How virtual are we? Introducing the Team Perceived Virtuality Scale

With the strong proliferation of virtual teams across various organizations and contexts, understanding how virtuality affects teamwork has become fundamental to team and organizational effectiveness. However, current conceptualizations of virtuality rely almost exclusively on more or less fixed, structural features, such as the degree of technology reliance. In this paper, we take a socio-constructivist perspective on team virtuality, focusing on individuals’ experience of team virtuality, which may vary across teams and time points with similar structural features. More specifically, we develop and validate a scale that captures the construct of Team Perceived Virtuality (Handke et al., 2021). Following a description of item development and content validity, we present the results of four different studies that demonstrate the construct’s structural, discriminant, and criterion validity with an overall number of 2,294 teams. The final instrument comprises 10 items that measure the two dimensions of Team Perceived Virtuality (collectively-experienced distance and collectively-experienced information deficits) with five items each. This final scale showed a very good fit to a two-dimensional structure both at individual and team levels and adequate psychometric properties including aggregation indices. We further provide evidence for conceptual and empirical distinctiveness of the two TPV dimensions based on related team constructs, and for criterion validity, showing the expected significant relationships with leader-rated interaction quality and team performance. Lastly, we generalize results from student project teams to an organizational team sample. Accordingly, this scale can enhance both research and practice as a validated instrument to address how team virtuality is experienced.info:eu-repo/semantics/publishedVersio

Dealing with digital: the economic organisation of streamed music

© The Author(s) 2020. The intervention of digital service providers (DSPs) or platforms, such as Spotify Apple Music and Tidal, that supply streamed music has fundamentally altered the operation of copyright management organisations (CMOs) and the way song-writers and recording artists are paid. Platform economics has emerged from the economic analysis of two- and multi-sided markets, offering new insights into the way business is conducted in the digital sphere and is applied here to music streaming services. The business model for music streaming differs from previous arrangements by which the royalty paid to song-writers and performers was a percentage of sales. In the case of streamed music, payment is based on revenues from both subscriptions and ad-based free services. The DSP agrees a rate per stream with the various rights holders that varies according to the deal made with each of the major record labels, with CMOs, with representatives of independent labels and with unsigned artists and song-writers with consequences for artists’ earnings. The article discusses these various strands with a view to understanding royalty payments for streamed music in terms of platform economics, offering some data and information from the Norwegian music industry to give empirical support to the analysis

Submission to Canadian Government Consultation on a Modern Copyright Framework for AI and the Internet of Things

We are grateful for the opportunity to participate in the Canadian Government’s consultation on a modern copyright framework for AI and the Internet of Things. Below, we present some of our research findings relating to the importance of flexibility in copyright law to permit text and data mining (“TDM”). As the consultation paper recognizes, TDM is a critical element of artificial intelligence. Our research supports the adoption of a specific exception for uses of works in TDM to supplement Canada’s existing general fair dealing exception. Empirical research shows that more publication of citable research takes place in countries with “open” research exceptions -- that is, research exceptions that are open to all uses (e.g. reproduction and communication), to all works, and to all users. Empirical research also shows that text and data mining research is promoted through exceptions that more specifically authorize text and data mining research. While these studies are preliminary and we are still improving on them, they provide evidence that supports the approach of combining a general research exception with a more specific data mining exception

Knocking on Heaven’s door: User preferences on digital cultural distribution

This paper explores the social, demographic and attitudinal basis of consumer support of a Copyright Compensation System (CCS), which, for a small monthly fee would legalise currently infringing online social practices such as private copying from illegal sources and online sharing of copyrighted works. We do this by first identifying how different online and offline, legal and illegal, free and paying content acquisition channels are used in the media market using a cluster-based classification of respondents. Second, we assess the effect of cultural consumption on the support for a shift from the status quo towards alternative, CCS-based forms of digital cultural content distribution. Finally, we link these two analyses to identify the factors that drive the dynamics of change in digital cultural consumption habits. Our study shows significant support to a CCS compared to the status quo by both occasional and frequent buyers of cultural goods, despite the widespread adoption of legal free and paying online services by consumers. The nature of these preferences are also explored with the inclusion of consumer preference intensities regarding certain CCS attributes. Our results have relevant policy implications, for they outline CCS as a reform option. In particular, they point evidence-based copyright reform away from its current direction in the EU of stronger enforcement measures, additional exclusive rights, and increased liability and duties o

The tree species matters: Belowground carbon input and utilization in the myco-rhizosphere

© 2017 Elsevier Masson SAS Rhizodeposits act as major carbon (C) source for microbial communities and rhizosphere-driven effects on forest C cycling receive increasing attention for maintaining soil biodiversity and ecosystem functions. By in situ 13 CO 2 pulse labeling we investigated C input and microbial utilization of rhizodeposits by analyzing 13 C incorporation into phospholipid fatty acids (PLFA) of beech- (Fagus sylvatica) and ash-associated (Fraxinus excelsior) rhizomicrobial communities. Plant compartments and soil samples were analyzed to quantify the allocation of assimilates. For 1 m high trees, ash assimilated more of the applied 13 CO 2 (31%) than beech (21%), and ash allocated twice as much 13 C belowground until day 20. Approximately 0.01% of the applied 13 C was incorporated into total PLFAs, but incorporation varied significantly between microbial groups. Saprotrophic and ectomycorrhizal fungi under beech and ash, but also arbuscular mycorrhizal fungi and Gram negative bacteria under ash, incorporated most 13 C. PLFA allowed differentiation of C fluxes from tree roots into mycorrhiza: twice as much 13 C was incorporated into the fungal biomarker 18:2ω6,9 under beech than under ash. Within 5 days, 30% of the fungal PLFA-C was replaced by rhizodeposit-derived 13 C under beech but only 10% under ash. None of the other microbial groups reached such high C replacement, suggesting direct C allocation via ectomycorrhizal symbioses dominates the C flux under beech. Based on 13 CO 2 labeling and 13 C tracing in PLFA we conclude that ash allocated more C belowground and has faster microbial biomass turnover in the rhizosphere compared to beech

Assessing the role of collaboration in the process of museum innovation

The relationship between collaboration and innovation in cultural organisations is an emerging topic that has drawn particular attention from scholars and practitioners. The main aim of this study is to assess the role of collaboration in the process of innovation in museum organisations. To achieve this aim, first, we develop a four-domain analytical framework by matching innovation types to cultural production processes to reflect the peculiarities of museum innovation. By applying this framework to the multiple case studies from four Spanish museums, we identify three main motivations (supplementing manpower, compensating for the scarcity of knowledge, improving demand-driven innovation) and four forms of collaboration (teamwork, outsourcing, consortium and conversation) and summarise the different modes of collaboration involved in various domains of production and innovation. An assessment is conducted subsequently to evaluate the effectiveness of existing collaborations in achieving technological and cultural innovation in museums. Finally, a list of implications for museums' innovation management is presented

Entrepreneurial orientation of traditional and modern cultural organisations: cases in George Town UNESCO World Heritage Site

George Town World Heritage Site in Penang, Malaysia is well-endowed with creative and cultural resources, and has recently witnessed a rise in relevant rise in creative and cultural activities. This study examines how 'innovation culture' is inculcated and embedded within two local organisations with distinct approaches to innovation. This examination adopts and adapts the concept of Entrepreneurial Orientation, using three constructs: i) innovativeness, ii) risk-taking and iii) pro-activeness. This study administered a purely qualitative research approach by conducting in-depth semi-structured interviews and archival study of the chosen case organisations and their networks. The novelty of this research resides in the choice of case study organisations chosen (i.e. traditional versus modern) where a comparative approach was used to compare and contrast innovation culture and gauge the extent upon which entrepreneurship orientation constructs are prevalent and thriving in these organisations. By documenting the linkages in their value chains, this study managed to understand their resulting social networks and whether such network fosters the incubation of an innovation cluster for the local creative and cultural sectors. This study concluded that traditional cultural organisations tend to be more cautious and even passive in their business approach and decision-making processes, while modern and newer cultural and creative organisations lean towards a more active and dynamic outlook, albeit sometimes constrained by lack of resources, i.e. funding and facilities, as well as impeded by the nature of their informality. These findings can contribute towards shaping pragmatic human resource and creative industry policies for city planners and policy makers, particularly in the George Town World Heritage Site, as well as serving as point of reference for other world heritage sites in the world

Going means trouble and staying makes it double: the value of licensing recorded music online

This paper discusses whether a copyright compensation system (CCS) for recorded music—endowing private Internet subscribers with the right to download and use works in return for a fee—would be welfare increasing. It reports on the results of a discrete choice experiment conducted with a representative sample of the Dutch population consisting of 4986 participants. Under some conservative assumptions, we find that applied only to recorded music, a mandatory CCS could increase the welfare of rights holders and users in the Netherlands by over €600 million per year (over €35 per capita). This far exceeds current rights holder revenues from the market of recorded music of ca. €144 million per year. A monthly CCS fee of ca. €1.74 as a surcharge on Dutch Internet subscriptions would raise the same amount of revenues to rights holders as the current market for recorded music. With a voluntary CCS, the estimated welfare gains to users and rights holders are even greater for CCS fees below €20 on the user side. A voluntary CCS would also perform better in the long run, as it could retain a greater extent of market coordination. The results of our choice experiment indicate that a well-designed CCS for recorded music would simultaneously make users and rights holders better off. This result holds even if we correct for frequently observed rates of overestimation in contingent valuation studies