Search (6 results, page 1 of 1)

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Abstract

Purpose - This paper aims to report an empirical study of the information-related behaviour of emerging artists and designers. It also aims to add to understanding of the information behaviour of the group both as practising artists (a little understood category of information users), and also as "new practitioners". Design/methodology/approach - A literature analysis is used to guide creation of an online questionnaire, eliciting both qualitative and quantitative data. A total of 78 practising artists participated, all having graduated in the seven years prior to the survey. Findings - The group have generally the same information practices as more established artists. They place reliance on internet and social networks, while also using traditional printed tools and libraries. Browsing is important, but not a predominant means of accessing information. Inspiration is found from a very diverse and idiosyncratic set of sources, often by serendipitous means. Their status as emergent practitioners means that their information behaviour is governed by cost factors, and by needs for career advice and interaction with peers. Research limitations/implications - The study group are a convenience sample, all having access to the internet. No observation or interviews were carried out. Practical implications - The results will provide guidance to academic and public librarians serving artist users, and to those providing career advice to them. It will also be valuable to those providing services to "new practitioners" in any field. Originality/value - This is one of a very few papers reporting empirical studies of the information behaviour of artists, and has the largest sample size of any such study. It is one of a very few papers considering the information needs and behaviour of new practitioners.

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Series

Studies in history and philosophy of science ; 34

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Abstract

It is suggested that, in addition to data, information and knowledge, the information sciences should focus on understanding, understood as a higher-order knowledge, with coherent and explanatory potential. The limited ways in which understanding has been addressed in the design of information systems, in studies of information behaviour, in formulations of information literacy and in impact studies are briefly reviewed, and future prospects considered. The paper is an extended version of a keynote presentation given at the i3 conference in June 2015.

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Abstract

This opinion piece considers the relative importance of individual and social factors in determining information behavior. It concludes that individual factors are more central and fundamental, although they may certainly be qualified by social and cultural factors and even though there are good reasons for studying and analyzing information behavior in terms of social groups. More studies of interesting emergent factors and behaviors in social settings would be valuable.

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Abstract

Purpose - The purpose of this article is to evaluate the development and use of the gene ontology (GO), a scientific vocabulary widely used in molecular biology databases, with particular reference to the relation between the theoretical basis of the GO, and the pragmatics of its application. Design/methodology/approach - The study uses a combination of bibliometric analysis, content analysis and discourse analysis. These analyses focus on details of the ways in which the terms of the ontology are amended and deleted, and in which they are applied by users. Findings - Although the GO is explicitly based on an objective realist epistemology, a considerable extent of subjectivity and social factors are evident in its development and use. It is concluded that bio-ontologies could beneficially be extended to be pluralist, while remaining objective, taking a view of concepts closer to that of more traditional controlled vocabularies. Originality/value - This is one of very few studies which evaluate the development of a formal ontology in relation to its conceptual foundations, and the first to consider the GO in this way.

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Abstract

Purpose The purpose of this paper is to understand the classification of musical medium, which is a critical part of music classification. It considers how musical medium is currently classified, provides a theoretical understanding of what is currently problematic, and proposes a model which rethinks the classification of medium and resolves these issues. Design/methodology/approach The analysis is drawn from existing classification schemes, additionally using musicological and knowledge organization literature where relevant. The paper culminates in the design of a model of musical medium. Findings The analysis elicits sub-facets, orders and categorizations of medium: there is a strict categorization between vocal and instrumental music, a categorization based on broad size, and important sub-facets for multiples, accompaniment and arrangement. Problematically, there is a mismatch between the definitiveness of library and information science vocal/instrumental categorization and the blurred nature of real musical works; arrangements and accompaniments are limited by other categorizations; multiple voices and groups are not accommodated. So, a model with a radical new structure is proposed which resolves these classification issues. Research limitations/implications The results could be used to further understanding of music classification generally, for Western art music and other types of music. Practical implications The resulting model could be used to improve and design new classification schemes and to improve understanding of music retrieval. Originality/value Deep theoretical analysis of music classification is rare, so this paper's approach is original. Furthermore, the paper's value lies in studying a vital area of music classification which is not currently understood, and providing explanations and solutions. The proposed model is novel in structure and concept, and its original structure could be adapted for other knotty subjects.