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PurposeThis study aims to outline the influence of various combinations of antecedent conditions for startups being accepted into business incubators in Italy and Romania. The degree to which these conditions affect acceptance is referred to here as the Business Ideas Acceptance Degree (BIAD). The antecedent conditions considered are business idea potential, business plan quality, entrepreneurial team features, business project progress stage, available financial resources, debts of potential incubated companies, commitment to apply for national/EU funds, business area related to incubator mission, proposed technological content level, technological transfer from university/research centres and spin-off of a partner-entity of the incubator.Design/methodology/approachThe methodological toolkit used was mixed: correlation-based analysis (CBA), machine learning (ML) techniques and fsQCA. Principal component analysis enabled the selection of the most representative antecedent conditions from both business incubator samples in Italy and Romania, further used in fsQCA analyses. XGBoost algorithm has been also used. K-Means clustering, an unsupervised learning algorithm that groups unlabeled dataset into different clusters, led to the configuration of two clusters associated to each of the countries involved in this study (Romania and Italy).FindingsThe findings reveal the differences between the different antecedent conditions that can contribute to startups being accepted into business incubators in Italy and Romania. The validation of the fsQCA equifinality principle in both samples shows that the selected antecedent conditions, mixed in combinations of “causal recipes”, lead to a high BIAD by business incubators from both countries.Originality/valueThis study reveals the differences between different antecedent conditions, capable to contribute to the start-up acceptance within business incubators from Italy and Romania. Furthermore, the validation of fsQCA equifinality principle in both samples highlight that the selected antecedent conditions, mixed in combinations of causal recipes, lead to a high degree of business ideas' acceptance in business incubators.

This paper is intended to give a contribution to the debate on the functional relationship between the museum and the local territory; more specifically, the aim of this study is to understand the role of a museum location in attracting visitors and influencing their processes of choice and satisfaction. The study follows, in particular, a previous study conducted by Mariani and Mussini (2013) Data show that, for the majority of visitors, the exhibition had been located elsewhere, they would not have visited it. Thus, an appealing location or a structured tourist destination may function as an attractive platform that may contribute to enforce the overall visitor's satisfaction with regard to his or her attendance to a cultural event.Furthermore, such a fact depends on specific objective variables (e.g., level of education, age), although no significant differences were reported between segments based on other socio-demographic characteristics such as sex. To conclude, arts and cultural managers should market and position cultural events in locations that can function as attractive, thus as emotionally driven experience consumption sites. Furthermore, they should consider both the cognitive and the emotional aspects of visitor's experience when designing and planning their events, as well as when assessing visitor's satisfaction. Cognitive and emotional aspects should be considered simultaneously when measuring visitors' satisfaction. In shaping visitors' satisfaction, emotions, such as the pleasure to be in a particular location, are more significant than cognitive aspects, such as the theme of the exhibition. * Acknowledgments: The authors would like to thank "Fondazione di Venezia" for providing them with data used in the analysis.The usual disclaimers apply. * Federica Codignola (F.C.) and Paolo Mariani (P.M.) share the final responsibility for this paper, however F.C. wrote sections 1, 2, and 6 and P.M. wrote sections 3, 4, and 5.Federica Codignola, tenured assistant professor,

The economic role of art is sustained by complex marketing processes, which tend to modify the aims and conditions of artistic enterprise.The great dynamism which characterises the global markets in which businesses move nowadays also affects artistic enterprises and hence the artist-cumentrepreneur.In the global art market, therefore, information flow between demand, supply and distribution, risks being asymmetrical. With globalisation, the art market has recorded considerable changes.The market has become internationalised up to the point of becoming a worldwide market. On the whole, globalisation of the art market appears to have favoured an increase in supply and its revitalization, too. Demand has undergone a remarkable growth, probably due also to its fragmentation and diversification.

Background literature and market flow data show evidence of an increasingly global art market. In turn, the global art market, instead of being a single, defined entity appears to be made of various local and diverse art markets. These various markets are progressively converging and integrating thanks to logistic and communication circuits. Key actors and organizations in the art market (e.g. auction houses or leader-dealers) see managers and marketers increasingly encountering cultural diversity alongside with economic heterogeneity. This chapter takes into account the not-yet-conceptualized framework of the art market in cross-cultural context. In so doing the author specifically identifies divergences and convergences concerning consumer behavior and art goods in a global economy. The results support the notion that in the current art market cultural diversity influences consumer attitudes. Such evidence may have specific managerial implications for practitioners and may stimulate further empirical studies to enforce this theoretical claim.