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        <title>European Journal of Cultural Management and Policy | New and Recent Articles</title>
        <link>https://www.frontierspartnerships.org/journals/european-journal-of-cultural-management-and-policy</link>
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        <pubDate>2026-04-21T06:04:08.550+00:00</pubDate>
        <ttl>60</ttl>
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        <guid isPermaLink="true">https://www.frontierspartnerships.org/articles/10.3389/ejcmp.2026.15478</guid>
        <link>https://www.frontierspartnerships.org/articles/10.3389/ejcmp.2026.15478</link>
        <title><![CDATA[Infrastructuring cultural policy: the case of Creative Europe’s “Cultural and Creative Spaces and Cities”]]></title>
        <pubdate>2026-04-01T00:00:00Z</pubdate>
        <category>Original Research</category>
        <author>Marthe Nehl</author>
        <description><![CDATA[Cultural networks play an important role in cultural governance: facilitating cooperation between local and EU policy actors and shaping policymaking processes. The network-led, Creative Europe-financed project Cultural and Creative Spaces and Cities (CCSC; 2018–2021) experimented with policy co-creation between civic, cultural, and administrative stakeholders, addressing a variously discussed gap between these actors. Asking whether the concerns of cultural actors gain traction in EU-level policymaking, I use discourse analysis of CCSC publications to identify differences in projects stakeholders’ problem representations. Underlining the importance of policy co-creation projects as discursive arenas and spaces of encounter, the cultural actors’ local perspective problematises responsibility and participation of citizens as contextual and ultimately structural questions. The essential work of local cultural actors in networks is not addressed, and networks themselves recede in CCSC discussions. The paper suggests that future EU cultural policy should more explicitly recognise and support the infrastructural labour that enables soft governance.]]></description>
      </item><item>
        <guid isPermaLink="true">https://www.frontierspartnerships.org/articles/10.3389/ejcmp.2025.15467</guid>
        <link>https://www.frontierspartnerships.org/articles/10.3389/ejcmp.2025.15467</link>
        <title><![CDATA[Understanding digital transformation through the lens of change management: a case study in the art and cultural sector]]></title>
        <pubdate>2026-02-20T00:00:00Z</pubdate>
        <category>Original Research</category>
        <author>Virginie Francoeur</author><author>Joliann Morissette</author><author>Catherine Beaudry</author>
        <description><![CDATA[The cultural sector was hit hard by the COVID-19 pandemic, with economic losses estimated at US$750 billion suffered across the global cultural industry. In response to this crisis, digital transformations have a key role to play in ensuring the vitality of the cultural industry. This paper aims to understand the contribution of technological change in the arts and cultural sectors. Using the Culture Saguenay-Lac-Saint-Jean organization as a case study, our research demonstrates that individual, organizational and technology-readiness dispositions are key predictors of digital transformations in the cultural sector. Based on an action research approach, our study used a range of qualitative and quantitative methods to collect data over a 9-month period in 2022. In total, data from 7 individual and group interviews, 8 observations in 4 cities, 18 informal discussions, and 70 questionnaires were collected (response rate of 30% of the target population). Analyzed using Lewin’s Change Management Model, the results offer promising avenues for action, paving the way for an understanding of digital transformation in the arts and cultural sectors, an area often neglected in management research.]]></description>
      </item><item>
        <guid isPermaLink="true">https://www.frontierspartnerships.org/articles/10.3389/ejcmp.2025.15268</guid>
        <link>https://www.frontierspartnerships.org/articles/10.3389/ejcmp.2025.15268</link>
        <title><![CDATA[Digitising fashion archives: methodologies, labour and interfaces through the case of promemoria group]]></title>
        <pubdate>2026-02-18T00:00:00Z</pubdate>
        <category>Original Research</category>
        <author>Ilaria Trame</author><author>Marco Pecorari</author>
        <description><![CDATA[This paper explores the systematisation behind the creation of digital fashion archives, focusing on the complex relationship between archival methods and matters, labour, and technological interfaces. By initially distinguishing between digitised and born-digital archives, the study highlights the heterogeneous nature of contemporary fashion archiving practices and the challenges they pose in terms of materiality, preservation and curation in the digital age. Drawing on the unexplored case study of Promemoria Group, an Italian company specialising in the digitisation of fashion archives and their management, the research investigates the invisible labour involved in digital content production. Through a semi-structured interview with Cecilia Botta and Nicoletta Esposito from Promemoria, the paper presents the premises and practices of digitising fashion archives today, exploring the specific techniques of curation, mediation and storytelling developed by this agency. The findings reveal how technological infrastructures and human labour together shape the construction, accessibility, and perception of fashion heritage in the digital age.]]></description>
      </item><item>
        <guid isPermaLink="true">https://www.frontierspartnerships.org/articles/10.3389/ejcmp.2026.14705</guid>
        <link>https://www.frontierspartnerships.org/articles/10.3389/ejcmp.2026.14705</link>
        <title><![CDATA[Integrating transformative learning approaches in higher education for sustainable development]]></title>
        <pubdate>2026-02-13T00:00:00Z</pubdate>
        <category>Review</category>
        <author>Ljiljana Rogač Mijatović</author>
        <description><![CDATA[The idea that education plays a crucial role in global development, particularly through the concepts of Higher Education for Sustainable Development (HESD) and Transformative Learning (TL), has gained significant attention in research, policy, and practice over the past few decades. Theoretically grounded in the principles of creative and deep learning, transformative learning involves the development of key competencies such as critical thinking, creativity, self-reflexivity, and individual awareness. Education for Sustainable Development (ESD) has evolved within international policy discussions as a key mechanism for achieving the United Nations Sustainable Development Goals (SDGs). Shaped mostly by UNESCO’s initiatives, namely the UN Decade of Education for Sustainable Development (UNDESD, 2005–2014), and the Global Action Programme (GAP) on ESD (2015–2019), the ESD agenda has been introduced through five priority action areas, and the ESD for 2030 Framework (2020–2030), as part of the UN 2030 Agenda for Sustainable Development. International policy frameworks – particularly those framed by UNESCO – emphasize education’s potential to foster values, competences, and forms of agency required for sustainable and just societal transitions. However, ESD faces profound challenges, not only in developing competencies such as critical and adaptive pedagogies and participatory teaching methods but also in addressing structural barriers within higher education, particularly those imposed by neoliberal policies. As a response to these tensions, this paper proposes an analytical framework that integrates UNESCO’s five ESD priority action areas with Wals’s four dimensions of transformative learning (transcultural, transgenerational, transdisciplinary, and transgeographical). The framework provides a critical perspective to examine how higher education can move beyond normative or instrumental interpretations of sustainability towards more emancipatory, systemic, and transformative approaches. By using a hermeneutic and conceptual-framework analysis of UNESCO policy documents and scholarly literature on ESD and TL, the paper presents the evolution of ESD and identifies limitations in its current implementations. The paper outlines key challenges and offers policy perspectives for embedding critical transformative learning approaches in higher education environments.]]></description>
      </item><item>
        <guid isPermaLink="true">https://www.frontierspartnerships.org/articles/10.3389/ejcmp.2025.14832</guid>
        <link>https://www.frontierspartnerships.org/articles/10.3389/ejcmp.2025.14832</link>
        <title><![CDATA[The role of classical music as an instrument of national identity actualization in the Russian Federation; the case of concert programming in the Saint Petersburg State Philharmonic]]></title>
        <pubdate>2026-02-04T00:00:00Z</pubdate>
        <category>Original Research</category>
        <author>Kara Erika Koskinen</author>
        <description><![CDATA[The article focuses on discovering how the state-supported classical music organization, Saint Petersburg State Philharmonics, season programming is used as an instrument of national identity actualization in Russia. The research is a qualitative, single case study, based on social constructivist approach. It comprises documented data, including Russian cultural policy reports (2014–2023) and Saint Petersburg State Philharmonics season programs (2013–2023). The collected data is subjected to thematic analysis, through which themes, in connection to national identity formation are generated. The findings of the analysis on the cultural policy reports present five themes; Proud History and Patriotism, Russian Language and Literature, Upbringing, Enlightenment, and Religion and Spirituality. These themes are actualized in the Philharmonic’s season programming, thus functioning as evidence of the state’s expanding control over the organization. The findings indicate that national identity agenda and classical music’s role in it is strong. Consequently, the article proves that classical music is a functioning tool of national identity actualization in Russia.]]></description>
      </item><item>
        <guid isPermaLink="true">https://www.frontierspartnerships.org/articles/10.3389/ejcmp.2025.14698</guid>
        <link>https://www.frontierspartnerships.org/articles/10.3389/ejcmp.2025.14698</link>
        <title><![CDATA[The political ecology of Tuareg music in the context of uranium mining in North Niger]]></title>
        <pubdate>2026-01-08T00:00:00Z</pubdate>
        <category>Original Research</category>
        <author>Laëtitia Manach</author>
        <description><![CDATA[This article investigates the resistance of the Tuareg through their music from an ecological standpoint. It proposes to explore how a Political Ecology lens can shed new light on Tuareg music as a form of cultural resistance in the face of uranium extraction and environmental damage on Tuareg land. Using post-structuralist Political Ecology theories, this study examines the power relations within the political-economic nexus of uranium extraction in Niger, as well as the evolution of Tuareg resistance and music in this context. It investigates the discursive framing of environmental subjects in Tuareg battles and the politics that sustain the development of music, uncovering processes of silencing the Tuareg’s resistance and essentialising their music. Developing the analysis further through a Political Ontology framework, it explores Tuareg music as a contested space between Indigenous and Western ontologies to examine how the everyday practice of music creates effective forms of ontological resistance and brings about postcolonial critique. The case study demonstrates the potential of a Political Ecology lens to uncover unseen ecological dimensions in artistic productions and better grasp the breadth of cultural expressions as a force of resistance in the context of environmental conflicts.]]></description>
      </item><item>
        <guid isPermaLink="true">https://www.frontierspartnerships.org/articles/10.3389/ejcmp.2025.15689</guid>
        <link>https://www.frontierspartnerships.org/articles/10.3389/ejcmp.2025.15689</link>
        <title><![CDATA[Fashion archive abilities. The impact of digital technologies on the development and research of fashion heritage]]></title>
        <pubdate>2026-01-05T00:00:00Z</pubdate>
        <category>Original Research</category>
        <author>Chiara Colombi</author><author>Marcella Martin</author>
        <description><![CDATA[Fashion heritage—the collective memory embodied in garments, accessories, images, and the history, know-how, and craft techniques behind them—has traditionally been preserved through museums, archives, and exhibitions but, in recent years, has been transformed and reinterpreted in its meanings and means through advances in digital technologies. In 2011, Vogue launched the first digital archive of their American magazine, revolutionizing the process of fashion research and preservation of fashion heritage. What was once a tedious process of searching bound issues for references, advertisements, and editorials became a simple search by keyword. Ten years later, in 2021, the Center for Fashion Curation at University Arts London launched the Exhibiting Fashion website as an extension of the book Exhibiting Fashion: Before and After 1971, which was published in 2014, and its archive continues to grow each year and with each new fashion exhibition. Museum collections have similarly invested in digitizing their holdings in the hopes of facilitating access for researchers and the public alike through keyword searches. In each case, the physical archive has been the impetus for creating an online presence and the progression from physical to digital has been fairly straightforward, where the holdings inform the parameters of online representation through the use of schematic language. However, there are also examples where the archive has been imagined or reimagined through the needs or experience of exhibitions, opening a new sphere of possibilities at the level of conservation of, research on/through, and engagement with fashion heritage. This article considers case studies in which an exhibition informed the process of digitally integrating a fashion archive (and vice versa) and the ways in which digital tools can be used to enable different ways of activating the intrinsic knowledge shared by fashion archives, generating new knowledge related to the fashion archive’s materials and contents. Case studies demonstrate how digital technologies reawaken and recover lost aspects of fashion heritage, enable new forms of access and reinterpretation, and showcase and preserve craftsmanship and production processes knowledge that might otherwise be lost, in practice and memory. In light of this, the article critically analyzes and systematizes the abilities of integrated fashion archives and exhibitions into an original three-level interpretative model (Augmented Fashion Archive Abilities Model) as a framework for understanding how digital technologies can preserve the tangible dimensions of fashion; unlock its intangible dimension related to experiences, narratives, techniques, and processes; and innovate the engagement of the public and stakeholders with fashion heritage. Digital technologies offer the opportunity to layer digital experiences and data onto historical artifacts and narratives, and make fashion heritage evolve from a static repository into a hybrid platform where its identity and contents are continually reinterpreted and reactivated, requiring new strategies to support accessibility, sustainable preservation, and engaging forms of presentation and education.]]></description>
      </item><item>
        <guid isPermaLink="true">https://www.frontierspartnerships.org/articles/10.3389/ejcmp.2025.14701</guid>
        <link>https://www.frontierspartnerships.org/articles/10.3389/ejcmp.2025.14701</link>
        <title><![CDATA[Gendered governance and financial reporting quality: evidence from Norwegian museum foundations]]></title>
        <pubdate>2026-01-05T00:00:00Z</pubdate>
        <category>Original Research</category>
        <author>Forohar Mansori</author><author>Christophe Van Linden</author><author>Anna Kania Widiatami</author>
        <description><![CDATA[We respond to a call for more research on diversity and governance of cultural organizations. Our research aims to measure the representation of women in governance positions at Norwegian museum foundations, and we hypothesize and test an association with financial reporting quality. Psychology literature documents that women report higher dutifulness than men and management literature demonstrates that male and female directors have differing core values. Moreover, prior accounting literature posits that individual attributes of governance actors affect financial reporting. We predict a positive association between a museum foundation’s financial reporting quality and: 1. A female museum director 2. The proportion of female board members 3. A female external auditor. Our sample consists of all Norwegian museum foundations that have at least one employee in 2021–2023 and are being audited. Governance data for our observations are manually collected. Our main findings are as follows: Museum foundations’ financial reporting quality is positively associated with 1. Female museum directors with at least 3 years tenure 2. The percentage of women on museum foundations’ boards 3. Female external auditors. Our findings contribute to ongoing discussions on diversity in the museum sector and the gender equality goal for sustainable development as stipulated by the United Nations.]]></description>
      </item><item>
        <guid isPermaLink="true">https://www.frontierspartnerships.org/articles/10.3389/ejcmp.2025.14629</guid>
        <link>https://www.frontierspartnerships.org/articles/10.3389/ejcmp.2025.14629</link>
        <title><![CDATA[Ecological sustainability in arts organisations—on the potentially limited impact of carbon footprint reports in ecological transformation]]></title>
        <pubdate>2025-10-08T00:00:00Z</pubdate>
        <category>Original Research</category>
        <author>Julia Glesner</author>
        <description><![CDATA[This paper examines the role of carbon footprint reports in fostering ecological transformation within the European cultural sector, situating the discussion within the frameworks of Sociological Neo-Institutionalism and Cultural Institution Studies. The study investigates how cultural organisations can pursue climate neutrality whilst navigating systemic and operational challenges. The pilot project on carbon footprinting by the German Federal Cultural Foundation serves as the primary case study, examining the potential of such reports as instruments for sustainability strategies. The findings indicate that direct emission reductions are often constrained by the systemic limitations of arts organisations, with critical leverage points located at national and international levels. The paper identifies emerging trends of institutional isomorphism, where carbon footprint reports are at risk of becoming coercive mandates instead of voluntary sustainability practices. Ultimately, although carbon footprint reports are essential for initiating sustainability efforts, realising genuine ecological transformation necessitates wider systemic and political engagement beyond standardised methodologies. This paper provides insights into the complexities involved in aligning the missions of arts organisations with ecological objectives, advocating for nuanced approaches that acknowledge the sector’s distinct cultural and social role.]]></description>
      </item><item>
        <guid isPermaLink="true">https://www.frontierspartnerships.org/articles/10.3389/ejcmp.2025.14704</guid>
        <link>https://www.frontierspartnerships.org/articles/10.3389/ejcmp.2025.14704</link>
        <title><![CDATA[Definition and distinction of the concept cultural center using the example of Finland]]></title>
        <pubdate>2025-10-07T00:00:00Z</pubdate>
        <category>Original Research</category>
        <author>Dorothee Schulte-Basta</author>
        <description><![CDATA[Cultural centers play a crucial role in European sociocultural life, yet remain under-researched as their diverse nature has hindered consistent analysis and policymaking. A key challenge is the absence of a clear definition, leading to inconsistent categorization and making it difficult to assess their visibility in statistics, funding allocations, and cultural policy frameworks. This gap limits researchers, communities, and policymakers from fully understanding and supporting these institutions. Without clear definitions and standardized data collection, cultural centers struggle to secure funding, and underserved communities risk losing access to vital cultural and social resources. This is crucial, especially for rural and sparsely populated areas, where cultural centers often serve as key cultural infrastructure that supports social cohesion, cultural participation, and regional equity. To address this gap, this study develops a structured framework to define and classify cultural centers, aiming to enhance conceptual clarity and support evidence-based policymaking. Focusing on Finland as a case study, this study employs the Walker and Avant concept analysis method to identify four defining attributes of the concept cultural center: provider and creator, experience and active participation, diversity and multidisciplinary, and interaction and community orientation. Through a systematic and descriptive approach, these attributes are operationalized and applied to a dataset from Statistics Finland on Cultural halls and centers by region 2023, which reflects the current landscape of cultural centers in Finland. By systematically examining 259 facilities, the study traces the presence of these attributes in practice. The combination of conceptual analysis and empirical investigation results in a refined typology that allows for a clearer distinction between cultural centers and other facilities. This structured approach not only advances theoretical clarity but also supports cultural policymakers in recognizing and categorizing cultural centers more effectively. The findings emphasize the need for improved data collection to better capture the diversity and roles of cultural centers, both in Finland and beyond. Although this research focuses on Finland, the developed typology may offer a useful framework for cross-country comparisons and could support policy alignment within the EU cultural sector, provided that local adaptations are made.]]></description>
      </item><item>
        <guid isPermaLink="true">https://www.frontierspartnerships.org/articles/10.3389/ejcmp.2025.14707</guid>
        <link>https://www.frontierspartnerships.org/articles/10.3389/ejcmp.2025.14707</link>
        <title><![CDATA[Creating conditions for cultural democracy through participatory action research]]></title>
        <pubdate>2025-09-26T00:00:00Z</pubdate>
        <category>Original Research</category>
        <author>Nina Mihaljinac</author><author>Milan Đorđević</author>
        <description><![CDATA[This article explores how participatory action research can contribute to the democratization of cultural governance through the reactivation of direct democratic practices in local settings. Drawing on the EPICA project, which examined public space, cultural infrastructure, and citizen participation in post-socialist Serbia, the article critically engages with the legacy and potential of local community councils as spaces of direct democracy. It highlights how methods of co-creation, collaborative decision-making, and community-based cultural programming can serve as research tools as well as interventions into the political architecture of exclusion and fragmentation. While reflecting on the ethical tensions and structural limitations of participatory research under project-based funding, the article positions cultural democracy not as a policy objective but as a lived process rooted in situated knowledge, collective care, and the redistribution of institutional power.]]></description>
      </item><item>
        <guid isPermaLink="true">https://www.frontierspartnerships.org/articles/10.3389/ejcmp.2025.14774</guid>
        <link>https://www.frontierspartnerships.org/articles/10.3389/ejcmp.2025.14774</link>
        <title><![CDATA[How do cultural and creative industries shape wellbeing? A multidisciplinary review]]></title>
        <pubdate>2025-09-18T00:00:00Z</pubdate>
        <category>Review</category>
        <author>Jordi Sanjuán</author>
        <description><![CDATA[This article addresses the complex and multifaceted relationship between Cultural and Creative Industries (CCI) and wellbeing, an evolving field of study that still lacks a solid and integrated analytical foundation. Through a multidisciplinary approach, the paper reviews a wide range of theoretical contributions and empirical studies to assess the potential of CCI as drivers of individual and collective wellbeing. Beyond their economic significance, CCI are considered in light of their capacity to generate symbolic value, stimulate creativity, foster innovation, and shape cultural participation. A conceptual framework is proposed to capture the main transmission channels through which these industries influence the various dimensions of wellbeing—including material conditions, health, education, social cohesion, environmental sustainability, and life satisfaction. The analysis also acknowledges the possibility of counter-effects and highlights the importance of contextual and enabling factors in determining outcomes. Drawing from recent evidence, the article suggests that CCI can play a key role in promoting inclusive, resilient, and sustainable development. However, it also stresses the need to move beyond partial or fragmented findings by advancing more robust empirical research capable of capturing the complexity and diversity of impacts across territories.]]></description>
      </item><item>
        <guid isPermaLink="true">https://www.frontierspartnerships.org/articles/10.3389/ejcmp.2025.13972</guid>
        <link>https://www.frontierspartnerships.org/articles/10.3389/ejcmp.2025.13972</link>
        <title><![CDATA[Climate rights: a spatial framework for environmental action]]></title>
        <pubdate>2025-09-18T00:00:00Z</pubdate>
        <category>Impact</category>
        <author>Nabil Ahmed</author><author>Oskar Johanson</author>
        <description><![CDATA[In a rapidly warming world, civil society is increasingly turning to courts to pursue climate justice and land rights. Against the background of this “rights turn,” this article explores the intersections of legal processes, artistic research, and policy frameworks and their repercussions for exposing environmental destruction and ecocide in legal contexts. We consider how artists have engaged with law by proposing alternative forums as a form of institutional critique and the rise of artistic research as investigative practice, before arguing that new investigative methodologies and spatial frameworks are urgently needed to pursue climate justice through the courts. By way of example, we introduce the “Climate Rights” project, which demonstrates how arts-driven visual and spatial analysis and participatory methods can be put to work in assisting frontline communities–most recently, in cases fighting “green colonialism” in Sápmi. In contextualising this work, we point to how the climate-culture-policy nexus of the green transition in Europe might actually undermine the territorial and cultural rights of minority and Indigenous communities. Our position is to advocate for collective work, as well as progressive climate policies, that will prioritises environmental justice over the neoliberalisation of nature and ensure accountability for climate action.]]></description>
      </item><item>
        <guid isPermaLink="true">https://www.frontierspartnerships.org/articles/10.3389/ejcmp.2025.15196</guid>
        <link>https://www.frontierspartnerships.org/articles/10.3389/ejcmp.2025.15196</link>
        <title><![CDATA[Fashion curation in dialogue. Toward a framework for codifying technology-enhanced curatorial practices in fashion]]></title>
        <pubdate>2025-09-15T00:00:00Z</pubdate>
        <category>Original Research</category>
        <author>Angelica Vandi</author><author>Judith Clark</author>
        <description><![CDATA[This research investigates the intersection between curatorial practices and technological mediation in fashion exhibition design, and looks into how technological integration can build upon curatorial approaches. Technology has received significant attention concerning its integration within exhibition contexts; however, its mediation role in reshaping fashion curatorial processes remains uncodified. This study attempts to articulate an approach to augmenting curatorial practices through technology to deeper engage with and understand the multilayered narratives embedded within fashion artifacts. Drawing from cultural theory, the research positions curation as a critical practice of representation that bridges heritage and contemporary discourse. It explores how curatorial decisions–object selection, narrative construction, spatial arrangement, and visitor engagement–frame cultural storytelling mechanisms. Through design research–combining literature reviews with participatory observation–the article proposes a possible useful (non-exhaustive) codification of fashion curation, by proposing an interpretive framework comprising three interrelated models: Narrative (content and themes), Staging (spatial and visual storytelling), and Experience (audience interaction and mediation). The article describes then how the framework was used and tested through collaborative workshops between the authors and their reflexive analysis specifically focused on two case studies, specifically chosen to highlight the overlapping cresearch interests of the authors: Cristóbal Balenciaga: Fashion and Heritage “Conversations,” with a focus on object-centered curation within one archive, and Homo Faber: Fashion Inside and Out, with the brief to draw attention to fashion craftsmanship processes. Both exhibitions were curated and designed by Clark and had previously been analyzed by Vandi, who participated as an external observer. Since the exhibitions examined in the workshops did not include digital elements, the results of the workshops provided a basis for discussing how technologies, when purposefully integrated, can amplify the curatorial intent, the spatial narrative and enrich the cultural experience of visitors. Findings reveal how digital tools can serve not as add-ons but as integral components of the curatorial process, extending the power of “props” –intended as “exhibition prosthetics” used to mediate, complicate, and contextualize the objects on display–and narratives from behind-the-scenes decisions to public-facing engagement. The research introduces a conceptual and practical model for fashion curators, proposing a shift from technology as spectacle toward technology as strategic narrative enhancer. Implications may redefine the future design of exhibitions, informing both the practice of curation and the visitor experience in a more codified, interpretive, and technologically supported manner.]]></description>
      </item><item>
        <guid isPermaLink="true">https://www.frontierspartnerships.org/articles/10.3389/ejcmp.2025.14009</guid>
        <link>https://www.frontierspartnerships.org/articles/10.3389/ejcmp.2025.14009</link>
        <title><![CDATA[Artificial intelligence for cultural heritage research: the challenges in UK copyright law and policy]]></title>
        <pubdate>2025-09-09T00:00:00Z</pubdate>
        <category>Review</category>
        <author>Paula Westenberger</author><author>Despoina Farmaki</author>
        <description><![CDATA[Artificial intelligence (AI) is revolutionising our relationship with cultural heritage, enhancing access to, engagement with and preservation of collections and heritage sites. AI is also being used as a valuable research tool in the context of heritage collections. However, as materials protected by copyright may be used in AI development, training and use, copyright law can become an obstacle to important AI deployments in the heritage sector, an area which is currently understudied from the United Kingdom (UK) perspective. This article explores the intricate interplay between cultural heritage, AI and copyright law, demonstrating the main copyright law and policy challenges facing cultural heritage professionals and researchers in using AI in the UK for heritage research. It highlights the complexity and uncertainties as regards the current Text and Data Mining exception in the UK Copyright, Designs and Patents Act 1988 (UK CDPA), emphasising the need for an improved legal framework that balances copyright protection with the benefits of AI for cultural heritage research and management. It also reveals the underrepresentation of the heritage sector in AI regulation and copyright policy discussions in the UK. This exploration underscores the imperative for an inclusive policy dialogue that considers the perspectives and evidence of the cultural heritage sector in its full breadth and diversity (including related researchers) in shaping copyright law reform and AI regulation, and for further research to be carried out in this field.]]></description>
      </item><item>
        <guid isPermaLink="true">https://www.frontierspartnerships.org/articles/10.3389/ejcmp.2025.14376</guid>
        <link>https://www.frontierspartnerships.org/articles/10.3389/ejcmp.2025.14376</link>
        <title><![CDATA[Can you characterise cultural policy politico-ideologically?]]></title>
        <pubdate>2025-08-29T00:00:00Z</pubdate>
        <category>Original Research</category>
        <author>Bart Caron</author>
        <description><![CDATA[In this study, I attempt to “map” the cultural policy pursued ideologically and give it a sociological interpretation of values. My hypothesis is that cultural policy is driven by values and interests. After all, those who implement cultural policy face numerous choice dilemmas. This research on potential characteristics of cultural policy, draws on a range of sources: on scholarly literature that links ideology and cultural policy and addresses values and justifications. Of course, cultural policy is also analysed on the basis of publications, policy texts, real policies, and qualitative interviews with key figures. This is how I arrived at a diagram of political-ideological characteristics of cultural policy. I group these into two overarching categories, progressive/conservative and left/right cultural policy. I arrange the characteristics as choice variables, each placed on a continuum. I develop a visual model with an x-axis containing the left and right characteristics and a y-axis containing the conservative and progressive characteristics. Plotting both categories on an x- and y-axis also clearly shows the relationship between them. The two categories of characteristics act as a tool to ideologically define each type of cultural policy.]]></description>
      </item><item>
        <guid isPermaLink="true">https://www.frontierspartnerships.org/articles/10.3389/ejcmp.2025.14563</guid>
        <link>https://www.frontierspartnerships.org/articles/10.3389/ejcmp.2025.14563</link>
        <title><![CDATA[Experiencing digital fashion archives through a decolonial lens]]></title>
        <pubdate>2025-08-18T00:00:00Z</pubdate>
        <category>Original Research</category>
        <author>Victoria Rodriguez Schon</author><author>Julia Valle-Noronha</author>
        <description><![CDATA[Fashion archives, as repositories of cultural memory, often reflect and perpetuate colonial legacies through their curation, classification, and accessibility practices. This paper investigates how digital technologies can serve as transformative tools for decolonising fashion archives, enabling inclusive knowledge production and equitable access. Grounded in a postphenomenological framework, the study explores user interactions with digitalised archives. Using a case study approach, this research examines exemplary initiatives where cultural institutions have leveraged digital tools to reimagine archival narratives. The selected cases highlight the potential of digital innovation to preserve intangible heritage and foster dynamic experiences. Findings reveal how digital technologies mediate the relationship between cultural artefacts and audiences, challenging traditional power structures within heritage institutions. By drawing connections between decolonial archival praxis and empirical outcomes, this paper provides actionable insights for researchers, archivists, curators, and designers aiming to build archives through a decolonial lens. This study contributes to the broader discourse on heritage, decolonisation, and digital transformation within the fashion sector, offering a roadmap for bridging the physical and digital realms.]]></description>
      </item><item>
        <guid isPermaLink="true">https://www.frontierspartnerships.org/articles/10.3389/ejcmp.2025.14770</guid>
        <link>https://www.frontierspartnerships.org/articles/10.3389/ejcmp.2025.14770</link>
        <title><![CDATA[“Digital craftsmanship” as a methodology for fashion research]]></title>
        <pubdate>2025-08-12T00:00:00Z</pubdate>
        <category>Impact</category>
        <author>Alessandra Varisco</author><author>Martina Ponzoni</author><author>Dieter Suls</author>
        <description><![CDATA[The paper describes the characteristics and potential of d_archive’s method in 3D modeling of high quality replicas of fashion artefacts. d_archive is an emerging project with the purpose to support the preservation of fashion heritage and make it accessible digitally, since 2022 the collective is collaborating with various institutions to develop a specific approach to the digitalisation of fashion objects – garments and accessories. Their method is defined by the collective as “digital craftsmanship,” because it involves several skills and knowledge that allow the translation from the physical to the digital. The method is explored in the article via three case studies, as representative models, developed in collaboration with the ModeMuseum Antwerpen. The case studies are contextualised by a theoretical framework in the field of material culture analysis for fashion research; digitalisation and interoperability; workshop and participatory pedagogies for fashion. By reading and analysing the case study, three main characteristics of d_archive methodology emerge: the involvement of analogue techniques such as pattern drafting and sewing, but also fashion design knowledges and skills fostered by participatory activity with the use of a study collection; the characteristics of “digital craftsmanship” a skillful method wherein digital objects are gradually crafted in all the details; the role of artefacts digitisation for fashion research, considering the potential of d_archive’s method that does not aim to overcome object based and material research, but rather to integrate it, opening up multiple possibilities for further interpretation of fashion sources–thanks to interoperability of the digital files.]]></description>
      </item><item>
        <guid isPermaLink="true">https://www.frontierspartnerships.org/articles/10.3389/ejcmp.2025.14963</guid>
        <link>https://www.frontierspartnerships.org/articles/10.3389/ejcmp.2025.14963</link>
        <title><![CDATA[Scouting emerging AI applications in fashion heritage and archival practices]]></title>
        <pubdate>2025-08-12T00:00:00Z</pubdate>
        <category>Original Research</category>
        <author>Greta Rizzi</author><author>Daria Casciani</author>
        <description><![CDATA[Artificial intelligence (AI) increasingly influences the Cultural and Creative Industries (CCIs), offering new ways to support and enhance the sector. In the field of cultural heritage, AI has proven valuable across various disciplines, assisting in restoration, reconstruction, and the enrichment of historical knowledge. This paradigm opens new perspectives for fashion heritage, where AI technologies contribute to the preservation, reinterpretation, and dissemination of digitised archival materials, including garments, textiles, sketches, and photographs. This article investigates how AI is being integrated into fashion heritage practices by combining academic literature with practice-based evidence. Through an integrative review, it identifies three main trajectories of application: Conservation, Reinterpretation, and Exploration. These clusters highlight how AI is reshaping archival workflows, expanding access, and supporting new creative and curatorial approaches. The intersections between the trajectories give rise to the Creative Recovery, Heritage Imaginaries, and Augmented Access, which enable hybrid practices in current AI applications. The study concludes with a critical reflection on the main ethical concerns, including legal issues, economic implications, and concerns about data representation. These reflections are accompanied by a broader reconsideration of how memory is constructed and mediated in the contemporary context, increasingly shaped by human–AI collaboration.]]></description>
      </item><item>
        <guid isPermaLink="true">https://www.frontierspartnerships.org/articles/10.3389/ejcmp.2025.15120</guid>
        <link>https://www.frontierspartnerships.org/articles/10.3389/ejcmp.2025.15120</link>
        <title><![CDATA[Editorial: Cultural entrepreneurship and cultural initiatives: challenges in a new context]]></title>
        <pubdate>2025-07-24T00:00:00Z</pubdate>
        <category>Special Issue Editorial</category>
        <author>Roberta Bocconcelli</author><author>Elena Borin</author><author>Paola Demartini</author><author>Alessandro Pagano</author><author>Martin Piber</author>
        <description></description>
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