Universitat Internacional de Catalunya - Barcelona

Leadership, Culture and New Technologies

• code 11553
• course 1
• term Term 3
• type OB
• credits 3

Main language of instruction: Spanish

Other languages of instruction: English

If the student is enrolled for the English track then classes for that subject will be taught in the same language.

Head instructor

Dra. Marta CRISPÍ - mcrispi@uic.es
Dra. Esther BELVIS - ebelvis@uic.es

Office hours

To arrange a meeting please contact me at ebelvis@uic.es

Leadership

All students arrive to the Masters of Cultural Management program after several years of challenging work experience. In most cases, however, this experience is based on individual performance, or working in small teams, or managing only a few direct reports. This course will help students develop an understanding of the increasing complexity of leading and managing people at different levels of the organization. By relying on theoretical, empirical, and practical frameworks, this class will provide the tools necessary for students to make meaningful contributions as leaders of people, teams, and organizations.

The course is designed to address several fundamental aspects of managing and leading people in organizations. These include understanding human behavior and work motivation, inspiring trust and commitment, managing interpersonal relationships and conflict, working in teams, developing talent, and fostering a sense of mission in the organization.

In addition, we will examine some cutting-edge leadership challenges that leaders face in the 21st century, such as leader emotion management, how leaders manage (both their own and others’) loneliness, and the unprecedented, nuanced challenges of leading in the digital age.

Culture and New technologies

The recent decades have seen an extraordinarily intense period of experimentation with technology within the performing arts. Digital media has been increasingly incorporated into theatre, dance and opera and has produced new forms of interactive and participatory performance across and beyond disciplines. This has had a clear impact on cultural experiences and has drastically reframed the role of cultural managers and the way productions are created, produced and communicated.

Technologies have allowed small performing arts companies and huge cultural institutions to establish new parameters in the relationship with the audience. The use of both low and high-tech applications has expanded the audience experience, allowing its participation through processes of co-creation and intervention prior or during the performance itself. Thus, the content and aesthetics of the piece appear as important as the apparatus set-up to engage with the audience. Gradually, the creative process and marketing strategy appear aligned; as it sometimes happens the participatory apparatus is used as a commercial tactic to reach new audiences or broaden the impact of the experience beyond the theatrical space. In this process, the challenge that the performing arts are facing is to harmonise the uses that the audience gives to technology and media with the products that cultural institutions can offer to attract the, educate them or foster customer loyalty. Cultural managers need to be aware of the potential of media’s novel approaches to creating theatrical spectacle, including virtual reality, telematics performance in which remote locations are linked in real time, webcams and online communities which do not necessarily coincide with the ones attending the show in the theatre.

This module identifies new performance practices at the cutting-edge of experimentation in relation to technology. It focuses on practices that are pivotal in alternative and also mainstream performance and popular culture to provide a broaden understanding of the challenges that cultural managers need to deal with while providing the necessary skills to effectively respond to different organizational and cross-cultural settings. It addresses the key topics in relation to performing arts, technology and communication so cultural managers can successfully adapt or improve their skills according to the current performing arts market scenario so they can design, manage and provide successful strategies according to the expectations of the audiences and the artists’ goals and needs. 

Digital Module

Digital today pervades every corner of the museum activity and every public-oriented content: website, online collection, mobile, social media, interactive museography, marketing. The key question is how Digital can help us fulfill our mission and better serve our audiences’ needs. How best can we create added value through digital? 

To be able to better serve our audiences, to better connect knowledge with the public, to work more efficiently, to analyze and segment users, digital plays a strategic role that needs to be well planned.

Leadership

A passion for leadership, and a desire to understand how leadership can be operationalized in the context of arts and cultural organizations.

Some management background can help. However, the course is designed for students from all backgrounds.

New techonolgies

Basic knowledge of the performing arts is desirable, especially in relation to production and marketing. However, the module is designed for students from all backgrounds.

Leadership

This course intends to achieve three primary objectives that transcend the field of leadership:

• Doing things through people: A greater understanding of what basic motives drive people’s behavior, and how we can influence those motives
• Effective and meaningful interpersonal relationships: A greater appreciation of how to foster effective and meaningful interpersonal relationships in the workplace. This requires understanding effective and ineffective uses of power and influence and learning how to address conflict. We will also focus on how to develop talent and foster effective teamwork and how to promote organizational cultures aligned with the organization’s mission.
• Global organizational environment: A greater understanding of how to develop and lead people in a global, multicultural organizational environment.

In addition, the course aims to achieve the following specific objectives necessary for students to become future leaders:

• To understand and be able to apply a theoretical framework to elaborate the phenomenon of leadership.
• To complement leadership theory with practical orientation and applications.
• To understand the distinct contexts of business, public, and nonprofit organizations in which leadership can be operationalized.
• To gain exposure to practical case studies from different sectors (especially private and nonprofit) and cultures.
• To understand the role of leaders in shaping organizational cultures.
• To design an overarching leadership philosophy and practical leadership strategies customized for each student’s unique career goals.
• To develop teamwork skills and learn how to work effectively with others.
• To understand the unique role of leadership in assuaging the ever-increasing loneliness in our society.
• To develop unique strategies for leading organizations in the digitally-mediated workplace.

New technologies and museums and heritage

• To introduce students to the basic concepts and terminology relating to technology in heritage and museums
• To enable students to identify appropriate technologies to support their objectives
• Overview of the use of ICT in cultural heritage and museums
• Enable students to understand how to apply digital strategy to the cultural heritage and museum sectors
• Introduce students to the complexity of the design and creation of digital resources.
• New technologies and performing arts
• Understand the current trends in performing arts technology

 New technologies and Performing arts

• Identify the challenges that cultural managers might encounter related to production, audience reach or dissemination.
• Manage and understand the needs and challenges in different small, medium and big cultural organizations
• Be capable of aligning creative and marketing strategies according to the production target.

Basic competencies

CB6: To have and understand knowledge which provides and grounding or opportunity to be original in terms of the development and/or application of ideas, often in a research-based context.

CB7: To know how to apply the knowledge acquired and the ability to resolve problems in new or little know environments within broader or multidisciplinary contexts related to area of study.

General competencies

CG1: To analyse and interpret social and cultural environments in order to identify needs, opportunities, weaknesses and strengths.

CG2: To manage, coordinate and take part in interdisciplinary work teams.

CG7: To know how to apply and adapt to new technologies in processes of cultural management, production and dissemination.

Cross-disciplinary competencies

CT1: To design, direct, produce and evaluate projects, programmes, strategies, policies or cultural actions which involve a wide variety of different professional profiles, agents and institutions.

Specific competencies

CE9: To coordinate interdisciplinary work teams and use new technologies when managing, producing and disseminating cultural products and services.

In addition:

• To develop a visionary perspective of leadership that not only focuses on achieving results but also on creating a positive impact on people and society.
• To understand the critical skills to motivate and influence people to reach common goals through developing individuals and teams and adequately defining the culture and structure of the organization.
• To be able to identify and use the primary strategies of leadership applicable in cultural organizations in the public, nonprofit, and private sectors across various national cultures.

• Ability to understand and manage performing arts tech-based environments.
• Ability to produce and disseminate creative and communication strategies according to the organization needs.
• Capacity to identify possible difficulties and establish effective alternative procedures.
• Ability to apply proper instruments and processes to reach new audiences.

Leadership

The course is divided into nine modules:

1. Understanding leader and follower motivations I | Class Date: March 29 | We explore individual motivation and the three basic types of motives: extrinsic, intrinsic, and transcendent | Why be a leader?: Leader motivations | The Four P’s of Success | Leader passion Required Reading: Jose Bové case. Recommended Reading: Boyatzis, Richard, McKee, Annie and Goleman, Daniel: Reawakening Your Passion for Work
2. Transformational versus transactional leadership | Class Date: March 31| Visionary leadership | Leader empathy | The generation of “supra-contractual performance” Required Reading: Avolio, Bruce, Walumbwa, Fred and Weber, Todd: Leadership: Current Theories, Research, and Future Directions Recommended Reading: Senge, Peter: Leading Learning Organizations
3. Leaders and organizational culture | Class Date: April 7 | Authentic leadership | Value-behavior correspondence | Influences of individualism/collectivism, power distance and other national culture dimensions. Required Readings: Collins, Jim and Porras, Jerry: Building Your Company’s Vision. Davis, Murray: That’s Interesting! Recommended Reading: Collins, Jim: Level 5 Leadership: The Triumph of Humility and Fierce Resolve
4. Leadership and communication I | Class Date: April 12 | This module focuses on managing expectations, negotiating over scarce resources, understanding the emotional side of conflict, and healing broken relationships. Required Reading: Harvard Business School Case Study: MetOpera. Recommended Reading: Schwartz, Tony and McCarthy, Catherine: Manage Your Energy, Not Your Time. Goffee, Rob and Jones, Gareth: Leading Clever People
5. Leadership and communication II | Class Date: April 14 | Leaders, followers, and trust | Leadership in the digital age | E-leadership. Required Readings: Silard, Anthony: The Bait‐and‐Switch of the Internet: The Influence of Connectivity on Contactedness and Connectedness. Recommended Readings: Goffee, Rob and Jones, Gareth: Managing Authenticity: The Paradox of Great Leadership 
6. Leaders, followers, and loneliness | Understanding leader and follower motivations II | Class Date: April 19 | Understanding leaders’ and followers’ needs for inclusion, connection, and purposefulness in their daily work | Lonely, but different, at the top and bottom | How do leaders increase or decrease (their own and followers’) loneliness in organizations?  Required Reading: Wright, Sarah and Silard, Anthony: The Price of Wearing the Crown: The Antecedents and Outcomes of Leader Loneliness. Recommended Reading: Wright, Sarah: Coping with Loneliness at Work
7. Personality and leadership | Class Date: April 21| Leadership style | Psychodynamic theories of  leadership | Implicit theories of leadership/Leadership schemas | Humble versus narcissistic leadership | Harvard Business School Video Case Study: Nervewire. Required Readings: Maccoby, Michael: Narcissistic Leaders: The Incredible Pros, the Inevitable Cons. Owens, Bradley and Hekman, David: Modeling How to Grow: An Inductive Examination of Humble Leader Behaviors, Contingencies, And Outcomes. Recommended Reading: Maccoby, Michael: Why People Are Drawn to Narcissists Like Donald Trump
8. Emotions and leadership I | Class Date: April 26 | Emotional intelligence | Leaders as “emotion and relationship managers” | How leaders create or destroy emotion connectedness in organizations | 3 types of leader emotional labor and regulation | Come to class prepared to argue whether emotional labor is good or bad for leaders. Required Readings: Humphrey, Ron, Ashforth, Blake and Diefendorff, James: The Bright Side of Emotional Labor  Recommended Reading: Humphrey, Ron: How Do Leaders Use Emotional Labor
9. Emotions and leadership II | Class Date: April 28 | Leader emotion contrasting behaviors | Emotion direction | Appraisal theories of emotion | Emotion contagion | Cognitive reappraisal versus emotion suppression | Situational leadership. Required Readings: Goleman, Daniel: What Makes a Leader? Recommended Readings: Goleman, Daniel: The Focused Leader 

New Technologies and Museums and Heritage

1. New Technologies in heritage and museums: A Strategic Option.
   How technology is changing (and can change): visitor behaviour and expectations,  institutional models,  role of museums and heritage sites in society. The concept of ICT. How is Digital being used in museums and heritage sites: Collection, Preservation, Education, Marketing, Research and Evaluation. Strengths and weaknesses of using ICT. Ongoing challenges: digital divide, obsolescence, digital literacy, intellectual property laws. Current Challenges of ICT in the field of heritage. Key words. Key roles in a digital organization

2. About ICT in the dissemination of heritage  ICT and the Visitor Experience
   The distinctive feature: The Experience
   Fundamental elements of ICT: (3D, AR, VR), sound, interaction, stoacaparytelling
   Devices: mobile, the screens and tables, wearable
   About Some Technologies: geolocation, ebeacons, face recognition, QR.  What basic infrastructure is needed to activate digital technologies? What choices do you need to make?

3. Practical Cases
   The conception, design and production of application
   Screen digital educational Application. Creating an experience for mobile- learning

4. Digital Culture: born digital. Digital Artistic Creation - commissionning, storage, exhibition, intellectural property, sharing, production (labs)

Digital Module professor Conxa Rodà

Digital today pervades every corner of the museum activity and every public-oriented content: website, online collection, mobile, social media, interactive museography, marketing. The key question is how Digital can help us fulfill our mission and better serve our audiences’ needs. How best can we create added value through digital? 

To be able to better serve our audiences, to better connect knowledge with the public, to work more efficiently, to analyze and segment users, digital plays a strategic role that needs to be well planned.

We’ll see examples of different technologies and from museums around the world all along the module. This module will cover 4 main aspects:

1. Museums and Digital Strategy

The strategy means an integral and unified approach that links the museum’s mission with audiences needs and expectations enhanced by digital.

Digital is not the goal, is a way to help us accomplish our goals. Digital Transformation is to apply digital technologies to a new way of creating / producing / communicating content and services. A set of digital projects don’t make a digital strategy. We need to think first: why, for whom, what, how, how well, that is objectives, public, offer, tools, evaluation.

The Digital Transformation is a process, a journey that affects the WHOLE museum.

Recommended previous reading:

Stack, John (2013). “Tate Digital Strategy 2013–15: Digital as a Dimension of Everything” www.tate.org.uk/research/publications/tate-papers/tate-digital-strategy-2013-15-digital-dimension-everything

2. Content strategy

Recommended previous reading:

Halvorson, Kristina (2015) Content strategy for the web everything. www.slideshare.net/khalvorson/content-strategy-for-everything

3. Museums and Social media

Social media are a strategy element of museum communication today.

But… are we museums doing it rightly enough? 

Do we explore/use the specificity of each network and platform?

Do we interact? Or are we just broadcasters?

These and other aspects will be addressed, illustrated with many examples of best practices on different networks.

Recommended previous reading:

Dilenschneider, Colleen (2016). The power of different social media platforms for organizations. http://colleendilen.com/2016/12/07/the-power-of-different-social-media-platforms-for-organizations-data/

4. Mobilizing Museums

Mobilehas become a key factor for the museum experience and interpretation. We’ll see best practices of apps, multimedia audioguides, augmented reality, virtual reality in museums and heritage sites.

Recommended previous reading:

Conclusion: Challenges and wrapping-up

Formats

• Lectures in classroom
• Activities (individual and in groups)
• Readings
• Project
• Use of 2.0 specific tools for the module:

Activities:

1. During the module (individual):

-Create a museum tour / route via Unique Visitors):

Using on the Unique Visitors platform (web or app), create a route that inspires you, selecting artworks from the Museu Nacional d’Art de Catalunya collection. Put a title for the tour and a brief general comment. You may also write a short personal comment for each artwork you selected. Then share the tour publicly.

2. Inclass:  Content strategy workshop_content for Visitor Journey (in groups)

Chapter 1 Introducción to performing arts, technology and communication
      1. Current trends: from traditional performing arts to emerging interdisciplinary practices
      1.1 The incorporation of new technologies in performing arts

Chapter 2 Performing Arts Technology and communication through case studies
      2.1 Digitalization and performing arts pre-production processes: strategy, budget, management and the digital development.
      2.2 Digitalization and performing arts dissemination processes: expanding the theatrical experience.
      2.3 Digitalization and performing arts educative-commercial 360°strategic processes: targeting and broadening audience through innovative products.

Chapter 3 Addressing trends and challenges
      3.1 Main challenges for cultural managers: digitalization from theory to practice.

Leadership

The course is based on a mixture of the case method, classroom exercises, reflective leadership assignments, and lectures. At the end of each case there will be a wrap-up with the main learning points. Course requirements include a team assignment and three papers.

New Technologies

The learning activities that will help to understand the theoretical conceptst through practice are: Master class, content analysis, discussion of case studies, correction of cases and the oral presentation of group work. A group activity such as a visit to a cultural institution might be included in the module

Leadership

Course Evaluation

Your final grade for the course will be based on four criteria:

• 40% Class participation
• 20% Mid-term Paper 
• 40% Research Paper

The Mid-term Paper is due at the beginning of the fourth class. It should be a maximum of two (2) pages, double-spaced, 1 inch margins, Times New Roman 12 font. You can choose from one of the following two topics:

1) Leadership and Loneliness: Describe the events in your life that have most generated feelings of loneliness? In an organizational context, what can leaders do to reduce loneliness among employees? Integrate existing research to build your argument.

2) Leadership in the Digital Age: How do you feel leadership has changed over the past two decades since the mass penetration of the Internet in 1995? How have the key challenges leaders face in motivating and leading their followers evolved, if at all? What strategies can you suggest (and back up with credible research) for leaders in today’s technology-mediated workplace? Integrate existing research to build your argument.

The Leadership Research Paper is due at the beginning of the eighth class. It should be a maximum of eight (8) pages, double-spaced, 1 inch margins, Times New Roman 12 font. Research a leadership topic of your choice. Your paper should identify a leadership challenge and share at least three concrete strategies that you have developed to meet this challenge. Integrate existing research to build your argument. You should reference various theories relevant to your argument (you do not have to agree with them; share how your ideas are different and how they “fit” into or outside of the current landscape of leadership theories) and provide examples to support your argument.

Research Proposal Presentation:

Share the following in a (max. 3 minute) presentation:

1)  Your selected topic for your Leadership Research Paper

2)  Why have you selected this topic? Why is it personally important to you? What do you hope to learn from studying it that will help you in your future career/life?

3)  How you will approach your paper? Which theories will you emphasize (but again, not necessarily agree with)? Have you thought of a few concrete leadership examples/ situations that you can incorporate into your paper?

Classes 3, 4 and 5 and 6: Students give their Research Proposal Presentation in each class. All students give constructive feedback (see guidelines, attached). Professor approves Research Proposal or asks student to design another Research Proposal.

Grading: Your Research Paper grade will have three dimensions:

1) Writing quality/originality of your Research Paper:

1. Do you incorporate a few existing leadership theories and explain how your idea(s) are unique? (For paper markings, T = Grounded in Theory)
2. Do you take a “creative leap?” and make a compelling explanation of why we (your readers) should accept it? (For paper markings, C = Creativity)
3. Is your main idea interesting? Does it contradict conventional wisdom and surprise us into wanting to read more? (For paper markings, C = Creativity)
4. Is your main idea relevant to real-world leaders? Does it explain how they can apply it in their organizations? (For paper markings, C = Creativity)
5. Is your paper well-organized? Is it easy to follow? Is there a clear logical flow? Do you have a clear research question? Do you introduce your research question at the beginning and summarize your ideas at the end? (For paper markings, O = Organization/Logical Flow)
6. Do you clearly indicate your references? (For paper markings, T = Grounded in Theory)
7. Is the grammar and spelling high quality? (For paper markings, G = Grammar or Spelling)
8. h.      NOTE: If you plagiarize and copy any other author’s work into your paper, you will automatically fail this course. We will discuss acceptable guidelines for incorporating the work of other authors that respects copyright norms.

2) Your research paper presentation

3) Your participation in providing constructive feedback to your classmates during their two presentations

New technologies

The assessment critera and procedures include:

• Attendance and participation to the sessions: 10% of the final mark.
• Analysis of case study: 10% of the final mark.
• Group oral presentation: 30% of the final mark.
• Final written assessment: 50% of the final mark.

Leadership

Avolio, Bruce, Walumbwa, Fred and Weber, Todd: Leadership: Current Theories, Research, and Future Directions

Boyatzis, Richard, McKee, Annie and Goleman, Daniel: Reawakening Your Passion for Work

Collins, Jim and Porras, Jerry: Building Your Company’s Vision

Collins, Jim: Level 5 Leadership: The Triumph of Humility and Fierce Resolve

Davis, Murray: That’s Interesting!

Goffee, Rob and Jones, Gareth: Managing Authenticity: The Paradox of Great Leadership

Goffee, Rob and Jones, Gareth: Leading Clever People

Goleman, Daniel: The Focused Leader

Goleman, Daniel: What Makes a Leader

Humphrey, Ron: How Do Leaders Use Emotional Labor

Humphrey, Ron, Ashforth, Blake and Diefendorff, James: The Bright Side of Emotional Labor 

Maccoby, Michael: Narcissistic Leaders: The Incredible Pros, the Inevitable Cons

Maccoby, Michael: Why People Are Drawn to Narcissists Like Donald Trump

Owens, Bradley and Hekman, David: Modeling How to Grow: An Inductive Examination of Humble Leader Behaviors, Contingencies, And Outcomes

Schwartz, Tony and McCarthy, Catherine: Manage Your Energy, Not Your Time

Senge, Peter: Leading Learning Organizations

Silard, Anthony: The Bait‐and‐Switch of the Internet: The Influence of Connectivity on Contactedness and Connectedness

Wright, Sarah: Coping with Loneliness at Work

Wright, Sarah and Silard, Anthony: The Price of Wearing the Crown: The Antecedents and Outcomes of Leader Loneliness

Optional references

Competencies and coaching

How to Develop Leadership Competencies. Pablo Cardona and Pilar García. Ed. EUNSA, 2005.

Effective Coaching. Marshall J. Cook. Ed. McGraw-Hill, 1999.

Building Robust Competencies. Paul C. Green. Ed. Jossey-Bass, 1999.

The 7 Habits of Highly Effective People. Stephen R. Covey. Ed. Simon & Shuster, 1989.

Communication     

Difficult Conversations: How to Discuss What Matters Most. Douglas Stone et al. (Harvard Negotiation Project). Penguin Books, 2010.

People Skills: How to Assert Yourself, Listen to Others, and Resolve Conflicts. Robert Bolton. Touchstone Books, 1986.

Nonviolent Communication: A Language of Life. Marshall Rosenberg. Puddledancer Press, 2015.

The Dance of Connection: How to Talk to Someone When You’re Mad, Hurt, Scared, Frustrated, Insulted, Betrayed, or Desperate. Harriet Lerner. William Morrow Paperbacks, 2002.

Since Strangling Isn’t an Option…..Dealing with Difficult People—Common Problems and Uncommon Solutions. Sandra Crowe. Perigee Books, 1999.

Leadership

The Nature of Leadership (2nd Edition). David V. Day and John Antonakis. Sage, 2012.

The Leadership Challenge. James M. Kouzes and Barry Z. Posner. Ed. Jossey-Bass, 1995.

Why Should Anyone Be Led By You? Rob Goffee xxxx…..

Handbook of Leadership: Theory and Practice. Nitin Hohria and Rakesh Khurana. Havard Business Press, 2010.

Primal Leadership. Daniel Goleman, Richard Boyatzis, and Annie McKee. Harvard Business Review Press. 10th Anniversary ed., 2013.

Stewardship. Peter Block. Ed. Berrett-Koehler, Publishers, 1996.

Leading organizations

Built to Last. James C Collins. HarperCollins Publishers Inc, 1994.

The Individualized Corporation. Sumantra Ghoshal and Christopher A. Bartlett. Ed. Harper Business, 1997.

Beyond Performance: How Great Organizations Build Ultimate Competitive Advantage. Scott Keller and Colin Price. John Wiley & Sons, Inc., 2011.

Motivation and influence

The Power of Full Engagement. Jim Loehr and Tony Schwartz. Free Press. 2003.
Work Motivation. Gary P. Latham. Sage, 2007.

Rewarding Excellence. Edward E. Lawler III. Ed. Jossey-Bass, 2000.

Working with Emotional Intelligence. Daniel Goleman. Ed. Bantam Books, 1998.

Textbooks on Organizational Behavior

Organizational Behavior (2nd European ed). Robert Kreitner, Angelo Kinicki, and Marc Buelens. Ed. McGraw-Hill, 2002.

A Primer on Organizational Behavior (4th ed). James L. Bowditch and Anthony F. Buono. Ed. John Wiley & Sons, 1997.

Classic Readings in Organizational Behavior (2nd ed). J. Steven Ott. Ed. Harcourt Brace College Publishers, 1996.

 New Technologies and museums

Anuario AC/E de Cultura Digital. Modelos de negocios culturales en Internet. Focus: Museos y Nuevas tecnologías. 2015

(http://www.dosdoce.com/upload/ficheros/noticias/201503/anuario_ace_de_cultura_digital_2015.pdf  consultat 9 d’abril de 2016)

ASENSIO, M. y ASENJO, E. (Eds.). Lazos de Luz Azul: Museos y Tecnologías 1, 2 y 3.0. Barcelona: UOC, 2011.

BELLIDO GANT, M. L. Arte y museos del siglo XXI: entre los nuevos ámbitos y las inserciones tecnológicas. Barcelona: UOC, 2013.

BELLIDO GANT, M. L. Arte, museos y nuevas tecnologías. Gijón: Trea, 2001.

BERTACCHINI, E. y MORANDO, F.  “The future of museums in the digital age: New models for access to and use of digital collections”.En. International Journal of Arts Management, 15 (2), 2013, 60-72.

CAMARERO, Carmen, GARRIDO, M. José i SAN JOSÉ, Rebeca. “Efficient of Web Communication Strategies: The Case of Art Museums”. En:  International Journal of Arts Management, 18, 2016, p 42-61.

CARRERAS, Cèsar (coord.). Evaluación TIC en el  patrimonio cultural: metodologías y estudios de casos. Barcelona: UOC, 2009.

CARRERAS, Cèsar i MUNILLA, Glòria. Patrimoni digital : un nou mitjà al servei de les institucions culturals. Barcelona: UOC, 2007

DOS DOCE: Los museus en la era digital. Uso de nuevas tecnologías antes, durante i después de visitar un museo, centro cultural o galería de arte. Dosdoce, 2013.

(http://www.dosdoce.com/articulo/estudios/3820/museos-en-la-era-digital/, consultat 21 de febrer de 2014).

GARAU, Chiara. Augmented reality to support of Cultural Heritage. Saarbrücken : LAP LAMBERT Academic Publishing, 2013.

PARRY, Ross. Museus in a digital age. London: Routledge, 2010.

PULH, Mathilde and MERNCARELLI, Rémi:  “Web 2.0: Is the Museum-Visitor Relationship Being Redefined?”. En: International Journal of Arts Management, 2015, 18,  1, p. 43-51.

Rodríguez Silgo, Alba. “Digitalización y virtualización cultural. Hacia un nuevo horizonte en la conservación-restauración”. En Teros, 102, 67, 2015, p 67-75.

STYLIARAS, Georgios, KOUKOPOULOS, Dimitrios, LAZARINIS, Fotis (eds.). Handbook of research on technologies and cultural heritage : applications and environments. Hershey, PA: Information Science Reference, cop. 2011

RUIZ TORRES, David: La Realidad aumentada y su aplicación en el patrimonio cultural. Gijón: Trea, 2013

SANTACANA, Joan i MARTÍN, Carolina (coords). Manual de museografía interactiva. Gijón: Trea, 2010.

New technologies and performing arts

Benson, S. & Giannachi,G. (2011). Performing Mixed Reality.  Massachussets: MIT Press.

Bilton, C. (2007) Management and creativity. From creative industries to creative management, Blackwell publishing: Oxford.

Blake, B. (2014). Theatre and the Digital. New York: Palgrave Macmillan.

Byrnes, W.J. (2009)  Management and the arts, 4th edition, Elsevier: Oxford.

Dixon, S. (2007). Digital Performance: a History of New Media in Theatre, Dance, Performance Art and Installation, Massachusetts: MIT Press.

Napoli, P.M. (2010). Audience Evolution: New Technologies and the Transformation of Media Audiences. Columbia University Press: New York.

Rosewall, E. (2013). Arts Management: Uniting Arts and Audiences in the 21st Century, Oxford: Oxford University Press.

Townley, B. & Beech,N.(2009) Managing Creativity: Exploring the Paradox. Cambridge University Press: Cambrigde.

Other materials such as texts and presentation might be delivered throughout the sessions according to the students' needs.