Canon, Value, and Cultural Heritage: New Processes of Assigning Value in the Postdigital Realm

Probably not a substantial claim: may not pass S4 (based).

The main dynamics observed in canon formation in the postdigital realm can be elucidated as a triad: hypercanonization, socialdecanonization, and transcanonization.

“It is argued that the main dynamics observed can be elucidated under the form of a triad: hypercanonization, socialdecanonization, and transcanonization.”

• AssumptionThe authors state this as an assumption: The web is the new laboratory of cultural production.

Probably not a substantial claim: may not pass S2 (checkable). May combine two claims.

These practices are simultaneously interlaced and in confrontation, so the discussion must be situated in the interplay between the new and the old.

“Yet examining this tension is a complex task, since these practices are simultaneously interlaced and in confrontation; hence it is in the interplay between the new and the old where the discussion must be situated.”

Probably not a substantial claim: may not pass S2 (checkable), S4 (based).

The advent of new cultural dynamics is always defined by a dialectical tension between the rise of new processes, actors, values, ideas, and structures and the maintenance of those that already exist.

“In this regard, we must bear in mind that the advent of new cultural dynamics is always defined by a dialectical tension between the rise of new processes, actors, values, ideas, and structures and the maintenance of those that already exist that characterized previous orders and regimes.”

Classified as probably not a substantial claim. May combine two claims.

The hypercanonization process maintains the regime based on institutional authority, legitimizing power structures, and a top-to-bottom orientation.

“Consequently, the hypercanonization process maintains the regime based on institutional authority, legitimizing power structures, and a top-to-bottom orientation [15].”

• cites [15] Actually, the field of digital humanities has become aware that there is a real risk of perpetuating in contemporary societies, and in the practice of digital scholarship, the same problems of power-relation structures and the prevalence of hegemonic discourse, with the consequences of marginality and subalternity, that characterized our predigital world. That is why the critical perspective of digital humanities encourages researchers to pay attention to the mechanisms underlying these processes as an inexcusable responsibility.Not matched

  Couldn’t be matched to a paper in Crossref, so it can’t be checked.

Probably not a substantial claim: may not pass S4 (based). May combine two claims.

The three processes of hypercanonization, socialdecanonization, and transcanonization operate simultaneously interlaced and unfold in dialectical tension between the rise of the new and the maintenance of the old.

“These three processes operate simultaneously interlaced and unfold in dialectical tension between the rise of the new (practices, actors, values, ideas), and the maintenance of the old (those structures that already exist).”

• AssumptionThe authors state this as an assumption: The web is the new laboratory of cultural production.

Classified as probably not a substantial claim.

The processes of assigning value to cultural objects and establishing canons have been one of the intellectual, ideological, and political pillars in the development of Art History as an institutional discourse.

“The processes of assigning value to cultural objects and establishing the canons that derive from those processes have constituted until today one of the intellectual, ideological, and political pillars in the development of Art History as an institutional discourse [1].”

• cites [1] Mansfield, E. (2007). The call of the canon. Why art history cannot do without. Making Art History. A Changing Discipline and its Institutions, Routledge.Not checked yet

  Not checked in the free run.

Probably not a substantial claim: may not pass S2 (checkable), S4 (based).

The range of modes through which the new conditions of the postdigital society lead to a redefinition of the processes of assigning value, and of the values themselves, in cultural heritage is diverse and broad.

“The range of modes through which the new conditions of the postdigital society is leading to a redefinition of the processes of assigning value, and the values themselves, which have hitherto prevailed in the comprehension of cultural heritage, are diverse and broad.”

• AssumptionThe authors state this as an assumption: The web is the new laboratory of cultural production.

Probably not a substantial claim: may not pass S3 (load-bearing).

The notion of canon has represented a significant line of inquiry from postmodernism to recent postcolonial theories.

“That is also why the notion of canon has represented a significant line of inquiry from postmodernism to recent postcolonial theories ( [2][3][4][5] among others).”

• cites [2][3][4][5]Not matched

  Couldn’t be matched to a paper in Crossref, so it can’t be checked.

Classified as probably not a substantial claim. May combine two claims.

The difference between hypercanonization and the previous institutional regime resides in two main factors: scale (ability to obtain a wider and global audience) and scope (ability to manage unprecedented amounts of cultural information).

“The difference with respect to the previous institutional regime, explaining why I propose the name hypercanonization, resides in two main factors: the scale, or, in other words, the ability to obtain a wider and global audience, which makes these structures a much more powerful instrument in the process of modeling worldwide collective cultural values; and the scope, that is to say, the ability”

Probably not a substantial claim: may not pass S3 (load-bearing).

ArtFacts.Net has built a large database of exhibitions held around the world since the early twentieth century.

“For that, ArtFacts.Net has built a large database of exhibitions held around the world since the early twentieth century.”

• AssumptionThe authors state this as an assumption: The web is the new laboratory of cultural production.

Probably not a substantial claim: may not pass S2 (checkable).

Bottom-up social practices give rise to a new cultural axiology where social memory, subjectivity, emotionality, affectivity, dissension, resistance, criticism, and demystification become crucial factors in the resemantization of cultural objects and their relocation in new scales of value.

“These sorts of bottom-up social practices give rise to a new cultural axiology where not only social memory, subjectivity, emotionality, and affectivity but also dissension, resistance, criticism, demystification, etc., become crucial factors in the resemantization of cultural objects and their relocation in new scales of value, while communal validation replaces institutional authority as a means”

Probably not a substantial claim: may not pass S2 (checkable).

Social decanonization operates as an ambivalent dynamic, putting into play decanonization, countercanonization, and recanonization forces.

“Therefore, social decanonization operates as an ambivalent dynamic, putting into play decanonization, countercanonization, and recanonization forces.”

Classified as probably not a substantial claim.

New macro and transnational repositories such as Europeana and the UNESCO World Digital Library can be thought of as a translation of traditional cultural institutions for the digital world.

“Endorsed, promoted, and developed by metanational organizations as part of their long-term strategic policies, they can be thought as a translation of the traditional cultural institutions (archives, libraries, museums, etc.) for the digital world.”

• AssumptionThe authors state this as an assumption: The web is the new laboratory of cultural production.

Probably not a substantial claim: may not pass S3 (load-bearing). May combine two claims.

ArtFacts.Net is a digital platform owned by a German company, ArtFacts.NetTM Ltd., based in Berlin, whose objective is to offer analytical computing services to actors in the art system.

“ArtFacts.Net is a digital platform, owned by a German company, ArtFacts.NetTM Ltd., based in Berlin, whose objective is to offer analytical computing services to the different actors that make up the art system (artists, collectors, curators, museums, art historians, etc.).”

• AssumptionThe authors state this as an assumption: The web is the new laboratory of cultural production.

Probably not a substantial claim: may not pass S2 (checkable), S4 (based).

Social decanonization emerges from social and distributed users' interactions with cultural content on the web or through digital means.

“Social decanonization is the name that I propose for the second process, which emerges from social and distributed users' interactions with cultural content on the web or through digital means.”

May combine two claims.

The algorithm does not operate independently from the critical valuations of the art system; its complexity as a discursive practice is synthesized in a measurable indicator (presence in or absence from exhibitions).

“Strictly speaking, then, we cannot say that the algorithm operates independently from the critical valuations of the art system, but rather that its complexity as a discursive practice is synthesized in an indicator that can be measured (presence in or absence from exhibitions).”

• AssumptionThe authors state this as an assumption: The web is the new laboratory of cultural production.

Classified as probably not a substantial claim.

Social decanonization differs from other notions of decanonization proposed within the framework of digital developments of culture, such as those related to large-scale image databases that redirect attention toward a broader spectrum of cultural production than historical canons.

“This idea of social decanonization is also different from other notions of decanonization proposed within the framework of the digital developments of culture, for instance, those related to the opening and expansion of the cultural universe that make possible large-scale image databases with the potential to redirect attention toward a much broader spectrum of cultural production than was con”

Probably not a substantial claim: may not pass S3 (load-bearing), S4 (based). May combine two claims.

Google Arts & Culture is a large-scale database of millions of images freely provided by cultural institutions, constituting an exceptional resource for experimenting with machine learning and artificial intelligence technologies.

“Google Arts & Culture is a large-scale database of millions of images freely provided by cultural institutions, constituting an exceptional resource for experimenting with machine learning and artificial intelligence technologies.”

• AssumptionThe authors state this as an assumption: The web is the new laboratory of cultural production.

Probably not a substantial claim: may not pass S2 (checkable), S3 (load-bearing), S4 (based).

Other ethical problems lie in the reuse of artifacts and documents belonging to different cultural legacies for the assemblage of certain discourses.

“Other ethical problems lie in the reuse of artifacts and documents belonging to different cultural legacies for the assemblage of certain discourses.”

May combine two claims.

The Google Earth Prado project entailed a negotiation process in which the Prado Museum's weight legitimized Google's technology as a valuable tool, and Google's technology placed the Prado as a pioneer of technological development applied to cultural legacies.

“In the very beginning, the Google Earth Prado project, whose objective was to digitize specific masterpieces using high-resolution technologies, entailed a negotiation process: On the one hand, the weight of the Prado Museum as a universally acknowledged cultural institution legitimized the technology developed by Google as a valuable tool to access and enhance the user experience with the”

• cites [23] (2018, April 10). The Press Release of the Project Clearly Evidences This Negotiation Process. Available online: https://www.museodelprado.es/actualidad/noticia/las-14-obras-maestras-del-museo-del-prado-en-mega/220f2fe9-beec-44a2-afdb-8c67ff37256c.Not checked yet

  Not checked in the free run.

Probably not a substantial claim: may not pass S2 (checkable), S4 (based).

In the new context of post-digital society, values accepted communally as a point of reference do not need anymore to be legitimated by the system.

“My argument is that in the new context of the post-digital society, values accepted communally as a point of reference do not need any more to be legitimated by the”

Probably not a substantial claim: may not pass S4 (based).

The hypercanonization process must be put in relation to the rise of technological global actors of the digital economy, which belong to the same north-west ideological and economic-cultural context.

“The hypercanonization process must also be put in relation to the rise of the technological global actors of the digital economy, which, not by chance, belong to the same north-west ideological and economic-cultural context.”

• AssumptionThe authors state this as an assumption: The web is the new laboratory of cultural production.

Probably not a substantial claim: may not pass S4 (based). May combine two claims.

These technological global actors control the infrastructures, algorithms for data processing and retrieval, channels for content distribution, and social interaction platforms used by cultural actors to interrelate.

“They control the infrastructures, the algorithms for data processing and retrieval, the channels for content distribution, and the social interaction platforms that are used by cultural actors to interrelate among them.”

Probably not a substantial claim: may not pass S4 (based).

Easy-to-use digital devices make it possible for anyone to digitally convert the environment around them: distribute it, share it, remix it, and re-edit it.

“Likewise, easy-to-use digital devices make it possible for anyone to digitally convert the environment around them: distribute it, share it, remix it, and re-edit it.”

Classified as probably not a substantial claim.

In this new cultural axiology, communal validation replaces institutional authority as a means of legitimacy.

“while communal validation replaces institutional authority as a means of legitimacy.”

Probably not a substantial claim: may not pass S4 (based). May combine two claims.

The web offers many examples of appropriation and resemantization of cultural legacies and makes available multiple mechanisms for them to be validated by social communities.

“The web offers us a large number of examples that illustrate these processes of appropriation and resemantization of cultural legacies, and it makes available multiple mechanisms for them to be validated by social communities.”

Probably not a substantial claim: may not pass S3 (load-bearing). May combine two claims.

The ranking makes it possible to detect market trends while determining an order of relevance for artists.

“The ranking makes it possible to detect market trends, while determining an order of relevance for artists [31].”

• cites [31] (2018, April 10). ArtFacts.Net. Available online: https://www.artfacts.net/about_us_new/.Not checked yet

  Not checked in the free run.

• AssumptionThe authors state this as an assumption: The web is the new laboratory of cultural production.

Probably not a substantial claim: may not pass S2 (checkable), S3 (load-bearing). May combine two claims.

The network system notion would explain the massive presence of museums in social networks of every nature: it is not a question of choice but an inexcusable issue to be part of the system.

“It also would explain the massive presence of museums in social networks of every nature: this is not a question of choice, it is an inexcusable issue to be part of the system.”

• AssumptionThe authors state this as an assumption: The web is the new laboratory of cultural production.

Classified as probably not a substantial claim. May combine two claims.

These repositories continue to perform as power structures that hold political, economic, and ideological discourses through aggregating, recording, classifying, and displaying cultural legacies, with the difference that they can manage larger amounts of cultural information worldwide to produce narratives reaching a global audience.

“Therefore, they continue to perform as power structures that hold political, economic, and ideological discourses through the practice of aggregating, recording, classifying, and displaying cultural legacies, with the fundamental difference that they can manage larger amounts of cultural information worldwide to produce any narrative or representation, which, in turn, has the capacity to reach a”

• AssumptionThe authors state this as an assumption: The web is the new laboratory of cultural production.

Probably not a substantial claim: may not pass S2 (checkable).

Such signs of museum identity could have dissolved if collections had been accessible only through the Google Art Project as the main gateway.

“However, such signs of identity could have dissolved if collections had been accessible only through the Google Art Project as the main gateway.”

Probably not a substantial claim: may not pass S3 (load-bearing).

Multiple initiatives have been, and are being, carried out by museums to promote participation and engagement by citizens.

“Multiple initiatives have been, and are being, carried out by museums to promote participation and engagement by citizens [42].”

• cites [42] McSweeney, K., and Kavanagh, J. (2016). Museum Participation. New Directions for Audience Collaboration, MuseumsEtc.Not checked yet

  Not checked in the free run.

Probably not a substantial claim: may not pass S2 (checkable), S4 (based).

Hypercanonization and social decanonization processes operate as driving forces in themselves.

“Although hypercanonization and social decanonization processes operate as driving forces in themselves, a sign of our hybrid time is the convergence of both dynamics in rebuilding traditional and historical canons and narratives.”

Probably not a substantial claim: may not pass S4 (based).

Generally, the algorithms used are not transparent, as they are proprietary.

“However, this inquiry is not easy to carry out, since generally the algorithms used are not transparent, as they are proprietary.”

• AssumptionThe authors state this as an assumption: The web is the new laboratory of cultural production.

Probably not a substantial claim: may not pass S2 (checkable).

The position of relevance and visibility of expert groups is liable to be dismantled in the new postdigital scenario, with positive and negative effects.

“This position of relevance and visibility is also liable to be dismantled in the new postdigital scenario, with its positive and negative effects.”

Classified as probably not a substantial claim.

The negotiation and discursive practices on which artistic relevance is considered, previously the base of values in the art field, are transformed into a quantification and ranking process performed by an algorithm that conveys its own argument in its model.

“Therefore, the negotiation and discursive practices on which it is considered artistically relevant, that had been the base of the values operating within the framework of the art field, are transformed into a quantification and ranking process performed by an algorithm that in its model conveys its own argument.”

• AssumptionThe authors state this as an assumption: The web is the new laboratory of cultural production.

Probably not a substantial claim: may not pass S2 (checkable).

The construction of the canon becomes a decentralized and plural practice characterized by discontinuity, fragmentation, difference, dissonance, and contradiction.

“The construction of the canon thus becomes a decentralized and plural practice, characterized by discontinuity, fragmentation, difference, dissonance, and contradiction.”

Probably not a substantial claim: may not pass S2 (checkable), S4 (based).

All museums, as differentiated institutions, are defined by certain discursive strategies, intellectual positions, and art criticism perspectives, expressed on their websites and through their digital narratives.

“As is very well known, all museums, as differentiated institutions, are defined by certain discursive strategies, intellectual positions, and art criticism perspectives, which are expressed on their websites and through their digital narratives.”

Probably not a substantial claim: may not pass S3 (load-bearing). May combine two claims.

The Google Art Project has become Google Arts & Culture, expanding its objectives and scope.

“Finally, the Google Art Project has become Google Arts & Culture [26], expanding its objectives and scope.”

• cites [26] (2018, April 10). Google Arts & Culture. Available online: https://artsandculture.google.com.Not checked yet

  Not checked in the free run.

• AssumptionThe authors state this as an assumption: The web is the new laboratory of cultural production.

Probably not a substantial claim: may not pass S3 (load-bearing). May combine two claims.

These experiments allow for the creation of applications that amuse users and generate an exceptional research field for code artists and computer creativity advancements.

“These experiments allow for the creation of applications that amuse users-who cooperate with Google without being aware of it every time they play to search for a pictorial portrait that looks like their own selfie [27,28]-and generate an exceptional research field for code artists and computer creativity advancements [29].”

• cites [27] (2018, April 10). Google Arts & Culture. Available online: https://artsandculture.google.com/camera/selfie.Not checked yet

  Not checked in the free run.

• cites [28] A Few Days after the Release of This Application, More than 30 Million Comparisons of Selfies and Works of Art Were Made, According to the Company. “Google Said the Experimental Feature Uses Computer Vision Technology to Scan Facial Features and Extract Data to Match with Paintings. The Company Said It Won’t Use Data from Photos for any other Purpose but to Match it with Images in Its Catalog. It Only Stores Selfies for the Time It Takes to Find Matches, Google Said”. Larson S. Google Apps Matches Your Face to aNot checked yet

  Not checked in the free run.

• cites [29] (2018, April 10). Arts & Culture Experiments. Available online: https://experiments.withgoogle.com/arts-culture.Not checked yet

  Not checked in the free run.

• AssumptionThe authors state this as an assumption: The web is the new laboratory of cultural production.

Probably not a substantial claim: may not pass S2 (checkable).

These infrastructures raise ethical issues concerning transparency in the production of narratives.

“Therefore, these infrastructures raise ethical issues that have to do with practices of transparency in relation to the production of narratives.”

Probably not a substantial claim: may not pass S2 (checkable).

Processes associated with the social appropriation of technology and co-creation inter pares bring to light the notion of shared and egalitarian authority that dismantles the idea of hierarchical arrangement of knowledge and values.

“Taking as base the idea of cultural heritage as common ground, these processes, associated with the social appropriation of technology and co-creation inter pares, bring to light the notion of shared and egalitarian authority that dismantles the idea of hierarchical arrangement of knowledge and values.”

• AssumptionThe authors state this as an assumption: Cultural heritage is common ground.

Classified as probably not a substantial claim.

These macro and transnational repositories build narratives about the canon on the basis of the cultural legacies recorded and how they are ordered, represented, and displayed.

“They also build narratives about the canon on the basis of the cultural legacies recorded and how they are ordered, represented, and displayed.”

• AssumptionThe authors state this as an assumption: The web is the new laboratory of cultural production.

Probably not a substantial claim: may not pass S2 (checkable), S4 (based).

The imbalance caused by digital divides is one of the determining forces in the construction of canons (present and future) in the digital sphere.

“The problem of the imbalance caused by digital divides is not new, but it cannot be overemphasized that this fact is one of the determining forces in the construction of canons (present and future) in the digital sphere.”

Probably not a substantial claim: may not pass S2 (checkable).

The traditional concept of canon itself is in crisis because the dehierarchization process and horizontal bottom-up orientation dissolve the idea of canon as the institutionalization of specific values representing the ideas and interests of those with privileged authority.

“From my perspective, what is in crisis here is the traditional concept of”

Probably not a substantial claim: may not pass S2 (checkable).

Social decanonization practices involve new ways of understanding the canon as a mechanism of legitimizing certain values.

“Yet these practices of social decanonization involve new ways of understanding the canon as a mechanism of legitimizing certain values.”

Probably not a substantial claim: may not pass S3 (load-bearing), S4 (based). May combine two claims.

Like Europeana, the WDL establishes a framework of common codification and structuring, and the main actor in elaborating these rules and norms has been the Library of Congress.

“It should also not be forgotten that, like Europeana, the WDL establishes a framework of common codification and structuring, and that the main actor in the elaboration of these rules and norms has been the Library of Congress, one of the main legitimizing institutions in the field of cultural documentation, the promoter, in the end, of the WDL project.”

Probably not a substantial claim: may not pass S2 (checkable).

This convergence emerges within an interstitial context: open spaces where institutions, social communities, individuals, and cultural and political agents interact, debate, and negotiate on how and where to identify shared cultural values and new forms of legitimacy.

“This emerges within an”

Probably not a substantial claim: may not pass S2 (checkable), S4 (based).

A sign of our hybrid time is the convergence of hypercanonization and social decanonization dynamics in rebuilding traditional and historical canons and narratives.

“Although hypercanonization and social decanonization processes operate as driving forces in themselves, a sign of our hybrid time is the convergence of both dynamics in rebuilding traditional and historical canons and narratives.”

Probably not a substantial claim: may not pass S2 (checkable), S4 (based).

Social decanonization is interlaced with the unprecedented empowerment of citizens and social communities to interact with and give new meanings to cultural legacies through their multiple, heterogeneous, global, and distributed digital activity.

“This process, therefore, is interlaced with the unprecedented empowerment of citizens and social communities to interact with and give new meanings to cultural legacies through their multiple, heterogeneous, global, and distributed digital activity, all of which configures a scenario also unprecedented with respect to other decanonization processes.”

Classified as probably not a substantial claim.

The apparent philanthropic mission of providing comprehensive and free access to museum collections worldwide underlay a form of cultural monopoly that threatened museum identity and diversity in the comprehension of culture and deployment of narratives.

“However, the apparent philanthropic mission of providing comprehensive and free access to museum collections around the world underlay a form of cultural monopoly that threatened, among other things, the museum identity and, consequently, diversity in the comprehension of culture and deployment of narratives.”

• AssumptionThe authors state this as an assumption: The web is the new laboratory of cultural production.

May combine two claims.

ArtFacts.Net's ranking is an instrument that accumulates symbolic capital and performs a legitimizing function.

“In other words, it is an instrument that accumulates symbolic capital and performs a legitimizing function.”

• AssumptionThe authors state this as an assumption: The web is the new laboratory of cultural production.

May combine two claims.

Europeana is a political project aimed at building a shared European identity, taking as a base a diverse cultural heritage inscribed in a common framework of organization, access, and representation, and stands as protective guardian of European cultural heritage against external forces such as the market.

“Europeana is an example of a political project aimed at building a shared European identity, taking as a base the richness of a very diverse cultural heritage that is inscribed in a common framework of organization, access, and representation: Europeana [17,18], which also stands as protective guardian of the European cultural heritage against external forces, such as those of the market.”

• cites [17] (2018, April 10). Europeana Started Five Years Ago with the Big Political Idea to Unite Europe through Culture by Making Our Heritage Available to All for Work, Learning or Pleasure. Available online: http://strategy2020.europeana.eu.Not checked yet

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• cites [18] (2018, April 10). That’s Why We’re Seizing This Opportunity to Reaffirm our Shared Commitment to a Vision of Europe That Is United in Its Cultural Diversity and Strives to Increase Our Collective Welfare through Smart and Inclusive Growth. Available online: http://strategy2010.europeana.eu/update.Not checked yet

  Not checked in the free run.

Probably not a substantial claim: may not pass S3 (load-bearing), S4 (based). May combine two claims.

All of this is part of Google's strategy to expand the venue by which to improve the technologies that support its business model, gain more data input, and boost its income.

“All of this is not free; obviously, it is part of Google's strategy to expand the venue by which to improve the technologies that support its business model, gain more data input, and, in the end, boost its income.”

• AssumptionThe authors state this as an assumption: The web is the new laboratory of cultural production.

Probably not a substantial claim: may not pass S3 (load-bearing), S4 (based).

The WDL policies include actions aimed at strengthening the digitizing and technological capacity of potential partners.

“It is important to note that the WDL policies include actions aimed at strengthening the digitizing and technological capacity of potential partners.”

Probably not a substantial claim: may not pass S4 (based).

The declared objective of the Google Art Project when launched in 2011 was to become the global gate for accessing the entire collections of museums worldwide.

“The declared objective of the Google Art Project when it was launched in 2011 was to become the global gate for accessing the entire collections of museums worldwide.”

• AssumptionThe authors state this as an assumption: The web is the new laboratory of cultural production.

Probably not a substantial claim: may not pass S4 (based).

The WDL explicitly assumes the role of decision-making body over the recorded contents.

“The WDL explicitly assumes the role of decision-making body over the recorded contents.”

Probably not a substantial claim: may not pass S2 (checkable), S3 (load-bearing), S4 (based).

Gaps related to rights issues of digital images reveal a complex scenario where different power structures conflate.

“At the same time, gaps related with right issues of digital images reveal a complex scenario where different power structures conflate.”

Probably not a substantial claim: may not pass S2 (checkable). May combine two claims.

Appropriation practices are never reproductive but are creating, recreating, and co-creating, and tend to respond to interests and motivations different from those of traditional institutions.

“These appropriation practices are never reproductive, but are creating, recreating, and co-creating ones, and they tend to respond to interests and motivations that differ from those of traditional institutions.”

Probably not a substantial claim: may not pass S3 (load-bearing).

ArtFacts.Net represents a model in the development of an axiological quantification, intimately imbricated in the contemporary culture of rankings and impact indexes that measure value and establish orders of relevance through metrics.

“I will use ArtFacts.Net [30] as an example to illustrate some of the phenomena associated with them, since ArtFacts.Net represents an interesting model in the development of an axiological quantification, which is intimately imbricated in the contemporary culture of rankings and impact indexes that measure value and establish orders of relevance through metrics.”

• cites [30] (2018, April 10). ArtFactsNet. Available online: http://homepage.artfacts.net.Not checked yet

  Not checked in the free run.

• AssumptionThe authors state this as an assumption: The web is the new laboratory of cultural production.

Probably not a substantial claim: may not pass S2 (checkable), S3 (load-bearing).

The scenario of social decanonization is unprecedented with respect to other decanonization processes.

“all of which configures a scenario also unprecedented with respect to other decanonization processes.”

Probably not a substantial claim: may not pass S2 (checkable), S4 (based). May combine two claims.

Institutions, individuals, and communities from both outside and within the cultural heritage domain come together to articulate a hybrid epistemology and axiology and produce a new kind of negotiated institutionalism.

“Institutions, individuals, and communities, from both outside and within the cultural heritage domain, come together with the purpose of articulating a hybrid epistemology and axiology and producing a new kind of negotiated institutionalism.”

Probably not a substantial claim: may not pass S3 (load-bearing).

Social tagging emerged as a decentralized and distributed activity by which users tag digital content according to their own interests.

“An example of this might be the practice of social tagging, which emerged as a decentralized and distributed activity by which users tag digital content according to their own interests.”

Probably not a substantial claim: may not pass S2 (checkable), S3 (load-bearing), S4 (based).

Hybridity is the sign of our time.

“What is more, taking into consideration that the hybridity is the sign of our time,”

Classified as probably not a substantial claim.

The competition of museums to obtain more audience and users might have the effect of transforming popular judgment into the arbitrator who leads the making-decisions of cultural institutions.

“Just on the other side, the competition of museums to obtain more audience and users might have the effect of transforming popular judgment into the arbitrator who leads the making-decisions of cultural institutions.”

Probably not a substantial claim: may not pass S2 (checkable), S4 (based).

In interstitial contexts, canonization is a horizontal negotiation process among the different structures of civil society.

“In the so-called interstitial contexts, canonization is a horizontal negotiation process among the different structures of civil society.”

May combine two claims.

Many initiatives of convergence are led and designed by museums, organizations, and technological global actors with institutional legitimizing power in the cultural field, a circumstance that could compromise the negotiation process on which a new institutionalism should be built.

“Nevertheless, while recognizing the clearly positive components of this convergence movement, some critical questions arise, especially if we bear in mind that many of these initiatives are led and designed by museums, organizations, and technological global actors with an institutional legitimizing power in the cultural field, a circumstance that could compromise the negotiation process on which”

May combine two claims.

Museums began to design guidelines and protocols to orient taggers, which resulted in reshaping the social practice from institutional parameters.

“In a short time, and to put order to the noise that an excess of labels could imply, museums began to design guidelines and protocols to orient taggers in their activity [46], which resulted in reshaping the social practice from the institutional parameters [47].”

• cites [46] Trant, J., and Bearman, D. (2011). Can Social Tagging Be a Tool to Reduce the Semantic Gap between Curators and Audiences? Making a Semantic Structure of Tags by Implementing the Facetted Tagging System for Online Art Museums. Museums and the Web 2011: Proceedings, Archives & Museum Informatics. Available online: https://www.museumsandtheweb.com/mw2011/papers/can_social_tagging_be_a_tool_to_reduce_the_sem.Not checked yet

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• cites [47] Bellido Gant, M.L. (2013). El museo y su problematización digital: epistemologías en transición. Arte y Museos del Siglo XXI. Entre Los Nuevos Ámbitos y las Inserciones Tecnológicas, Editorial UOC.Not checked yet

  Not checked in the free run.

Probably not a substantial claim: may not pass S2 (checkable), S4 (based). May combine two claims.

Incorporating social valuation as a parameter for reputation indices does not imply the production of a hybrid knowledge, but an appropriation of such social knowledge to generate a new knowledge with pretensions of institutional legitimacy that afterward is sold in the form of services to third parties, including the users themselves who contributed the social knowledge.

“Likewise, incorporating”

Classified as probably not a substantial claim. May combine two claims.

This circumstance might undermine the notion of institutional authority and might influence the conformation of the narratives of the canon.

“This circumstance, besides undermining the notion of institutional authority, might influence the conformation of the narratives of the canon, as pointed out by the young researcher Dorothy Howard [48]:”

• cites [48] Howard, D. (2018, April 10). The Social-Mediafication of Museums. Available online: https://canadianart.ca/issues/winter-issue-2017/.Not checked yet

  Not checked in the free run.

Probably not a substantial claim: may not pass S2 (checkable).

The incorporation of knowledge dimensions, values, and actors historically underestimated in the canon-building process has the capacity to dissolve the notion of epistemic hierarchy, the prevalence of the monofocal point of view, and the pervasiveness of unidirectional discourse.

“Certainly, the incorporation of knowledge dimensions, values, and actors, historically underestimated in the canon-building process, has the capacity to dissolve the notion of epistemic hierarchy, the prevalence of the monofocal point of view, and the pervasiveness of unidirectional discourse [45].”

• cites [45] Arciniega, L. (2013). Mediación digital en los procesos de recepción, construcción e interpretación de la herencia cultural. Memoria y significado. Uso y Recepción de los Vestigios del Pasado, Universitat de Valencia.Not checked yet

  Not checked in the free run.

Probably not a substantial claim: may not pass S2 (checkable), S4 (based).

Social empowerment, participatory cultures, scale, globality, technology-driven actors, and algorithmic-generated knowledge are the main features that reshape the canon-building processes within the context of the postdigital society.

“Social empowerment, participatory cultures, scale, globality, technology-driven actors, and algorithmic-generated knowledge are the main features that reshape the canon-building processes within the context of the postdigital society.”

Probably not a substantial claim: may not pass S2 (checkable). The quote only partly states this claim.

In the inter-canonization process, negotiation is not the result of dynamics that converge in an inertial manner, but rather a conscious project of collective building for reimagining the present and the future.

“As mentioned in the previous section, Simone Winko also recognizes the double dynamic (micro-macro) in canon-formation, but the concept that she develops of”

May combine two claims.

At the Centre Pompidou, the tagger must comply with words previously systematized in an established thesaurus, and including social tagging among the museum's own practices has reduced spontaneity and potential creativity, becoming subsumed as another vector of the institutional strategy.

“The example of the Centre Pompidou, where the tagger must comply with words previously systematized in an established thesaurus, also showcases how including social tagging among the museum's own practices has reduced spontaneity and potential creativity, becoming subsumed as another vector of the institutional strategy.”