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PurposeHow does algorithmic information processing affect the thoughts and behavior of artificial intelligence (AI) users? In this study, the authors address this question by focusing on algorithm-based chatbots and examine the influence of culture on algorithms as a form of digital intermediation.Design/methodology/approachThe authors conducted a study comparing the United States (US) and Japan to examine how users in the two countries perceive the features of chatbot services and how the perceived features affect user trust and emotion.FindingsClear differences emerged after comparing algorithmic information processes involved in using and interacting with chatbots. Major attitudes toward chatbots are similar between the two cultures, although the weights placed on qualities differ. Japanese users put more weight on the functional qualities of chatbots, and US users place greater emphasis on non-functional qualities of algorithms in chatbots. US users appear more likely to anthropomorphize and accept explanations of algorithmic features than Japanese users.Research limitations/implicationsDifferent patterns of chatbot news adoption reveal that the acceptance of chatbots involves a cultural dimension as the algorithms reflect the values and interests of their constituencies. How users perceive chatbots and how they consume and interact with the chatbots depends on the cultural context in which the experience is situated.Originality/valueA comparative juxtaposition of cultural-algorithmic interactions offers a useful way to examine how cultural values influence user behaviors and identify factors that influence attitude and user acceptance. Results imply that chatbots can be a cultural artifact, and chatbot journalism (CJ) can be a socially contextualized practice that is driven by the user's input and behavior, which are reflections of cultural values and practices.

he paper aims at presenting the use of ontological techniques for creating a common semantic denominator for linking subject oriented metadata of cultural artifacts to diverse digital resources falling into the same semantic spectrum. ; The CROSSCULT project has received funding from the European Union's Horizon 2020 research and innovation programme under grant agreement No 693150

From May 9–14, 2008, the Salzburg Global Seminar convened its 453rd session—and its annual arts and culture session—on "Achieving the Freer Circulation of Cultural Artifacts" at Schloss Leopoldskron in Salzburg. Sixty two participants from twenty-nine countries gathered for the five-day session, aimed at building consensus among cultural authorities and museum representatives from around the world on ways to overcome legal, political, and practical obstacles to the circulation of cultural objects. Participants worked together to identify and assess new and better ways to promote the sharing of art and artifacts—from virtual access to practical strategies for significantly expanding loan programs worldwide. Whereas there are many museum conferences worldwide, few strive to bring together a multi-disciplinary and truly global group of participants for an open, informal exchange of thoughts and ideas in a neutral setting. The gathering in Salzburg, generously supported by The Edward T. Cone Foundation, succeeded in providing an evaluative international forum of this type, which brought diverse experts from a range of national and professional contexts into dialogue and gave them the opportunity to reflect deeply and openly on ways to increase the international exchange of cultural artifacts.

Bilbao is an outstanding test case for the impact of an internationally famous cultural facility in a context that otherwise does not lend itself to large flows of tourism. Although early for a complete impact study, the aim of this study is to quantify the influence of the Guggenheim Museum Bilbao in the attraction of tourism and to identify the potential factors that explain such impact in the short run.

This article presents a critical review of the contribution of semiotics to the study of image, with the aim of formulating a proposal of analysis applied to poster in Chile. It seeks to contribute to the study of image, incorporating new approaches to complement the classical perspectives of analysis. The method used keeps using semiotics categories and includes the contexts of production and decoding of messages, when analyzing them as part of a bigger symbolic context. The sample analyzed was composed of posters that addressed social issues developed between 1970 and 1973, for the government of Salvador Allende,that had a huge impact in the local public space. The results of the analysis shows an aesthetic and communicational proposal that expressed the desire to build a new kind of society and its way of being represented through functional stakeholders to the political and social project at the time and incorporating visual references from the popular world and the mass culture. This visual synthesis, gave to the Chilean poster a great communicative potential able to tune with the changing demands of a wide audience, and also to validate its own narrative as part of narrative from a larger ideological framework. ; Este artículo presenta una revisión crítica de la semiótica al estudio de la imagen, con el objetivo de formular una propuesta de análisis aplicada al cartel en Chile. Con esto, se busca contribuir a los estudios de la imagen, incorporando enfoques que complementen las perspectivas clásicas de análisis. El método utilizado mantiene el uso de categorías de la semiótica e incorpora los contextos de producción y decodificación de los mensajes, al analizarlos como parte de un contexto simbólico mayor. La muestra analizada estuvo compuesta por carteles que abordaron temáticas sociales entre los años 1970 y 1973, correspondientes al gobierno de Salvador Allende, y que tuvieron un gran impacto en el espacio público local. Los resultados dan cuenta de una propuesta estética y comunicacional, que expresó la voluntad de construir un nuevo tipo de sociedad, y su forma de ser representada, a través de actores sociales funcio­nales al proyecto político en marcha, incorporando referentes visuales tanto del mundo popular como de la cultura de masas. Esta síntesis visual, otorgó al cartel chileno un gran potencial comunicativo, capaz de sintonizar con las demandas de cambio y de validar, a su vez, un relato propio como correlato de un marco ideológico mayor.

El cuerpo es el lugar en donde se inscribe la subjetividad. No existe subjetividad sin cuerpo. Más allá de las teorías políticas, los estudios sobre esta categoría se abren también a perspectivas que lo conectan con la vida y el deseo. El cuerpo erótico constituye así una deriva que dialoga con las Políticas del Afecto y los Estudios Culturales. Nuestro trabajo parte de un fenómeno, pensado como "artefacto cultural", que se origina en la música y estalla hacia otros campos generando una productividad. El objetivo del presente artículo es analizar categorías como cuerpo y erotismo y su relación con el bolero, a partir de una figura que constituye una "personalidad de excepción" en quien vida y obra se mezclan para dar lugar a un artefacto cultural: La Lupe. Nuestro corpus está conformado por formatos que permitirán leer esta productividad que representa La Lupe en Latinoamérica durante el siglo XX. Partiremos de las propuestas teóricas de Roger Dadoun sobre erotismo, cuerpo y deseo, y de las discusiones sobre "originalidad" de Gilles Deleuze, en diálogo con diferentes lecturas sobre el bolero que permitirán comprender las categorías anteriores, tomando en cuenta la especificidad que tienen dentro del imaginario latinoamericano. ; O corpo é o lugar onde se inscreve a subjetividade. Não há subjetividade sem corpo. Além das teorias políticas, os estudos sobre esta categoria também se abrem para perspectivas que a conectam com a vida e o desejo. O corpo erótico constitui, assim, um desvio que dialoga com as Políticas do Afeto e os Estudos Culturais. O nosso trabalho baseia-se num fenômeno, pensado como "artefato cultural", que se origina na música e se estende a outros campos, gerando produtividade. O objetivo deste artigo é analisar categorias como corpo e erotismo e a sua relação com o bolero, a partir de uma figura que constitui uma "personalidade excepcional" na qual a vida e o trabalho se misturam para dar origem a um artefato cultural: La Lupe. O nosso corpus é composto por formatos que permitirão ler essa produtividade que La Lupe representa na América Latina durante o século XX. Partimos das propostas teóricas de Roger Dadoun sobre erotismo, corpo e desejo, e das discussões sobre "originalidade" de Gilles Deleuze, em diálogo com diferentes leituras sobre o bolero que nos permitirão entender as categorias anteriores, levando em conta a especificidade que elas adquirem dentro do imaginário latino-americano. ; The body is the place where subjectivity is inscribed. There is no subjectivity without a body. Beyond political theories, studies on this category also open to perspectives that connect it with life and desire. The erotic body thus constitutes a drift that dialogues with the Policies of Affection and Cultural Studies. Our work is based on a phenomenon, thought of as "cultural artifact", which originates in music and explodes into other fields of thought, generating productivity. The objective of this article is to analyze categories such as body and eroticism and their relationship with the bolero, based on a figure that constitutes an "exceptional personality" in which life and work are mixed to give rise to a cultural artifact: La Lupe. Our corpus is made up of formats that will allow you to read this productivity that La Lupe represents in Latin America during the 20th century. We will start with the theoretical proposals of Roger Dadoun oneroticism, body and desire, and the discussions on "originality" by Gilles Deleuze, in dialogue with different readings on the bolero that will allow us to understand the previous categories, taking into account the specificity they have within the Latin American imaginary.

While the current world order of independent nation-states may seem like a natural state that has existed for centuries, in reality, it is a relatively new development that was forged after the demise of imperial rule. Yet, the nation-state is the foundational entity of our current international political and legal framework. International treaties and relations are structured around the nation-state, which is recognized as the core entity in which rights are vested and on which obligations are imposed. This prioritization of the nation-state leads to issues when we consider the repatriation of cultural heritage, particularly in light of the history of many of the nation-states in existence today. Many of the nation-states we see on maps today were political creations whose borders were drawn arbitrarily, with complete disregard for the cultural, ethnic, political, religious, and social divides that already existed among indigenous and native peoples. As such, there is a discongruence between the peoples of the world and many of the national borders demarcated by maps today. This article examines this history, highlighting some of the arbitrary and politically-driven ways in which our world of nation-states came about. It also discusses some of the issues that arise when the nation-state is prioritized over peoples with respect to rights to cultural heritage. Finally, this article suggests that the framework for the repatriation of cultural heritage must evolve away from a system in which the default rightholder is the nation-state. Instead, where feasible and just, peoples should be recognized as having superior rights to cultural heritage. Such a model would give indigenous and marginalized peoples greater control over the fate of their cultural heritage and align more with the goals of repatriation.

While the current world order of independent nation-states may seem like a natural state that has existed for centuries, in reality, it is a relatively new development that was forged after the demise of imperial rule. Yet, the nation-state is the foundational entity of our current international political and legal framework. International treaties and relations are structured around the nation-state, which is recognized as the core entity in which rights are vested and on which obligations are imposed. This prioritization of the nation-state leads to issues when we consider the repatriation of cultural heritage, particularly in light of the history of many of the nation-states in existence today. Many of the nation-states we see on maps today were political creations whose borders were drawn arbitrarily, with complete disregard for the cultural, ethnic, political, religious, and social divides that already existed among indigenous and native peoples. As such, there is a discongruence between the peoples of the world and many of the national borders demarcated by maps today. This article examines this history, highlighting some of the arbitrary and politically-driven ways in which our world of nation-states came about. It also discusses some of the issues that arise when the nation-state is prioritized over peoples with respect to rights to cultural heritage. Finally, this article suggests that the framework for the repatriation of cultural heritage must evolve away from a system in which the default rightholder is the nation-state. Instead, where feasible and just, peoples should be recognized as having superior rights to cultural heritage. Such a model would give indigenous and marginalized peoples greater control over the fate of their cultural heritage and align more with the goals of repatriation.

AbstractThis article examines the United States' enforcement of indecency norms in the broadcast arena to discern how it illuminates cultural policy. The article looks at several examples of how enforcement of indecency norms has contributed to the development of an indecency policy that is in tension with other aspects of cultural policy including diversity of voices and localism.