Journal articles on the topic 'Curatorial artworks and related studies'

The aim of our research was to investigate the influence of the situational context of presenting contemporary critical artworks (in an art gallery vs in a laboratory setting) and the way in which one is acquainted with contextual information, i.e. a curatorial description (reading it on one’s own vs listening to it vs a lack of curatorial information), on the reception of critical art. All experimental stimuli were exemplars of contemporary art which raise current controversial social and political issues. Non-experts in the field of art were asked to rate their emotional reactions on non-verbal scales and estimate their liking and understanding of the artworks. As predicted, the art gallery context increased both the experience of aesthetic emotions–in terms of valence, arousal, subjective significance, and dominance and aesthetic judgements–in terms of liking. Thus, for critical art (i.e. current artworks which critically address serious, up-to-date issues) the situational context of the gallery increased the aesthetic experience–which is in line with previous studies on the gallery (or museum) effect. Curatorial information increased understanding, so non-experts seem to need interpretative guidance in the reception of critical art. Subjective significance was higher in the reading of curatorial information condition than the listening to curatorial information condition or the control condition (a lack of curatorial information). It seems, therefore, that art non-experts have a better understanding of critical art after being exposed to the curatorial description, but this does not result in an increase in liking and aesthetic emotions. Probably this is because the curatorial description allows one to grasp the difficult, often unpleasant issue addressed by critical art.

As an extended part of independent curatorial project About and Around Curating/Kustosiranje, art historians and freelance curators Bereta and Tunić developed a special academic course for the University of Belgrade, Faculties of Architecture and Fine Arts during the autumn semester 2012/13. Rooted in experience based methodology and inspired by contemporary curatorial studies in Europe, the official course curriculum gathered undergraduate students of Architecture, Fine Arts (Department of Sculpture) and Art Historians. The aim of the course was to encourage team working of students of different backgrounds in order to create newly produced artworks, as part of a group exhibition. The course itself was intended to be a reaction and constructive critique towards the lack of cooperation between art faculties, low rate of practical activities during studies and seeing curatorial studies solely as a world of ideas.

Amid the restrictions on travelling and gathering imposed during the COVID-19 pandemic, exhibitions with international collaborations in Hong Kong experimented with curating across borders and time. This article examines recent curatorial practices in Hong Kong’s art institutions, particularly relating to site-specific installations and performances that had to cope with the artist’s physical absence and institutional restrictions. Two site-specific art commissions ‐ Shirley Tse’s Negotiated Differences (2020), installed at the M+ Pavilion, and Eisa Jocson’s Zoo (2020), performed at Tai Kwun Contemporary ‐ serve as cases in point illustrating how curatorial practices enabled remote collaboration and display reconfiguration to address authorial absence and institutional interventions during the installation and exhibition phases due to the pandemic. The former case study decentralized the authorial control of artistic criticality from the artist to a collective curation and installation process, while the latter evolved in accordance with protean institutional and social contexts by actively changing the display during the exhibition. Despite the pandemic-imposed separation and restrictions, these two case studies shed light on how curators collaborated with artists and participants across distance and time, actively and flexibly forging responsive and relevant connections between site-specific artworks and the immediate present. Their curatorial practices ‐ as artistic mediation ‐ complicated the conceptual framework of artworks and exhibitions through co-curation and co-production with artists, thus lending a collaborative dimension to the model of exhibition-making and the role of the curator as the ‘curator-as-artist’.

With the rejuvenation and diversification of the luxury market, luxury brands face the challenge of maintaining economic growth while considering the challenges of brand image building and customer loyalty. There is growing evidence that the younger generation of customers will gradually become the protagonists of the luxury market. One of the customer journeys they care most about is matching personal and brand values and the consumption experience. From this perspective, this article uses case studies, comparative studies, and literature research, taking Cartier Beyond Boundaries - Cartier Palace Museum Crafts and Restoration Special Exhibition as the main case. By comparing with other luxury brands’ art exhibitions in Asia, Analyze and study why contemporary luxury brands have increased their artistic construction and the relationship between luxury brand curatorial activities in the Asian market. By implementing the recommendations in this paper, Cartier can create a digital environment within the experience of its artistic curatorial events, facilitating interaction with their products, stories, and artworks.

This poster investigates the role that the Sharjah Biennial (SB), an international art showcase in the United Arab Emirates, plays in the development of a local artistic and cultural taste. It argues that the SB contributes to the molding of local aesthetic values through its selection of curatorial themes, artists, artworks, and, especially, venues. Using field visits, interviews, and archival research informed by sociological and anthropological theories on aesthetics, the author shows that organizers of public art exhibitions and programs are in a key position to shape the art to which people are exposed and how this, in turn, creates a public valuation of aesthetics. This project fills a gap in contemporary biennial literature by shedding light on the pivotal roles of art events in shaping societal aesthetic values.

In fine arts, creating artworks need doing research. The research has many types. Mostly, it is not the scientific research type. But, nowadays, scientific research is commonly implementing in creating artworks too. It is important to know the various researchs in creating artworks, so it could be able to understand how research has the significant role in creating artworks. This study examines the research in creating artworks through comparation of 3 case studies of fine art exhibitions; (1) the creative process of water color painting exhibition Climen by Surya Wirawan in 2012 which the process held for 4 years (2008-2012), (2) the painting exhibition Melupa by Ugo Untoro in 2013 which the process held for 13 years (2000-2013), (3) the art project Tentang Hutan by gerimisUngu Production 2014 which the process held for 4 years (2011-2014). Each of those 3 creative process has different type of research, methods, and period, artworks as the output, experience of the artist whom get involved, and certain location in Indonesia. These 3 case studies describe that the research in creating artworks can be scientific with fully consideration, or semiscientific in consideration, or unscientific between consideration and uncosideration. And, the certain research implemented in creating artworks is related to the artist (individual and cultural), purpose of the artworks and exhibition, and content of the artworks which appointed.

Barring Freedom, a travelling exhibition featuring artworks engaging the histories and current conditions of prisons and policing in the United States, was to open in April 2020. While COVID-19 disrupted that plan, the realities of inequity in the United States placed into stark relief by the pandemic and the uprisings of summer 2020 brought urgency to rethinking the curatorial vision of the exhibition to reach audiences beyond the gallery walls. Buoyed by the idea that, in the words of Angela Davis, art can ‘propel people towards social emancipation’, the exhibition and related programming was reconceived as an ongoing, interdisciplinary, public scholarship initiative reaching across the borders normally perceived between museums, prisons and universities. Opportunities arose for expanded forms of community building and participation that welcomed different forms of knowledge, furthering the political and aesthetic aims of the project to shift the social attachment to prisons.

Abstract Vida Americana: Mexican Muralists Remake American Art, 1925–1945, an exhibition that opened at the Whitney Museum of American Art in February, 2020, proposed to remake art history by demonstrating the profound impact Mexican painters had on their counterparts in the United States, inspiring American artists “to use their art to protest economic, social, and racial injustices.” An unexamined part of this chapter of art history concerns the role of radical Jews, who constitute almost one half of the American artists whose work appears in the exhibition. Rooted in a distinct experience, as either immigrants or their American-born children, these Jewish artists had been making politically charged artworks well before the Mexican muralists’ arrival in the United States. Considering the role of left-wing Jews in this period of art-making would complicate the curatorial thesis of Vida Americana. Moreover, the exhibition’s lack of attention to Jews in creating and promoting this body of work raises questions about how the present cultural politics of race may have informed the analysis of this chapter of art history.

Purpose – The purpose of this paper is to provide an overview of the Professional Doctorate by Public Works (DProf by Public Works) one of the newer Doctorates by Professional Studies from the Institute of Work Based Learning in Middlesex University. Design/methodology/approach – The DProf by Public Works is based on 75 per cent practice that has already taken place, and the 25 per cent Contextual Statement is a reflection on this practice encapsulated in no more than six Public Works, which places the researcher at the centre of the enquiry. Findings – This paper focuses on a particular DProf by Public Works entitled “An entrepreneurial curatorial strategy for public spaces” and outlines how it was achieved by detailing the inter-professional and trans-disciplinary approach taken. The process undertaken to produce a self-reflexive and self-positioning statement reflecting on over ten years of independent curatorial practice of public art exhibitions is examined. Originality/value – The Public Works and its supporting Contextual Statement make up the DProf by Public Works. These can be published works in the traditional sense or other embodied expressions of knowledge and practice such as collections of artifacts, videos, photographic records, musical scores, artworks, and exhibitions. This paper explores how individual critiquing at the highest level of enquiry in the Contextual Statement can transform research into future real-world strategic directions that influence thinking, action, and practice in the public domain.

AbstractExhibiting perpetrator photographs of suffering and death presents a series of curatorial problems for museums and galleries. Unlike photojournalist images taken to inform a social conscience, the initial creation and circulation of such photographs have historically been implicated in the violence they depict. Beyond skepticism as to photography’s capacity to arouse a moral impulse, exhibitions of perpetrator photographs have been criticized for promoting voyeurism and extending suffering through the reiteration of images of human degradation. I consider how a problem central to Jewish theology might speak to such curatorial concerns, specifically the question of what constitutes the practice of idolatry. In this context I explore issues related to the ethics of visuality, developing the implications of Leora Batnitzky’s reading of Franz Rosenzweig’s cultural writings for my own concerns regarding the museological practice of public history.

At first glance, radio may seem to be an example of dated technology, overturned by other, more contemporary media. However, the beginning of the 21st century brought an upsurge of radio-related artworks alongside an increased theoretical interest around the broader topic of sound in culture – in response to W. J. T Mitchell’s ‘pictorial turn,’ the ‘sonic turn’ was introduced in 2004 by Jim Drobnick. In this article, I specifically focus on radio as a tool used in visual arts on the example of works by artistic/curatorial collective Radio Earth Hold, observed through the lens of ‘transmission arts’ – a term coined at the end of the 1990s, which recognizes the issue of transmission as political at its core. REH’s works render apparent the potential of the radio voice to become authoritarian as well as to create an intimate experience of listening. By building upon the idea of ‘sonic solidarity’ REH touches upon political topics in a way that can profoundly challenge our thinking and encourage us to reexamine not only the role of radio but also the transmission and communication in or via art – which perhaps could be understood as a way towards the possible sonic turn.

The present paper follows the National Museum of the Romanian Peasant (Romania) in its endeavour to display the Virtual Museum of Childhood. The context prior to exhibiting material and intangible heritage related to childhood is analysed, and the curatorial challenges of this project are mentioned. This article also refers to the museum’s activities dedicated to childbirth (exhibitions, cultural activities), from 1990 to the present day, but it especially focuses on the first exhibition of the Museum of Childhood, “Coming into the world: From spirits to the Spirit”, dedicated to birth.

Kitchen has been one of the most intensively lived spaces at home, yet, its furnishings have often vanished, especially in the 20th-21st centuries. Cooking tools and utensils have been part of museum displays dedicated to historical food culture but the complex materiality of the kitchen related to multiple practices going beyond food production and consumption has rarely attracted curatorial interest. This article examines comparatively how Estonian museums represent and interpret the materiality of kitchens and kitchen culture. Relying on ethnographic sources the analysis considers the aspects related to material culture as well as museum studies: how kitchen materiality and kitchen practices were represented according to curatorial concepts and how kitchen related objects were interpreted and displayed. The primary materials for the study come from four permanent and temporary exhibitions from 2015‒2016 explicitly dedicated to kitchens and cooking. Exhibiting the lived dimension of kitchens was a challenge for all museums, requiring special participatory actions for collecting stories and things. In all cases, the social life of things was evoked, either sheding light on the general and typical of particular periods, or emphasizing the individual choices and subjective experiences through the biographical approach.

This essay departs from the artistic work on Chile’s and Venezuela’s mineral extractive zones by Ana Alenso to reflect on how art symbolically and materially deals with geological, political, and cultural entanglements. By combining geology of media studies and Latin American political ecology, it studies how Alenso’s artworks allow us to discuss and highlight the ways in which art empowers socio-ecological claims and actions that configure other forms of resilience in the face of extractive capitalism. It also discusses how culture is intrinsically related to the history of the Earth, geological and mineral formations, and energy. The essay concludes by conceptualizing these artworks as archives of the planetary mine. This notion understands artistic praxis as a cultural archive recording the socio-ecological imbrications activated by the multiple dimensions of mining in Latin America.

Feminist artworks can be a resource in our attempt to understand individual identities as neither singular nor fixed, and in our related attempts both to theorize and to practice forms of connection to others that do not depend on shared identities. Engagement with these works has the potential to increase our critical social consciousness, making us more aware of oppression and privilege, and more committed to overcoming oppression.

To commemorate the Christian bimillennium, the Canadian Museum of Civilization opened an exhibit entitled Under the Sign of the Cross: Creative Expressions of Christianity in Canada. Although one of the goals of the display was to illustrate the "impact" of Christianity on Canada, the exhibit was noticeably lacking historical context. This article explores the curatorial principles that guided the planning and execution of the exhibit. It argues that the lack of attention to an historical narrative was directly related to assumptions underlying the collection of material objects of religion and an attempt to redeem a "sacred" status for the artefacts on display. Unfortunately, this loss of context also meant that many of the original multiple meanings embodied by these material objects of religion were also lost.

This study examines the national identity elements of the Fatimah Chik and Khatijah Sanusi artworks, which begins with the examination of relevant material, including examples of national identity-related works and visual data on the results of Malaysian female artists obtained through digital photographs and records. Identifying and recognising national identity in Malaysian female artists' works is categorised by the artwork's profile. The artwork's focus and criteria will be mapped with the inquiry of the National Cultural Congress's study (NCC). Women's attitudes in art production reflect national identity in female artists' artworks that emphasise culture, family, and accuracy. Keywords: Artworks, Female artist, National identity, Malaysia eISSN: 2398-4287 © 2019. The Authors. Published for AMER ABRA cE-Bs by e-International Publishing House, Ltd., UK. This is an open access article under the CC BYNC-ND license (http://creativecommons.org/licenses/by-nc-nd/4.0/). Peer–review under responsibility of AMER (Association of Malaysian Environment-Behaviour Researchers), ABRA (Association of Behavioural Researchers on Asians) and cE-Bs (Centre for Environment-Behaviour Studies), Faculty of Architecture, Planning & Surveying, Universiti Teknologi MARA, Malaysia. DOI: https://doi.org/10.21834/ebpj.v7iSI8.3918

It seems that the whole world tries to compensate for all the sufferings Van Gogh experienced during his lifetime, and quarries of light are no exception. It uses immersive technology to bring life to Van Gogh's works, making these masterpieces even more impressive. This article explains the similarity between the features of Van Gogh's bedroom and the conception of 'Total Image', answering why Van Gogh's paintings like his bedroom are especially suitable for using immersive technology. The essay also gives guidelines about how to demonstrate famous artworks creatively with the help of modern technology. By searching the internet, the studies related to quarries of light are rarely seen, but resources about Van Gogh and his works are abundant. This paper combines immersive technology with Van Gogh's paintings, which provides an interdisciplinary approach to understanding the relationship between visual technology and art.

From 1981 to 2009, Maria Lai created a series of site-specific outdoor artworks made of different materials (above all cement, then painted with acrylic colour) located in her hometown Ulassai (Sardinia), which became an open-air museum. This paper focuses on a project regarding each artwork, with the creation of a documentation record on their history and conservation issues. Over the years, retouching and repainting interventions were realized by the artist and local workers without any conservator-restorer being involved in the process. The paper also aims to provide a description of these interventions with a focus on three case-studies, exploring the challenges related to maintenance, particularly the ones involving retouching and repainting.

‘Six Moments in Kingston Town’ was an art project developed by the Public Art Commission in May 2019 that sought to collectively speak to the diverse cultures and shared histories of the City of Kingston, south of Melbourne. A series of leading Australian artists were commissioned to work with local community groups to develop projects that spoke to the complex, rich and interwoven social fabrics of this region, concentrating on the period of the mid-1970s to early 1980s. Using as key case studies events such as the election of Moorabbin’s first female councillor in 1976, a selection of nationally famous political protests in 1982, and the disappearance of aviator Fred Valentich who flew out from Moorabbin airport in 1978 never to be seen again, the project sought to highlight hidden or obscured historical moments that impacted well beyond the Kingston region. This text examines how curatorial practice via the commissioning of a series of iterative, place-specific, temporary projects can serve to nurture resilient communities while showcasing adventurous, challenging contemporary art. In picking up on local gestures, materials and events that clearly resonate with our contemporary milieu, we bring into question art’s repeated teleology ‐ one that eschews resistance in favour of its own disappearance into a kind of utopic consensus, where politics, art, culture and the economy fuse into a life of communal accord. In this article, we argue that the making of public artworks as dissensus serves to resist the collapse of art into life and, therefore, the danger that, with the disappearance of art, politics is doomed as well. As the article progresses, we pick up on a number of theoretical threads that present the works as ruptures in our conventional approaches to these sites and their histories.

Tejaprabhā Buddha is the lord of the constellations and one of the most significant esoteric deities. Its image occurs in a number of Chinese visual presentations dating from the Tang Dynasty to the Ming Dynasty. The cult of Tejaprabhā was also disseminated to Korea and Japan and spawned related local visual creations. Tejaprabhā Buddha and his followers do not belong to the core group of Buddhist deities but are instead connected to the Daoist deities. This was most likely due to the fact that asterism held a greater significance to Daoists, for whom it was the most important of all the power sources derived from the cosmos. The focus of this study is on unearthing the Daoist astrological influences in the visual presentation and its adaptation of Tejaprabhā Buddha and the accompanied luminary deities in China. The cult of constellations and Tejaprabhā in the context of Chinese Esoteric Buddhism was constantly evolving under the influence of Daoism, gleaned by examining and comparing the quantity and visual variations of luminaries in the artworks of Tejaprabhā of different periods.

This interactive roundtable presented the findings of the Dance Heritage Coalition's (DHC) “fair use” project, whose outcomes will make dance-related materials at libraries, museums, and archives more readily accessible to researchers, students, and the public. Strict copyright observance affects the breadth of materials available for scholarly study, public programming, and classroom use. Thus, copyrights adversely skew the dialogue in historical and cultural studies of dance. The panelists from the archival and scholarly fields will illustrate the copyright problem and the “fair use” solution by offering several case scenarios (including curatorial problems in the DHC traveling exhibition, Dance Treasures). The DHC's initiative is modeled on the documentary filmmakers'project on “fair use.” Through individual interviews and focus groups of librarians/archivists, technical staff who work with librarians, and scholars/educators, the DHC developed a set of scenarios where copyrights conflict with the programs and missions of dance-related cultural institutions. Findings and agreements have been collected and will be shared in a published “Statement of Best Practices of Fair Use.” Q&A followed.

This paper examines the social realist paintings of the art groups Yiyanhui and the Equator Art Society which emerged during the 1950s in Malaya and Singapore. Their works centred on the social functions of art and its subject matters featured the working class, the Japanese occupation and anti-British colonial sentiment. Their artworks are viewed here as cultural productions shaped by the negotiation between dominant-subordinate relationships within a postcolonial framework. It is argued that the artistic productions examined here may be viewed not only for its overarching “social realist” endeavours but, also as a struggle to rewrite the narrative of the Chinese in Malaya against of the prevailing static representations forwarded by the colonial campaign. The first part of the paper illustrates how colonial discourse in the local press propagated an image of the Chinese as inherently susceptible to communism, untrustworthy, and opportunistic. The second part of the paper shows how the artists resisted this essentialist image of Chinese identity and offered a more complex picture of a Chinese-Malayan identity. Through a combination of interviews, written artist’s statements, formal and contextual considerations of the artworks, as well as a cultural studies framework, I demonstrate how a different narrative is being offered by these artists through two related processes in identity construction: qualifications for authenticity and belonging, the articulation of ambivalence. Resistance thus, is explored as encompassing a network of strategies employed by these artists as a way to reject colonialist representations of otherness and gain authorial agency against the intellectual and ideological dominance of colonial discourse.

This article raises two concerns underpinning the need for a critical history of fiber art in the 20th century. The first is a critique of aesthetic formalism predominant in the Lausanne Biennale during the 1960s and 70s, which overlooks artistic, ideological, and political milieus that drew together textile artists from localities formerly treated as peripheral in art history. The second holds to account Euro-American institutions and related historiographies for their curatorial exclusion of Arab and African fiber artists. Such inclusion, I argue, would have conjured tapestry's deeper incongruities, which emanated from unresolved questions at the core of modernism: the assigning and appropriating of artistic identities, the evaded issue of state patronage, and the persistent ideological and aesthetic problem of craft and its framing within economies. By comparing three artists: Magdalena Abakanowicz, Jagoda Buic, and Safia Farhat, I reassess New Tapestry networks, myths, and systems of state and institutional support. The circulation of Abakanowicz, Buic, and Farhat around a conflux of dimensions signals a new pathway for recovering and writing a history of fiber art, and perhaps a reflection on modernism at large.

This article deals with reassessing Venetian Cinquecento painting in France in the 1820s. This research is a series of case studies related to this problem and providing various types of historical analysis. It examines particular artworks, artistic, social, political contexts, and the influence of Venetian art on the formation of a new artistic language in France in the 1820s. Using an analysis of a wide range of both visual and verbal primary sources, I explore theoretical and practical aspects of the reassessment of Venetian Cinquecento painting in early nineteenth-century France. The paper presents a detailed examination of various French publications of that time regarding Venetian art, as well as a comparative analysis of artworks by Venetian and French artists, namely, Jacopo Robusti, Paolo Veronese, Andrea Schiavone, Eugène Delacroix, Xavier Sigalon, and Eugène Devéria. In this article, I address the following questions. What was the knowledge about Italian Renaissance art in France in the early 19th century? What place did the Venetian school take among the Italian schools of painting in the French consciousness at that time? How was Venetian painting perceived, revisited and presented? How did it influence the formation of a new artistic language in the 1820s? This study reveals the causes, specifics, aspects, and far-reaching consequences of the reconsideration of Venetian Cinquecento painting in the 1820s and its significance for the understanding of the patterns of art development in 19th-century France.

Three-dimensional laser scanning is a novel measurement technique that is frequently used for the documentation of cultural heritage (CH) objects. In the process of 3D scanning, one can obtain computing 3D models of artworks to be documented. It allows one to produce detailed digitized archives of important CH objects. Moreover, the use of 3D scanning enables the digital reconstruction of architectural fragments, sculptures, and other artworks. One more important application of this technique relates to the creation of molds and replicas for replacements of outdoor CH objects in case their preservation requirements do not allow them to remain in their original place due to the influence of environmental factors. One of the most effective ways of creating replicas is the use of laser additive technologies. Therefore, the combination of 3D scanning and additive technologies is a very promising way of preservation of CH. This paper describes several case studies concerned with the combined usage of 3D laser scanning and additive technologies for digital reconstruction and replication and of outdoor sculptures in St. Petersburg city. One of them is the reconstruction of the zinc sculpture “Eva at the fountain” (XIX century, England), which was destroyed during WWII. Its replica was created by means of laser stereolithography. Eventually, one more project is related to the reconstruction of the fragment of the sufficiently damaged cast-iron XIX century monument. This object was reconstructed using two laser technologies: direct metal laser sintering (DMLS), and laser cladding (LC).

Transmedia storytelling is a new way to tell stories. One of its crucial elements is active audiences or fans in order to gain maximum information and enjoyment. This preliminary study wanted to examine the utilization of a website and social media by Gundala’s fans in fulfilling their needs to exhibit their artworks and to engage in social interaction. This qualitative study collects data by interviewing transmedia professionals and examining the website and social media related to Gundala. The result indicates that Gundala’s fans were very active and dynamic in social media. In this virtual space, they exhibited the creative fan arts and expressed themselves in social interaction enthusiastically. Since this is a preliminary study, conducting further studies on Gundala’s fan arts and social media with a broader range of data is necessary.

Abstract Art experience means the rich experience of artistic objects that are mostly embedded in situational, social, and cultural contexts: for instance when encountering art in art galleries or museums. Art experience lets us reflect on the content, the style, and the artist behind the artwork—moreover, it lets us reflect about the percept, perception, the world, ultimately: about us. Current works in the field of empirical aesthetics unfortunately often ignore context factors that are so important for such deep and far-reaching experiences. Here I intend to refer to the different paths of measuring art experience via Path #1 by testing within the ecological valid context of art galleries via field studies, via Path #2 by simulating certain contextual and perceptual factors in a lab-oriented study design and via Path #3 by testing art-related material in labs without paying attention to such factors. The way we research art experience drastically changes the quality and nature of the output, especially if we ignore certain essential factors which are typically involved when encountering art galleries in real life via Path #3—mainly because participants do not show the typical motivation, interest and effort which they would typically face in art galleries. Furthermore, because the depiction quality of artworks, the context and the social situation in which they are inspected is fundamentally different in the lab, the respective impression is also very different. As most research ignores such factors, we might often be misled by the results of such studies; especially when the extraordinary and unique cultural status that makes artworks so different to ordinary objects is ignored. The paper aims to guide researchers in finding the right study paradigm and best measures to answer their regarding research questions most adequately.

Large-scale urban soundscape systems offer novel environments for electroacoustic composers, sound artists and sound designers to extend their practice beyond concert halls, art galleries and screen-based digital media. One such system with 156 loudspeakers was installed in 1991 on the Southgate Arts and Leisure Precinct in central Melbourne. Over the next 15 years another three large multichannel soundscape systems were installed on other sites close to the first. A fifth system was established for a single work of art in 2006. Despite this private and public investment in sound art estimated at over one million Australian dollars, several systems are no longer in operation while some remaining systems require technical and curatorial development to ensure their continued cultural presence. To investigate why some systems had failed, interviews were conducted with key players in the development and operation of the five systems. A report from the interviews was produced and is the basis of this paper framing critical issues for improving models of urban soundscape practice. Following a brief overview of related studies in urban sound practices, and descriptions of the system and original study, key themes that emerged from the interviews are examined.

Discovering the influences between paintings and artists is very important for automatic art analysis. Lately, this problem has gained more importance since research studies are looking into explanations about the origin and evolution of artistic styles, which is a related problem. This paper proposes to build a multiplex artwork representation based on artistic formal concepts to gain more understanding about the aforementioned problem. We complement and built our approach on the previous notion of Creativity Implication Network. We used the recently proposed MultiRank algorithm to suggest possible explanations of the dynamic of some artistic styles. Our results corroborate some well-known facts about the artists analyzed and give qualitative and quantitative information that show the possibilities and strengths of the proposed framework. We plan to expand our analysis to include more abstract artworks. Ideally, we are going to be able to validate more our results and test how our methodology could be used to generate visual artifacts too.

Abstract This session identifies common misconceptions about identity for persons living with Alzheimer’s disease and related dementias (ADRD). Going beyond diagnostic brain imaging and neurocognitive testing, case studies and research in creativity from around the United States highlights consciousness of persons living with ADRD. Reviewing and discussing artworks is aimed to set dialogue in the question of where memory deposits emerge when engaged in creativity. Through art therapy techniques, this type of self-expression may provide new avenues in treatment for dementia care. Exploring the arts from those with Mild Cognitive Impairment to late stage Alzheimer’s and other forms of dementia, such as frontotemporal dementia, consciousness seems to remain intact despite neural death. This session aims to discourage poor spending allocations and establishing meaningful care. From clinical research trials to creativity of self-expression, the importance of why the arts and sciences matter are demonstrated as effective modalities that enhance quality of life.

From the onset of the indefinite deferral of our previously taken-for-granted lives, an abundance of humorous online cartoons, jokes, memes, videos and other satirical material relating to the COVID-19 outbreak—and its consequences—has emerged. Humorous responses to this dire global pandemic proliferate irrespective of location, nationality, ethnicity, age, gender and/or socio-political affiliations. Against a background of enforced lockdowns, quarantine, and sometimes gross political ineptitude, with a mounting daily global death toll, humour referencing this scourge continues to blossom. This may seem counterintuitive or inappropriate at a time of heightened anxiety and fear apropos of an invisible killer-virus, known only in diagrammatic—and, ironically, aesthetically pleasing—visual form. Online humour evoking the COVID-19 crisis is expressed recursively via intertextuality referencing literary, visual, written, oral or other “texts.” Interpictoriality is evident with memes that reconfigure renowned visual artworks. The internet enables copious discourse related to the COVID-19 eruption/disruption. Embedded in this article are examples to support the article’s theoretical basis, with intertextuality its major focus. Discussion follows, with speculation as to why humour, absurdity and wit are able to prosper in an environment of radical uncertainty and why joking about our parlous global predicament acts as a vital coping mechanism.

This article asks if and how national museums today, which have in recent decades adopted a remit for social rights activism, have an obligation to engage with a broad spectrum of political participation and expression, including contemporary forms of far-right extremism and white grievance politics. How can museums engage with and respond meaningfully to the upsurge in acts of violence perpetrated in the name of structural, collective, and personal ideologies based on hate, xenophobia, and racism? Responding to these questions requires museums to move beyond acts of symbolic national commemoration and grapple with the human expressions and experiences of hate. Drawing on current museum scholarship and practice that is increasingly open to embracing research into studies of emotion and affect, as well as activism and its shifting narratives, the article concludes that the task of curatorial activism should be focused on effecting processes of structural—internal, institutional—change. Furthermore, this process can lead to the understanding that our forms of being human are not just related to our interpersonal interactions in the private sphere but also influence all aspects of civic and institutional life—including the ones that raise difficult questions or unpalatable truths about who we are, individually, and as citizens of the worlds to which we contribute.

The emergence of new research methods in the field of heritage science always raises a large number of questions related to their applicability, reproducibility of results on similar objects, complementarity with other methods, and development of new research methods. To solve such problems, it is necessary to have a test object with the required structure. A multilayer test object based on a fragment of a copy of a 19th century painting by I.K. Aivazovsky was created and described. Analytical studies of the colourful layers were carried out on a Fourier-transform infrared (FT-IR) spectrometer with an attenuated total reflectance (ATR) attachment in single-reflection mode with a diamond crystal. As part of the use of one research method, differences between painting layers of the 19th and 20th centuries were revealed. Results are presented in the IR graphs. The aim of the work was to identify the characteristics of the pictorial layers inherent in the copy of the painting by I.K. Aivazovsky. This will improve the methodology of technological expertise of the I.K. Aivazovsky’s artworks.

This study investigates and explores the ability and benefits of found-objects that enhance art within a therapeutic approach to cope with emotional issues. It allows the therapeutic process of found-object art therapy to be understood, experienced, and analyzed—found-object art therapy aids in improving mental and physical well-being. The flexibility of materials and technique and the mind-body engagements during the art-making process, help one to understand, connect with, and recover from the psychological issue. These are shown through first-hand experience of creating found-object artworks as therapy and supported by appropriate review-related literature and artwork with proper creative studio art research. Keywords: Found-Object Art; Therapy Approach; Nature. eISSN: 2398-4287 © 2022. The authors. Published for AMER ABRA CE-Bs by e-International Publishing House, Ltd., UK. This is an open-access article under the CC BCC-ND license (http://creativecommons.org/licenses/by-nc-nd/4.0/). Peer–review under responsibility of AMER (Association of Malaysian Environment-Behaviour Researchers), ABRA (Association of Behavioural Researchers on Asians) and cE-Bs (Centre for Environment-Behaviour Studies), Faculty of Architecture, Planning & Surveying, Universiti Teknologi MARA, Malaysia. DOI: https://doi.org/10.21834/ebpj.v7iSI7%20(Special%20Issue).3810

The research deals with the factors affecting the performance of academic women artists in universities, to enrich scientific research in the field of art and design, through the analysis of a number of previous studies to determine the factors affecting the performance of academic women in visual arts, related to scientific research based on artistic work, and a review of standards and procedures for the production of works. Art for the purpose of experimental scientific research in the field of arts in universities. The research also deals with the study and analysis of a sample of artworks by academic women artists, which are the product of art exhibitions theorized as scientific research in the field of visual arts, through the analysis of visual plastic elements, philosophical trends, and techniques used for the sample of works. The research also deals with collecting information through the design, arbitration, and distribution of a questionnaire to a number of academic artists in the fields of art and design in Jordanian and Egyptian universities, in order to determine the factors affecting the performance of academic artists in scientific research based on art exhibitions and design projects. The importance of the role of art galleries as a basis for applied scientific research in the field of art and design.

“Happiness” is not even considered by many as a scientific term. Meanwhile, some practitioners are concerned with improving the quality of life and the objective reasons for people’s subjective satisfaction while others note the prevalence of problems related to “unhappiness”. Thus, in the best case, people turn to clergy, significant others, or psychotherapists to change either themselves or their lives for the better. However, theoretical interpretations of the phenomenon of happiness in many sciences that are based on the models of balance, the correspondence between the desired and the available, etc., use a fragmented and practically unstructured terminological apparatus. The goal of the study is to identify the conceptual models in all the diversity of interpretations and studies of happiness that allow uniting groups of researchers from different fields of knowledge, as well as to present the views of the authors of artworks on the mechanisms of experience and empathy with the processes of gaining and losing happiness. Methods: Comparative analysis of views on the phenomenon of happiness and the related states presented in works of art, spiritual and cultural life, and studies of the social and human sciences. The analyzed material allowed us to show the presence of a large number of models of interpretation of the state of happiness often associated with the assessment of resources available to the individual (horizontal-resource models of happiness). This distinguishes them from the vertical-level models that contrast the highest levels of happiness of special quality with the manifestation of different, lower-order states also referred to as happiness. It is important to note that in horizontal-resource interpretations, many models do not treat happiness simply as a significant share “of the total pie”. Resource-based approaches assess the available or absent potential (of varying nature), as well as the absence or presence of the possibility of approaching a subjectively meaningful state.

Alàgbà Adébáyọ Fálétí to generations both in “town and gown” is a Yorùbá ̀ iconic cultural statement. His life was a window to different historical epochs in Nigeria. A life that spanned and recorded historical trajectories of early colonial, decolonisation, independent movement, First and Second World Wars, and Nigerian Civil War, Military and Civilian Rules experiences of Nigeria, is worth studying. The Institute of Cultural Studies, Obafemi Awolowo University Ile Ife in recognition of the deep engraving of the footprints of Fálétí in the sands of Yorùbá, indeed African times, called for befitting academic and cultural activities. Among these are this art and artifacts exhibition, a Colloquium, a Playlet and Documentary Film Show. Fálétí’s intense dedication to the promotion of the Yorùbá ọmọlúàbí cultural ethos and his deployment of his God-given talents and acquired capabilities in the promotion of Yorùbá literary and visual arts, history, poetry, orature, cinema and indeed 1 This is a review of the 2-week pictorial, art and artifacts exhibition in Honor of Alagba Adebayo Faleti in 2017 at the Institute of Cultural Studies, Obafemi Awolowo University, Ile-Ife, Nigeria, curated by Akinsola Adejuwon and Seyi Ogunjobi. Reviews 192 Akinsola Adejuwon African arts in general, is not lost on all Fálétí enthusiasts. Furthermore, his remarkable service as Senior Art Fellow at the Institute of Cultural Studies OAU completes the Institute’s resolution to capture the worthy legacy in the appropriate location even with the inauguration of an Alàgbà Adébáyọ Fálétí ̀ Library, Institute of Cultural Studies. Within a lifetime of close to one century, Fálétí delivers perhaps unique classical Yorùbá messages in words matched with action, first to Africa and then the world. This review looks at the pictorial and art exhibition covering the world of Alàgbà Adébáyọ̀ Akande Fálétí. It is an assessment of a thematic display of selected pictures and objects which probably placed the observer within the environment and with people Fálétí related with. The images, pictures, artworks and objects in the display were segmented into five major parts. These focused mainly on Alàgbà Fálétí’s parentage, early childhood, education within pristine Yorùbá-driven legacies of the Ọyọ̀ -́ Yorùbá type, Family life over-written from data flowing from core Yorùbá ethical and artistic ‘motherboard.’ Represented also are years of adolescence and expressions of early youthful forays under various tutelary influences, variegated working periods, writing and acting plus public service careers. Alàgbà Fálétí’s childhood coincided with the period when the British Colonial Government had taken over administration of entire geographical space known as Nigeria. In spite of introduction of foreign culture and customs into Nigeria by the Europeans, Yorùbá culture remained resilient. Hence, we could imagine that the childhood of Alàgbà Fálétí was not radically different from Samuel Johnson’s description of features of Yorùbá childhood as characterised by ‘freedom’ (Johnson: 2009, pp.98-100). These facets of life are arranged in a flow of one hundred and thirty-two frames of pictures and images appropriately hanged on the gallery wall boards, awards, artworks and objects displayed on individual stands. The montage produced by the flow of images on exhibition probably rallied to install both the titular and tutelar toga of ‘Alàgbà’ on Fálétí. Perhaps this also developed from a character evincing deep and cultured qualities over the last century. Qualities projectable only from such roundly home-grown dignitary. An all-round Yorùbá man from the core to the marked skin on his face.

The paper analyzes the literature data on the peculiarities of nutrition of students studying in higher educational institutions of various regions of Russia, and the risks of developing food-related diseases. They are largely associated with the adaptation of students to study at a university, the lack of self-organization skills and a lack of knowledge in matters of rational nutrition. The actual nutrition of students, on the one hand, is characterized by a lack of macronutrients and micronutrients intake, on the other hand, by excessive consumption of substances that contribute to the development of obesity. The results of numerous studies show a general pattern of unbalanced nutrition of students in terms of the ratio of saturated and polyunsaturated fatty acids, insufficient consumption of dietary fiber, full-fledged proteins, and excessive intake of simple carbohydrates. Dietary fiber deficiency can lead to changes in the composition of the microbiocenosis of the digestive tract, a deficiency of omega-3 fatty acids, and consequently, the imbalance of fatty acid composition of the blood cell membrane. 20–40 % of Russian students show signs of severe hypovitaminosis, especially calciferol, which is caused not only by its deficiency in the diet, but also by physical, geographical, climatic and seasonal factors. The analysis of the content of the main minerals in students shows a sufficient content of calcium in the body, an excess of sodium and a lack of magnesium, potassium and iron, which is due to both the composition of the food consumed and the peculiarities of the accumulation and excretion of these ions. An analysis of the actual nutrition of students shows the need for counseling young people, especially in the first years of study. The introduction of an educational program on optimal nutrition is possible through the practice of curatorial work during the adaptation of the first-year students to student’s life.

Współczesne językoznawstwo, choć czerpiące od lat swą terminologię z innych dyscyplin naukowych, w XX wieku stało się dawcą terminów dla opisu dzieł sztuk wizualnych. Ważny impuls dał temu trendowi Benedetto Croce (1902), postulując linguistica generale jako wspólną platformę dla filozofii języka i estetyki. W opinii historyka sztuki Jana Białostockiego (1980/2009) nie tylko traktat Crocego, ale też europejski strukturalizm (Roman Jakobson, Roland Barthes) przyczyniły się do intruzji terminologii językoznawczej na obszar teorii sztuki, prowadząc do „paralingwistycznej wersji” semiologicznych badań nad estetyką. Z kolei Mieczysław Porębski (1986/2009b), krytyk sztuki i semiolog, nazwał to podejście „semiotycznym”, sam uczestnicząc w wieloletniej dyskusji dotyczącej możliwości opisu tekstów wizualnych na sposób „projęzykowy”. Poniższy artykuł przedstawia w zwięzły i bardzo selektywny sposób obóz naukowy zwolenników podejścia semiotycznego (zatem w głównej mierze lingwistycznego) do analizy dzieł sztuk wizualnych i architektury – uczonych reprezentujących różne szkoły i tradycje: a) semiotykę/strukturalizm, b) filozofię sztuki, filozofię języka i logikę formalną, c) podejście retoryczno-figuratywne (z korzeniami m.in. w teoriach Barthesa i Jurija Łotmana), obejmujące również odrębny paradygmat językoznawstwa kognitywnego wraz z tropologią multimodalną, d) skandynawską semiotykę piktorialną (Görana Sonessona), wreszcie e) semiotykę społeczną z jej gramatyką i modalnością wizualności, powiązaną z różnymi teoriami komunikacji. Artykuł stawia następnie pytanie o status zapożyczonych terminów językoznawczych w teorii sztuk i architektury, dzieląc je na trzy klasy: 1) terminy metaforyczne niesystemowe (ekfraza architektoniczna, poetyka architektoniczna Madeline Gins i Arakawy, 2) adaptacje terminologiczne, czyli częściowo metaforyczne terminy systemowe (gramatyka wizualności Gunthera Kressa i Theo van Leeuwena), oraz 3) terminy metaforyczne systemowe (tropologia w wizualnej poetyce kognitywnej i studiach nad multimodalnością; Andrzej Niezabitowski zastosował je do subdyscypliny architektury zwanej architektoniką). Z tym powiązana jest kwestia statusu języka naturalnego jako metajęzyka opisu wszelkich innych systemów semiotycznych (Croce, Heinrich Wölfflin, Ludwig Wittgenstein, Emil Benveniste, Łotman, Mark Johnson). Autorka artykułu stoi na stanowisku semiotycznym, upatrując w obecności terminologii językoznawczej w teorii sztuki i architektury dowodu na transmedialność tekstów werbalnych i wizualnych w Łotmanowskiej semiosferze oraz na konieczność opracowania szerokiej platformy metodologicznej do ich wszechstronnego opisu, postulowanej również przez Alinę Kwiatkowską (2013) w obrębie studiów kognitywnych nad percepcją wzrokową i multimodalnością. Linguistica generale: linguistic terminology in the description of visual artworks and architecture. Summary: Contemporary linguistics, for years drawing its terminology from other fields of study, in the 20th century became a donor of its own terms for the purpose of describing the visual arts. An important stimulus for this trend came from Benedetto Croce (1902), who postulated linguistica generale as a common platform for the philosophy of language and aesthetics. In the opinion of art historian Jan Białostocki (1980/2009), it was not only Croce’s treatise but also European structuralism (Roman Jakobson, Roland Barthes) that contributed to the intrusion of linguistic terms into the theory of art, leading to a “paralinguistic version” of semiotic studies in the area of aesthetics. In turn, Mieczysław Porębski (1986/2009), an art critic and semiologist, called it a “semiotic attitude” to art, engaging himself in a prolonged debate on the possibility of approaching visual texts in a “pro-linguistic” manner. The following article gives a concise and very selective presentation of advocates of the semiotic (mainly linguistic) approach to analysing visual artworks and architecture. The researchers listed represent various schools and traditions: a) semiotics/structuralism, b) philosophy of art, philosophy of language and formal logic, c) a rhetorical-figurative approach (with its roots in the theories of Barthes and Jurij Lotman, among others), including also a different paradigm of cognitive linguistics and multimodal tropology in particular, d) the Scandinavian school of pictorial semiotics (Göran Sonesson), and – finally – e) social semiotics with its grammar and modality of visual representations, related to various theories of communication. Next, the article poses the question about the status of terminological borrowings from linguistics and the related fields present in theoretical considerations on the visual arts and architecture, dividing them into three classes: 1) metaphorical non-systematic terms (architectural ekphrasis, architectural poetics of Madeline Gins and Arakawa), 2) terminological adaptations, that is partly metaphorical systematic terms (Gunther Kress and Theo van Leeuwen’s grammar of visual design), and 3) metaphorical systematic terms (tropology in visual cognitive poetics and multimodal studies; Andrzej Niezabitowski on their application to a new subdiscipline of architecture, viz. architectonics). A related issue is the status of natural language as a metalanguage in the description of other semiotic systems (Croce, Heinrich Wölfflin, Ludwig Wittgenstein, Emil Benveniste, Lotman, Mark Johnson). The author of this article assumes a semiotic stance, perceiving the presence of linguistic terms across the theory of art and architecture as a proof of transmediality of verbal and visual texts within the Lotmanian semiosphere This calls for development of a broad methodological platform for their comprehensive study, postulated as well by Alina Kwiatkowska (2013) within cognitive studies on visual perception and multimodality. Keywords: linguistica generale, linguistic terminology, the visual arts, architecture, metaphorical vs. systematic terms, metalanguage, transmediality

This paper provides an analysis of the relief block with the Crucifixion scene preserved in the St. Martin’s parish church in Jawor, an important town in the Duchy Jawor-Świdnica in the 14th century. According to the 17th century’s written sources the relief was originally located on the wall of the church’s cemetery mortuary, however the primary written source pertaining to the artwork in question is the inscription running along its three sides. The slab commemorates Johann Sapiens and his family. It is the earliest preserved pictorial epitaph in Silesia and in this part of Europe. Its votive purpose is stated. Moreover, a passage referring to biblical texts as well as formulations, which entered into the consecration rites of churches and altars, provide a premise to interpret this family memorial and epitaph, at the same time, also as an ossuary foundation memorial. These circumstances allow searching for possible models and references in places where the pictorial epitaph found favourable conditions for development already at the dawn of its existence as a type of sepulchral monument. At first sight, Thuringia with Erfurt seem the place geographically closest to Silesia, where stylistically and typologically related artworks have been preserved. However, the crucifix depicted in the relief from Jawor turned out to be rather typical for the contemporary Silesian sculpture too, in contrast to the assisting figures of Virgin Mary and St. John. In consequence, the references and sources of inspiration applied in the process of creation of the assisting figures in relief from Jawor should be searched in western territories of Silesia or having regard to the possibility of drawing inspiration from much older portable microplastic objects as, for example, Byzantine or Romanesque ivory.

Dear readers, We are pleased to present to you Issue 5, 2021, of the scientific and analytical journal Burganov House. The Space of Culture. Upon the recommendation of the Expert Council of the Higher Attestation Commission, the journal is included in the List of Leading Peer-reviewed Scientific Journals and Publications in which the main scientific results of theses for the academic degrees of doctor and candidate of science must be published. The journal publishes scientific articles by leading specialists in various humanitarian fields, doctoral students, and graduate students. Research areas concern topical problems in multiple areas of culture, art, philology, and linguistics. This versatility of the review reveals the main specificity of the journal, which represents the current state of the cultural space. The journal traditionally opens with the Academic Interview rubric. In this issue, we present an interview with Alexander Burganov, Academician of the Russian Academy of Arts, an outstanding Russian sculptor, National Artist of Russia, Doctor of Art History, Professor, Director of the Burganov House Moscow State Museum, interviewed by Irina Sedova, the Head of the 20th Century Sculpture Department of the State Tretyakov Gallery. This dialogue became part of the sculptor’s creative evening at the State Tretyakov Gallery, which included a personal exhibition, donation of the sculptural work Letter, screening of a special film and a dialogue with the audience in the format of an interactive interview. In the article “The Apocalypse Icon from the Kremlin’s Assumption Cathedral. Dating and Historical Context”, T. Samoilova points out the similarities between some motifs of the Apocalypse iconography and the motifs of Botticelli’s illustrations to the Divine Comedy, as well as the role of a line in both artworks which testifies to the influence of the Renaissance art on icon painting of the late 15th — early 16th centuries. Studying palaeography and stylistic features of the icon, the author clarifies the dates and believes that the icon was most likely painted after 1500, in the first decade of the 16th century. P. Tsvetkova researches the features of the development of the Palladian architectural system in Italy, in the homeland of Andrea Palladio. On the examples of specific monuments, drawings and projects created during two and a half centuries, the author analyses the peculiarities of the style transformation in the work of Palladio’s followers, the continuity of tradition, deviations from canonical rules. In the article “Artistic Features of the Northern White Night Motif in the Landscapes of Alexander Borisov and Louis Apol”, I. Yenina conducts art analysis and compares the works of the Russian “artist of eternal ice”, A. Borisov, and the Dutch “winter artist”, L. Apol. They were the first to depict such a phenomenon as a white night in the Far North. V. Slepukhin studies the artworks of the first decades of the Soviet era in the article “Formation of the Image of a New Hero in Russian Art of 1920- 1930”. The author concludes that the New Hero in the plastic arts of the 1920s–1930s was formed as a reflection of social ideals. The avant-garde artists searched for the Hero’s originality in the images of aviators, peasants, women. The artists of socialist realism began to form the images of the “typical” heroes of the time — warriors, athletes, rural workers, scientists, as new “people of the Renaissance”. In the article “Dialogues of the Avant-garde”, A. N. Lavrentyev presents a comparative analysis of spatial constructions created by the Russian Avant-Garde Artist Alexander Rodchenko and the famous kinetic European and American artist Alexander Calder in the first half of the 20th century. Wei Xiao continues his analysis of contemporary art in the article “Chinese Sculpture in the New Era”. The author notes that the art of sculpture is in many ways a reflection of social change, both in terms of cultural content and practice. The author emphasises the need for cultural identity to preserve national traditions and spirituality. Xu Yanping’s article “The Dynamics of the Choral Culture Development in China in the 1930s on the Example of Huang Tzi’s Oratorio Eternal Regret” is a scientific study of a particular phase of the active entry of Chinese choral music into the sphere of the oratorio genre, directly related to the name of the great Chinese composer, Huang Tzi. It also highlights the issues of the country’s political life in the 1930s, which actively influenced the creation of nationwide singing movements and new choral works in the country. The author believes that the oratorio Eternal Regret presented in the article is a unique creation that organically combines ethnic musical material and Western composition techniques. The publication is addressed to professionals specialising in the theory and practice of the fine arts and philology and all those interested in the arts and culture.

A wide range of aspects concerning microscope slides, their preparation, long-time storage, curatorial measures in collections, deterioration, restoration, and study is summarized based on our own data and by analyzing more than 600 references from the 19th century until 2016, 15 patents, and about 100 Materials Safety Data Sheets. Information from systematic zoology, conservation sciences, chemistry, forensic sciences, pathology, paleopathology, applied sciences like food industry, and most recent advances in digital imaging are put together in order to obtain a better understanding of which and possibly why mounting media and coverslip seals deteriorate, how slides can be salvaged, which studies may be necessary to identify a range of ideal mounting media, and how microscope studies can benefit from improvements in developmental biology and related fields. We also elaborate on confusing usage of concepts like that of maceration and of clearing. The chemical ingredients of a range of mounting media and coverslip seals are identified as much as possible from published data, but this information suffers in so far as the composition of a medium is often proprietary of the manufacturer and may vary over time. Advantages, disadvantages, and signs of deterioration are documented extensively for these media both from references and from our own observations. It turns out that many media degrade within a few years, or decades at the latest, except Canada balsam with a documented life-time of 150 years, Euparal with a documented life-time of 50 years, and glycerol-paraffin mounts sealed with Glyceel, which represents almost the only non-deteriorating and easily reversible mount. Deterioration reveals itself as a yellowing in natural resins and as cracking, crystallization, shrinkage on drying or possibly on loss of a plasticizer, detachment of the coverslip, segregation of the ingredients in synthetic polymers, as well as continued maceration of a specimen to a degree that the specimen virtually disappears. Confusingly, decay does not always appear equally within a collection of slides mounted at the same time in the same medium. The reasons for the deteriorative processes have been discussed but are controversial especially for gum-chloral media. Comparing data from conservation sciences, chemical handbooks, and documented ingredients, we discuss here how far chemical and physical deterioration probably are inherent to many media and are caused by the chemical and physical properties of their components and by chemicals dragged along from previous preparation steps like fixation, chemical maceration, and physical clearing. Some recipes even contain a macerating agent, which proceeds with its destructive work. We provide permeability data for oxygen and water vapor of several polymers contained in mounting media and coverslip seals. Calculation of the penetration rate of moisture in one example reveals that water molecules reach a specimen within a few days up to about a month; this lays to rest extensive discussions about the permanent protection of a mounted specimen by a mounting medium and a coverslip seal. Based on the ever growing evidence of the unsuitable composition and application of many, and possibly almost all, mounting media, we strongly encourage changing the perspective on microscope slides from immediate usability and convenience of preparation towards durability and reversibility, concepts taken from conservation sciences. Such a change has already been suggested by Upton (1993) more than 20 years ago for gum-chloral media, but these media are still encouraged nowadays by scientists. Without a new perspective, taxonomic biology will certainly lose a large amount of its specimen basis for its research within the next few decades. Modern non-invasive techniques like Raman spectroscopy may help to identify mounting media and coverslip seals on a given slide as well as to understand ageing of the media. An outlook is given on potential future studies. In order to improve the situation of existing collections of microscope slides, we transfer concepts as per the Smithsonian Collections Standards and Profiling System, developed for insect collections more than 25 years ago, to collections of slides. We describe historical and current properties and usage of glass slides, coverslips, labels, and adhesives under conservational aspects. In addition, we summarize and argue from published and our own experimental information about restorative procedures, including re-hydration of dried-up specimens previously mounted in a fluid medium. Alternatives to microscope slides are considered. We also extract practical suggestions from the literature concerning microscope equipment, cleaning of optical surfaces, health risks of immersion oil, and recent improvements of temporary observation media especially in connection with new developments in digital software.

Introduction The exhibition of an artist’s work is traditionally accepted as representing the final stage of the creative process (Staniszewski). This article asks, however, whether this traditional view can be reassessed so that the curatorial practice of mounting an exhibition becomes, itself, a creative outcome feeding into work that may still be in progress, and that simultaneously operates as a learning and teaching tool. To provide a preliminary examination of the issue, we use a single case study approach, taking an example of practice currently used at an Australian university. In this program, internal and external students work together to develop and deliver an exhibition of their own work in progress. The exhibition space has a professional website (‘CQUniversity Noosa Exhibition Space’), many community members and the local media attend exhibition openings, and the exhibition (which runs for three to four weeks) becomes an outcome students can include in their curriculum vitae. This article reflects on the experiences, challenges, and outcomes that have been gained through this process over the past twelve months. Due to this time frame, the case study is exploratory and its findings are provisional. The case study is an appropriate method to explore a small sample of events (in this case exhibitions) as, following Merriam, it allows the construction of a richer picture of an under-examined phenomenon to be constructed. Although it is clear that this approach will not offer results which can be generalised, it can, nevertheless, assist in opening up a field for investigation and constructing a holistic account of a phenomenon (in this case, the exhibition space as authentic learning experience and productive teaching tool), for, as Merriam states, “much can be learned from a particular case” (51). Jennings adds that even the smallest case study is useful as it includes an “in-depth examination of the subject with which to confirm or contest received generalizations” (14). Donmoyer extends thoughts on this, suggesting that the single case study is extremely useful as the “restricted conception of generalizability … solely in terms of sampling and statistical significance is no longer defensible or functional” (45). Using the available student course feedback, anonymous end-of-term course evaluations, and other available information, this case study account offers an example of what Merriam terms a “narrative description” (51), which seeks to offer readers the opportunity to engage and “learn vicariously from an encounter with the case” (Merriam 51) in question. This may, we propose, be particularly productive for other educators since what is “learn[ed] in a particular case can be transferred to similar situations” (Merriam 51). Breaking Ground exhibition, CQUniversity Noosa Exhibition Space, 2014. Photo by Ulrike Sturm. Background The Graduate Certificate of Creative Industries (Creative Practice) (CQU ‘CB82’) was developed in 2011 to meet the national Australian Quality Framework agency’s Level 8 (Graduate Certificate) standards in terms of what is called in their policies, the “level” of learning. This states that, following the program, graduates from this level of program “will have advanced knowledge and skills for professional or highly skilled work and/or further learning … [and] will apply knowledge and skills to demonstrate autonomy, well-developed judgment, adaptability and responsibility as a practitioner or learner” (AQF). The program was first delivered in 2012 and, since then, has been offered both two and three terms a year, attracting small numbers of students each term, with an average of 8 to 12 students a term. To meet these requirements, such programs are sometimes developed to provide professional and work-integrated learning tasks and learning outcomes for students (Patrick et al., Smith et al.). In this case, professionally relevant and related tasks and outcomes formed the basis for the program, its learning tasks, and its assessment regime. To this end, each student enrolled in this program works on an individual, self-determined (but developed in association with the teaching team and with feedback from peers) creative/professional project that is planned, developed, and delivered across one term of study for full- time students and two terms for part- timers. In order to ensure the AQF-required professional-level outcomes, many projects are designed and/or developed in partnership with professional arts institutions and community bodies. Partnerships mobilised utilised in this way have included those with local, state, and national bodies, including the local arts community, festivals, and educational support programs, as well as private business and community organisations. Student interaction with curation occurs regularly at art schools, where graduate and other student shows are scheduled as a regular events on the calendar of most tertiary art schools (Al-Amri), and the curated exhibition as an outcome has a longstanding tradition in tertiary fine arts education (Webb, Brien, and Burr). Yet in these cases, it is ultimately the creative work on show that is the focus of the learning experience and assessment process, rather than any focus on engagement with the curatorial process itself (Dally et al.). When art schools do involve students in the curatorial process, the focus usually still remains on the students' creative work (Sullivan). Another interaction with curation is when students undertaking a tertiary-level course or program in museum, and/or curatorial practice are engaged in the process of developing, mounting, and/or critiquing curated activities. These programs are, however, very small in number in Australia, where they are only offered at postgraduate level, with the exception of an undergraduate program at the University of Canberra (‘215JA.2’). By adopting “the exhibition” as a component of the learning process rather than its end product, including documentation of students’ work in progress as exhibition pieces, and incorporating it into a more general creative industries focused program, we argue that the curatorial experience can become an interactive learning platform for students ranging from diverse creative disciplines. The Student Experience Students in the program under consideration in this case study come from a wide spectrum of the creative industries, including creative writing, film, multimedia, music, and visual arts. Each term, at least half of the enrolments are distance students. The decision to establish an on-campus exhibition space was an experimental strategy that sought to bring together students from different creative disciplines and diverse locations, and actively involve them in the exhibition development and curatorial process. As well as their individual project work, the students also bring differing levels of prior professional experience to the program, and exhibit a wide range of learning styles and approaches when developing and completing their creative works and exegetical reflections. To cater for the variations listed above, but still meet the program milestones and learning outcomes that must (under the program rules) remain consistent for each student, we employed a multi-disciplinary approach to teaching that included strategies informed by Gardner’s theory of multiple intelligences (Gardner, Frames of Mind), which proposed and defined seven intelligences, and repeatedly criticised what he identified as an over-reliance on linguistic and logical indices as identifiers of intelligence. He asserted that these were traditional indicators of high scores on most IQ measures or tests of achievement but were not representative of overall levels of intelligence. Gardner later reinforced that, “unless individuals take a very active role in what it is that they’re studying, unless they learn to ask questions, to do things hands on, to essentially re-create things in their own mind and transform them as is needed, the ideas just disappear” (Edutopia). In alignment with Gardner’s views, we have noted that students enrolled in the program demonstrate strengths in several key intelligence areas, particularly interpersonal, musical, body-kinaesthetic, and spacial/visual intelligences (see Gardner, ‘Multiple Intelligences’, 8–18). To cater for, and further develop, these strengths, and also for the external students who were unable to attend university-based workshop sessions, we developed a range of resources with various approaches to hands-on creative tasks that related to the projects students were completing that term. These resources included the usual scholarly articles, books, and textbooks but were also sourced from the print and online media, guest speaker presentations, and digital sites such as You Tube and TED Talks, and through student input into group discussions. The positive reception of these individual project-relevant resources is evidenced in the class online discussion forums, where consecutive groups of students have consistently reflected on the positive impact these resources have had on their individual creative projects: This has been a difficult week with many issues presenting. As part of our Free Writing exercise in class, we explored ‘brain dumping’ and wrote anything (no matter how ridiculous) down. The great thing I discovered after completing this task was that by allowing myself to not censor my thoughts by compiling a writing masterpiece, I was indeed “free” to express everything. …. … I understand that this may not have been the original intended goal of Free Writing – but it is something I would highly recommend external students to try and see if it works for you (Student 'A', week 5, term 1 2015, Moodle reflection point). I found our discussion about crowdfunding particularly interesting. ... I intend to look at this model for future exhibitions. I think it could be a great way for me to look into developing an exhibition of paintings alongside some more commercial collateral such as prints and cards (Student 'B', week 6, term 1 2015, Moodle reflection point). In class I specifically enjoyed the black out activity and found the online videos exceptional, inspiring and innovating. I really enjoyed this activity and it was something that I can take away and use within the classroom when educating (Student 'C', week 8, term 1 2015, Moodle reflection point). The application of Gardner’s principles and strategies dovetailed with our framework for assessing learning outcomes, where we were guided by Boud’s seven propositions for assessment reform in higher education, which aim to “set directions for change, designed to enhance learning achievements for all students and improve the quality of their experience” (26). Boud asserts that assessment has most effect when: it is used to engage students in productive learning; feedback is used to improve student learning; students and teachers become partners in learning and assessment; students are inducted into the assessment practices of higher education; assessment and learning are placed at the centre of subject and program design; assessment and learning is a focus for staff and institutional development; and, assessment provides inclusive and trustworthy representation of student achievement. These propositions were integral to the design of learning outcomes for the exhibition. Teachers worked with students, individually and as a group, to build their capacity to curate the exhibition, and this included such things as the design and administration of invitations, and also the physical placement of works within the exhibition space. In this way, teachers and students became partners in the process of assessment. The final exhibition, as a learning outcome, meant that students were engaged in productive learning that placed both assessment and knowledge at the centre of subject and project design. It is a collation of creative pieces that embodies the class, as a whole; however, each piece also represents the skills and creativity of individual students and, in this way, are is a trustworthy representations of student achievement. While we aimed to employ all seven recommendations, our main focus was on ensuring that the exhibition, as an authentic learning experience, was productive and that the students were engaged as responsible and accountable co-facilitators of it. These factors are particularly relevant as almost all the students were either currently working, or planning to work, in their chosen creative field, where the work would necessarily involve both publication, performance, and/or exhibition of their artwork plus collaborative practice across disciplinary boundaries to make this happen (Brien). For this reason, we provided exhibition-related coursework tasks that we hoped were engaging and that also represented an authentic learning outcome for the students. Student Curatorship In this context, the opportunity to exhibit their own works-in-progress provided an authentic reason, with a deadline, for students to both work, and reflect, on their creative projects. The documentation of each student’s creative process was showcased as a stand-alone exhibition piece within the display. These exhibits not only served not only to highlight the different learning styles of each student, but also proved to inspire creativity and skill development. They also provided a working model whereby students (and potential enrollees) could view other students’ work and creative processes from inception to fully-realised project outcomes. The sample online reflections quoted above not only highlight the effectiveness of the online content delivery, but this engagement with the online forum also allowed remote students to comment on each other’s projects as well as to and respond to issues they were encountering in their project planning and development and creative practice. It was essential that this level of peer engagement was fostered for the curatorial project to be viable, as both internal and external students are involved in designing the invitation, catalogue, labels, and design of the space, while on-campus students hang and label work according to the group’s directions. Distance students send in items. This is a key point of this experiment: the process of curating an exhibition of work from diverse creative fields, and from students located thousands of kilometres apart, as a way of bringing cohesion to a diverse cohort of students. That cohesiveness provided an opportunity for authentic learning to occur because it was in relation to a task that each student apparently understood as personally, academically, and professionally relevant. This was supported by the anonymous course evaluation comments, which were overwhelmingly positive about the exhibition process – there were no negative comments regarding this aspect of the program, and over 60 per cent of the class supplied these evaluations. This also met a considerable point of anxiety in the current university environment whereby actively engaging students in online learning interactions is a continuing issue (Dixon, Dixon, and Axmann). A key question is: what relevance does this curatorial process have for a student whose field is not visual art, but, for instance, music, film, or writing? By displaying documentation of work in progress, this process connects students of all disciplines with an audience. For example, one student in 2014 who was a singer/songwriter, had her song available to be played on a laptop, alongside photographs of the studio when she was recording her song with her band. In conjunction with this, the cover artwork for her CD, together with the actual CD and CD cover, were framed and exhibited. Another student, who was also a musician but who was completing a music history project, sent in pages of the music transcriptions he had been working on during the course. This manuscript was bound and exhibited in a way that prompted some audience members to commented that it was like an artist’s book as well as a collection of data. Both of these students lived over 1,000 kilometres from the campus where the exhibition was held, but they were able to share with us as teaching staff, as well as with other students who were involved in the physical setting up of the exhibition, exactly how they envisaged their work being displayed. The feedback from both of these students was that this experience gave them a strong connection to the program. They described how, despite the issue of distance, they had had the opportunity to participate in a professional event that they were very keen to include on their curricula vitae. Another aspect of students actively participating in the curation of an exhibition which features work from diverse disciplines is that these students get a true sense of the collaborative interconnectedness of the disciplines of the creative industries (Brien). By way of example, the exhibit of the singer/songwriter referred to above involved not only the student and her band, but also the photographer who took the photographs, and the artist who designed the CD cover. Students collaboratively decided how this material was handled in the exhibition catalogue – all these names were included and their roles described. Breaking Ground exhibition, CQUniversity Noosa Exhibition Space, 2014. Photo by Ulrike Sturm. Outcomes and Conclusion We believe that the curation of an exhibition and the delivery of its constituent components raises student awareness that they are, as creatives, part of a network of industries, developing in them a genuine understanding of the way the creating industries works as a profession outside the academic setting. It is in this sense that this curatorial task is an authentic learning experience. In fact, what was initially perceived as a significant challenge—, that is, exhibiting work in progress from diverse creative fields—, has become a strength of the curatorial project. In reflecting on the experiences and outcomes that have occurred through the implementation of this example of curatorial practice, both as a learning tool and as a creative outcome in its own right, a key positive indicator for this approach is the high level of student satisfaction with the course, as recorded in the formal, anonymous university student evaluations (with 60–100 per cent of these completed for each term, when the university benchmark is 50 per cent completion), and the high level of professional outcomes achieved post-completion. The university evaluation scores have been in the top (4.5–5/.5) range for satisfaction over the program’s eight terms of delivery since 2012. Particularly in relation to subsequent professional outcomes, anecdotal feedback has been that the curatorial process served as an authentic and engaged learning experience because it equipped the students, now graduates, of the program with not only knowledge about how exhibitions work, but also a genuine understanding of the web of connections between the diverse creative arts and industries. Indeed, a number of students have submitted proposals to exhibit professionally in the space after graduation, again providing anecdotal feedback that the experience they gained through our model has had a sustaining impact on their creative practice. While the focus of this activity has been on creative learning for the students, it has also provided an interesting and engaging teaching experience for us as the program’s staff. We will continue to gather evidence relating to our model, and, with the next iteration of the exhibition project, a more detailed comparative analysis will be attempted. At this stage, with ethics approval, we plan to run an anonymous survey with all students involved in this activity, to develop questions for a focus group discussion with graduates. We are also in the process of contacting alumni of the program regarding professional outcomes to map these one, two, and five years after graduation. We will also keep a record of what percentage of students apply to exhibit in the space after graduation, as this will also be an additional marker of how professional and useful they perceive the experience to be. In conclusion, it can be stated that the 100 per cent pass rate and 0 per cent attrition rate from the program since its inception, coupled with a high level (over 60 per cent) of student progression to further post-graduate study in the creative industries, has not been detrimentally affected by this curatorial experiment, and has encouraged staff to continue with this approach. References Al-Amri, Mohammed. “Assessment Techniques Practiced in Teaching Art at Sultan Qaboos University in Oman.” International Journal of Education through Art 7.3 (2011): 267–282. AQF Levels. Australian Qualifications Framework website. 18 June 2015 ‹http://www.aqf.edu.au/aqf/in-detail/aqf-levels/›. Boud, D. Student Assessment for Learning in and after Courses: Final Report for Senior Fellowship. Sydney: Australian Learning and Teaching Council, 2010. 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There’s always this never-ending discussion about the curator who imposes meaning or imposes the concept of art, of what art is. I think this is the wrong opposition. Every artwork produces its concept, or a concept of what art is. And the role of the curator is not to produce a concept of art but to invent, to fabricate, elaborate reading grids or coexistence grids between them.(Nicolas Bourriaud quoted in Bourriaud, Lunghi, O’Neill, and Ruf 91–92)In 2010 at a conference in Rotterdam, Nicolas Bourriaud, Enrico Lunghi, Paul O’Neill, and Beatrix Ruf discussed the question, “Is the curator per definition a political animal?” This paper draws on their discussion when posing the reverse scenario—is the political animal per definition a curator in the context of the development of large-scale public policy? In exploring this question, I suggest that recent conceptual discussions centring on “the curatorial turn” in the arena of the creative arts provide a useful framework for understanding and managing opportunities and pitfalls in policymaking that is influenced by news media. Such a conceptual understanding is important. My empirical research has identified a transport policy arena that is changing due to news media scrutiny in Sydney, Australia. My findings are that the discourses arising and circulating in the public and the news media wield considerable influence. I posit in this paper the view that recent academic discussion of curatorial practices could identify more effective and successful approaches to policy development and implementation. I also question whether some of the key problems highlighted by commentary on the curatorial turn, such as the silencing of the voice of the artist, find parallels in policy as the influence of the bureaucrat or technical expert is diminished by the rise of the politician as curator in mediatised policy. The Political AnimalPaul O’Neill defines a political animal: “to be a passionate and human visionary—someone who bridges gaps, negotiates the impossible in order to generate change, even slight change, movements, a shivering” (Bourriaud et al. 90). O’Neill’s definition is a different definition from Aristotle’s famous assertion that humans (collectively) are the “political animal” because they are the only animals to possess speech (Danta and Vardoulakis 3). The essence of O’Neill’s definition shifts from the Aristotelian view that all humans are political, towards what Chris Danta and Dimitris Vardoulakis (4) refer to as “the consumption of the political by politics,” where the domain of the political is the realm of the elite few rather than innately human as Aristotle suggests. Moreover, there is a suggestion in O’Neill’s definition that the “political animal” is the consummate politician, creating change against great opposition. I suggest that this idea of struggle and adversity in O’Neill’s definition echoes policy development’s own “turn” of the early 1990s, “the argumentative turn in policy analysis and planning” (Fischer and Forester 43). The Argumentative Turn The argumentative turn in policy analysis and planning is premised on the assertion that “policy is made of language” (Majone 1). It represents a seismic shift in previously championed academic conceptions of policy analysis—decisionism, rationality, the economic model of choice, and other models that advocate measured, rational, and objective policy development processes. The argumentative turn highlights the importance of communication in policy development. Prior to this turn, policy analysts considered formal communication to be something that happened after policy elites had completed the scientific, objective, analytical, and rational work. Communication was perceived as being the process of “seducing” or the “‘mere words’ that add gloss to the important stuff” (Throgmorton 117–19). Communication had meant selling or “spinning” the policy—a task often left to the devices of the public relations industry by the “less scrupulous” policymaker (Dryzek 227).The new line of inquiry posits the alternative view that, far from communication being peripheral, “the policy process is constituted by and mediated through communicative practices” (Fischer and Gottweis 2). Thanks largely to the work of Deborah Stone and Giandomenico Majone, academics began to ask, “What if our language does not simply mirror or picture the world but instead profoundly shapes our view of it in the first place?” (Fischer and Forester 1). The importance of this turn to the argument, I posit in this paper, is illustrated by Stone when she contends that the communication of conflicting views and interests create a world where paradoxical positions on policy are inevitable. Stone states, “Ask a politician to define a problem and he will probably draw a battlefield and tell you who stands on which side. The analytical language of politics includes ‘for and against,’ ‘supporters and enemies,’ ‘our side and their side’” (166). Stone describes a policymaking process that is inherently difficult. Her ideas echo O’Neill’s intonation that in order for movement or even infinitesimal change it is the negotiation of the impossible that makes a political animal. The Mediatisation of Sydney Transport Stone and Majone speak only cursorily of the media in policy development. However, in recent years academics have increasingly contended that “mediatisation” be recognised as referring to the increasing influence of media in social, cultural, and political spheres (Deacon and Stanyer; Strömbäck and Esser; Shehata and Strömbäck). My own research into the influence of mediatisation on transport policy and projects in Sydney has centred more specifically on the influence of news media. My focus has been a trend towards news media influence in Australian politics and policy that has been observed by academics for more than a decade (Craig; Young; Ward, PR State; Ward, Public Affair; Ward, Power). My research entailed two case study projects, the failed Sydney CBD Metro (SCM) rail line and a North West Rail Link (NWR) currently under construction. Data-gathering included a news media study of 180 relevant print articles; 30 expert interviews with respondents from politics, the bureaucracy, transport planning, news media, and public relations, whose work related to transport (with a number working on the case study projects); and surveys, interviews, and focus groups with 149 public respondents. The research identified projects whose contrasting fortunes tell a significant story in relation to the influence of news media. The SCM, despite being a project deemed to be of considerable merit by the majority of expert respondents, was, as stated by a transport planner who worked on the project, “poorly sold,” which “turned it into a project that was very easy to ridicule.” Following a resulting period of intense news media criticism, the SCM was abandoned. As a transport reporter for a daily newspaper asserts in an interview, the prevailing view in the news media is that the project “was done on the back of an envelope.” According to experts with knowledge of the SCM, that years of planning had been undertaken was not properly presented to the public. Conversely, the experts I interviewed deem the NWR to be a low-priority project for Sydney. As a former chief of staff within both federal and state government departments including transport states, “if you are going to put money into anything in Sydney it would not be the NWR.” However, in the project’s favour is an overwhelming dominant public and media discourse that I label The north-west of Sydney is overdue rail transport. A communications respondent contends in an interview that because the NWR has “been talked about for so long” it holds “the right sighting, if you like, in people’s minds,” in other words, the media and the public have become used to the idea of the project.Ultimately, my findings, dealt with in more detail elsewhere (Richardson), suggest that powerful news media and public discourses, if not managed effectively, can be highly problematic for policymaking. This was found to be the case for the failure of the SCM. It is with this finding that I assert that the concept of curating the discourses surrounding a policy arena could hold considerable merit as a conceptual framework for discourse management. The Curatorial Turn in Policy Development? I was alerted to the idea of curating mediatised policy development during an expert interview for my empirical research. The respondent, chief editor of a Sydney newspaper, stated that, with an overwhelming mountain of information, news, views, and commentary being generated daily through the likes of the Internet and social media, the public needs curators to sift and sort the most important themes and arguments. The expert suggested this is now part of a journalist’s role. The idea of journalists as curators is far from new (Bakker 596). Nor is it the purpose of this paper. However, what struck me in this notion of curating was the critical role of sifting, sorting and ultimately selecting which themes, ideas, or pieces of information are privileged in myriad choices. My own empirical research was indicating that the management of highly influential news media and public discourses surrounding transport infrastructure also involved a considerable level of selection. Therefore, I hypothesised that the concept of curating might aid the managing of discourses when it comes to communicating for successful policy and project development that is subject to news media scrutiny. Research into scholarship has indicated that the concept of “the curatorial turn” is significant to this hypothesis. Since the 1960s the role of curator in art exhibition has shifted from that of “caretaker” for a collection to the shaper of an exhibition (O’Neill, “Turn”; O’Neill, Culture). Central to this shift is “the changing perception of the curator as carer to a curator who has a more creative and active part to play within the production of art itself” (O’Neill, Turn 243). Some commentators go so far as to suggest that curators have become cultural agents that “participate in the production of cultural value” (244). The curator’s role in exhibition design has also been equated to that of an author or auteur that drives an exhibition’s meaning (251–52). Why is this important for policy development? It is my view that there is certainly merit to viewing a significant part of the role of the political animal in policymaking as the curator of public and media discourse. As Beatrix Ruf suggests, the role of the curator is to create a “freedom for things to happen” within “a societal context” that not only takes into account the needs of the “artist” but also the “audience” (Bourriaud et al. 91). If we were to substitute bureaucrat for artist and media/public for audience then Ruf’s suggestion seems particularly relevant for the communication of policy. To return to Bourriaud’s quote that began this paper, perhaps the role of the curator/policymaker is not solely to produce a policy “but to invent, to fabricate, elaborate reading grids or coexistence grids,” to manage the discourses that influence the policy arena (Bourriaud et al. 92). Furthermore, the answer to why the concept of the curatorial turn seems relevant to policy development requires consideration not only of the rise of the voice and influence of the curator/policymaker but also of those at whose expense this shift has occurred. Through the rise of the curator the voice of the artist has dimmed. As the exhibition is elevated to “the status of quasi-artwork,” individual artworks themselves become simply “a useful fragment” (O’Neill, “Turn” 253). One of the underlying tensions of the curatorial turn is the rise of actors that are not practicing artists themselves. In other words, the producers of art, the artists, have less influence over their own practice. In New South Wales (NSW), we have witnessed a similar scenario with the steady rise of the voice and influence of the politician (and political adviser), at the expense of the public service. This loss of bureaucratic power was embedded structurally in the mid-1970s when Premier Neville Wran established the Ministerial Advisory Unit (MAU) to oversee NSW state government decisions. A respondent for my research states that when he began his career as a public servant: politicians didn’t really have a lot of ideas about things … the public service really ran the place … [Premier Wran] said, ‘this isn’t good enough. I’m being manipulated by the government departments. I’m going to set up something called the MAU which is politically appointed as a countervailing force to the bureaucracy to get the advice that I want.’The respondent infers a power grab by political actors to stymie the influence of the bureaucracy. This view is shared by several expert respondents for my research, as well as being substantiated by historian John Gunn (503). One of the clear results of the structural change has been that a politically driven media focus is now embedded in the structure of government policy and project decision-making. Instead of taking its lead from priorities emanating from the community, the bureaucracy is instead left with little choice but to look to the minister for guidance. As a project management consultant to government states in an interview:I think today the bureaucrat who makes the hard administrative decisions, the management decisions, is basically outweighed by communications, public relations, media relations director … the politicians are poll driven not policy driven. The respondent makes a point with which former politician Lindsay Tanner (Tanner) and academic Ian Ward (Ward, Power) agree—Australian politicians are increasingly structuring their operations around news media. The bureaucracy has become less relevant to policymaking as a result. My empirical research indicates this. The SCM and the NWR were highly publicised projects where the views of transport experts were largely ignored. They represent cases where the voice of the experts/artists had been completely suppressed by the voice of the politician/curator. I contend that this is where key questions of the role of the politician and the curator converge. Experts interviewed for my research express concerns that policymaking has been altered by structural changes to the bureaucracy. Similarly, some academics concerned with the rise of the curator question whether the shift will change the very nature of art (O’Neill, Cultures). A shared concern of the art world and those witnessing the policy arena in NSW is that the thoughts and ideas of those that do are being overshadowed by the views of those who talk. In terms of curatorial practice, O’Neill (Cultures) cites the views of Mick Wilson, who speaks of the rise of the “Foucauldian moment” and the “ubiquitous appeal of the term ‘discourse’ as a word to conjure and perform power,” where “even talking is doing something.” As O’Neill contends, “at this extreme, the discursive stands in the place of ‘doing’ within discourses on curatorial practice” (43). O’Neill submits Wilson’s point as an extreme view within the curatorial turn. However, the concern for the art world should be similar to the one experienced in the policy arena. Technical advice from the bureaucracy (doers) to ministers (talkers) has changed. In an interview with me, a partner in one of Australia’s leading architectural and planning practices contends that the technical advice of the bureaucracy to ministers is not as “fearless and robust” as it once was. Furthermore, he is concerned that planners have lost their influence as ministers now look to political advisers rather than technical advisers for direction. He states, “now what happens is most advisors to ministers are political advisers and they will give political advice … the planning advice hasn’t come from the planners.” The ultimate concern is that, through a silencing of the technical expert, policymaking is losing a vital layer of experience and knowledge that can only be to the detriment of the practice and its beneficiaries, the public. The closer one looks, the more evident the similarities between curating and policy development become. Acute budgetary limitations exist. There is an increased reliance on public funding. Large-scale curating, like policy development, involves “a negotiation of the relationship between public and private interests” (Ruf in Bourriaud et al. 90). There is also a tension between short- and long-term outlooks as well as local and global perspectives (Lunghi in Bourriaud et al. 97). And, significantly for my argument for the privileging of the concept of curating of discourse in policy, curating has also been called “a battlefield of ideas in which the public (or audience) has become ‘the big Other’” in that “everything that cannot find its audience, its public, is highly suspicious or very problematic” (Bourriaud in Bourriaud et al. 96–97). The closer the inspection, the starker the similarities of each pursuit. Lessons, Ramifications and Conclusions What can policymakers learn from the curatorial turn? For policymaking, it seems that the argumentative turn, the rise of news mediatisation, the strengthening of power and influence of the politician, and the “Foucauldian moment” have seen the rise of the discursive in place of doing that some quarters identify as being the case with the curatorial turn (O’Neill, Cultures). Therefore, it would be pertinent for policymakers to heed Bourriaud’s statement that began this paper: “the role of the curator is not to produce a concept of art (or policy) but to invent, to fabricate, elaborate reading grids or coexistence grids between them” (Bourriaud et al. 92). Is such a method of curating discourse the way forward for the political animal that seeks to achieve the politically “impossible” in policymaking? Perhaps for policymaking the importance of the concept of curating holds both opportunity and a warning. The opportunity, exemplified by the success of the NWR and the failure of the SCM projects in Sydney, is in accepting the role of media and public discourses in policy development so that they may be more thoroughly investigated and understood before being more effectively folded into the policymaking process. The warning lies in the concerns the curatorial turn has raised over the demise of the artist in light of the rise of discourse. The voice of the technical expert appears to be fading. How do we effectively curate discourses as well as restore the bureaucrat to former levels of robust fearlessness? I dare say it will take a political animal to do either. ReferencesBakker, Piet. “Mr Gates Returns.” Journalism Studies 15.5 (2014): 596–606.Bourriaud, Nicolas, Enrico Lunghi, Paul O’Neill, and Beatrix Ruf. “Is the Curator per Definition a Political Animal?” Rotterdam Dialogues: The Critics, the Curators, the Artists. Eds. Zoe Gray, Miriam Kathrein, Nicolaus Schafhausen, Monika Szewczyk, and Ariadne Urlus. Rotterdam: Witte de With Publishers, 2010. 87–99. Craig, Geoffrey. The Media, Politics and Public Life. Crows Nest, NSW: Allen and Unwin, 2004.Danta, Chris, and Dimitris Vardoulakis. “The Political Animal.” SubStance 37.3 (2008): 3–6. Dryzek, John S. “Policy Analysis and Planning: From Science to Argument.” The Argumentative Turn in Policy Analysis and Planning. Eds. Frank Fischer and John Forester. Durham, NC: Duke UP, 1993. 213–32.Fischer, Frank, and John Forester. “Editors’ Introduction.” The Argumentative Turn in Policy Analysis and Planning. Eds. Frank Fischer and John Forester. Durham, NC: Duke UP, 1993. 1–17.Fischer, Frank, and Herbert Gottweis. Argumentative Turn Revisited: Public Policy as Communicative Practice. Durham, NC: Duke UP, 2012.Gunn, John. Along Parallel Lines: A History of the Railways of New South Wales. Carlton: Melbourne UP, 1989.Majone, Giandomenico. Evidence, Argument, and Persuasion in the Policy Process. New Haven: Yale UP, 1989.O’Neill, Paul. “The Curatorial Turn: From Practice to Discourse.” The Biennial Reader. Eds. Elena Filipovic, Marieke Van Hal, and Solvig Øvstebø. Bergen, Norway: Bergen Kunsthall, 2007. 240–59.———. The Culture of Curating and the Curating of Cultures. Cambridge, MA: The MIT P, 2012.Richardson, Nicholas. “Political Upheaval in Australia: Media, Foucault and Shocking Policy.” Media International Australia. Forthcoming.Shehata, Adam, and Jesper Strömbäck. “Mediation of Political Realities: Media as Crucial Sources of Information.” Mediatization of Politics: Understanding the Transformation of Western Democracies. Eds. Frank Esser and Jesper Strömbäck. Basingstoke, Hampshire; New York, NY: Palgrave Macmillan, 2014. 93–112. Stone, Deborah. Policy Paradox and Political Reason. Glenview, Illinois: Scott, Foresman and Company, 1988.Strömbäck, Jesper, and Frank Esser. “Mediatization of Politics: Towards a Theoretical Framework.” Mediatization of Politics: Understanding the Transformation of Western Democracies. Eds. Frank Esser and Jesper Strömbäck. Basingstoke, Hampshire: Palgrave Macmillan, 2014. 3–28.Tanner, Lindsay. Sideshow: Dumbing Down Democracy. Carlton North, Victoria: Scribe, 2011.Throgmorton, James A. “Survey Research as Rhetorical Trope: Electric Power Planning in Chicago.” The Argumentative Turn in Policy Analysis and Planning. Eds. Frank Fischer and John Forester. Durham, NC: Duke UP, 1993. 117–44.Ward, Ian. “An Australian PR State?” Australian Journal of Communication 30.1 (2003): 25–42. ———. “Lobbying as a Public Affair: PR and Politics in Australia.” Communication, Creativity and Global Citizenship. ANZCA: Brisbane, 2009. 1039–56. ‹http://www.anzca.net/documents/anzca-09-1/refereed-proceedings-2009-1/79-lobbying-as-a-public-affair-pr-and-politics-in-australia-1/file.html›.———. “The New and Old Media, Power and Politics.” Government, Politics, Power and Policy in Australia. Eds. Dennis Woodward, Andrew Parkin, and John Summers. Frenchs Forest, NSW: Pearson, 2010. 374–93.Young, Sally. “Killing Competition: Restricting Access to Political Communication Channels in Australia.” AQ: Journal of Contemporary Analysis 75.3 (2003): 9–15.

The term curation was once only utilized by museum professionals. Currently, the term seems to have been borrowed by aesthetically-minded persons looking to collect ideas or objects. Through a detailed account of one curatorial process, this article aims to convey the richness of context, the depth of connection, and the promotion of new ideas classically associated with curation. Drawing on these methods, the author begins to develop an outline of curation as a transferrable methodology, useful for exploration of aesthetic works as they related to sociocultural histories. As an exemplar collection of artworks, illustrations of Lewis Carroll’s Alice’s Adventures in Wonderland provide content to explore the depth and breadth of curation as a methodology.

Released in 2012 as an Android only open-beta, Ingress is an alternate-reality game for mobile devices. Developed by Niantic Labs, a subsidiary of Google, Ingress now has 7 million users worldwide (Ingress) on both Android and Apple operating systems. Players are aligned to one of two opposing factions, the Resistance (Blue) and the Enlightened (Green). Working on behalf of their faction, individual players interact with “portals” in order to establish dominance over material environments. Portals are located at places of educational or historical value, public artworks, “hyper-local” locations, public libraries, and also places of worship (Google, “Candidate Portal Criteria”). Players take on the role of portal creators, submitting potential portals to the game developers after confirming their location in the game (Google, “New Portal Submissions”).Portals become the primary point of interaction for players, bridging the digital world of the game with the players’ surrounding material environments. Players may gain inventory by hacking portals in order to destroy and (re)claim portals. Territories are claimed by forging links between fully developed portals in order to establish control fields. Portals play an important part not only of the game but in situating the practice of play within the larger sociocultural and material framework of the urban environment. Players navigate their material environment, using portals and digital representations of such spaces alongside their existing knowledge of local environments, to engage with their immediate location as efficiently as possible. While numerous public landmarks are currently used as portals, the primary interest of this paper is the role street art plays within the game, and within the larger practice of curating the city. This paper addresses the practice of playing Ingress as a form of situated play—that is, the notion that play is underscored by sociocultural and material circumstance, while simultaneously contributing to a new shared understanding of what constitutes urban play and the conditions that underscore it. In doing so, this paper firstly addresses the notion of play as a situated practice, mobilising concepts from the field of human–computer interaction as well as cultural studies analyses of games and gaming culture. This framework is applied to the practice of playing Ingress with specific focus on the role street art has in the practice of playing. The discussion of urban play as a means of exhibiting street art is extended to discuss the cultural practice of street art itself, with both occupying the liminal space struggle over the functionality of public space. Both practices occupy this liminal space between subversive use of urban environments and a form of legitimate art—a debate which has been central to forms of urban gaming. By focusing on the role of street art in urban mobile gaming, this paper addresses the cultural function of both practices, while addressing larger questions of curatorship within the urban environment. That is: how can the practice of play, as informed by the practice of street art, be thought of as a means of curating urban spaces? This paper goes on to argue that the practice of urban play may be viewed as a form of curation via the practice of re-reading, re-mixing, and re-mediating urban environments—establishing a new shared understanding of street art, urban environments, and urban play. In this paper I argue that urban mobile games such as Ingress are best thought of as a situated practice. The idea of situated practice is drawn from the fields of game studies and human–computer interaction, and the concept of situated learning. Firstly, situated practice draws from the concept of situated gaming, a term established by Yates and Littleton to understand the cultural niches in which video gaming takes place. For Yates and Littleton, these cultural niches arise from an interaction between gaming, gamers, and gaming culture—all of which are discursively constructed and culturally relative practices. Apperley (Gaming) expands on these ideas to define situated gaming as, firstly, an inclusion of the materiality of embodied gaming experiences and, secondly, an intersection of local gaming cultures and a larger global gaming ecology. Drawing from Suchman’s concept of situated actions, such interactions with technology must be understood as contextualised within specific sociocultural and material circumstances. Dourish expands on Suchman’s work and suggests thinking less about these contexts and more on the practice of technological engagement, of making meaning out of our interaction with technology. This use of “practice” is influenced by the work of Lave and Wenger, who situate learning within a social setting, what they term a “community of practice”. In short, then, the act of playing Ingress is not only an interaction with underlying sociocultural and material circumstance which constitute the urban and play but also a process of generating a shared understanding of both the urban and play within this specific context.Fig. 1: A view of Ingress’s map showing nearby portal using navigation function.Playing with Street Art Ingress functions foremost as a form of urban play; it is a mobile game with location-aware capabilities. The practice of playing games within urban environments is often compared to historically situated forms of urban exploration, such as the Situationist International practice of dérive—a form of urban drifting that is often compared to contemporary forms of mobile-mediated urban play (de Souza e Silva and Hjorth; Flanagan; Stevens). Ingress players, in their creation and constant interaction with portals, assist in the mapping of material environments—benefiting both communities of play and the game’s designers, Niantic Labs and parent company Google. Players are able to submit portals to the game’s developers if their proposed portal meets the satisfaction of the developer’s portal requirements. Portals may be erected at “a location with a cool story, a place in history or educational value … a cool piece of art or unique architecture … a hidden gem of hyper-local spot” (Google, Candidate Portal criteria). A large number of public marks form the basis of Ingress portals, alongside plaques and prominent signage. Significantly, through their submission of portals players are participating in legitimising the history of a number of locations, ensuring up-to-date mapping of locations and landmarks. While a number of other landmarks form the basis of Ingress’s dense map of material environments, this paper is primarily concerned with the role public art plays in the practice of urban play and the curatorial possibilities of urban play. Given the portal criteria put in place by the game’s developers, Ingress pays a certain amount of attention to the historical, sociocultural, and material circumstance which constitute specific locations. As a mobile game, Ingress occupies a certain place within the history of playing in urban environments. Such historical practices have been previously discussed at length, drawing comparisons between practices of urban mobility which are themselves situated in specific historical and sociocultural movements (de Souza e Silva and Hjorth; Flanagan; Stevens). Ingress, via its inclusion of street art as a potential anchor for digital portals, draws on this historical struggle over urban environments and the inherent questions of functionality and organisation which emerge from this struggle. For Stenros, Montola, and Mäyrä (262), pervasive gaming, a form of urban mobile gaming, occupies a similar cultural space to that of street art or graffiti. They argue that both practices are located within a larger struggle over public space—a struggle grounded in urbanisation, legislation, and cultural norms. Drawing comparisons between more contemporary forms of urban mobility, such as the practice/sport of parkour or skateboarding, and the historically situated flâneur or urban stroller, the authors suggest that pervasive forms of gaming and play occupy a similar liminal space and are grounded in questions of urban functionality. Similarly, the urban space may become a gallery or canvas, a space that may be subject to curatorship that is not bound to institutional bodies. The organisation and experience of urban environments then becomes deeply involved in a contested ownership and questions of functionality that are at the heart of urban play.Within the context of Australia, the struggle over the legitimacy of both street art and video games has been subject to ongoing legal discourses. The liminal relationship between gaming and street art is perhaps best illustrated by the 2006 game Marc Ecko’s Getting Up: Contents Under Pressure. The game was granted an MA15+ rating under the existing model of video game regulation but was later refused classification due to its depiction of antisocial behaviour. The game’s rating was appealed by the Queensland Local Government Association. Apperley (“Video”) provides further details on this issue, situating the legislative decision within the historical and political context of Australia at the time, and offering insight into the means in which Getting Up represented street art as a legitimate art form. The game’s narrative, a dystopian future where graffiti is mobilised as a form of social protest against authoritarian bodies, is similar to that of the 2002 game Jet Set Radio Future. However, unlike Jet Set, Getting Up was grounded in a detailed representation of graffiti subcultures. Getting Up’s refused classification is symbolic of the later Australian landscape in which video games and street art occupy a liminal space between art form and artistic practice. The key issue, that of antisocial behaviour, links to the notion of cultural norms and the functionality, organisation, and representations within urban spaces and, moreover, within spaces of play. This struggle for legitimacy is key to understanding the relationship between street art and urban play. Despite the struggle to overcome the functionality of urban environments, street art retains levels of value as a form of cultural heritage. Both Merrill and MacDowall discuss the cultural functions of graffiti and street art, focusing on what Merrill terms a turn towards “post-graffiti”—a shift from the historical and cultural roots of street art and the practice of tagging (373). Such a turn is exemplified by an increased public interest: a legitimisation of artistic practices. Perhaps the most notable figure of such a shift is the Bristol artist Banksy, who is most famous for stencil based art. Graffiti and street art have arguably moved beyond their function as a subversive and subcultural movement, occupying a more legitimate space within urban environments and general public discourse. Within the context of Ingress, street art holds the potential to exist as a digital node of equal value to historical plaques, public libraries, or large commissioned public artworks. This shift, argues Merrill (385) allows for street art and graffiti to be viewed as a form of alternative heritage to urban environments and cultural movements within specific locations. For MacDowell (476), graffiti may be viewed as a form of folk art, subject to new-found romanticism within the context of this “post-graffiti” turn. That is, as a form of alternative heritage, graffiti and street art signify historically situated sociocultural movements and the roots of the practice itself. Games such as Ingress, then, not only legitimate street art as a form of cultural heritage via their inclusion in a non-hierarchical network alongside longstanding institutionalised buildings and artworks but also allow players to participate in an archiving of street art through interactive cartography. The practice of playing Ingress, then, is not only a means of viewing and exploring existing street art but also a direct process in achieving and curating historically situated works of art. Fig. 2: Portal information illustrating possible actions, portal level, and resonator information. Urban Play and “the New Curatorship”Having considered the role of graffiti or street art within urban play as a form of cultural heritage, as a means of linking to the roots of the practice itself and signifying a struggle over the urban environment as a space of predetermined functions, the question then is: what role does the practice of curatorship have within this mesh of interconnected practices? For Bennett and Beudel, the work of the curator, as a caretaker of cultural heritage, is often institutionalised. Within the context of the city, such institutionalisation is itself a symptom of the city as a spectacle. The authors argue that there is the potential for art to be present on a range of surfaces within the urban environment, and call into question the role of the curator within this process.As Groys notes, since Duchamp, the ontological division between the labour of making art and displaying art has collapsed. Public urban spaces, as designed spaces regulated by institutional bodies, are subject to the changing practice of audiences. That is, those who inhabit and experience the urban environment itself now have the possibility to participate or subvert traditional curatorial structures. Drawing on the etymology of the word “curate” as related to “cure,” Groys (53) suggests that the exhibition practice is thus a cure to the powerlessness of the image—a contextualisation of the image within new institutionalised frameworks for a viewing public. Who, then, in the network of relations that is urban play, constitutes this public? Ingress players function as one faction of a public who view, inhabit, move through, and experience the urban environment and any subsequent street art within. As such, they have the potential to take on a curatorial role within the organisation of street art—recontextualising such artworks and generating a new shared understanding of the sociocultural and material conditions which contribute to a broad understanding of the urban and urban play. As such, these forms of digitally mediated urban play blur boundaries between production, consumption, and play. Players, regardless of whether they had a hand in submitting portals to the game’s developers, are articulating a collectively organised database of public art. The practice of curation, as described by Potter, is essential for contemporary digital gaming practices. Players are constantly participating in transmedia landscapes, articulating their literacies through the practice of arranging, assembling, cataloguing, collecting, distributing, and disassembling digital media (Apperley “Glitch” 240; Potter 175). Within Apperley’s example of Minecraft, play unites creativity and the curatorial as one activity. Within the context of Ingress, the practice of play brings together the practice of cartography and of the curatorial. Players, as individuals and as larger localised or global factions, participate in a global mapping of material space, expanding Google’s already extensive collection of cartographic data. Players are more concerned with exploring and territorialising within the context of local spaces, at the level of the national or regional. Such practices are an articulation of localised bodies of knowledge and often of local histories and contexts. Street art forms an integral part of this sociocultural and material fabric which underscores the practice of play. Thus, urban spaces are not subject to a transformative process, but rather to a collective curatorship whereby street art, and its embedded cultural heritage, form a key foundation of how play is performed within urban environments. Through the practice of arranging, assembling, cataloguing, collecting, distributing, and disassembling, the practices of urban play may be thought of as what Potter terms “new curatorship.” Potter’s notion of curatorship is grounded in the identity formation of young children through their use of social media and articulation of digital literacy practices. With playful urban practices such as Ingress, this practice is an articulation of urban literacies: of understanding the rich cultural heritage of specific locations, and of constituting the player’s identity as tied to these specific locations. Players no longer perform merely as an audience for existing forms of urban or street art. Alongside the technological infrastructures put in place by the game’s developers, Niantic Labs and Google, players may be viewed as actively participating in a curatorial process. Players, in their articulation of complex systems and archives of street art, through the ability to constantly update, document, and construct urban narratives with street art at their core, may be viewed as co-curating urban environments. Working together with developers, street artists, and urban planners, players are constantly re-developing and sharing a new shared understanding of urban environments and the complex network of relations which constitutes the urban environment and the practice of urban play.Fig. 3: Players may vote on and contribute new photographs to maintain accurate records of art.Conclusion To play Ingress is to participate in a situated practice of play. Here, play is grounded in material and sociocultural circumstance, with street art and graffiti representing just one of many practices which inform contemporary urban play. Within the context of Ingress, street art is played with as an object within the game (a portal), but it also occupies a similar liminal space. Both urban games and street art have been subject to ongoing debates about the functionality of urban spaces and appropriate behaviour within these spaces. Ingress also taps into street art as a form of cultural heritage; it represents shifts in power dynamics, local histories, and a range of other significant local histories. To play with street art is to acknowledge its roots, both on an international and local level. With the ability to digitally archive these histories and locations, as well as engage in the cartographic practice of urban play, Ingress players can thus be thought of as curators of the city. Through the lens of new curatorship, urban play can be thought of as a form of re-reading of urban environments, as a process of exhibiting a new-found shared understanding of specific locations and public artworks. Street art and graffiti are just one of many sociocultural and material circumstances which inform the practice of urban play. During play, there is a critical reflection on the role street art has, not only during the current context of play but also more broadly as a key component of contemporary urban landscapes. Street art functions as a form of cultural heritage, as an element of urban exploration, and as a point of reference for navigating city spaces. Ingress brings together these interrelated forms of organising and sharing experiences of urban environments, through the practice of curation. Such practices are reflexively intertwined with playing urban mobile games as such Ingress. As such, the act of playing Ingress is, in essence, a form of urban literacy, as a practice of understanding the rich and complex sociocultural conditions which contribute to our understanding of urban environments. It is a practice of collecting, assembling, and exhibiting a range of locations. The practice of playing Ingress is a collective curation of city spaces on a global scale.References Apperley, Thomas. “Glitch Sorting: Minecraft, Curation, and the Post Digital.” Postdigital Aesthetics: Art, Computation and Design. Ed. David M. Berry and Michael Dieter. London: Palgrave Macmillan, 2015. 232–44.———. “Video Games in Australia.” The Video Game Explosion: A History from PONG to Playstation and Beyond. Ed. Mark J.P. Wolf. USA: Greenwood P, 2008. 22–29.———. Gaming Rhythms: Play and Counterplay from the Situated to the Global. Amsterdam: Institute of Network Cultures, 2009.Bennett, Jill, and Saskia Beudel. Curating Sydney: Imagining the City’s Future. Sydney: UNSW P, 2014.De Souza e Silva, Adriana, and Larissa Hjorth. “Playful Urban Spaces: A Historical Approach to Mobile Games.” Simulation & Gaming 40.5 (2009): 602–25. Dourish, Paul. “What We Talk about When We Talk about Context.” Personal Ubiquitous Computing 8.1 (2004): 19–30.Flanagan, Mary. Critical Play: Radical Game Design. Cambridge, MA: MIT P, 2009.———. “Locating Play and Politics: Real World Games & Activism.” Leonardo Electronic Almanac 16.2–3 (2008). 5 June 2015 ‹http://www.leonardo.info/LEA/perthDAC/MFlanagan_LEA160203.pdf›.Groys, Boris. Going Public. Ed. Julieta Aranda, Brian Kuan Wood, and Anton Vidokle. Berlin: Sternberg Press, 2010.Google. “Candidate Portal Criteria.” 2015. 5 June 2015 ‹https://support.google.com/ingress/answer/3066197?hl=en›. ———. “New Portal Submissions.” 2015. 5 June 2015 ‹https://support.google.com/ingress/answer/2808254?hl=en›. Lave, Jean, and Etienne Wenger. Situated Learning: Legitimate Peripheral Participation. Cambridge: Cambridge UP, 1991.MacDowall, Lachlan. “In Praise of 70K: Cultural Heritage and Graffiti Style.” Continuum 20.4 (2006): 471–84.Merrill, Samuel. “Keeping It Real? Subcultural Graffiti, Street Art, Heritage and Authenticity.” International Journal of Heritage Studies 21.4 (2015): 369–89.Niantic Labs. Ingress. Android Mobile Application. 2012.Potter, John. Digital Media and Learner Identity: The New Curatorship. New York: Palgrave Macmillan, 2012.Stenros, Jaakko, Markus Montola, and Frans Mäyrä. “Pervasive Games in Media Culture.” Pervasive Games: Theory and Design. Eds. Markus Montola, Jakko Stenros, and Annika Waern. Amsterdam: CRC P, 2009.Stevens, Quentin. The Ludic City: Exploring the Potential of Public Spaces. New York: Routledge, 2007.Suchman, Lucy. Human-Machine Reconfigurations: Plans and Situated Actions. 2nd ed. Cambridge: Cambridge UP, 2006.———. Plans and Situated Actions: The Problem of Human-Machine Communication. Cambridge: Cambridge UP, 1987.Yates, Simeon J., and Karen Littleton. “Understanding Computer Game Cultures: A Situated Approach.” Information, Communication & Society 2.4 (1999): 566–83.

Introduction Curation-related discourses have become widespread. The growing public profile of curators, the emergence of new curation-related discourses and their proliferation beyond the confines of museums, particularly on social media, have led some to conclude that we now live in an age of curation (Buskirk cited in Synder). Curation is commonly understood in instrumentalist terms as the evaluation, selection and presentation of artefacts around a central theme or motif (see O’Neill; Synder). However, there is a growing academic interest in what underlies the shifting discourses and practices. Many are asking what do these changes mean (Martinon) now that “the curatorial turn” has positioned curation as a legitimate object of academic study (O’Neill). This article locates an exploration of the curatorial turn in journalism studies since 2010 within the shifting meanings of curation from antiquity to the digital age. It argues that the industry is facing a Foucauldian moment where the changing political economy of news and the proliferation of user-generated content on social media have disrupted the monopolies traditional news media held over the circulation of knowledge of current affairs and the power this gave them to shape public debate. The disruptions are profound, prompting a rethinking of journalism (Peters and Broersma; Schudson). However, debates have polarised between those who view news curation as symptomatic of the demise of journalism and others who see it as part of a wider revival of the profession, freed from monopolistic institutions to circulate a wider array of knowledge and viewpoints (see Picard). This article eschews such polarisations and instead draws on Robert Picard’s argument that journalism is in transition and that journalism, as a set of professional practices, is adapting to the age of curation but that those traditional news providers that fail to adapt will most likely decline. However, Picard’s approach does not address the definitional problem as to what distinguishes news curating from other journalistic practices when the commonly used instrumental definition can apply to editing. This article aims to negotiate this problem by addressing some of the conceptual ambiguities that arise from wholly instrumental notions of news curation. From “Cura” to the Curatorial Turn and the Age of Curation Modern instrumentalist definitions are necessary but not sufficient for an exploration of the curatorial turn in journalism. Tracing the meanings of curation over time facilitates an expansion of the instrumental to include metaphoric conceptualisations. The term originated in a Latin allegory about a mythological figure, personified as the “cura”, translated literally as care or concern, and who created human beings from the clay of the earth. Having created the human, the cura was charged by the gods with the lifelong care of the human (Reich) and at the same time became a symbol of curiosity and creativity (see Nowotny). “Curators” first emerged in Imperial Rome to denote a public officer charged with maintaining order and the emperor’s finances (Nowotny) but by the fourteenth century the meaning had shifted to that of religious officer charged with the care of souls (Gaskill). At this point the metaphorical associations of creativity and curiosity subsided. Six hundred years later souls had been replaced by artefacts valorised because of their contribution to human knowledge or as a testament to exceptional human creativity (Nowotny). Objects of curiosity and originality, as well as their creators, were reified and curation became the specialist practice of an expert custodian charged with the care and preservation of artefacts but relegated to the background to collect, evaluate and archive artefacts entrusted to the care of museums and to be preserved for future generations. Instrumentalist meanings thus dominated. From the 1960s discourses shifted again from the privileging of a “producer who actually creates the object in its materiality” to an entire set of actors (Bourdieu 261). These shifts were part of the changing political economy of museums, the growing prevalence of exhibitions and the emergence of mega-exhibitions hosted in global cities and capable of attracting massive audiences (see O’Neill). The curator was no longer seen merely as a custodian but able to add cultural value to artefacts when drawing individual items together into a collection, interpreting their relevance to a theme then re-presenting them through a story or visuals (see O’Neill). The verb “to curate”, which had first entered the English lexicon in the early 1900s but was used sporadically (Synder), proliferated from the 1960s in museum studies (Farquharson cited in O’Neill) as mega-exhibitions attracted publicity and the higher profile of curators attracted the attention of intellectuals prompting a curatorial turn in museum studies. The curatorial turn in museum studies from the 1980s marks the emergence of curation as a legitimate object of academic enquiry. O’Neill identified a “Foucauldian moment” in museum studies where shifting discourses signified challenges to, and disruptions of, traditional forms of knowledge-based power. Curation was no longer seen as a neutral activity of preservation, but one located within a contested political economy and invested with contradictions and complexities. Philosophers such as Martinon and Nowotny have highlighted the impossibility of separating the oversight of valuable artefacts from the processes by which these are selected, valorised and signified and what, at times, has been the controversial appropriation of creative outputs. Thus, a new critical approach emerged. Recently, curating-related discourses have expanded beyond the “rarefied” world of museum studies (Synder). Social media platforms have facilitated the proliferation of user-generated content offering a vast array of new artefacts. Information circulates widely and new discourses can challenge traditional bases of knowledge. Audiences now actively search for new material driven in part by curiosity and a growing distrust of the professions and establishments (see Holmberg). The boundaries between professionals and lay people are blurring and, some argue, knowledge is being democratized (see Ibrahim; Holmberg). However, as new information becomes voluminous, alternative truths, misinformation and false information compete for attention and there is a growing demand for the verification, selection and presentation of artefacts, that is online curation (Picard; Bakker). Thus, the appropriation of social media is disrupting traditional power relations but also offering new opportunities for new information-related practices. Journalism is facing its own Foucauldian moment. A Foucauldian Moment in Journalism Studies Journalism has been traditionally understood as capturing today’s happenings, verifying the facts of an event, then presenting these as a narrative that reporters update as news unfolds. News has been seen as the preserve of professionals trained to interview eyewitnesses or experts, to verify facts and to compile what they found into a compelling narrative (Hallin and Mancini). News-gathering was typically the work of an individual tasked with collecting stand-alone stories then passing them onto editors to evaluate, select, prioritise and collate these into a collection that formed a newspaper or news programme . This understanding of journalism emerged from the 1830s along with a type of news that was accessible, that large numbers of people wanted to read and that, consequently, attracted advertising making news profitable (Park). The idea that presumed trained journalists were best placed to produce news appeared first in the UK and USA then spread worldwide (Hallin and Mancini). At the same time as there was growing demand for news, space constraints restricted how much could be published and the high costs of production served as a barrier to entry first in print then later in broadcast media (Picard; Curran and Seaton). The large news organisations that employed these professionals were thus able to control the circulation of information and knowledge they generated and the editors that selected content were able, in part, to shape public debates (Picard; Habermas). Social media challenge the control traditional media have had over the production and dissemination of news since the mid-1800s. Practically every major global news story in 2010 and 2011 from natural disasters to uprisings was broken by ordinary people on social media (Bruns and Highfield). Twitter facilitates a steady stream of updates at an almost real-time speed that 24-hour news channels cannot match. Facebook, Instagram and blogs add commentary, context, visuals and personal stories to breaking news. Experts and official sources routinely post announcements on social media platforms enabling anyone to access much of the same source material that previously was the preserve of reporters. Investigations by bloggers have exposed abuses of power by companies and governments that journalists on traditional media have failed to (Wischnowski). Audiences and advertisers are migrating away from traditional newspapers to a range of different online platforms. News consumers now actively use search engines to find available information of interest and look for efficient ways of sifting through the proliferation of the useful and the dubious, the revelatory and the misleading or inaccurate (see Picard). That is, news organisations and the professional journalists they employ are increasingly operating in a hyper-competitive (see Picard) and hyper-sceptical environment. This paper posits that cumulatively these are disrupting the control news organisations have and journalism is facing a Foucauldian moment when shifting discourses signify a disturbance of the intellectual rules that shape who and what knowledge of news is produced and hence the power relations they sustain. Social media not only challenge the core news business of reporting, they also present new opportunities. Some traditional organisations have responded by adding new activities to their repertoire of practices. In 2011, the Guardian uploaded its entire database of the expense claims of British MPs onto its Website and invited readers to select, evaluate and comment on entries, a form of crowd-sourced curating. Andy Carvin, while at National Public Radio (NPR) built an international reputation from his curation of breaking news, opinion and commentary on Twitter as Syria became too dangerous for foreign correspondents to enter. New types of press agencies such as Storyful have emerged around a curatorial business model that aggregates information culled from social media and uses journalists to evaluate and repackage them as news stories that are sold onto traditional news media around the world (Guerrini). Research into the growing market for such skills in the Netherlands found more advertisements for “news curators” than for “traditional reporters” (Bakker). At the same time, organic and spontaneous curation can emerge out of Twitter and Facebook communities that is capable of challenging news reporting by traditional media (Lewis and Westlund). Curation has become a common refrain attracting the attention of academics. A Curatorial Turn in Journalism The curatorial turn in journalism studies is manifest in the growing academic attention to curation-related discourses and practices. A review of four academic journals in the field, Journalism, Journalism Studies, Journalism Practice, and Digital Journalism found the first mention of journalism and curation emerged in 2010 with references in nearly 40 articles by July 2015. The meta-analysis that follows draws on this corpus. The consensus is that traditional business models based on mass circulation and advertising are failing partly because of the proliferation of alternative sources of information and the migration of readers in search of it. While some of this alternative content is credible, much is dubious and the sheer volume of information makes it difficult to discern what to believe. It is unsurprising, then, that there is a growing demand for “new types and practices of curation and information vetting” that attest to “the veracity and accuracy of content” particularly of news (Picard 280). However, academics disagree on whether new information practices such as curation are replacing or supplementing traditional newsgathering. Some look for evidence of displacement in the expansion of job advertisements for news curators relative to those for traditional reporters (Bakker). Others look at how new and traditional practices co-exist in organisations like the BBC, Guardian and NPR, sometimes clashing and sometimes collaborating in the co-creation of content (McQuail cited in Fahy and Nisbet; Hermida and Thurman). The debate has polarised between whether these changes signify the “twilight years of journalism or a new dawn” (Picard). Optimists view the proliferation of alternative sources of information as breaking the control traditional organisations held over news production, exposing their ideological biases and disrupting their traditional knowledge-based power and practices (see Hermida; Siapera, Papadopoulou, and Archontakis; Compton and Benedetti). Others have focused on the loss of “traditional” permanent journalistic jobs (see Schwalbe, Silcock, and Candello; Spaulding) with the implication that traditional forms of professional practice are in demise. Picard rejects this polarisation, counter-arguing that much analysis implicitly conflates journalism as a practice with the news organisations that have traditionally hosted it. Journalists may or may not be located within a traditional media organisation and social media is offering numerous opportunities for them to operate independently and for new types of hybrid practices and organisations such as Storyful to emerge outside of traditional operations. Picard argues that making the most of the opportunities social media presents is revitalising the profession offering a new dawn but that those traditional organisations that fail to adapt to the new media landscape and new practices are in their twilight years and likely to decline. These divergences, he argues, highlight a profession and industry in transition from an old order to a new one (Picard). This notion of journalism in transition usefully negotiates confusion over what curation in the social media age means for news providers but it does not address the uncertainty as to where it sits in relation to journalism. Futuristic accounts predict that journalists will become “managers of content rather than simply sourcing one story next to another” and that roles will shift from reporting to curation (Montgomery cited in Bakker; see Fahy and Nisbet). Others insist curators are not journalists but “information workers” or “gatecheckers” (McQuail 2013 cited in Bakker; Schwalbe, Silcock, and Candello) thereby differentiating the professional from the manual worker and reinforcing the historic elitism of the professions by implying curation is a lesser practice. However, such demarcation is problematic in that arguably both journalist and news curator can be seen as information workers and the instrumental definition outlined at the beginning of this article is as relevant to curation as it is to news editing. It is therefore necessary to revisit commonly used definitions (see Bakker; Guerrini; Synder). The literature broadly defines content creation, including news reporting, as the generation of original content that is distinguishable from aggregation and curation, both of which entail working with existing material. News aggregation is the automated use of computer algorithms to find and collect existing content relevant to a specified subject followed by the generation of a list or image gallery (Bakker; Synder). While aggregators may help with the collection component of news curation, the practices differ in their relation to technology. Apart from the upfront human design of the original algorithm, aggregation is wholly machine-driven while modern news curation adds human intervention to the technological processes of aggregation (Bakker). This intervention is conscious rather than automated, active rather than passive. It brings to bear human knowledge, expertise and interpretation to verify and evaluate content, filter and select artefacts based on their perceived quality and relevance for a particular topic or theme then re-present them in an accessible form as a narrative or infographics or both. While it does not involve the generation of original news content in the way news reporting does, curation is more than the collation of information. It can also involve the re-presenting of it in imaginative ways, the re-formulating of existing content in new configurations. In this sense, curation can constitute a form of creativity increasingly common in the social media age, that of re-mixing and re-imagining of existing material to create something novel (Navas and Gallagher). The distinction, therefore, between content creation and content curation lies primarily in the relation to original material and not the assumed presence or otherwise of creativity. In addition, curation outputs need not stand apart from news reports. They can serve to contextualize news in ways that short reports cannot while the latter provides original content to sit alongside curated materials. Thus the two types of news-related practices can complement rather than compete with each other. While this addresses the relation between reporting and curation, it does not clarify the relation between curating and editing. Bakker eludes to this when he argues curating also involves “editing … enriching or combining content from different sources” (599). But teasing out the distinctions is tricky because editing encompasses a wide range of sub-specialisations and divergent duties. Broadly speaking, editors are “newsrooms professionals … with decision-making authority over content and structure” who evaluate, verify and select information so are “quality controllers” in newsrooms (Stepp). This conceptualization overlaps with the instrumentalist definition of curation and while the broad type of skills and tasks involved are similar, the two are not synonymous. Editors tends to be relatively experienced professionals who have worked up the newsroom ranks whereas news curators are often new entrants ultimately answerable to editors. Furthermore, curation in the social media age involves voluminous material that curators sift through as part of first level content collection and it involves ever more complex verification processes as digital technologies make it increasingly easy to alter and falsify information and images. The quality control role of curators may also involve in-house specialists or junior staff working with external experts in a particular region or specialisation (Fahy and Nisbett). Some of job advertisements suggest a growing demand for specialist curatorial skills and position these alongside other newsroom professionals (Bakker). Whether this means they are journalists is still open to question. Conclusion This article has presented a more expansive conceptualisation of news curation than is commonly used in journalism studies, by including both the instrumental and the symbolic dimensions of a proliferating practice. It also sought to avoid confining this wider conceptualisation within unhelpful polarisations as to whether news curation is symbolic of a wider demise or revival of journalism by distinguishing the profession from the organisation in which it operates. The article was then free to negotiate the conceptual ambiguity surrounding the often taken-for-granted instrumental meanings of curation. It argues that what distinguishes news curation from traditional newsgathering is the relationship to original content. While the reporter generates the journalistic equivalent of original content in the form of news, the imaginative curator re-mixes and re-presents existing content in potentially novel ways. This has faint echoes of the mythological cura creating something new from the existing clay. The other conceptual ambiguity negotiated was in the definitional overlaps between curating and editing. On the one hand, this questions the appropriateness of reducing the news curator to the status of an “information worker”, a manual labourer rather than a professional. On the other hand, it positions news curators as one of many types of newsroom professionals. 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This roundtable article investigates the “critical archive” as a material concept in the fields of artistic production, art historiography, curatorial practice, and criticism. We invited twelve critics, artists, art historians, and curators to respond to a series of questions related to the idea of the archive as a critical agent in the field of art. The roundtable examines different historical and institutional permutations of conceptions of a (self-) critical archive and its possible impact on our understanding of the relationship between art and historical evidence.