]

This study examines how repetitive news publishing on the Internet has changed evaluations of the credibility of the press and news aggregators. The temporal and spatial characteristics of the Internet have facilitated repetitive publishing of almost identical news content by the same news companies. The mechanism of repetitive news is based on the interplay between journalistic and algorithmic curations, which coexist on news aggregation sites. Based on a nationwide survey in South Korea, we found that the repetitive-news block was the strongest (and negative) predictor of the credibility of both the press and news aggregators. The more frequently people are exposed to repetitive news and the more they perceive it as being problematic, the less likely they are to regard the press and news aggregators as credible. These results have implications for online news flow and credibility research. [ABSTRACT FROM AUTHOR]

This article examines journalists’ curatorial practices with regard to linked and embedded sources on three news media platforms: the online version of a legacy news medium, a native online explanatory news medium, and an online citizen news medium. Our goal is to explore the curatorial practices in online journalism, and the continuity and changes in journalistic gatekeeping in the online environment. Our results demonstrate that established journalistic traditions are still prevalent in online news. Meanwhile, links to digital archives are widely used to contextualize news subjects. Explanatory journalism and citizen journalism do exhibit characteristics of what Herbert Gans calls ‘multiperspectival’ news, which covers a wider variety of social institutions. We discuss differences in the prevalence of the curatorial treatments of various types of linked sources in relation to journalists’ views of their roles, and the online news media’s organizational and technological natures. [ABSTRACT FROM AUTHOR]

Scholars of rhetoric and writing have long recognized the mediated nature of rhetorical action. From Plato’s early indictments of writing as enemy of memoria to Burke’s recognition of instrumental causes to recent analyses of digital mediation, the study of meaning-making refuses one-to-one, transparent theories of communication, instead recognizing that there is more to rhetorical action than humans. This article follows the trail of Haas, Swarts, and others arguing that analyses of mediation uncover much about human motives, digital communities, and rhetorical action. I argue that technologies often function as rhetorical genres, providing what Miller characterizes as “typified rhetorical actions based in recurrent situations” that occur in uniquely digital spaces. Working from sites of participatory archival creation and curation, I argue that invisible rhetorical genres operating at macroscopic levels of scale are central to shaping individual and communal activity in sites of distributed social production. To support this claim, I investigate two applications—a content management system called Gazelle and a bittorrent tracker called Ocelot—to demonstrate how largely invisible server-side software shapes rhetorical action, circumscribes individual agency, and cultivates community identity in sites of participatory archival curation. By articulating content management systems and other macroscopic software as rhetorical genres, I hope to extend nascent investigations into the medial capacities of digital tools that shape our collective digital experience. [ABSTRACT FROM AUTHOR]

Automated recommendation systems now occupy a central position in the circulation of media and cultural products. Using music as a test case, this article examines the use of algorithms and data mining techniques for the presentation and representation of culture, and how these tools reconfigure the process of cultural intermediation. Expanding Bourdieu’s notion of cultural intermediaries to include technologies like algorithms, I argue that an emerging layer of companies – call them infomediaries – are increasingly responsible for shaping how audiences encounter and experience cultural content. Through a critical analysis of The Echo Nest, a music infomediary whose databases underpin many digital music services, I trace the shift from intermediation to infomediation and explore what is at stake at the intersection of data mining, taste making and audience manufacture. The new infomediary logics at work are computational forms of power that shape popular culture and highlight the social implications of curation by code. [ABSTRACT FROM PUBLISHER]

Ten years have passed since the Peruvian Truth and Reconciliation Commission (Comisión de la Verdad y Reconciliación) published their findings on the conflict that claimed over 69,000 lives from 1980 to 2000. While the Comisión de la Verdad y Reconciliación placed primary responsibility for deaths and disappearances (54%) on the insurrectionary group Shining Path (Sendero Luminoso), it also named armed state actors as having systematically committed acts of violence. Publicly shamed for their collusion in the corrupt Fujimori government, state security forces initially lent their support to the Comisión de la Verdad y Reconciliación and to the transition to democracy. Yet, over the last decade, armed state actors have appropriated the language, imagery and mechanisms of human rights memory entrepreneurs to advance their own versions of Peru’s recent past which oppose the Comisión de la Verdad y Reconciliación’s findings while highlighting state actors’ heroism. This article examines two such endeavors to reframe this past, the National Police Terrorism Unit (DINCOTE) museum and the Armed Forces Monument to the Heroes of Chavín de Huántar. [ABSTRACT FROM PUBLISHER]

A discussion is presented of the process of looking into science, particularly microscopy, whilst being concerned with its representation and its public understanding and dissemination in the context of curating exhibitions. Historical examples explored include the studies of the fruit fly, Drosophila, and the works of noted scientists including Mendel, Grew, Leeuwenhoek, Hooke, Baker, Lister and Quekett. How the development of modern equipment and techniques such as scanning electron microscopy led to advances in histology and physiology is examined. The current importance of medical imaging techniques such as positron emission tomography (PET) and computerized tomography (CT) scanning is discussed. A particular mention is made of the artistic works of Kessler based on electron microscopy. [ABSTRACT FROM AUTHOR]

This study examines, specifically, the production and destruction of the massively multiplayer online Star Wars Galaxies and, generally, the translation of old media brands into new media formats to demonstrate the nature of creative labor under the constraints of branded content. Using the evidence of gameplay and industrial context, the article argues that workers on Galaxies often occupied three ideal-typical roles as worldmakers, curators, and toy keepers in an effort not simply to repurpose content but to establish relationships between branded objects, to foment their circulation, and to maintain their longevity. Understanding these tasks and how they manifested themselves in both the work of Galaxies’s makers and their unfinished project, provides a vital case study to examine and develop new models to understand contemporary creative work and the intermediaries that labor within this regime as popular culture increasingly is subsumed under the organizational and textual mechanisms of branding through sequels and transmedia. [ABSTRACT FROM PUBLISHER]

This article discusses quality assurance paradigms in the pre and post legal deposit environments, exploring how workflows and processes have adapted from a small-scale, selective model to domain-scale harvesting activity. It draws comparisons between the two approaches and discusses the trade-offs necessitated by the change in scale of web harvesting activity. The requirements of the non-print legal deposit legislation of 2013 and the change in scale in web archiving operations have necessitated new quality metrics for the web archive collection. Whereas it was possible to manually review every instance of a harvested website, the new model requires that more automated methods are employed. The article looks at the tools employed in the selective web archiving model such as the Web Curator Tool and those designed for the legal deposit workflow such as the Annotation and Curation Tool. It examines the key technical issues in archiving websites and how content is prioritized for quality assurance. The article will be of interest to people employed in memory institutions including national libraries who are tasked with preserving online content as well as a wider general audience. [ABSTRACT FROM AUTHOR]

William Matthew Flinders Petrie (1853-1942) was a legendary figure in the histories of archaeology and anthropology, recognised for his discipline-building efforts and his contributions to various intellectual paradigms including eugenics and anthropometry. Of lesser renown, however, is the donation of his own head to the collections of the Royal College of Surgeons of England in London. This paper sets that donation in the context of Petrie's lifelong investment in curating other people's heads and in building representative museological collections for teaching and research. The authors situate the curation of Petrie's head in the genealogy of his own scholarship and curatorial practice and, in so doing, initiate a conversation about the power of human remains to generate debate, critical reflection and reconsiderations of both historiography and future museum practice. [ABSTRACT FROM AUTHOR]

A curator's reflection is presented on the exhibition, Images of the Mind, which took place in the Deutsches Hygiene Museum in Dresden and Moravian Gallery in Brno from 2011 to 2012 and had the main goal of demonstrating that the mind has a visible dimension, despite its immaterial essence and the fact that it seemingly eludes representation. Images of the Mind aimed to provide a composite 'portrait' of the human mind through a juxtaposition of many kinds of artistic and scientific/medical images. This study explores how a museum exhibition can both reflect recent advances in brain research and contribute to contemporary discourse on the enduring question of the relationship between mind and brain. [ABSTRACT FROM AUTHOR]

The complexities of archiving digital content, particularly those story forms reliant on multiple platforms, highlights technical, cultural and curatorial issues that remain difficult to reconcile coherently. Seeking to frame the issues within this special Debates section, this essay outlines issues facing the field of digital storytelling; examining narrative form, instantiation and subsequent archival. [ABSTRACT FROM PUBLISHER]

The author examines the past, present and future of machinima, hereby defined as an art form in transition. Although both socially and culturally embedded in gaming cultures, machinima could expand well beyond gaming, as it represents a successful example of convergence of filmmaking, animation and games development. Although the medium has a strong artistic potential, the future trajectory of machinima will remain indelibly tied to games development, reflecting gaming and internet cultures. The author predicts that machinima will further evolve in line with developing curatorial expertise in its presentation to wider audiences and positioning within the digital arts movement. [ABSTRACT FROM PUBLISHER]

This paper considers the possible ravages which time can wreak on digital data, and its implications for trust both in digital objects held over time and in the organisations which own or manage the data.Journal of Medical Marketing (2006) 6, 115–118. doi:10.1057/palgrave.jmm.5050030 [ABSTRACT FROM AUTHOR]