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Background Organ donation and transplantation (ODT) represent essential strategies to address end-stage organ failure. However, global donation rates remain insufficient, and information gaps persist among young populations. Objective To identify the current strategies and interventions implemented in different countries to promote organ donation and transplantation among university students. Methods This systematic review followed PRISMA guidelines and was conducted using Scopus, Clarivate Web of Science, and PubMed up to November 2025. Eligible outcomes included willingness to donate, attitudes, knowledge, family communication, and perceptions of the intervention. A total of 330 records were identified, and 16 studies met the inclusion criteria. Results Ten intervention types were identified, including educational programs, single lectures, social media campaigns, peer-to-peer initiatives, peer learning, celebrity endorsers, humorous communication, informational materials, and non-monetary merit point systems. Most studies reported increases in knowledge (8/16), willingness to donate (9/16), and positive attitudes (6/16). Conclusions A variety of educational and communicative strategies can improve university students’ knowledge, attitudes, and willingness toward ODT. However, the limited use of emerging technologies highlights the need for more rigorous, innovative, and long-term evaluations to strengthen ODT promotion among diverse university populations.

Already dealing with disruptive market forces, the Cultural and Creative Industries (CCIs) faced fundamental challenges resulting from the global health crisis, wrought by the COVID-19 pandemic. With catastrophic changes to cultural consumption, cultural organizations are dealing with short-, medium-, and long-term threats to livelihoods under lockdown. This book aims at filling the literature gap about the consequences of one of the hardest crises - COVID-19 - severely impacting all the fields of the CCIs. With a focus on European countries and taking into account the evolving and unstable context caused by the pandemic still in progress, this book investigates the first reactions and actual strategies of CCIs' actors, government bodies, and cultural institutions facing the COVID-19 crisis and the potential consequences of these emergency strategies for the future of the CCIs. Solutions adopted during the repeated lockdowns by CCIs' actors could originate new forms of cultural consumption and/or new innovative market strategies. This book brings together a constellation of contributors to analyze the cultural sector as it seeks to emerge from this existential challenge. The global perspectives presented in this book provide research-based evidence to understand and reflect on an unprecedented period, allowing reflective practitioners to learn and develop from a range of real-world cases. The book will also be of interest to researchers, academics, and students with a particular interest in the management of cultural and creative organizations and crisis management.

The proliferation of Living Labs in the past decades has generated a great variety of definitions, practices, and research in different fields. Particularly, applications in the cultural and heritage field have increased in the past decades, which is in line with the emergence of a participatory turn in the sector. However, existing literature mainly focuses on the characteristics of Living Labs rather than their processes, fuelling existing issues related to first-time approachability, replicability, participation, and evaluation. Through a systematic interdisciplinary literature review of general Living Labs definitions and field-specific applications, this research aims to develop a process-based definition that encompasses steps, key elements, and objectives of Living Labs and addresses these challenges. By doing so, it brings four main contributions: first, it advances the theoretical modelling of Living Labs incorporating the perspective of cultural practices. Second, it proposes a practical model of Living Labs to be adopted and adapted across cultural fields – and beyond – to set-up and implement Living Labs. Third, it raises awareness of Living Labs’ potential for the development of sustainable and transformative participatory practices in the cultural heritage field. Last, it identifies the potential contribution of Cultural Living Labs’ experiences to addressing challenges of replicability, participation, and evaluation for the greater interdisciplinary Living Labs field. Future research can test the use of this model in guiding first-time Cultural Living Labs users’ practices and subsequently inform the further refinement of the model.

PurposeThis study aimed at understanding the use of paintings outside of an art-related context, in the English version of Wikipedia.Design/methodology/approachFor this investigation, the authors identified 8,104 paintings used in 10,008 articles of the English Wikipedia edition. The authors manually coded the topic of the article in question, documented the number of monthly average views and identified the originating museum. They analysed the use of images based on frequency of use, frequency of view, associated topics and location. Early in the analysis three distinct perspectives emerged: the readers of the online encyclopaedia, the editors of the articles and the museum organisations providing the painting images (directly or indirectly).FindingsWikipedia is a widely used online information resource where images of paintings serve as visual reference to illustrate articles, notably also beyond an art-related topic and where no alternative image is available – as in the case of historic portraits. Editors used paintings as illustration of the work itself or art-related movement, but also as illustration of past events, as alternative to photographs, as well as to represent a concept or technique. Images have been used to illustrate up to 76 articles, evidencing the polysemic nature of paintings. The authors conclude that images of paintings are highly valuable information sources, also beyond an art-related context. They also find that Wikipedia is an important dissemination channel for museum collections. While art-related articles contain greater number of paintings, these receive less views than non-art-related articles containing fewer paintings. Readers of all topics, predominantly history, science and geographic articles, viewed art pieces outside of an art context. Painting images in Wikipedia receive a much larger online audience than the physical painting does when compared to the number of museum onsite visitors. The authors’ results confirm the presence of a strong long-tail pattern in the frequency of image use (only 3% of painting images are used in a Wikipedia article), image view and museums represented, characteristic of network dynamics of the Internet.Research limitations/implicationsWhile this is the first analysis of the complete collection of paintings in the English Wikipedia, the authors’ results are conservative as many paintings are not identified as such in Wikidata, used for automatic harvesting. Tools to analyse image view specifically are not yet available and user privacy is highly protected, limiting the disaggregation of user data. This study serves to document a lack of diversity in image availability for global online consumption, favouring well-known Western objects. At the same time, the study evidences the need to diversify the use of images to reflect a more global perspective, particularly where paintings are used to represent concepts of techniques.Practical implicationsMuseums wanting to increase visibility can target the reuse of their collections in non-art-related articles, which received 88% of all views in the authors’ sample. Given the few museums collaborating with the Wikimedia Foundation and the apparent inefficiency resulting from leaving the use of paintings as illustration to the crowd, as only 3% of painting images are used, suggests further collaborative efforts to reposition museum content may be beneficial.Social implicationsThis paper highlights the reach of Wikipedia as information source, where museum content can be positioned to reach a greater user group beyond the usual museum visitor, in turn increasing visual and digital literacy.Originality/valueThis is the first study that documents the frequency of use and views, the topical use and the originating institution of “all the paintings” in the English Wikipedia edition.

PurposeThis study aims to investigate how, in forming their policy towards open data (OD), art museums interact with the OD ecosystems they are part of, comprising internal and external components such as cultural policy, legal frameworks, user groups and economic conditions and incentives.Design/methodology/approachThe authors structure their research as a multiple case study based on three OD ecosystems, each defined by a mid-sized European art museum at its centre. Qualitative analysis of the case studies proceeds from interviews with museum management staff and policy-related agencies in three European countries, in addition to document analysis.FindingsThe results of this study suggest that museums are sensitive towards their environments and respond to their ecosystem based on what is communicated within their networks. However, museums are not effective in communicating with their users, limiting the informational interdependence necessary for well-functioning OD ecosystems. EU policy appears to be a driving force along with national financial incentives, though institutional conditions are limiting progress. Advancing the field relies instead on an epistemological shift to understand the museum as part of a larger information network.Originality/valueAs the first comparative case study of art museum OD ecosystems that the authors are aware of, the study provides a qualitative analysis of the complex dynamics impacting OD policy within the mid-sized art museum. The authors identify specific dynamics that are thus far restricting further development of the OD ecosystem of the mid-sized European art museum.

\"Already dealing with disruptive market forces, the creative and cultural industries (CCIs) faced fundamental challenges resulting from global health crisis, wrought by the COVID-19 pandemic. With catastrophic changes to cultural consumption, cultural organisations are dealing with short, medium and long-term threats to livelihoods under lockdown. This book aims at filling the literature gap about the consequences of one of the hardest crises - COVID-19 - severely impacting all the fields of the CCIs. With a focus on European countries and taking into account the evolving and unstable context caused by the pandemic still in progress, this book investigates first reactions and actual strategies of CCIs' actors, government bodies and cultural institutions facing the COVID-19 crisis and the potential consequences of these emergency strategies for the future of the CCIs. Creative solutions adopted facing the repeated lockdowns could reveal beneficial also after the crisis and could originate new forms of cultural consumption or innovative market strategies. This book brings together a constellation of contributors to analyse the cultural sector as it seeks to emerge from this existential challenge. The global perspectives presented in this book provide research-based evidence to understand and reflect on an unprecedented period, allowing reflective practitioners to learn and develop from a range of real-world cases. The book will also be of interest to researchers, academics and students with a particular interest in the management of cultural and creative organizations and crisis management\"--

Governments' emergency policy instruments reflected great variance in the structures and resources available, as well as differences in the understanding of the cultural ecosystem as a whole, curiously conceived within strict geographical borders. Increasing evidence of the social role of culture as part of the economy, but most importantly to increase the overall wellbeing of participants, can be expected to change the social perception of culture. Further research and greater harmonization of methods will be key for such a shift at national levels. The pandemic has highlighted the diverging needs and benefits of the sector, contrasting the successful video online services to the cancelled festivals and live events. Museums are adopting online payment models for ticket sales as well as for other services while performing arts in turn are exploring the use of immersive technologies generally associated with heritage, such as virtual and augmented reality in dance and theatre.

One of the available and yet controversial tools in cultural policy at the national level is the reduction of VAT rates for cultural goods and services. We document the standard and reduced VAT rates in EU-28 countries in the period from 1993 to 2013 and explore the underlying determinants. We further introduce a simple theoretical framework to explain how reduced fiscal rates are expected to decrease prices and increase quantities of the consumed cultural goods and services. We then estimate quantitatively that a decrease in the VAT rate for books by one percentage point is associated with an economically significant drop in the price by 2.6%. Finally, we show the positive effect of a fiscal rate reduction on the book expenditure, where a one percentage point decrease in the VAT rate for books leads to an increase in expenditure by 2.7%.

It is the responsibility of the museum library to enhance the understanding of the museum collection and the role of museum objects as cultural documents. For many reasons, this role is only partially fulfilled, if at all. This is because in practice the library and its museum are insufficiently integrated to perform effectively together. We argue that in a digital world, the library and the museum can and should be re-integrated into a single cultural information system. However, since in practice digitization of the library and the museum follow different paths, museums and their libraries will have to change their thinking about how to proceed.

Heritage institutions house cultural and research content, which is the key source to stimulate soft innovation. Despite the potential, heritage collections are mostly inaccessible via digital mediums. We analyze the macro, meso and micro conditions of heritage organizations across Europe to identify the key determinants that foster soft innovation as reflected by the share of collection digitization and online publication. We find that organizations respond positively to an environment of high consumer digital literacy and sustainable resource allocation that enables slack, skilled staff and long-term strategic planning. Innovation is thus, in fact, enhanced by digital literacy from both producers as well as consumers.