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The Impact of Exogenous Shocks on Business Models and Business Relationships: An Empirical Analysis of the Italian Music Industry
No full textPurpose. Scholars have been increasingly interested in understanding business models. However, little attention has been paid to how business models change in reaction to exogenous circumstances and how business relationships alter as a result of business model changes. This paper investigates how the business model paradigm of the Italian music industry altered in response to two major exogenous influences that impacted the sector: the digital revolution and the COVID-19 pandemic.
Design/methodology/approach. As the purpose of this study is to investigate phenomena in a real-world setting, qualitative research methodology has been selected as the most appropriate one. We decided to conduct sixteen semi-structured interviews with professionals active in the Italian music business that have been selected by a combination of snowball and convenience sampling
Findings. Our empirical findings indicate that the digital revolution and COVID-19 pushed Italian music companies to revise their business models by either reducing the number of linkages to the existing ones or adding new linkages to the existing ones. This was done in order for the companies to remain competitive in an environment that is constantly changing and to outcompete competitors.
Originality/value. Few studies have evaluated how business relationships alter in response to the many business models emerging in the music industry due to external causes. Our research is one of the first to examine music companies' reactions to exogenous events such as crises or disruptive advances that affect the competitive landscape
Graph Drawing and Network Visualization. 30th International Symposium, GD 2022, Tokyo, Japan, September 13–16, 2022, Revised Selected Papers
No full textThis book constitutes the proceedings of the 30th International Symposium on Graph Drawing and Network Visualization, GD 2022, held in Tokyo, Japan, during September 13-16, 2022.
The 25 full papers, 7 short papers, presented together with 2 invited talks, one report on graph drawing contest, and one obituary in these proceedings were carefully reviewed and selected from 70 submissions. The abstracts of 5 posters presented at the conference can be found in the back matter of the volume. The contributions were organized in topical sections as follows: properties of drawings of complete graphs; stress-based visualizations of graphs; planar and orthogonal drawings; drawings and properties of directed graphs; beyond planarity; dynamic graph visualization; linear layouts; and contact and visibility graph representations
The Palazzo della Civiltà Italiana: A New Iconic Architecture for a Model City
No full textThesis (B.A. in Art History, Minor in Art and Design)--John Cabot University, Spring 2023.Benito Mussolini changed Rome drastically during the Fascist Regime from 1922 to 1943. His ambitions included wide scale architectural projects, the most ambitious of these urbanistic projects was the Esposizione Universale Roma (EUR). There nested amongst the fascist architecture we find the Palazzo della Civiltà Italiana. The Palazzo, also referred to more colloquially as the square coliseum was built to celebrate Italy’s colonization of Ethiopia, and therein to welcome art exhibitions that celebrated and promoted Italian-ness. With its multiple styles, the Palazzo della Civiltà Italiana and the E42 as a whole emphasize many other aspects of Mussolini’s propaganda, above all the war in Ethiopia, the concepts of Expansion, Colonization and Civilization. As the art historian Kirk discusses, these three important concepts were incorporated in the EUR project especially in the Palazzo Della Civiltà Italiana- and are the keys with which we can understand Mussolini’s propaganda. Moreover, Mussolini had many other secondary aims in his ambitious EUR project, for example the aims to expand Rome to the sea to attain control of the Mediterranean. Another reason why he built the EUR was to give Rome a new more modern city centre that could be viewed as the continuation of the New Italian Empire from that of Augustus. As a consequence of these elements, it is possible to understand why Mussolini considered the E42 complex as the beacon for his fascist ambitions and colonial expansion. Therefore, how did the Palazzo della Civiltà Italiana become the public image of colonization, an articulation of fascism, and seek to reinforce the Italian sense of cultural identity? In addition, how does this architectural complex represent the ideologies of the war in Ethiopia
From Tomb to Tomb: The New Sacristy Grottesche
No full textMaster of Arts in Art History -- John Cabot University, Spring 2023.Michelangelo’s New Sacristy at the Basilica of San Lorenzo in Florence is an incomplete 16th century family mausoleum commemorating the lives of four Medici members. The conception of the project in 1519 after the untimely death of the last legitimate Medici heir, Lorenzo de’ Medici, was intended to compliment Brunelleschi’s Old Sacristy within the same basilica. The incomplete chapel has raised much debate regarding theme and iconography; however, the marble reliefs of the two altar candelabra have yet to be proposed within studies of the 15th and 16th century grottesche genre. The candelabra present reliefs of gargoyles, animals, masks, jeering human-monster hybrids, and amphorae stacked upon one another in a candelabra- like manner. These forms show similar patterns of organization and iconography as late 15th and early 16th century grottesche expressions, originating from ancient Roman fresco painting. By tracking grottesche employment following the late 15th century rediscovery of the ancient Domus Aurea in Rome and the artists thought to be responsible for the New Sacristy candelabra, this thesis will maintain that the New Sacristy altar candelabra reliefs should be re-evaluated as grottesche expressions. Their aesthetic modes of resemblance and deviation from previous grottesche patterns prompts further investigation into the evolution of 16th century grottesche as it pertains to medium, size, and iconographic disposition.Michelangelo’s New Sacristy at the Basilica of San Lorenzo in Florence is an incomplete 16th century family mausoleum commemorating the lives of four Medici members. The conception of the project in 1519 after the untimely death of the last legitimate Medici heir, Lorenzo de’ Medici, was intended to compliment Brunelleschi’s Old Sacristy within the same basilica. The incomplete chapel has raised much debate regarding theme and iconography; however, the marble reliefs of the two altar candelabra have yet to be proposed within studies of the 15th and 16th century grottesche genre. The candelabra present reliefs of gargoyles, animals, masks, jeering human-monster hybrids, and amphorae stacked upon one another in a candelabra- like manner. These forms show similar patterns of organization and iconography as late 15th and early 16th century grottesche expressions, originating from ancient Roman fresco painting. By tracking grottesche employment following the late 15th century rediscovery of the ancient Domus Aurea in Rome and the artists thought to be responsible for the New Sacristy candelabra, this thesis will maintain that the New Sacristy altar candelabra reliefs should be re-evaluated as grottesche expressions. Their aesthetic modes of resemblance and deviation from previous grottesche patterns prompts further investigation into the evolution of 16th century grottesche as it pertains to medium, size, and iconographic disposition
Marcel Duchamp’s Belle Haleine and its View From Feminist Art History
No full textThesis (B.A. in Art History)--John Cabot University, Spring 2023.The thesis discusses Marcel Duchamp’s 1921 Readymade, Belle Haleine, Eau de Voilette, and it explores his life and his alter ego, Rrose Selavy, along with his life as an artist. Duchamp’s connection with his mother and his troubled relationship with women, in general, are also explored. The movements Readymade and Dada are explained in a broad sense. On their own and in connection with Duchamp, with the question of whether Belle Haleine belongs to the Readymades or the Dada. The thesis explores his playful side and the side of his art that makes fun of the mainstream media and products.
Belle Haleine and its name play along with Duchamp’s friend Man Ray and their artistic relationship along with other works by Duchamp like The Fountain and the mostly male perspective sources found and discussions of his works, which never mention the feminine part of his work, or discussed very briefly. Very little research has been done in relation to Belle Haleine, and the feminist works of Marcel Duchamp are almost nonexistent. this thesis strives to change this.
Using the visual analysis of Belle Haleine and continuing talking about Man Ray in the context of the perfume and the portrait taken by him that’s on the label of the perfume gives the thesis the grounds to stand on in regard to Marcel Duchamp and the lack of feminist perspective on his work, while also answering the question of the movement Belle Haleine belongs to. The second chapter also explores the name plays of Belle Haleine, mentioning Helen of Troy.
In chapter three, Duchamp’s possible inspirations and the environment he worked in are discussed as the connection he might have had with Coco Chanel and her and the possible link between Chanel Number 5 and Belle Haleine and Coco Chanel’s Boyish character meets Duchamp’s Feminine one
Manzù's Materiality: Wax as A Watershed in Italian Sculpture of the 1930s.
No full textThesis (B.A. in Art History)--John Cabot University, Fall 2023.Despite the extensive bibliography on one of the most influential Italian sculptors of the XX century, the wax production of Giacomo Manzù still remains little discussed. Finding a formula to frame Manzù’s art it is as complex as it could be inconclusive. Manzù’s spirit appears clearly through his sculptures, however, to grasp this sincere clarity is essential to research into one of the fundamental moments in his career, which took place in the 1930s. The use of wax, which had long been restricted mainly to the connection with Turin sculptor Medardo Rosso, provides the possibility of exploring and understand how the the form for Manzù only constitutes the result of the material process. Differently from other sculptors of the 1930s, for Manzù the form is not the final destination of the sculpture and does not come before the creative force that shapes the medium
From Art to Table: The Use of Food in Daniel Spoerri's Sculptures and Performances
Get PDFThesis (B.A. in Art History)--John Cabot University, Fall 2023.This thesis explores the use of food as a medium in Daniel Spoerri’s sculptures and performances, with a specific emphasis on the exhibition The Grocery Shop (1961), his dinner, L’Ultima Cena (1970), and lunch, Dejeuner Sous l’Herbe (1983) for Eat-Art, with a focus on their relational qualities. Through the utilization of chance, embodiment, and a multi-faceted use of food, Spoerri generates dynamic social exchanges that he ultimately freezes within his tableaux-pièges, simultaneously elevating the quotidian to the realm of art, questioning the art market, and exploring traditions while also transgressing them. Cultural implications and the physical, ephemeral, sensorial and transformative qualities of food as a medium are manipulated to engender different significances in each artwork analyzed here, particularly considering their different forms of execution. The post-war art world in which Daniel Spoerri worked was characterized by a rapidly expanding culture of intense commercialism and a rejection of established norms, which witnessed a diversification of styles and mediums, reflecting a dynamic and experimental atmosphere. Spoerri was one of the artists in the 1960s who expanded the ontological definition of art. In the context of his artistic milieu, the intersection of everyday life and art became more pronounced, particularly evident in works with performative emphases, such as his Eat-Art projects during the 1970s. Food is certainly a ubiquitous material that is easily overlooked on a daily basis, and through Spoerri’s works, the viewer is encouraged to consider these objects thoughtfully and in new ways. Existing literature on Spoerri has focused on his use of food to comment on temporality, consumption, and how he fits within the context of his time, while this thesis aims to analyze the range of the role that food plays in both the aesthetic object and performative work
Antonietta Raphaël: Mysticism and Memory
No full textMaster of Arts in Art History -- John Cabot University, Spring 2023.This thesis investigates Lithuanian 20th-century artist Antonietta Raphaël’s painting Due Sorelle. By consulting with primary resources and the miniscule contemporary literature on her, this thesis explains her intersectional identity through the methodology of memory. This is done by identifying the date of the painting (1940) and the iconography of the women in the painting. Due Sorelle was created during the tumultuous interwar period in Italy and in Antonietta Raphaël’s life. Yet it is a significant example of Raphaël’s intentional iconographic memory and profound spiritual loss of a past life that could not be reclaimed after World War II. With Due Sorelle, she constructs an image of two Judaic characters, Lilith and Eve, the first women, mothers of demons and humanity, and the first two sinners of Judaism, who were ousted from Eden. She intuitively paints a resistance towards the regime by constructing a memory and identity that serves as a narration of her past and present life
Awe in the metaverse: Designing and validating a novel online virtual-reality awe-inspiring training
No full textAn increasing number of studies have unveiled the nuanced nature of awe - a complex emotion stemming from stimuli so perceptually and conceptually vast to impact individuals’ current mental frames. Its positive impact on human wellbeing and health have been reported even after a single short exposure to awe-inspiring stimuli. Recently, Virtual Reality (VR) has emerged as a suitable technique for eliciting brief moments of intense awe. Moreover, nowadays, the Metaverse has increased the opportunity to access even complex experiences, such as awe, for a prolonged period. However, the impact of a prolonged exposure to an awe-inspiring simulated experience still must be investigated. Here, in the first study, we designed and tested usability, user experience and preliminary effectiveness of the first VR awe-inspiring training vs. an equivalent neutral training in VR. We relied on an immersive virtual reality online social platform- Altspace VR - for designing the training. In the second study, we investigated whether a prolonged exposure to awe could hold the same effect on creative thinking as it was demonstrated for brief exposure to awe in VR. Specifically, we tested the impact of a long-lasting exposure to awe on creative thinking in the short and on the long run (after the training and in a one-week follow-up) and vs. an equivalent neutral condition (the same as the first study). Creativity thinking, was assessed through Alternative Uses Task (AUT). Additionally, measures related to the disposition to feel positive emotions, social desirability and level of curiosity were collected. The first study supported the feasibility of the training together with the usability of the platform as well as its effectiveness in eliciting awe (vs. neutral condition). Moreover, for the second study, there was a main effect of time on some of the dimensions of creative thinking. Participants scored higher in fluency, originality, and flexibility one week after the training compared to the pre-training phase. These results suggested preliminary design guidelines for creating awe experiences in the Metaverse, unveiling the role of time exposure and duration of their effects on individuals