Control Mechanisms for Assessing the Quality of Handmade and Artistic Products in e-Marketplace Platforms

Selling handmade and artistic goods online is challenging since buyers need to be able to assess product quality before purchase. This study aims to explore how control mechanisms aid the assessment of the product quality of handmade and artistic goods. We do so by extracting control mechanisms for e-marketplace platforms from existing literature and discussing to what extent these are suitable for handmade and artistic goods. We found that existing literature mainly focuses on reputation systems. We reshaped the findings by conducting desk research to identify how control mechanisms are applied in a number of e-marketplaces. Our results show that in e-marketplaces that focus on selling handmade artistic products, a reputation system is not sufficient to ensure product quality in an online environment. Thus, it is critical to apply other control mechanisms which are more effective in increasing the trustworthiness of the seller of artistic and handmade goods. Last, we also suggest alternative control mechanisms to be explored in future research

Delaware Public Benefit Corporations 90 Days Out: Who\u27s Opting In?

The Delaware legislature recently shocked the sustainable business and social enterprise sector. On August 1, 2013, amendments to the Delaware General Corporation Law became effective, allowing entities to incorporate as a public benefit corporation, a new hybrid corporate form that requires managers to balance shareholders’ financial interests with the besat interests of stakeholders materially affected by the corporation’s conduct, and produce a public benefit. For a state that has long ruled U.S. corporate law and whose judiciary has frequently invoked shareholder primacy, the adoption of the public benefit corporation form has been hailed as a victory by sustainable business and social enterprise proponents. And yet, the significance of this victory in Delaware is premature. Information about the number and types of companies opting into the public benefit corporation form has been preliminary and speculative. This article fills that gap. In this article, I present original descriptive research on the 53 public benefit corporations that incorporated or converted in Delaware within the first three months of the amended corporate statute’s effectiveness. Based on publicly available documents and information, I analyze these first public benefit corporations with respect to the following characteristics: (1) year of incorporation as a proxy for corporate age, (2) industry, (3) charitable activities, (4) identified specific public benefit, and (5) adoption of model legislation options not required by the Delaware statute. My analysis returns the following results: 75% of public benefit corporations are likely new corporations in their early stages of operation; 32% of public benefit corporations provide professional services (e.g., consulting, legal, financial, architectural design), the technology, healthcare, and education sectors each represent 11% of public benefit corporations, 10% of public benefit corporations produce consumer retail products; approximately 40% of public benefit corporations could have alternatively incorporated as a charitable nonprofit exempt from federal income taxes. This article discusses these and other findings to assist in understanding the public benefit corporation and how it has been employed within the first three months of its adoption

Feminist Futures of Work:Reimagining Labour in the Digital Economy

The future of work is at the centre of debates related to the emerging digital society. Concerns range from the inclusion, equity, and dignity of those at the far end of the value chain, who participate on and off platforms, often in the shadows, invisible to policymakers, designers, and consumers. Precarity and informality characterize this largely female workforce, across sectors ranging from artisanal work to salon services to ride hailing and construction. A feminist reimagining of the futures of work—what we term as “FemWork" —is the need of the day and should manifest in multiple and various forms, placing the worker at the core and drawing on her experiences, aspirations, and realities. This volume offers grounded insights from academic, activist, legal, development and design perspectives that can help us think through these inclusive futures and possibly create digital, social, and governance infrastructures of work that are fairer and more meaningful

Digital Technologies and Traditional Cultural Expressions: A Positive Look at a Difficult Relationship

Digital technologies have often been perceived as imperilling traditional cultural expressions (TCE). This angst has interlinked technical and sociocultural dimensions. On the technical side, it is related to the affordances of digital media that allow instantaneous access to information without real location constraints, data transport at the speed of light and effortless reproduction of the original without any loss of quality. In a sociocultural context, digital technologies have been regarded as the epitome of globalization forces—not only driving and deepening the process of globalization itself but also spreading its effects. The present article examines the validity of these claims and sketches a number of ways in which digital technologies may act as benevolent factors. It illustrates in particular that some digital technologies can be instrumentalized to protect TCE forms, reflecting more appropriately the specificities of TCE as a complex process of creation of identity and culture. The article also seeks to reveal that digital technologies—and more specifically the Internet and the World Wide Web—have had a profound impact on the ways cultural content is created, disseminated, accessed and consumed. It is argued that this environment may have generated various opportunities for better accommodating TCE, especially in their dynamic sense of human creativit

Making Stories: An Investigation of Personal Brand Narratives in the Scottish Craft Microenterprise Sector

This thesis examines the marketing and branding behaviours of a sample of microbusinesses that operate in Scotland’s diverse craft sector by examining brand narratives they create. Context of the sector is first given and demonstrates that this particular topic has received little specific attention in academic literature even though it has been recommended (Fillis 2003a; Fillis 2003b). Such an investigation also offers implications for SME marketing/ entrepreneurship in general, the creative industries in particular and craft brands’ contribution to the overall place branding of Scotland. An empirical methodology is proposed which takes a narrative phenomenological approach, generating narrative texts from depth interviews with creative producers which is subjected to a Grounded Theory approach and narrative analysis in view of craft producer typologies (Fillis 1999; Fillis 2010). The stories of makers are used to generate meaning and outputs to contribute to theory, practice and recommendations for policy. Care is taken to ensure that the testimony of participants is co-created and not entirely the result of the researcher’s interpretation even though this study is interpretive in nature (Rae & Carswell 2000; McAdams 2008; MacLean et al. 2011). Similar to other entrepreneurs or producers in the creative industries, the craft worker in the current era is typified as an individual sole trader who operates in a wider culture, society and economy of increasing complexity and competition (Fraser 2013). This thesis selects those owner/ managers whose businesses rely upon craft practice and are operating in Scotland as its focus, but aims its findings at a wider reach to establish themes for future research to understand how its participants build value into their market offerings by creating personal narratives within larger narratives of craft sector and creative industries discourse. A range of participants from new starts to well-established craft practitioners is featured in the text in order to give depth and breadth to the understanding of current practice in a diverse sector which increasingly interacts with other creative industry sectors (Yair & Schwarz 2011). This thesis posits that creative producers build value through their unique ‘auratic’ persona through their personal brand narrative. This is what differentiates their work and outputs from large corporatized mass-manufacturing systems. The products of individuals’ hand skill may be categorised and classified in many ways – from fine contemporary craft to the vernacular, the utile and that which pays homage to others’ designs. What remains constant, however, is that it emanates from personal identity and the identity of the maker mixing self with story (Leslie 1998). The thesis contributes to the gap in academic marketing literature on microenterprise brand development using the topics of personal narrative, business development, product development, marketing competency/ orientation, and technology use in production and marketing. Additional emergent themes of Microenterprise Social Responsibility, the role of life-work balance of makers parenthood which further ideas of career management in the creative industries are also revealed in the course of this research (see also Summerton 1990; Burroughs 2002; Neilson & Rossiter 2008; McDowell & Christopherson 2009; Banks & Hesmondhalgh 2009). Methodologically, this thesis is hybrid but crucially uses the equipment of story and narrative analysis to offer both insights into practice for the academy and a method that practitioners can use to further marketing development and their brand identity. Through the careful gathering and presentation of various stories – of biography, making and marketing, this thesis presents a current view of craft as created, communicated and exchanged by those working in the field in Scotland today. These case stories act as both informative examples that demonstrate how individual producers create value in their work. The findings are consistent with - but also develop - a maker typology offered by Fillis (1999; 2010) and Burns et al. (2012) thus contributing a methodological and conceptual approach and framework to understand the marketing and branding behaviours of Scottish craft microenterprises (McAuley 1999; Creative and Cultural Skills 2009) but which may also be applied to other types of microenterprise

Handmade 2.0: Women, DIY Networks and the Cultural Economy of Craft

Handmade 2.0: Women, DIY Networks and the Cultural Economy of Craft Jacqueline Wallace, PhD Concordia University, 2014 This dissertation is a feminist ethnography of the contemporary craft scene in North America. It examines do-it-yourself (DIY) networks of indie crafts as a significant cultural economy and site of women’s creative labour, moving beyond existing research, which has historically focused on craft as primarily associated with women’s domestic activity, or as a salon refusé subordinated to the fine arts, or affiliations with turn of the 20th century industrialization. Rather, my research focuses on contemporary craft work as a field of women’s cultural production, informal networks and entrepreneurship—a highly contemporary cultural and economic phenomenon buoyed by the rise of the so-called creative class, a DIY ethic and a broader conception of craftwork as “Handmade 2.0,” underscoring the role of digital media and networked communications in the modern craft economy. By contrasting the global ecommerce marketplace, Etsy, and the work of independent crafters, it offers a significant contribution to emergent debates at the intersections of the gendered workplace, flexible labour and (corporatized) cultural production. Specifically, this research makes three key interventions: a reconceptu-alization and cultural analysis of DIY craft as a Bourdieuian-influenced field of gendered cultural production; a case study and critique of Etsy as a corporatized model and significant marker of social class and distinction; and a feminist cultural analysis of crafty women’s making, connecting, and the precarity of their feminized labours. The research findings underscore the contemporary importance of gendered, informally networked cultural production that must constantly interface with other more entrenched institutions, while also exposing the vast personal and professional networks that female makers as individual entrepreneurs must incessantly nurture to earn esteemed social and cultural capital—both on- and offline. These dynamics require crafty women to play multiple roles in the circuit of culture, and most often for paltry wages and at significant emotional cost. By way of a critical feminist analysis, it concludes that today’s indie craft represents a complex and dynamic web of tensions, discourses and contradictions as women negotiate the material and emotional labours of their multiple identities and investments in the ‘always on’ work/lifestyle environment of the digital age. Finally, by calling for the continued vigilance of feminist inquiry and policy and advocacy work, I suggest pathways for future research as new technologies, social media and economic models continue to evolve and affect this growing sector of flexible forms of women’s creative work existing outside conventional employment structures and social protections

Effect of industry changes on quality and sustainability in the luxury apparel value chains : the case of cashmere industry in India : a thesis presented in partial fulfilment of the requirements for the degree of Doctor of Philosophy in Engineering, School of Food and Advanced Technology, Massey University, Palmerston North, New Zealand

Listed in 2022 Dean's List of Exceptional ThesesFigures are re-used with permission.Cashmere is an extremely fine and expensive natural fibre used to make a variety of luxury apparel products. The Kashmir region of India has been the traditional hub for manufacturing cashmere products for centuries and a source of livelihood to many artisan communities. However, changes in the cashmere industry such as the advent of mechanisation, use of blended fibres, exposure to wider markets and lack of quality standards is leading to social, economic, environmental, and quality issues in the craft industry. The aim of this interdisciplinary research was to determine and analyse the effect of these industry changes through the lenses of quality and sustainability. This study was carried out as an ethnographic case study in the context of an industry making transition to the global consumer age. To this end, a single case study was conducted in Kashmir, India using qualitative methodological approaches. Data were collected using semi-structured interviews, observations and from secondary sources such as retailer websites and documents. A thematic analysis-based approach was adopted in this research. Findings indicate that there are three distinct cashmere value chains functioning simultaneously in India: a traditional chain, a modern chain and a Geographical Indication-based chain. Among other implications of the industry changes, the two major aspects observed were the marginalization of cashmere artisanal communities and the lack of recognition of distinct product labelling options. This has economic, social and environmental ramifications and leads to quality issues. Therefore, for multiple cashmere value chains which produce a range of products, a product labelling mechanism distinguishing the place of fibre origin, type of the fibre used, and practices adopted during the manufacture is developed. Also, the adoption of Geographical Indications (GI) as a quality and sustainable development tool is considered, and a conceptual model (QASHMIR) is developed to model the sustainable development of the cashmere industry in India. A policy mechanism to implement and monitor the proposed model using the sustainability indicator system is suggested. Through this, a contribution to the body of knowledge surrounding luxury apparel value chains is made for academics, policy makers and industry practitioners

An examination of the physical and temporal parameters of post-physical printmaking practice: exploring new modes of collaboration, distribution and consumption resulting from digital processes and networked participation.

This research was initiated by questions raised from the researchers professional activities in fine art printmaking and examines, through contextualised artistic practice and critical enquiry, redefinitions in the physical and temporal parameters of digitally mediated fine art printmaking caused by developments in digital media; specifically the impact of digital culture, Web2.0, social networking, augmented and virtual reality. Grounded on critical contextual review the research explores, through contextualised research probes, the notion of post-physical practice and the impact of new modes of collaboration, distribution and consumption on contemporary printmaking. It includes the findings of an international, digitally mediated, participatory and collaborative exchange survey of contemporary digital print, developed through direct enquiry using social media as a research tool. Philosophical questions about the impact of eculture, post-physical working and new modes of print-based artistic practice were examined, as well as the indexicality of the print itself in augmented and virtual contexts. The research employs dynamic triangulation between critical contextual review and direct qualitative and practice-based research; to develop a taxonomy framing the contextual precedents of digital printmaking, pinpointing key markers of transition between traditional and new printmaking. It uses post-studio methods and explores the conception, production, editioning, collection and ownership of print in an increasingly networked digital age, providing proof of concept and exploring virtual immersive surfaces in printmaking. These lead to the development of new models for a second generation of printmaking practice or Printmaking2.0 expressly founded in post-physical practice in a poststudio context and embracing the lingua franca of contemporary digital practice in the production of born digital virtually imprinted forms. In both, the technical practice of post-physical printmaking and the significant artistic implications resulting from the cultural shifts following digital participation and post-physical embodiment

Knitting Ourselves Into Being: the Case of Labour and Hip Domesticity on the Social Network Ravelry.com

Thinking of social media participation in terms of doing work may seem a strange proposition. Yet, social network and handicrafts website Ravelry.com requires a great deal of labour from its members. From painstakingly hand-knitting fuzzy objects to photographing, recording and sharing these objects online, Ravelers must supply evidence of their hard work in order to fully participate in this online community. On Ravelry, “writing oneself into being” (Sundén 2002), or performing one’s self through a textual medium, encompasses much more than simply writing. One must knit oneself into being too. Social capital is then accumulated through extensive cataloguing of handmade items. These ‘finished objects’ of knitting and crochet are imbued with affective meaning as tokens of nurturing and gift-giving, consistent with a historicity in which handicrafts like knitting have been associated with gendered care-work. Yet, much of Ravelry’s activity centres on commodity exchange. Displaying commodity ownership is as important as displaying evidence of labour for the accrual of social capital. Recording and displaying domesticity as both acts of labour and acts of consumption fit within a wider trend of hip domesticity, where demonstrating one’s domesticity has become a facet of popular culture. This project examines Ravelry.com’s emphasis on the placement of a physical object between the self and the social network. The thesis argues that this incorporation of material objects into the structure of a social network challenges notions of disembodiment and immateriality. Ravelry.com demonstrates the need for a discussion of social media participant labour which goes beyond the immaterial and affective