The aim of this study was to reveal if there is literature about who's still playing Pokémon Go two years after game launch, and whether players report the AR-aspect as part of the reason they're still engaging in the game. Investigating the phenomenon covered widely by news and social media from this angle could be of interest of public health workers with the ambition to replicate the success. We ran a systematic search resulting in 22 articles included, published between 2016-2018. The results revealed that the main part of the included studies were conducted just around game launch (July 2016) and within the first six months Pokémon Go was out "in the wild". AR was in general not questioned about, and there exists different and vague understandings of what augmented reality actually is. We were not able to identify the typical long-term player engaging with the game, and to what extent AR was a part of the prolonged success. The search also revealed a lack of longitudinal studies (with larger, more representative participant groups) about general social and mental health implications of playing the game. The studies imply a successful combination of several game aspects - whether playing for the adventure and discovering new places, family bonding, general game flexibility, "to pass time", a bit of nostalgia – or just for fun. Further studies are needed to understand of which importance it is to implement an AR- or location-based-feature, the importance of branding, what app/game mechanics appeal to the general and how deeply immersive experiences through a mobile screen are able to affect us, dragging us into an augmented world – and keeping us there. ; M-FOL
"The Makassar annals Translated and edited by William Cummings. Beginning in the 1630s, a series of annalists at the main courts of Makassar began keeping records with dated entries that recorded a wide variety of specific historical information about a wide variety of topics, including the births and deaths of notable individuals, the actions of rulers, the spread of Islam, trade and diplomacy, the built environment, ritual activity, warfare, internal political struggles, social and kinship relations, eclipses and comets, and more. These Lontaraq bilang were a clear departure in form and function from the genealogically-structured chronicles being composed about the ruling families of Gowa and Talloq in the same era. By the end of 1751, nearly 2400 entries had been completed. These records are a rich lode of information for scholars interested in virtually any aspect of life in premodern Makassar, and are a rare and precious resource for scholars of Southeast Asia. This is the first English translation and annotation of the annals. William Cummings is an associate professor of history at the University of South Florida. He is the author of Making blood white; Historical transformation in early modern Makassar, A chain of kings; The Makassarese chronicles of Gowa and Talloq, and numerous articles about Makassarese history and culture"--Publisher's description
This master's thesis seeks to map the discourse on trust-based management and leadership (TBML) in some of the largest Norwegian newspapers. Namely to assess 1) the Norwegian discourse compared to tendencies otherwise in Scandinavia, 2) which actors are most active within the discourse, 3) the terminology used to frame TBML, as well as aspects of the newspapers, 4) attitudes towards TBML and their development, and 5) the development in the spread (mention) of TBML over time. Over 180 newspaper articles have been selected, covering a period of eleven years (2010-2020). They are registered and analyzed by utilizing a combination of quantitative and qualitative content analysis. Concepts from discourse analysis are drawn upon throughout. The results are viewed and discussed within the frame of the initial five-part division of focal areas and discussed in light of relevant theory on the fields of trust, discourse, and the spread of management and leadership ideas. The findings indicate that the Norwegian discourse gains momentum simultaneously as the rest of Scandinavia, though with a few more odd peaks in mention, related to specific, highly politicized and debated topics. By sector, political representation and attitudes, the actors that are most active within the discourse are political, social-democratic and positive towards TBML. The most positive actors towards TBML, by level of position, are political and public leaders. I tie these individual groupings of actors to different theoretical contributions on the spread of management ideas, hereunder diffusion theory, the translation of ideas, the life-cycle perspective, and the analogy of resistance. Pronounced negative mention of TBML does not occur, however, TBML is often problematized by individual actors through a line of thought that sees "trust" as a phenomenon that cannot be united with a professional reality that calls for control. The problematization of TBML is also more frequent in regional newspapers and by actors on employee level. The findings also indicate that the shift in conceptual focus from "leadership" exclusively, to "management (steering) and leadership" over the last three years, results from a process of learning. "Steering" as a counter-concept, paradoxically becomes more common at the same time. This is tied to the leader-employee division and its impact on the spread, reception and implementation of ideas. To the degree the spread of TBML can be mapped by article frequency over time, it seems to follow an S-shaped diffusion line. However, other important aspects than the visual development in article frequency are in line with different approaches to the spread of management ideas, as highlighted throughout the analysis. ; publishedVersion
Rad koristi interdisciplinarni pristup u okviru kulturne politike, kako bi predstavio potrebe za decentralizacijom kulturnog sistema u Srbiji i istovremeno predložio model decentralizacije kulture koji može biti primenjen. Uvodni deo prvo predstavlja značaj decentralizacije u kulturi za Srbiju, ali istovremeno i naglašava prepreke koje su vezane za tranzicioni period u kome se zemlja nalazi. Takođe, u teoretizaciji same decentralizacije u kulturi, rad uvodi nove ključne aspekte – jednakost, ravnopravnost i pravednost, koji se predstavljaju kroz političko – ekonomske teorije poput liberalizma, socijalizma, anarhizma i feminizma, da bi se socijalna pravda uvela kao glavni princip. Iz toga proizilazi i glavna hipoteza - uz primenu principa pravednosti u modelu, može se ostvariti i princip jednakosti/ravnopravnosti u decentralizaciji kulturnog sistema Srbije. Metodološki postupak zasnovan je na interdisciplinarnim teorijsko-empirijskim istraživanjima koja obuhvataju kulturnu politiku, menadžment u kulturi, teoriju upravljanja, političke nauke, ekonomske nauke, pravne nauke i sociologiju. Cilj istraživanja je modelovanje novog kulturnog sistema decentralizacije u Srbiji, zasnovanog na principu pravednosti. Oslanjajući se na evropske primere decentralizacije kulture, kojima se teži kao pripadajućem prostoru države, rad predstavlja i istorijski pregled decentralizacije u širem smislu, političke i fiskalne, kao preduslova pune decentralizacije u kulturi. U opštem teoretisanju decentralizacije, istovremeno se i sama decentralizacija terminološki odvaja od pojmova poput dekocentracije, demetropolizacije, devolucije i delegacije, a predstavljaju se i suplementarni poput regionalizacije i supsidijarnosti, kao i međusobna uslovljenost navedenih oblika decentralizacije (političke, ekonomske i kulturne). Polazne definicije decentralizacije, trodelna definicija uslovljenosti decentralizacije u kulturi Nobuko Kavašime kao "fer distribucija resursa" i Meklijeva "decentralizacija odlučivanja", odnosno dva principa – top down demokratizacije kulture i bootom up kulturne demokratije, u radu se ne isključuju nego zajedno koriste u susretnom smislu. Rad analizira i teorije o decentralizaciji kulture (Malro i Mekli u Francuskoj, Kavašima u Engleskoj, kao i regionalne poput Dragojevića u Hrvatskoj), kao i teoretske pojmove koje smatra neophodnim za primenu decentralizacije u kulturi poput socijalne (shvatanje Džona Rolsa) i tranzicione pravde, društvene sektore sa posebnim naglaskom na civilni sektor u kulturi, populistički diskurs decentralizacije koji koristi politika, participaciju kao neophodan element decentralizacije kulture, commons i spillover efect. Analiza je obuhvatila i praktične, nekadašnje i sadašnje modele decentralizacije u kulturi u Evropi (sa posebnim naglaskom na Francusku i Englesku), nekadašnjoj Jugoslaviji (sa posebnim akcentom na samoupravni sistem), država u regionu (Hrvatska posebno) i samoj Srbiji (Nacrt strategije Komisije za decentralizaciju kulture), kako bi se predstavile strategije koje se mogu iskoristiti za predloženi model. Utvrđujući putem empirijskog istraživanja (stavovi kreatora kulture u unutrašnjosti Srbije), finansijske analize javnih izdvajanja za kulturu, strateških planova i medijske vidljivosti, visok stepen centralizma, rad predlaže i konkretne mere za ostvarivanje decentralizacije u kulturi. Poseban segment istraživanja je utvrdio i potencijalnu ulogu civilnog sektora u kulturi u decentralizaciji kulture, gde se merio njegov potencijal, održivost, povezivanje (poput Asocijacije nezavisne kulturne scene Srbije i njene uloge) i prevashodno primeri dobre prakse u svetu (omladinski centri Estonije) i kod nas nekada (Otvoreni klubovi Savezne republike Jugoslavije) i danas. Glavni rezultat ovog rada je predlog modela za implementaciju decentralizacije u kulturi Srbije, koji je adekvatan specifičnim uslovima sredine i realno primenljiv. Model je nazvan "susretno-pravednim" jer u sebi sadrži više pristupa koji nisu samostalni nego upravo povezani uslovljenim obligacijama odlučivanja koje dvosmerno dolaze vertikalno (nivoi vlasti) i horizontalno (korisnici i sektori) uz primenu načela pravednosti kao glavnog kriterijuma. Model je trostepeni (kulturna decentralizacija bez političke i fiskalne, kulturna i fiskalna decentralizacija i sva tri vida zajedno) sa trogodišnjim trajanjem svake faze. On predlaže mere i strategije poput regionalizacije (politička decentralizacija), "skandinavskog modela finansiranja" lokalnih samouprava (fiskalna decentralizacija) i kao najbitnije za kulturnu decentralizaciju: jačanje regionalnih i lokalnih resursa (razvoj kadrova i publike, departizaciju, deinstitucionalizaciju, izgradnju i revitalizaciju infrastrukture i obavezne lokalne i regionalne strategije kulture), "kapilarnu decentralizaciju" kulture putem jačanja uloge civilnog sektora, obavezni "lokalni spillover" za manifestacione kreativne industrije i primenu faktora socijalne pravde u finansiranju kulture, difuziji institucija i manifestacija od nacionalnog značaja i u nacionalnoj medijskoj promociji. Naučni doprinos rada je dalja teoretizacija pojma decentralizacije u kulturi sa stanovišta principa jednakosti, ravnopravnosti i pravde. U oblasti kulturne politike, vrednost dizajniranog modela je u tome što može imati i potencijalnu praktičnu primenu, kako od strane nacionalnih, tako i lokalnih subjekata u kulturi Srbije. ; The paper uses an interdisciplinary approach within cultural policy to present the needs for decentralization of the cultural system in Serbia and at the same time propose a model for decentralization of culture that can be applied. The introductory part first presents the importance of decentralization in culture for Serbia, but at the same time highlights the obstacles that are associated with the transition period in which the country is located. Also, in the theorizing of decentralization in culture, the paper introduces new key aspects - equality, equal and justice, which are presented through political - economic theories such as liberalism, socialism, anarchism and feminism, to introduce social justice as the main principle. This leads to the main hypothesis - with the application of the principle of equity in the model, the principle of equality in the decentralization of the cultural system of Serbia can be realized. The methodological procedure is based on interdisciplinary theoretical and empirical research covering cultural policy, cultural management, management theory, political science, economic sciences, legal sciences and sociology. The aim of the research is to model a new cultural system of decentralization in Serbia, based on the principle of equity. Drawing on European examples of decentralization of culture, which strives as belonging to the state space, the paper also presents a historical overview of decentralization in the broad sense, political and fiscal, as a precondition for full decentralization in culture. In the general theorizing of decentralization, decentralization itself is terminologically detached from concepts such as decocentiation, demetropolisation, devolution and delegation, and they are also complementary such as regionalization and subsidiarity, as well as the interdependence of these forms of decentralization (political, economic and cultural). The initial definitions of decentralization, the three-part definition of the conditionality of decentralization in the culture of Nobuko Kawashima as a "fair distribution of resources" and Moeckli's "decentralization of decision-making", that is, two principles - top down of culture democratization and bootom up of cultural democracy, are not mutually exclusive but used together. The paper analyzes the theories of decentralization of culture (Malro and Moeckli in France, Kawashima in England, as well as regional ones like Dragojevic in Croatia), as well as theoretical concepts that he considers necessary for the application of decentralization in culture such as social (John Rolls' understanding) and transitional justice, social sectors with particular emphasis on the civil sector in culture, a populist discourse of decentralization used by politics, participation as a necessary element of cultural decentralization, commons and spillover efect. The analysis also included practical, former and current models of decentralization in culture in Europe (with special emphasis on France and England), former Yugoslavia (with particular emphasis on the self-governing system), countries in the region (Croatia in particular) and Serbia itself (Draft Commission Strategy to decentralize culture), to outline strategies that can be used for the proposed model. By establishing through empirical research (views of cultural creators in the interior of Serbia), financial analysis of public appropriations for culture, strategic plans and media visibility, a high degree of centralism, the paper also proposes concrete measures for achieving decentralization in culture. A specific segment of the research identified the potential role of the civil sector in culture in decentralizing culture, measuring its potential, sustainability, networking (such as the Association of the Independent Cultural Scene of Serbia and its role) and, above all, examples of good practice in the world (Estonian youth centers) and in Balkan once (Open clubs of the Federal Republic of Yugoslavia) and today). The main result of this paper is the proposal of a model for the implementation of decentralization in the culture of Serbia, which is adequate to the specific environmental conditions and realistically applicable. The model has been called "counter-righteous" because it contains more approaches that are not standalone but just linked by conditioned decision-making obligations that come two-way vertically (levels of government) and horizontally (users and sectors), by applying the principle of fairness as the main criterion. The model is three-stage (cultural decentralization without political and fiscal, cultural and fiscal decentralization and all three aspects together) with a three-year duration of each phase. It proposes measures and strategies such as regionalization (political decentralization), the "scandinavian financing model" of local governments (fiscal decentralization) and as essential to cultural decentralization: strengthening regional and local resources (development of staff and audience, depoliticization, deinstitutionalization, construction and revitalization of infrastructure and mandatory local and regional cultural strategies), "capillary decentralization" of culture through strengthening the role of the civil sector, mandatory "local spillover" for creative industries and the application of social justice factors in the financing of culture, diffusion of institutions and events of national importance and in national media promotion. The scientific contribution of the paper is further theorization of the concept of decentralization in culture from the standpoint of the principles of equality and justice. In the field of cultural policy, the value of the designed model is that it can have potential practical application, both by national and local subjects in the culture of Serbia.
Rad koristi interdisciplinarni pristup u okviru kulturne politike, kako bi predstavio potrebe za decentralizacijom kulturnog sistema u Srbiji i istovremeno predložio model decentralizacije kulture koji može biti primenjen. Uvodni deo prvo predstavlja značaj decentralizacije u kulturi za Srbiju, ali istovremeno i naglašava prepreke koje su vezane za tranzicioni period u kome se zemlja nalazi. Takođe, u teoretizaciji same decentralizacije u kulturi, rad uvodi nove ključne aspekte – jednakost, ravnopravnost i pravednost, koji se predstavljaju kroz političko – ekonomske teorije poput liberalizma, socijalizma, anarhizma i feminizma, da bi se socijalna pravda uvela kao glavni princip. Iz toga proizilazi i glavna hipoteza - uz primenu principa pravednosti u modelu, može se ostvariti i princip jednakosti/ravnopravnosti u decentralizaciji kulturnog sistema Srbije. Metodološki postupak zasnovan je na interdisciplinarnim teorijsko-empirijskim istraživanjima koja obuhvataju kulturnu politiku, menadžment u kulturi, teoriju upravljanja, političke nauke, ekonomske nauke, pravne nauke i sociologiju. Cilj istraživanja je modelovanje novog kulturnog sistema decentralizacije u Srbiji, zasnovanog na principu pravednosti. Oslanjajući se na evropske primere decentralizacije kulture, kojima se teži kao pripadajućem prostoru države, rad predstavlja i istorijski pregled decentralizacije u širem smislu, političke i fiskalne, kao preduslova pune decentralizacije u kulturi. U opštem teoretisanju decentralizacije, istovremeno se i sama decentralizacija terminološki odvaja od pojmova poput dekocentracije, demetropolizacije, devolucije i delegacije, a predstavljaju se i suplementarni poput regionalizacije i supsidijarnosti, kao i međusobna uslovljenost navedenih oblika decentralizacije (političke, ekonomske i kulturne). Polazne definicije decentralizacije, trodelna definicija uslovljenosti decentralizacije u kulturi Nobuko Kavašime kao "fer distribucija resursa" i Meklijeva "decentralizacija odlučivanja", odnosno dva principa – top down demokratizacije kulture i bootom up kulturne demokratije, u radu se ne isključuju nego zajedno koriste u susretnom smislu. Rad analizira i teorije o decentralizaciji kulture (Malro i Mekli u Francuskoj, Kavašima u Engleskoj, kao i regionalne poput Dragojevića u Hrvatskoj), kao i teoretske pojmove koje smatra neophodnim za primenu decentralizacije u kulturi poput socijalne (shvatanje Džona Rolsa) i tranzicione pravde, društvene sektore sa posebnim naglaskom na civilni sektor u kulturi, populistički diskurs decentralizacije koji koristi politika, participaciju kao neophodan element decentralizacije kulture, commons i spillover efect. Analiza je obuhvatila i praktične, nekadašnje i sadašnje modele decentralizacije u kulturi u Evropi (sa posebnim naglaskom na Francusku i Englesku), nekadašnjoj Jugoslaviji (sa posebnim akcentom na samoupravni sistem), država u regionu (Hrvatska posebno) i samoj Srbiji (Nacrt strategije Komisije za decentralizaciju kulture), kako bi se predstavile strategije koje se mogu iskoristiti za predloženi model. Utvrđujući putem empirijskog istraživanja (stavovi kreatora kulture u unutrašnjosti Srbije), finansijske analize javnih izdvajanja za kulturu, strateških planova i medijske vidljivosti, visok stepen centralizma, rad predlaže i konkretne mere za ostvarivanje decentralizacije u kulturi. Poseban segment istraživanja je utvrdio i potencijalnu ulogu civilnog sektora u kulturi u decentralizaciji kulture, gde se merio njegov potencijal, održivost, povezivanje (poput Asocijacije nezavisne kulturne scene Srbije i njene uloge) i prevashodno primeri dobre prakse u svetu (omladinski centri Estonije) i kod nas nekada (Otvoreni klubovi Savezne republike Jugoslavije) i danas. Glavni rezultat ovog rada je predlog modela za implementaciju decentralizacije u kulturi Srbije, koji je adekvatan specifičnim uslovima sredine i realno primenljiv. Model je nazvan "susretno-pravednim" jer u sebi sadrži više pristupa koji nisu samostalni nego upravo povezani uslovljenim obligacijama odlučivanja koje dvosmerno dolaze vertikalno (nivoi vlasti) i horizontalno (korisnici i sektori) uz primenu načela pravednosti kao glavnog kriterijuma. Model je trostepeni (kulturna decentralizacija bez političke i fiskalne, kulturna i fiskalna decentralizacija i sva tri vida zajedno) sa trogodišnjim trajanjem svake faze. On predlaže mere i strategije poput regionalizacije (politička decentralizacija), "skandinavskog modela finansiranja" lokalnih samouprava (fiskalna decentralizacija) i kao najbitnije za kulturnu decentralizaciju: jačanje regionalnih i lokalnih resursa (razvoj kadrova i publike, departizaciju, deinstitucionalizaciju, izgradnju i revitalizaciju infrastrukture i obavezne lokalne i regionalne strategije kulture), "kapilarnu decentralizaciju" kulture putem jačanja uloge civilnog sektora, obavezni "lokalni spillover" za manifestacione kreativne industrije i primenu faktora socijalne pravde u finansiranju kulture, difuziji institucija i manifestacija od nacionalnog značaja i u nacionalnoj medijskoj promociji. Naučni doprinos rada je dalja teoretizacija pojma decentralizacije u kulturi sa stanovišta principa jednakosti, ravnopravnosti i pravde. U oblasti kulturne politike, vrednost dizajniranog modela je u tome što može imati i potencijalnu praktičnu primenu, kako od strane nacionalnih, tako i lokalnih subjekata u kulturi Srbije. ; The paper uses an interdisciplinary approach within cultural policy to present the needs for decentralization of the cultural system in Serbia and at the same time propose a model for decentralization of culture that can be applied. The introductory part first presents the importance of decentralization in culture for Serbia, but at the same time highlights the obstacles that are associated with the transition period in which the country is located. Also, in the theorizing of decentralization in culture, the paper introduces new key aspects - equality, equal and justice, which are presented through political - economic theories such as liberalism, socialism, anarchism and feminism, to introduce social justice as the main principle. This leads to the main hypothesis - with the application of the principle of equity in the model, the principle of equality in the decentralization of the cultural system of Serbia can be realized. The methodological procedure is based on interdisciplinary theoretical and empirical research covering cultural policy, cultural management, management theory, political science, economic sciences, legal sciences and sociology. The aim of the research is to model a new cultural system of decentralization in Serbia, based on the principle of equity. Drawing on European examples of decentralization of culture, which strives as belonging to the state space, the paper also presents a historical overview of decentralization in the broad sense, political and fiscal, as a precondition for full decentralization in culture. In the general theorizing of decentralization, decentralization itself is terminologically detached from concepts such as decocentiation, demetropolisation, devolution and delegation, and they are also complementary such as regionalization and subsidiarity, as well as the interdependence of these forms of decentralization (political, economic and cultural). The initial definitions of decentralization, the three-part definition of the conditionality of decentralization in the culture of Nobuko Kawashima as a "fair distribution of resources" and Moeckli's "decentralization of decision-making", that is, two principles - top down of culture democratization and bootom up of cultural democracy, are not mutually exclusive but used together. The paper analyzes the theories of decentralization of culture (Malro and Moeckli in France, Kawashima in England, as well as regional ones like Dragojevic in Croatia), as well as theoretical concepts that he considers necessary for the application of decentralization in culture such as social (John Rolls' understanding) and transitional justice, social sectors with particular emphasis on the civil sector in culture, a populist discourse of decentralization used by politics, participation as a necessary element of cultural decentralization, commons and spillover efect. The analysis also included practical, former and current models of decentralization in culture in Europe (with special emphasis on France and England), former Yugoslavia (with particular emphasis on the self-governing system), countries in the region (Croatia in particular) and Serbia itself (Draft Commission Strategy to decentralize culture), to outline strategies that can be used for the proposed model. By establishing through empirical research (views of cultural creators in the interior of Serbia), financial analysis of public appropriations for culture, strategic plans and media visibility, a high degree of centralism, the paper also proposes concrete measures for achieving decentralization in culture. A specific segment of the research identified the potential role of the civil sector in culture in decentralizing culture, measuring its potential, sustainability, networking (such as the Association of the Independent Cultural Scene of Serbia and its role) and, above all, examples of good practice in the world (Estonian youth centers) and in Balkan once (Open clubs of the Federal Republic of Yugoslavia) and today). The main result of this paper is the proposal of a model for the implementation of decentralization in the culture of Serbia, which is adequate to the specific environmental conditions and realistically applicable. The model has been called "counter-righteous" because it contains more approaches that are not standalone but just linked by conditioned decision-making obligations that come two-way vertically (levels of government) and horizontally (users and sectors), by applying the principle of fairness as the main criterion. The model is three-stage (cultural decentralization without political and fiscal, cultural and fiscal decentralization and all three aspects together) with a three-year duration of each phase. It proposes measures and strategies such as regionalization (political decentralization), the "scandinavian financing model" of local governments (fiscal decentralization) and as essential to cultural decentralization: strengthening regional and local resources (development of staff and audience, depoliticization, deinstitutionalization, construction and revitalization of infrastructure and mandatory local and regional cultural strategies), "capillary decentralization" of culture through strengthening the role of the civil sector, mandatory "local spillover" for creative industries and the application of social justice factors in the financing of culture, diffusion of institutions and events of national importance and in national media promotion. The scientific contribution of the paper is further theorization of the concept of decentralization in culture from the standpoint of the principles of equality and justice. In the field of cultural policy, the value of the designed model is that it can have potential practical application, both by national and local subjects in the culture of Serbia.
