The influence of national culture on responsible innovation: A case of CO2 utilisation in Indonesia

Responsible innovation (RI) offers a promising step towards a more responsible adoption of innovations, such as new and emerging technologies. However, how RI would be practised in different cultural contexts and settings is still less studied, especially in the context of developing countries. Taking the utilisation of CO₂ in Indonesia as an empirical case, the purpose of this paper is to explore this issue through examining the influence of key characteristics of Indonesia's national culture on core dimensions of RI: anticipation, reflexivity, deliberation, responsiveness and participation. The different RI dimensions are applied in practice in a focus group discussion (FGD) and a round of interviews with different stakeholders that explored CO₂ utilisation in the country. Hofstede's classification of national cultural dimensions is used to single out key focus points for attention in these RI processes in the Indonesian context. The results from the experiment illustrate that culture matters in the application of RI dimensions in practice. In the sense that in order for RI to work well, the governance of core RI processes such as participation and deliberation has to be adjusted to social norms of what is considered legitimate, desirable and good behaviour. These norms differ across societies. The findings further suggest ways of applying RI dimensions in practice.     

Indoor levels of volatile organic compounds at Florentine museum environments in Italy

Indoor Air Quality monitoring in cultural institutions is of particular concern to protect these places and the cultural heritage content. An indoor monitoring campaign was performed in three museums in Florence (Italy) to determine the occurrence and levels of volatile organic compounds (VOCs). VOCs of interest included BTEX (benzene, toluene, ethylbenzene, xylenes), terpenes, aldehydes, organic acids, and cyclic volatile methyl siloxanes (cVMS). The most abundant VOCs in all samples analyzed were BTEX, which were strictly related to the traffic source, followed by siloxanes and terpenes. Among BTEX, toluene was always the most abundant followed by xylenes, ethylbenzene, and benzene. cVMS in exhibition rooms with the presence of visitors showed higher values compared to samples collected when the museums were closed. Terpenes showed not only the influence of vegetation-biogenic sources surrounding a museum but could also be related to the wood used for the construction of showcases and furniture and the use of cleaning products. Data obtained also showed the presence of organic acids and aldehydes whose source can be traced back to exhibits themselves and wood-based furniture. Assessing the levels of organic acids in museums is important because, over time, it can cause deterioration of the artifacts.     

基于津沽文化脉络的文创产品创新发展策略研究

类比故宫博物院等优秀文创产品产业化发展思路对津沽文化脉络进行文化传承元素的有效梳理，结合产业化发展的活态传承与保护形式，以文创产品设计为研究载体，带动城市文化创新发展与文化自信，间接促进社会经济发展。通过总结天津非物质文化遗产的特性和产业化发展现状，对比分析不同领域文创产品设计案例。以市场需求定位设计层级，建立在设计层级基础上的产品创新设计理念，从升级保护技术的角度拓展产业化发展思路，结合数字化营销模式，适应现今智能化时代需求。总结了非遗文创产品在层级设计指导下的历史与文化，以及在现代与未来概念下的文化传承创新发展方向。进一步带动了天津文化产业发展，促进文化产业的良性循环，为天津传统文化产业化发展提出了切实可行的创新理念。     

苏州平江市民文化活动中心声学设计

苏州平江市民文化活动中心是一个以会议、报告和放映电影为主,兼有文艺表演的多功能剧场.声学设计既要考虑到会议、报告所需要的语言清晰度问题,又要考虑到文艺演出所需要的音乐丰满度问题.利用odeon声学设计分析软件对该市民文化活动中心的声学问题进行了模拟分析.对建成后的市民文化活动中心进行的测量表明声学设计取得了满意的效果.     

Proposed light sources for illuminating in Xuan paper and silk artwork with organic and inorganic pigments by evaluating color shifts in museum

Artworks based on Xuan paper or silk and painted by organic or inorganic pigments are highly responsive to light due to their materials and manufacturing technologies. They belong to the highest level of light responsive exhibits stipulated by International Commission on Illumination (CIE) and are vulnerable to fading and discoloration caused by radiation from light sources. The choice of light sources is the key of protection for artworks. It is indispensible and urgent to choose the lowest damage light sources according to the material characteristics of artworks. In this article, long-term irradiation of typical light sources on various substrates and pigments was used as experimental method, and CIE DE2000 color difference formula was used as the evaluation index. The laws of the influence of different light sources on the color change of various materials were obtained, and the relative damage coefficients of light sources were calculated. Finally, eight kinds of light sources suitable for illuminating responsive artworks with typical material combinations were proposed. However, there are some limitations in the study, because the ancient Chinese Xuan paper and silk used as experimental objects in the experiment are yellowish. Thus, the models derived in this article are not suitable for choosing reasonable display light sources for other works of art. However, suitable light sources for different materials could be obtained by the calculation method used in this article.     

服装设计中茶艺元素的创新与应用

茶艺是我国传统文化的重要组成部分,在我国有着悠久的历史。现代社会弘扬传统文化,也为茶艺文化的发展创新带来了新的繁荣,茶艺受到国内外许多人士的喜爱。而茶艺元素也被广泛应用于服装设计中,现代服装设计与传统茶文化的融合,使得传统文化焕发新的生机。文章主要分析了服装设计中如何更好地运用茶艺元素。     

Gender difference in color preference across cultures: An archetypal pattern modulated by a female cultural stereotype

A gender difference in color preference among British participants has been repeatedly reported, in which both males and females show a preference for blue‐green colors, while females express an additional preference for pink‐purple colors. To investigate the robustness of gender difference in color preference in a different culture, we tested 81 young adult Indians from a school of design and compared them to 80 young British students in Psychology. The 35‐item International Personality Item Pool (IPIP) and Bem Sex Role Inventory (BSRI) questionnaires were also administered to explore possible links between personality traits, gender schemata, and color preferences. Results confirmed a gender difference in both cultures; participants collectively expressed a preference for cool over warm colors, while in addition females showed a preference for pink colors, with a warm bias for Indian females and a cool bias for British females. While these results extend gender difference to Indian culture and support the universality of an underlying pattern they also reveal a culture‐specific contribution essentially observed in females. In British participants, color preference was correlated exclusively with BSRI scores in females and overwhelmingly with IPIP scores in males; this gender‐specific pattern of correlation was not replicated in the Indian sample. Results point to an archetypal pattern of gender difference in color preference with a remarkable cross‐cultural similarity in men and a subtle but significant cultural difference in women whose origin is yet to be explained.     

Digitally reconstructing Van Gogh's Field with Irises near Arles part 3: Determining the original colors

In earlier articles, we determined the spatial distributions and concentrations of all pigments used by Van Gogh in his painting Field with Irises near Arles. The colors of some pigments are expected to have changed over time, especially those of chrome yellow, cochineal, and eosin lake. For all pigments in this painting, we made physical paint reconstructions by following historical sources on raw materials and production processes, and we determined their optical properties. We combined this with pigment concentration maps to reconstruct the original colors of the painting digitally. When substituting the reconstruction paints into the calculations, we found that technical‐scientific data was not sufficient to resolve several issues. In those cases, discussions within the broad interdisciplinary team allowed us to make informed decisions. These issues refer to the representation of the sky area, and the original contributions of the red lake pigments to local colors. The digitally reconstructed colors of the painting show that due to discoloring of red lake pigments, the irises in the field have changed from a warm purple to purplish blue, and many pink spots in the field have turned to white. The range of yellows in the field has decreased and partly turned to dark brown. The digital reconstruction gives a better understanding of the color scheme used by Van Gogh when compared to remarks the artist made in letters when describing this painting. Also, the original color composition is seen to be aligned with color theories on which Van Gogh based his work.     

Harnessing adaptive capacity to close the pandora’s box of open innovation

ABSTRACT

This paper focuses on how companies deploy structural properties of adaptive capacity (multiplexity, redundancy and loose coupling) to cope with the phenomenon of internal challenges of Open Innovation (OI) implementation, i.e. organisational and cultural changes. We developed a single case study, which offered significant findings. First, the multiplexity of relationships in OI settings helps to face the challenges of organisational and cultural changes by triggering trust formation and interaction. Second, redundancy has twofold elements: institutional logics redundancy triggers cultural change challenges which can be overcome through management practices and communications; task redundancy facilitates knowledge sharing and collaboration, thus helping to deal with organisational change challenges. Finally, loose coupling in OI settings facilitates social interconnectedness among members through management practices, helping to face organisational and cultural change challenges. We provide managerial and theoretical implication to deal with the challenges of OI in relation to both organisational and cultural changes.