Thematische Bibliographien / London International Exhibition (1873)

Auswahl der wissenschaftlichen Literatur zum Thema „London International Exhibition (1873)“

Autor: Grafiati
Veröffentlicht am 25. Juli 2024
Zuletzt aktualisiert am 26. Juli 2024

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Zeitschriftenartikel zum Thema "London International Exhibition (1873)"

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Southward, A. J., und E. K. Roberts. „One hundred years of marine research at Plymouth“. Journal of the Marine Biological Association of the United Kingdom 67, Nr. 3 (August 1987): 465–506. http://dx.doi.org/10.1017/s0025315400027259.

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The second half of the nineteenth century was a period of rapid change in the natural sciences in Britain, reflecting changes in social conditions and improvements in education. A growing number of naturalists were becoming socially conscious and aware of the need for a proper study of the sea and its products, following the success of the ‘Challenger’ Expedition of 1872–6. In 1866 the Royal Commission on the Sea Fisheries, which included among its officers Professor T. H. Huxley, one of the new breed of professional scientists, had reported that fears of over-exploitation of the sea-fisheries were unfounded, and had recommended doing away with existing laws regulating fishing grounds and closed seasons. Nevertheless, the rising trade in fresh fish carried to towns by rail or by fast boats (fleeting), and the consequent increase in size and number of registered fishing vessels, was causing widespread concern, and there were reports from all round the coasts about the scarcity of particular fish, especially soles. This concern was expressed at the International Fisheries Exhibition in London in 1883, a conference called to discuss the commercial and scientific aspects of the fishing industry, attended by many active and first-rank scientists. However, in his opening address Professor Huxley discounted reports of scarcity of fish, and repeated the views of the Royal Commission of 1866: that, with existing methods of fishing, it was inconceivable that the great sea fisheries, such as those for cod, herring and mackerel, could ever be exhausted.
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Stamper, John W. „The Industry Palace of the 1873 World’s Fair: Karl von Hasenauer, John Scott Russell, and New Technology in Nineteenth-Century Vienna“. Architectural History 47 (2004): 227–50. http://dx.doi.org/10.1017/s0066622x00001763.

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The buildings and landscaped grounds of the nineteenth-century international exhibitions were directly related to the architectural and urban design traditions of the cities in which they were built. At the same time, they possessed idealized qualities that made them innovative and distinct from other contemporary buildings. The result of collaborative planning among architects, engineers, and planning committees, the exhibitions were built to evoke ideal civic settings, their exhibition palaces, pavilions, and gardens forming exemplary complexes that synthesized both invention and tradition. The International Exhibition, the Weltausstellung, held in Vienna, Austria in 1873, was one such event (Fig. 1). Its buildings were both related to the architectural and urbanistic design traditions of nineteenth-century Vienna, and at the same time possessed idealized qualities that were inventive and progressive, marking new technological achievements.
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Agnew, John. „The 1862 London International Exhibition: Machinery on Show and its Message“. International Journal for the History of Engineering & Technology 85, Nr. 1 (Januar 2015): 1–30. http://dx.doi.org/10.1179/1758120614z.00000000053.

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Ceastina, Alla. „Competitive works of A.V. Shchusev (1873-1949) and his participation in the international exhibitions“. Arta 32, Nr. 1 (September 2023): 43–49. http://dx.doi.org/10.52603/arta.2023.32-1.06.

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On September 26, 2023, we will mark the 150th anniversary of the birth of the outstanding architect of the first half of the XX century A. V. Shchusev (1873-1949). Alekseу Viktorovich was born in 1873 in Chisinau on Leovskaya Street (today Shchusev Street, where the museum of this architect is located). During his 76 years of life, he managed to fully realize his talent in architecture, becoming the author of the masterpiece in the construction of the mausoleum on the Red Square in Moscow. He became a laureate of four Stalin Prizes, and educated more than one generation of talented architects. He also founded the State Museum of Russian Architecture. Researching the many-sided architectural creativity of Academician Shchusev, in the article the author presents only the most important works of this great master which entered in competition. After graduating in 1897 with a gold medal from the Higher Petersburg Art School, A. V. Shchusev was awarded the title of artist-architect with the rank of the 10th class having the right to engage in designing buildings independently. Thus, he took part in architectural competitions for the construction of a new St. Petersburg hospital (19011902), a branch of the state bank in Nizhniy Novgorod (1910-1911), Kazanskiy railway station in Moscow (1913), the Russian pavilion for the XI International art exhibition in Venice (1913 -1914), the shelter for the children of fallen soldiers near the city of Chisinau (1916), etc.
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Guseva, Anna V. „Chinese Paintings from Western Museum Collections at the International Exhibition of Chinese Art in London, 1935: On the History of Collecting and Attributing Chinese Paintings“. Izvestia of the Ural federal university. Series 2. Humanities and Arts 24, Nr. 2 (2022): 287–302. http://dx.doi.org/10.15826/izv2.2022.24.2.040.

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The International Exhibition of Chinese Art that took place in London’s Burlington House from November 1935 to March 1936 is recognised as the major exhibition of ancient and classical Chinese art of the twentieth century. Over two hundred collectors and institutions from 14 countries provided their objects of art to the exhibition. None of the previous exhibitions had had as many items: the number of objects was extraordinary with 3,080 entries in the catalogue of the London exhibition. Moreover, it was the first foreign exhibition presenting items from the former imperial collection of the Forbidden City (Gugun Museum since 1925). In addition to numerous porcelain and bronze items from private and museum collections, the exhibition contained about 300 paintings (monumental painting, scrolls, album sheets, and fans). While it is generally believed that western collectors only started being seriously interested in painting after World War II, the exhibition contained over a hundred paintings of non-Chinese provenance. Due to its scale, the International Exhibition of Chinese Art of 1935 could be considered a representative example of trends in the Chinese art collecting of the 1930s. For this reason, a close analysis of the catalogue may help enrich our idea of the formation of collections of Chinese art, the formation of taste, and its evolution over time. Data related to the paintings from the catalogue are analysed and then compared to the current descriptions from museum databases and catalogues.
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Tillotson, Giles. „The Jaipur Exhibition of 1883“. Journal of the Royal Asiatic Society of Great Britain & Ireland 14, Nr. 2 (Juli 2004): 111–26. http://dx.doi.org/10.1017/s1356186304003700.

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The exhibition of decorative and industrial arts that was held in Jaipur in 1883 under the patronage of Maharaja Sawai Madho Singh II (1880–1922) brought together the work of artists and craftsmen from many regions of India, but gave special treatment to the neighbouring states of Rajasthan, and to the pupils of Jaipur's own recently established School of Art. It led to the establishment of a permanent museum of industrial arts in Jaipur, which still exists and continues to hold many of the original exhibits. One of many ambitious exhibitions that followed in the wake of the Great Exhibition of 1851, the Jaipur Exhibition was the first such to be held in an Indian state, coinciding with the International Exhibition in Calcutta and preceding the Indian and Colonial Exhibition in London of 1886.
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Spillman, Lyn. „When Do Collective Memories Last?: Founding Moments in the United States and Australia“. Social Science History 22, Nr. 4 (1998): 445–77. http://dx.doi.org/10.1017/s0145553200017910.

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In 1876, there was a huge commemoration of the centennial of American independence. The year was marked in many ways, by many groups, in many parts of the country. The central event, though, was a grand International Exhibition in Philadelphia, four years in the making. Planners first met in 1872 in Independence Hall and spoke at length about the sacredness of the venue: “It is altogether fit and wise that we should take our first step and utter our first words in this hall. There sat John Hancock, presiding over that immortal body. There came Jefferson, Franklin, Adams, Sherman, and Livingston presenting the sacred declaration. There lies the broken and silent bell, which at the word proclaimed liberty throughout the land to all the inhabitants thereof” (USCC 1873: 24-25). The theme was taken up by many others in many different ways. Images of the Liberty Bell, Independence Hall, Washington, and Franklin were scattered throughout centennial ceremonies, buildings, poems, histories, and other documents. The revolution was used as a touchstone in talk about the exhibition and as a rich source of national symbolism.
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Antonova, Lidia. „«Old London»: Reconstruction of a XVIIth Century Street at Exhibitions of the 1880s“. Metamorphoses of history, Nr. 24 (2022): 0. http://dx.doi.org/10.37490/mh2022242.

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The article analyzes the experience of an original exhibition experiment – the reconstruction of XVII th century buildings at the sites of international exhibitions of the 1880s in London. The circumstances of the origin of the idea and implementation in South Kensington «Streets of Old London» are considered. It was an eclectic set of buildings that really existed in the British capital before the 1666 Great Fire and reproduced in almost original form in 1884. Based on exhibition documents, press publications and photographs, a description is given to the appearance of the «street» and its place within the expositions. Based on photographs and printed sources, a description of the buildings themselves is given: typical urban residential buildings, shops, churches, etc. It is concluded that this example illustrates the educational function of the thematic exhibitions in London, their close interweaving with the problems of the city's architecture, as well as the temporality and transiency of such structures. The last is a characteristic feature of the exhibition space.
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Liston-Smith, Jennifer. „Ethics, ‘Leadershift’ and ‘More than Coaching’: Insights for coaching psychologists from the CIPD and AC Conferences“. Coaching Psychologist 6, Nr. 1 (Juni 2010): 72–75. http://dx.doi.org/10.53841/bpstcp.2010.6.1.72.

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A report on elements of the Chartered Institute of Personnel and Development Annual Conference and Exhibition, 9–11 November 2009 in Manchester, and Going Global: The Association for Coaching International Conference, 11–12 March 2010, in London.
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Krzysztofowicz-Kozakowska, Stefania. „„Raumkunst” autorstwa Teodora Axentowicza“. Lehahayer 8 (19.12.2021): 185–90. http://dx.doi.org/10.12797/lh.08.2021.08.06.

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Raumkunst by Teodor Axentowicz Three exhibition arrangements analysed in the article – the halls of Polish artists on the exhibitions in St. Louis (1904), London (1906) and XI International Biennial of Art in Venice (1914) – allow us to consider Teodor Axentowicz as a precursor of the new form of organisation of the exhibition space within the Polish culture. This form was a pattern for the subsequent architects of exhibitions belonging to the Society of Polish Artists “Art”. Projects of Axentowicz perfectly fitted to the modern style of exhibition interior arrangement, which was promoted by the Viennese environment of “Secession” at the turn of the 20th century.
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Bücher zum Thema "London International Exhibition (1873)"

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Roschitz, Karlheinz. Wiener Weltausstellung 1873. Wien: J&V, 1989.

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Pemsel, Jutta. Die Wiener Weltausstellung von 1873: Das gründerzeitliche Wien am Wendepunkt. Wien: Böhlau, 1989.

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Gröger, Roman Hans. Wege in Wien 1873: Zum 140. Jubiläum der Weltausstellung. Horn: Verlag Berger, 2012.

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Birchall, Emily. Wedding tour: January-June 1873 and visit to the Vienna Exhibition. Gloucester [Gloucestershire]: A. Sutton, 1985.

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Csanak, Dóra F. Egy debreceni kereskedő Nyugat-Európában: Csanak József úti levelei 1862-ből. Budapest: Magyar Tudományos Akadémia Könyvtára, 1987.

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Miles, Henry H. Canada East at the International Exhibition: Catalogue of products from Canada East, medals and "honorable mentions" awarded to Canada, and the [d]eclaration of prizes to the colonial exhibitors, July ll, 1862 ; to which is added [a] succinct account of the Eastern Townships of Lower Canada. [S.l: s.n., 1985.

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Miles, Henry H. Canada East at the International Exhibition: Catalogue of products from Canada East, medals and honorabe mentions awarded to Canada, and the [d]eclaration of prizes to the colonial exhibitors, July 11, 1862 : to which is added [a] succinct account of the Eastern Townships of Lower Canada. [S.l: s.n., 1985.

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1862-nen Kokusai Hakurankai (Dai 2-kai Rondon Bankoku Hakurankai) shiryō sōran: Kōshiki zukai katarogu to "Eiri katei shinbun" Kokusai Hakurankai tokushū : Bessatsu Nihongo kaisetsu = International Exhibition of 1862, London : official illustrated catalogue & Cassell's illustrated family paper exhibitor. [Japan]: Yūgen Kaisha Edishon Shinapusu, 2014.

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Ltd, Brintex, Institute of Materials, Minerals, and Mining. und British Tunnelling Society, Hrsg. Underground construction 2003: Exhibition and conference, 24-25 September 2003, ExCel, London Docklands, UK ; papers presented at the: international conference & exhibition incorporating the International Tunnelling Exhibition, Wednesday 24th-Thursday 25th September 2003 ExCel, London Docklands, UK. London: Brintex on behalf of The Institute of Mining & Metallurgy ... [et al.], 2003.

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International Food & Drink Exhibition (10th 1997 London, England). The 10th International Food & Drink Exhibition, 9-13 February 1997, London Earls Court: Incorporating the International Catering Show : catalogue. Sutton, Surrey: Reed Business Information, 1997.

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Buchteile zum Thema "London International Exhibition (1873)"

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Michie, Ranald. „The City of London and International Trade 1850–1914“. In Decline and Recovery in Britain’s Overseas Trade, 1873–1914, 21–63. London: Palgrave Macmillan UK, 1993. http://dx.doi.org/10.1007/978-1-349-10958-6_3.

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Dellapiana, Elena. „Toward Paris! 45 Years of Domus for a Design à la Français“. In Springer Series in Design and Innovation, 285–94. Cham: Springer Nature Switzerland, 2023. http://dx.doi.org/10.1007/978-3-031-49811-4_27.

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AbstractBetween 31 May and 23 September 1973, the exhibition Domus: 45 ans d’architecture design, art,1928–1873 was held in Paris. It occupied an entire floor of the Pavillon Marsan in the Louvre, involving the entire editorial staff of the magazine. The exhibition, subdivided by decades, used panels, a collection of objects, and original artworks to illustrate the history of Ponti’s magazine from its foundation to 1973.It presents different levels of interpretation that are exemplary of the way of telling the Italian design in an international framework practised since the years of the first issues of “Domus”. On the one hand, the placement of the magazine’s interests in a temporal flow, in the form archive. On the other hand, the curatorial choice clearly privileges the cotè reserved for the visual arts, both in the reproduction of articles and reviews published over the years and thanks to the extraordinary contribution of exhibited artworks by Marino Marini, Max Bill, Renato Guttuso, Ben Sahan, Chillida, Tinguely, Armand among others.The thesis of the paper is that this has been a mode of the Italian project that shapes its narrative code as a transformism calibrated to the culture and mood of the host countries with the aim of presenting a compact and coherent image (the Made in Italy, the Italian way or the Italian line depending on the situation) but also to adapt it to the foreign public, both the generalist -and possible buyer- and the specialist.
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Carstensen, Fred V. „International Harvester and Its Competitors“. In International Banking 1870-1914, 499–516. Oxford University PressNew York, NY, 1992. http://dx.doi.org/10.1093/oso/9780195062717.003.0023.

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Abstract On May 1, 1851, the Great Exhibition of the Works of Industry of All Nations opened in London’s Crystal Palace. In the midst of the thinly populated American exhibition sat Cyrus McCormick’s “huge, unwieldy, unsightly and incomprehensible” mechanical grain harvester.1 But in two demanding field trials McCormick’s machine demon strated its virtue-it offered farmers the first effective mechanical means for harvesting wheat, oats, and other grains, a machine that both reduced the labor requirement by four-fifths and cut the loss of grain from handling; the exhibition jury awarded McCormick its highest award, the prestigious Council Medal. McCormick used this signal victory as a cornerstone for American advertising for years afterwards and established a pattern of using victories in such European field trials to enhance the McCormick reputation.
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Scaglia, Ilaria. „Images from the 1935–36 International Exhibition of Chinese Art in London“. In Nation Branding in Modern History, 266–73. Berghahn Books, 2018. http://dx.doi.org/10.2307/j.ctvw04dpw.19.

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Scaglia, Ilaria. „II Images from the 1935–36 International Exhibition of Chinese Art in London“. In Nation Branding in Modern History, 266–73. Berghahn Books, 2022. http://dx.doi.org/10.1515/9781785339240-017.

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Watanabe-O'Kelly, Helen. „Showcasing the Empire“. In Projecting Imperial Power, 210–30. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198802471.003.0009.

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The second half of the nineteenth century and the first half of the twentieth were remarkable for large-scale international exhibitions of agricultural products, manufactured goods, technological inventions, and artworks that were staged in major cities in purpose-built buildings and visited by very large numbers of people. These events were demonstrations of national pride, functioned as engines of modernity, and promoted the global exchange of knowledge, global competition, and global trade. The chapter discusses how Napoleon III used the Paris exhibitions of 1855 and 1867 to promote himself and his Empire and how Franz Joseph engaged in international diplomacy during the Viennese world exhibition on 1873. Pedro II used his prestige to promote Brazilian exhibits in Paris in 1862 and 1857, in Vienna in 1873 and in Philadelphia in 1876.
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Timonina, Alexandra. „Comparing the Cologne Sonderbund of 1912 and the Second Post-Impressionist Exhibition in London“. In Taking and Denying Challenging Canons in Arts and Philosophy. Venice: Fondazione Università Ca’ Foscari, 2020. http://dx.doi.org/10.30687/978-88-6969-462-2/013.

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The article examines the agendas of the International Art Exhibition of the West German Sonderbund held in Cologne in 1912 and the Second Post-Impressionist Exhibition organised in London the same year, by contrasting their historical contexts and comparing their theoretical backgrounds. While the shows varied slightly in approach, both sought to give a systematic overview of the latest trends in art, which was then marketed mainly by private dealers. They addressed similar issues, such as defining the inherited tradition and topical dilemmas about the autonomy of painting and its decorative potential. The paper will discuss the emphasis on the progressive timeline and international outlook on modern art they formulated. It will also revisit the role of these exhibitions in light of the currently expanding discussion of the mechanisms that shaped the canon of European modernism.
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Lewittes, Deborah. „Chapter Four“. In Shaping the City to Come, 137–66. Liverpool University Press, 2022. http://dx.doi.org/10.3828/liverpool/9781800856547.003.0006.

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This chapter examines the “Live Architecture” Exhibition, also known as the Lansbury Estate, of the 1951 Festival of Britain. Envisioned as part of a utopian scheme for the postwar reconstruction of London, the exhibition was an ongoing, collaborative project to rebuild an area of East London that had been razed during World War II. The chapter will reconceive the project in urban terms, questioning its previous interpretations and offering a new context for its significance that sees it as hopeful and idealistic. By the fifties, the modernist architecture culture that had been slow to settle in England was now firmly rooted, and “Live Architecture” offers a chance to fully evaluate international style modernism and town planning in the English context. The chapter will address the important urbanist Jaqueline Tyrwhitt’s work on the project, its connection to the CIAM 8 Congress and its publication The Heart of the City: Towards the Humanisation of Urban Life, and Sigfried Gideon’s conception of a New Monumentality for postwar architectural thinking.
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Larson, Frances. „The finest historical medical museum in the world“. In An Infinity of Things, 143–61. Oxford University PressOxford, 2009. http://dx.doi.org/10.1093/oso/9780199554461.003.0010.

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Abstract The Wellcome Historical Medical Exhibition—later Museum—opened in the summer of 1913. Wellcome, who had already postponed the opening for eight years, later said that he had not meant to open his Exhibition for a further ten years, but various ‘eminent medical men insisted’ that he make his collections ‘the centre’ of the historical section of the International Medical Congress that year. Wellcome’s claim that he had been persuaded to exhibit only by his peers was not entirely true: Thompson had suggested synchronizing the Exhibition with the Congress, and had been lobbying the organizers for their support since early 1910. Wellcome liked to think his collection had been propelled into the limelight, against his better instincts, by the medical establishment, because it was the medical establishment that he wanted to impress with his efforts as a collector. The International Medical Congress was held every four years and had not visited London since 1881. In 1913 it attracted around 5,000 delegates from twenty-eight countries, ‘the most remarkable gathering of the world’s doctors that has ever assembled’.
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Kostof, Spiro, Greg Castillo und Richard Tobias. „The Trials of Modernism“. In The History of Architecture: Settings and Rituals, 669–94. Oxford University PressNew York, NY, 1995. http://dx.doi.org/10.1093/oso/9780195083781.003.0029.

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Abstract The occasion was to be the 400th anniversary of Columbus' discovery of America. A commemorative fair had been in the planning for some time. After much wrangling among would-be host cities, the Congress had voted in favor of Chicago, and locally the undeveloped marshes of Jackson Park on the South Side had been settled on as the fair site. Daniel Burnham was appointed director of the project. This was to be the 15th, and largest, of those popular international exhibitions that started back in 1851 with the Great Exhibition of London. Chicago was determined to rise to the occasion.
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Konferenzberichte zum Thema "London International Exhibition (1873)"

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Gemme, C., K. Hencken, I. Rosevear und A. Pallett. „PARTIAL DISCHRGE ALERT SYSTEM AT LONDON UNDERGROUND“. In CIRED 2021 - The 26th International Conference and Exhibition on Electricity Distribution. Institution of Engineering and Technology, 2021. http://dx.doi.org/10.1049/icp.2021.1647.

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Acha, S., K. H. Van Dam und N. Shah. „Spatial and temporal electric vehicle demand forecasting in central London“. In 22nd International Conference and Exhibition on Electricity Distribution (CIRED 2013). Institution of Engineering and Technology, 2013. http://dx.doi.org/10.1049/cp.2013.1002.

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Webb, Ralph L., und Jin Wook Paek. „Entrance and Exit Losses for Developing Flow in Plain Fin Heat Sinks“. In ASME 2003 International Electronic Packaging Technical Conference and Exhibition. ASMEDC, 2003. http://dx.doi.org/10.1115/ipack2003-35354.

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Prediction of pressure drop for duct flow through heat sinks involves calculation of inlet and exit losses. These predictions are typically done using Kc and Ke for “parallel plate channels” from the Kays and London book, Compact Heat Exchangers. However, these equations assume fully developed flow at the exit and thus include the effect of full velocity profile development. Electronic heat sinks operate in the “developing flow” region. So, use of the published Kc and Ke from the Kays and London book will result in over-estimate of the actual Kc and Ke values. The authors have performed analysis that allows accurate calculation of Kc and Ke values with parallel plate channels for operation in the “developing flow” region. The results are presented in graphical form as a function of contraction ratio and x+ (= x/DhRe). These results will allow accurate estimate of Kc and Ke values for developing flow. Entrance and exit losses can account for as much as 30% of the total pressure drop in electronic heat sinks having short flow lengths. However, the error associated with evaluation of Kc and Ke based on fully developed flow for parallel plates is small.
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Walton, C. M. „Detecting and locating MV failure before it occurs. Experience with live line partial discharge detection on underground paper insulated 11 kV cables in London“. In 16th International Conference and Exhibition on Electricity Distribution (CIRED 2001). IEE, 2001. http://dx.doi.org/10.1049/cp:20010712.

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Farrier, L. „Investigating the faulted performance of warship power systems with integrated energy storage“. In 14th International Naval Engineering Conference and Exhibition. IMarEST, 2018. http://dx.doi.org/10.24868/issn.2515-818x.2018.031.

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The need to integrate energy storage systems (ESS) with warship power systems to meet future dynamic loads such as high power electric weapons is apparent. This opens up challenges with design integration of ESS with power systems and operational aspects such as steady-state, transient and faulted performance. This paper describes the integration of ESS with a candidate power system as a case study as part of an ongoing timedomain simulation investigation at University College London. The paper describes the models and power management structure of the simulation testbed, that comprises battery based ESS and diesel generators in a hybrid electric power and propulsion system. The results of two scenarios are presented, the first verifies power sharing between a diesel generator and ESS during load levelling under single generator operation, the second illustrates the ability of the ESS to provide ride through power during a generator fault on the main distribution bus. The conclusions suggest that under voltage in the candidate system outside of acceptable limits occurs during fault ride through when in single generator operation.
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Silva, Ana Catarina Koka de Souza, Cibele Bugno Zamboni und Dalton Giovanni Nogueira da Silva. „X-ray investigation of graphic art“. In III SEVEN INTERNATIONAL MULTIDISCIPLINARY CONGRESS. Seven Congress, 2023. http://dx.doi.org/10.56238/seveniiimulti2023-195.

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X-rays produced by electron ionization provide an analytical tool that can assist investigations in the field of Artistic and Cultural Heritage. In this study, the technique of Energy Dispersive X-ray Fluorescence (EDXF) was employed to investigate collections of postcards from the 1960s produced in Brazil, London and Uruguay. The collections belong to private collections and were made available for analysis at the Radiation Spectroscopy and Spectrometry Laboratory of the Institute for Nuclear and Energy Research (IPEN). This technique is non-destructive and allows the identification of chemical elements present in the different chemical formulations used in the printing industries of each country in the process of preparing postcards. This information allows tracing their origin and identifying copies/fakes, which enables their cataloging and registration for exhibition, as well as providing subsidies for conservators and restorers regarding the preservation and storage of these artistic materials.
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Cmeciu, Doina, und Camelia Cmeciu. „VIRTUAL MUSEUMS - NON-FORMAL MEANS OF TEACHING E-CIVILIZATION/CULTURE“. In eLSE 2013. Carol I National Defence University Publishing House, 2013. http://dx.doi.org/10.12753/2066-026x-13-108.

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Considered repositories of objects(Cuno 2009), museums have been analysed through the object-oriented policies they mainly focus on. Three main purposes are often mentioned: preservation, dissemination of knowledge and access to tradition. Beyond these informative and cultural-laden functions, museums have also been labeled as theatres of power, the emphasis lying on nation-oriented policies. According to Michael F. Brown (2009: 148), the outcome of this moral standing of the nation-state is a mobilizing public sentiment in favour of the state power. We consider that the constant flow of national and international exhibitions or events that could be hosted in museums has a twofold consequence: on the one hand, a cultural dynamics due to the permanent contact with unknown objects, and on the other hand, some visibility strategies in order to attract visitors. This latter effect actually embodies a shift within the perception of museums from entities of knowledge towards leisure environments. Within this context where the concept of edutainment(Eschach 2007) seems to prevail in the non-formal way of acquiring new knowledge, contemporary virtual museums display visual information without regard to geographic location (Dahmen, Sarraf, 2009). They play ?a central role in making culture accessible to the mass audience(Carrazzino, Bergamasco 2010) by using new technologies and novel interaction paradigms. Our study will aim at analyzing the way in which civilization was e-framed in the virtual project ?A History of the World in 100 Objects, run by BBC Radio 4 and the British Museum in 2010. The British Museum won the 2011 Art Fund Prize for this innovative platform whose main content was created by the contributors (the museums and the members of the public). The chairman of the panel of judges, Michael Portillo, noted that the judges were impressed that the project used digital media in ground-breaking and novel ways to interact with audiences. The two theoretical frameworks used in our analysis are framing theories and critical discourse analysis. ?Schemata of interpretation? (Goffman 1974), frames are used by individuals to make sense of information or an occurrence, providing principles for the organization of social reality? (Hertog & McLeod 2001). Considered cultural structures with central ideas and more peripheral concepts and a set of relations that vary in strength and kind among them? (Hertog, McLeod 2001, p.141), frames rely on the selection of some aspects of a perceived reality which are made more salient in a communicating text or e-text. We will interpret this virtual museum as a hypertext which ?makes possible the assembly, retrieval, display and manipulation? (Kok 2004) of objects belonging to different cultures. The structural analysis of the virtual museum as a hypertext will focus on three orders of abstraction (Kok 2004): item, lexia, and cluster. Dividing civilization into 20 periods of time, from making us human (2,000,000 - 9000 BC) up to the world of our making (1914 - 2010 AD), the creators of the digital museum used 100 objects to make sense of the cultural realities which dominated our civilization. The History of the World in 100 Objects used images of these objects which can be considered ?as ideological and as power-laden as word (Jewitt 2008). Closely related to identities, ideologies embed those elements which provide a group legitimation, identification and cohesion. In our analysis of the 100 virtual objects framing e-civilization we will use the six categories which supply the structure of ideologies in the critical discourse analysis framework (van Dijk 2000: 69): membership, activities, goals, values/norms, position (group-relations), resources. The research questions will focus on the content of this digital museum: (1) the types of objects belonging to the 20 periods of e-civilization; (2) the salience of countries of origin for the 100 objects; (3) the salience of social practices framed in the non-formal teaching of e-civilization/culture; and on the visitors? response: (1) the types of attitudes expressed in the forum comments; (2) the types of messages visitors decoded from the analysis of the objects; (3) the (creative) value of such e-resources. References Brown, M.F. (2009). Exhibiting indigenous heritage in the age of cultural property. J.Cuno (Ed.). Whose culture? The promise of museums and the debate over antiquities (pp. 145-164), Princeton, Oxford: Princeton University Press. Carrazzino, M., Bergamasco, M. (2010). Beyond virtual museums: Experiencing immersive virtual reality in real museums. Journal of Cultural Heritage, 11, 452-458. Cuno, J. (2009) (Ed.). Whose culture? The promise of museums and the debate over antiquities (pp. 145-164), Princeton, Oxford: Princeton University Press. Dahmen, N. S., & Sarraf, S. (2009, May 22). Edward Hopper goes to the net: Media aesthetics and visitor analytics of an online art museum exhibition. Visual Communication Studies, Annual Conference of the International Communication Association, Chicago, IL. Eshach, H. (2007). Bridging in-school and out-of-school learning: formal, non-formal, and informal education . Journal of Science Education and Technology, 16 (2), 171-190. Goffman, E. (1974). Frame analysis: An essay on the organization of experience. Cambridge, MA: Harvard University Press. Hertog, J.K., & McLeod, D. M. (2001). A multiperspectival approach to framing analysis: A field guide. In S.D. Reese, O.H. Gandy, & A.E. Grant (Eds.), Framing public life: Perspective on media and our understanding of the social world (pp. 139-162). Mahwah, NJ: Lawrence Erlbaum Associates. Jewitt, C. (2008). Multimodality and literacy in school classrooms. Review of Research in Education, 32 (1), 241-267. Kok, K.C.A. (2004). Multisemiotic mediation in hypetext. In Kay L. O?Halloren (Ed.), Multimodal discourse analysis. Systemic functional perspectives (pp. 131-159), London: Continuum. van Dijk, T. A. (2000). Ideology ? a multidisciplinary approach. London, Thousand Oaks, New Delhi: Sage.
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