Relevant bibliographies by topics / Curatorship

Academic literature on the topic 'Curatorship'

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Published: 4 June 2021
Last updated: 30 July 2024

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Journal articles on the topic "Curatorship"

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Tucker, Louis L., and Gaynor Kavanagh. "History Curatorship." New England Quarterly 64, no. 4 (December 1991): 692. http://dx.doi.org/10.2307/366204.

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Paine, C. "History Curatorship." Journal of the History of Collections 3, no. 1 (January 1, 1991): 112–13. http://dx.doi.org/10.1093/jhc/3.1.112.

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Shackley, M. Steven. "Archaeological Curatorship:Archaeological Curatorship." Museum Anthropology 16, no. 1 (February 1992): 60–62. http://dx.doi.org/10.1525/mua.1992.16.1.60.

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Mukhina, T. G., and T. V. Filippova. "Analysis of the correlation between the concepts of mentoring and curatorship in the pedagogical practice." Vestnik of Minin University 11, no. 3 (September 11, 2023): 4. http://dx.doi.org/10.26795/2307-1281-2023-11-3-4.

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Introduction. The relevance of the study is explained by the tendency to self-development of the individual that has formed in society. Mentoring and supervision contribute to the self-development of the individual in higher education. The article examines the analysis of the formation and development of mentoring and curatorship.Materials and Methods. The article provides a historiographical analysis of the content of the concepts of "curatorship" and "mentoring" in the domestic and foreign pedagogical and psychological literature. The main attention is paid to the correlation and semantic content of the above terms. The work uses methods of analyzing scientific literature, generalization and systematization of data on curatorship and mentoring.Results. The purpose of the work is to study the terms "mentoring" and "curatorship". The approaches and stages of mentoring and curatorship development in historical retrospect are analyzed. The place and role of mentoring and supervision in pedagogical practice are considered. The main attention is focused on the essential characteristics of the studied terms. The authors came to the conclusion that in modern pedagogical practice, the concepts of "mentoring" and "curatorship" are synonymous, complementary and interchangeable.Discussion and Conclusions. The perspective of the research is to continue working on the problems of correlation and increasing the effectiveness of curatorship and mentoring for the self-development of students in higher educational institutions. The practical significance of the work lies in the fact that its results can serve as a fuller use of institutional, organizational and personal resources in the field of education, as well as be the basis for improving the modern model of mentoring and curatorship in educational organizations of the Federal Penitentiary Service of Russia.
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Oliveira, Luiz Sérgio da Cruz de. "“Curatorship is about power”." MODOS: Revista de História da Arte 5, no. 2 (May 22, 2021): 222–37. http://dx.doi.org/10.20396/modos.v5i2.8664203.

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Entre 1992 e 2005, foram realizadas cinco edições da mostra internacional inSITE entre as cidades de San Diego (Estados Unidos) e Tijuana (México). Seguindo o modelo das bienais internacionais e tendo o compromisso de promover o espalhamento da arte pelos espaços públicos das duas cidades e adjacências, as edições do inSITE, embora não muito conhecidas no Brasil, se configuram como um relevante objeto de estudo para o aprofundamento das investigações e das reflexões em torno da arte pública nos últimos trinta anos e, por extensão, da produção de arte no contemporâneo. Neste artigo, dedicamo-nos a investigar em especial as relações entre artistas e curadoria na edição de 2005 do inSITE.
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Kreps, Christina. "Curatorship as Social Practice." Curator: The Museum Journal 46, no. 3 (July 2003): 311–23. http://dx.doi.org/10.1111/j.2151-6952.2003.tb00097.x.

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Šentevska, Irena. "Mediating Performance (and) Curatorship." Maska 30, no. 177 (June 1, 2016): 86–101. http://dx.doi.org/10.1386/maska.30.177-178.86_1.

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Šentevska, Irena. "Mediating Performance (and) Curatorship." Maska 31, no. 177 (June 1, 2016): 86–101. http://dx.doi.org/10.1386/maska.31.177-178.86_1.

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The Prague Quadrennial (PQ), the world’s largest exhibition of stage (performance) design, was held for the 13th time from 17-28 June 2015. This article outlines the historical development of PQ, from its “conceptual” beginnings in the 1930s and real beginnings in socialist Czechoslovakia, to the present day. Our focus is the variety of curatorial practices at PQ 2015 that perform the delicate process of “translation” of live performances into static exhibits and “mediation” between the stage (performing space) and the gallery (exhibition space), taking into account the transformations of the “art world” that is increasingly bringing those spaces together.
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Vamanu, Iulian. "Indigenous Museum Curatorship in the United States and Canada: Roles and Responsibilities." Libri 70, no. 1 (March 26, 2020): 65–79. http://dx.doi.org/10.1515/libri-2018-0155.

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AbstractIndigenous curatorship has become an increasingly visible presence in the public sphere as part of the long process of North American Native people’s efforts to regain control over the representations and uses of their cultures in Western societies. Even though scholars consider this profession fundamental to Native American struggles for sovereignty, many do not have a clear understanding of what it involves. In the context of scarce scholarship on Indigenous curatorship, this qualitative study relies on interview and textual data to articulate Indigenous curators’ understandings of their work of preserving and promoting Indigenous knowledge. It emphasizes the uniqueness of Indigenous curatorship by mapping out this profession’s specific roles and responsibilities within the broader arena of museum curatorship. The study identifies two main directions Indigenous curators take in their work, namely activism and engagement of the public. Activism consists in Indigenous curators’ efforts to critique oppressive knowledge structures, raise awareness of controversial topics of public interest related to Indigeneity, and support Native artists and tribal communities. Engagement of the public refers to Indigenous curators’ strategies of involving source communities in the design of exhibits and diverse audiences in the interpretation of exhibitions.
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Kiselev, Nikolai N. "Educational Potential of Curatorship in a Pedagogical University." Journal of Pedagogical Innovations, no. 3 (October 16, 2022): 25–33. http://dx.doi.org/10.15293/1812-9463.2203.03.

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The purpose of the article is to analyze the educational potential of curatorship in a pedagogical university, and to determine the educational resources of the main activities of student groups’ curators. As a result of the theoretical analysis of curatorship as a subject of the educational space of a pedagogical university, various educational possibilities of the curatorʼs position are determined; the pool of roles and qualities in which the curator acts are analyzed. The article also presents the results of a broad study at Novosibirsk State Pedagogical University of the qualitative characteristics of curatorship in general, including its educational potential. The students and curators of academic groups’ relationship, the differences in the positions of an instructor curator and an undergraduate curator, the curator’s educating influence on various aspects of student life were investigated. In addition, the article presents an analysis of the regulations on curatorial activities in various universities in Russia, and the most common curator’s responsibilities are identified.
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Dissertations / Theses on the topic "Curatorship"

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Tjiane, Nelson Khomotso. "Curatorship of banks as a measure to rescue failing banks." Diss., University of Pretoria, 2015. http://hdl.handle.net/2263/53196.

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The purpose of this study is to explore the current status in relation to the concept of curatorship as a measure to rescue failing banks. The world as we came to know it has changed the way banking is done. This dissertation therefore investigates the concept of curatorship of banks in South Africa in terms of the Banks Act and to determine what influences, if any, does the proposed Twin Peaks model of Regulation will have on it. A closer examination of section 69 and 69A of the South African Banks Act is conducted in order to understand the impact of bank curatorship within the South African context. Not only is an examination conducted on the Banks Act, but also on the proposed Financial Sector Regulation Bill. Comparatively this dissertation explores and examines curatorship under Botswana banking law, this is done on the premise that Botswana like any other global financial players has it fair share of financial markets challenges. It examines the measures that Botswana may have put in place in order to assist failing banks through the instrumentality of curatorship, or temporary management as it is known in Botswana. There are several pertinent features that are identified to be contributing factors for banks to be placed under curatorship. These factors include amongst others lack of robust supervision by regulators, lack of risk and management disclosure by banks, poor management of banks, excessive lending and failure of a bank s management to conduct the business of banks in a prudent, safe and sustainable manner. Internationally this dissertation explores international best practices and measures that are in place to deal with the concept of curatorship as a measure of rescuing failing banks. This is done on the understanding that international financial sector is globally integrated but regulated nationally. It is this concept of interconnectedness of banks that perhaps gave birth to the Basel Core Principles on responsible banking and its dedicated Basel Committee of Banking Supervisors to ensure the prudential and liquidity compliance of banks globally. This dissertation explores and examines some of the elements that are likely to lead to banks being placed under curatorship and identify them as lack of global regulation and cooperation amongst others. This lack of global regulation and cooperation are also seen as drivers that poses a risk to global financial markets. Finally this study acknowledged that bank curatorship does not necessarily translate to prevention of banks failures but rather as a tool used to ensure that when failure occurs, it is addressed in an orderly manner so as to cause the least risk to the financial system. This dissertation concludes by making recommendations which incorporates measures that may be put in place for management and effective supervision of banks.
Mini Dissertation (LLM)--University of Pretoria, 2015.
Mercantile Law
LLM
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Moore, Andrew W. "Art patronage and collecting, practice and curatorship : defining a region's cultural identity." Thesis, University of East Anglia, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.396734.

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Acri, Giorgia <1998&gt. "Digital curatorship. The origin of a new curatorial practice and its alternative approach to audience engagement." Master's Degree Thesis, Università Ca' Foscari Venezia, 2022. http://hdl.handle.net/10579/20927.

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This thesis aspired at demonstrating whether digital curatorship can be considered an effective practice to engage the audience. In fact, as the closures in 2020 due to the Covid-19 pandemic demonstrated, only the curators and, generally, art organisations that were prepared in terms of digitalisation were able to continue working and disseminating knowledge about art and culture despite the strict norms required to limit the spread of the virus. Curating as we understand it has existed since exhibitions stopped being regarded as a mere display of artworks and became deemed as a structured activity based upon specific rules and managed by a leading specialist: the curator. Nevertheless, we can now distinguish different types of curators, as this work asserts. Specifically, this qualitative thesis began by briefly outlining the origin of curatorship, its history, and developments, and thenceforth called particular attention to the emerging profession of the digital curator, examining some digital event and media curation case studies and commenting on the effectiveness of such projects. Moreover, it compared five European museums’ digital policy, discussing how differently they invest in new technologies. Additionally, the thesis included five semi-structured interviews with digital and white-cube curators, enquiring them about how digitalism is perceived and used in their practice. The research attempted to answer the following question: can digital curatorship be considered an alternative to the traditional practice in order to maximise the engagement and the experience of the audience? The study revealed that the employment of digital tools has gradually reduced the limitations offered by physical spaces such as galleries and museums, helping curators reach a broader audience and introduce new ways to engage it with.
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Bauža, Kostas. "Nepilnamečių globa (rūpyba) kaip alternatyvi auklėjimo bei priežiūros forma." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2011. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2008~D_20110709_152256-20870.

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K.Bauža magistriniame darbe „Nepilnamečių globa (rūpyba) kaip alternatyvi auklėjimo bei priežiūros forma“ nagrinėja nepilnamečių globos (rūpybos) institutų sampratą įvairiais aspektais, pateikia vertinimą, kodėl tai yra svarbu nustatant nepilnamečių globą (rūpybą). Lietuvos Respublikos civiliniame kodekse, kuris reglamentuoja nepilnamečių globos (rūpybos) nustatymo ir pasibaigimo pagrindus, steigimo, įgyvendinimo principus, naudojama nepilnamečio ir vaiko sąvokos. Autorius atskleisdamas šių sąvokų sampratas tuo pačiu atskleidžia ir CK 3 knygos 18 skyriaus teisės normų reguliavimo apimtį. Per paskutinius du dešimtmečius į Lietuvos nacionalinę teisę buvo perkelta daug tarptautinių teisės reikalavimų. Įgyvendinant nepilnamečių globą (rūpybą) praktikoje siekiama perkelti Europos šalių patirtį, vadovaujamasi Europos žmogaus teisių teismo spendimuose atskleista principų samprata. Autorius išnagrinėjo darbe tėvų valdžios apribojimo pagrindus bei valstybės intervencijos ir šeimos autonomijos santykį, nepilnamečių globos (rūpybos) pagrindus ir atskleidžia valstybės subsidiarią pareigą vaiko teisių apsaugoje, įvertina ar teisiškai pateisinami tokie veiksmai, ar tinkamai sukurtos teisinės prielaidos nepilnamečių globos (rūpybos) steigimui bei įgyvendinimui. Nagrinėdamas nepilnamečių globos (rūpybos) principų sampratą autorius atskleidžia nemažai praktikoje esančių problemų, susijusių tiek su teisiniu reglamentavimu, tiek su valstybės vykdoma politika vaiko teisių apsaugoje, kurios... [toliau žr. visą tekstą]
CHILD GUARDIANSHIP (CURATORSHIP) AS AN ALTERNATIVE FORM OF CHILD CARE AND UPBRINGING SUMMARY In the MA thesis Child Guardianship (Curatorship) as an Alternative Form of Child Care and Upbringing, K. Bauža analyses the concept of child guardianship (curatorship) institutions from various aspects, provides an assessment why it is so important in defining the guardianship (curatorship) of a child. Concepts of a child and a minor are used in the Civil Code of the Republic of Lithuania, which regulates the basis for the allocation and termination of child guardianship (curatorship), establishment and implementation principles. Disclosing the definitions of these concepts the author also discusses the regulation volume of legal standards defined in Book 3, Chapter 18 of the Civil Code. During the last two decides many international legal requirements were transferred to the national law of Lithuania. Implementation of child guardianship (curatorship) in practice is carried out in order to transfer the experience of the European countries following the concept of principles disclosed in decisions of the European Court of Human Rights. The author analyses in the thesis the basis of parent authority limitation and the interface between government intervention and the autonomy of the family, the basis of minor guardianship (curatorship) and discloses the subsidiary duty of the government in the defence of children rights, assesses if such actions are legally authorized, if legal... [to full text]
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Douglas, Craig Cameron, and n/a. "Cultivating the [New] Country: Disclosing Through Curatorship the Cultural and Economic Development Potential of the Australian Regional Art Museum." Griffith University. Queensland College of Art, 2005. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20060901.111309.

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This study utilising a 'theory into practice' methodology, interrogates the phenomena of the Australian Regional Art Museum and establishes that curatorship, as a defined visual art practice can sustain the art museum as a viable cultural institution in contemporary regional Australia. It employs a case study of a new model art museum and the curation of selected collections-based exhibitions.
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Douglas, Craig Cameron. "Cultivating the [New] Country: Disclosing Through Curatorship the Cultural and Economic Development Potential of the Australian Regional Art Museum." Thesis, Griffith University, 2005. http://hdl.handle.net/10072/365856.

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This study utilising a 'theory into practice' methodology, interrogates the phenomena of the Australian Regional Art Museum and establishes that curatorship, as a defined visual art practice can sustain the art museum as a viable cultural institution in contemporary regional Australia. It employs a case study of a new model art museum and the curation of selected collections-based exhibitions.
Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Queensland College of Art
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Thomas, Lubi. "Curating in uncharted territories: An examination of a programming model & communicative platform for curation in non-traditional art spaces." Thesis, Queensland University of Technology, 2015. https://eprints.qut.edu.au/84621/1/Lubi_Thomas_Thesis.pdf.

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This thesis articulates and examines public engagement programming in an emerging, non¬-traditional site. As a practice-led research project, the creative work proposes a site responsive, engagement centric, agile model for curatorial programming that developed out of the dynamic, new media/digital, curatorial practice at QUT's Creative Industries Precinct. The model and its accompanying exegetical framework, Curating in Uncharted Territories, offer a theoretically informed approach to programming, delivering and reporting for curatorial practices in a non¬-traditional sites of public engagement. The research provides the foundation for full development of the model and the basis for further research.
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Doumas, Dimitrios. "Curatorship and conservation : a theoretical enquiry into the scope of each realm, their interaction, and the consequences for the perception of works of art Curatorship and Conservation A theoretical enquiry into the scope of each realm, their interaction, and the consequences for the perception of works of art Curatorship and conservation : a theoretical enquiry into the scope of each realm, their interaction, and the consequences for the perception of works of art." Thesis, University of Lincoln, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.711883.

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Oliveira, Jorge Otávio Pinto Pouey de. "Curadoria musical no Spotify." Universidade do Vale do Rio dos Sinos, 2017. http://www.repositorio.jesuita.org.br/handle/UNISINOS/6814.

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O uso constante de plataformas de streaming para acessar os mais diversos conteúdos é uma realidade. Diante deste quadro, podemos também enxergar estas plataformas assumindo funções neste ambiente digital que anteriormente eram realizadas pelos meios tradicionais de comunicação. Uma destas funções que podemos cogitar é a curadoria musical. O objetivo desta dissertação de mestrado é propor uma investigação e imersão na plataforma de streaming musical, o Spotify, e analisar de que forma ela opera para divulgar os seus conteúdos musicais, criando assim, através de suas estratégias curatoriais, uma noção de um novo jornalismo cultural. As bibliografias acionadas tematizam cultura da convergência, jornalismo cultural, radiojornalismo hipermidiático e curadoria, além de um questionário sobre hábitos de novos padrões de consumo de música seguido da respectiva análise. Dessa forma, este trabalho busca contribuir tanto para desmistificar o papel secundário do jornalismo cultural em relação a outras editorias, quanto entender as novas possibilidades de busca e uso de conteúdos que estão ao nosso alcance no ambiente digital.
The constant use of streaming platforms to access the most diverse content is a reality. Given this framework, we can also see these platforms assuming functions in this digital environment which were previously performed by traditional means of communication. One of these functions we can consider is music curatorship. The objective of this master's thesis is to propose an investigation and immersion in the musical streaming platform, Spotify, and to analyze how it operates to disseminate its musical contents, thus creating through its curatorial strategies a notion of a new cultural journalism. The bibliographies triggered include cultural convergence, cultural journalism, hypermedia radiojournalism and curation, as well as a questionnaire on habits of new patterns of music consumption followed by the respective analysis. Thus, this work seeks to contribute both to demystify the secondary role of cultural journalism in relation to other publications, and to understand the new possibilities of search and use of contents that are within our reach in the digital environment.
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Souza, Lívia Silva de. "A circulação midiática na base da vida material: do consumo de marcação à marcação do consumo." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/27/27153/tde-31052017-105022/.

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O consumo na sociedade contemporânea é uma atividade fundamental de produção de sentido, e que se apresenta indissociável das propriedades simbólicas sobre o que se consome, indo muito além das propriedades utilitárias dos bens. Tais propriedades são dadas a partir de significados culturais que, em movimento contínuo no mundo social, são transferidos dos bens aos consumidores individuais por meio de rituais de consumo (MCCRACKEN, 2010). Estes significados se realizam, ainda, de maneira dinâmica a partir do jogo entre as estratégias e táticas do consumo (CERTEAU, 2014), situando o consumo enquanto usos dos bens no cotidiano, atravessado por contextos culturais, constituindo uma atividade criadora de sentidos dos sujeitos na vida material. Nesta sociedade, ainda, vivemos sob a presença cada vez mais influente da mídia e suas lógicas contexto em que a mídia se torna uma instituição social semi-independente, dentro da ideia de midiatização conforme Hjarvard (2014a). A mídia, enquanto mediação cultural principal nesta sociedade (MARTÍN-BARBERO, 2004), passa a exercer influência sobre outras instituições e práticas culturais, tais como a política, a religião ou, no caso específico deste trabalho, o consumo. Nesse contexto, dedicamos especial atenção às mídias digitais, nos modos como suas possibilidades são apropriadas em rituais do consumo na circulação midiática (FAUSTO NETO, 2010). A partir destas premissas, o objeto da presente pesquisa são os rituais próprios do consumo midiatizado nas redes digitais, particularmente os rituais da curadoria do consumo online, a que chamamos de marcações do consumo. Nossa análise se estenderá às práticas do consumo midiatizado em três pilares da base da vida material (BRAUDEL, 2005): alimentação, vestuário e moradia, na circulação midiática em seus vestígios nas mídias sociais digitais. O objetivo deste trabalho é pensar o contexto em rede e digital como um novo lugar de transferência de significados, onde podemos observar rituais de consumo específicos das redes, bem como as práticas do consumo midiatizado nos rituais do alimentar-se, do vestir-se e do morar. Configuram-se, assim, práticas de consumo midiatizadas, em um contexto de circulação de mensagens que favorece o desenrolar dos novos rituais de consumo, por meio dos quais os consumidores selecionam, rearranjam e ressignificam os bens de consumo e seus significados nas suas estratégias e táticas midiatizadas.
Consumption in contemporary society is a fundamental activity of production of meaning, and it is indissociable from the symbolic properties of what is consumed, going far beyond the utilitarian properties of goods. Such properties are given from cultural meanings that, in continuous movement in the social world, are transferred from the goods to the individual consumers by means of consuming rituals (MCCRACKEN, 2010). These meanings are also dynamically realized through the play of strategies and tactics of consumption (Certeau, 2014), placing consumption as the use of goods in daily life, crossed by cultural contexts, constituting an activity that creates the senses of the subjects In material life. In this society, we live under the increasingly influential presence of the media and its logical context in which the media becomes a semi-independent social institution within the idea of mediatization according to Hjarvard (2014a). The media, as the main cultural mediation in this society (MARTÍN-BARBERO, 2004), has an influence on other cultural institutions and practices, such as politics, religion or, in the specific case of this work, consumption. In this context, we pay special attention to digital media, in the ways in which their possibilities are appropriate in rituals of consumption in the media circulation (FAUSTO NETO, 2010). From these premises, the object of the present research is the rituals of consumption mediated in digital networks, particularly the rituals of online consumption curation, which we call consumption marking. Our analysis will extend to the practices of mediated consumption in three pillars of the basis of material life (BRAUDEL, 2005): food, clothing and housing, in the media circulation in its vestiges in digital social media. The purpose of this work is to think of the network and digital context as a new place of transference of meanings, where we can observe specific consumption rituals of the networks, as well as the practices of mediated consumption in the rituals of eating, dressing and housing. Thus, practices of mediatized consumption are configured, in a context of message circulation that favors the development of new consumption rituals through which consumers select, rearrange and re-signify consumer goods and their meanings in their mediated strategies and tactics.
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Books on the topic "Curatorship"

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A, Thompson John M., ed. Manual of curatorship: A guide to museum practice. 2nd ed. Oxford: Butterworth-Heinemann, 1992.

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Civilization, Canadian Museum of, and Commonwealth Association of Museums, eds. Curatorship: Indigenous perspectives in post-colonial societies : proceedings. Ottawa: Published by the Canadian Museum of Civilization with the Commonwealth Association of Museums and the University of Victoria, 1996.

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Paolo, Cherchi Usai, Francis David 1935-, Horwath Alexander 1964-, Loebenstein Michael 1974-, Österreichisches Filmmuseum, SYNEMA-Gesellschaft für Film und Media., and Giornate del cinema muto, eds. Film curatorship: Archives, museums, and the digital marketplace. Vienna: Österreichisches Filmmuseum, 2008.

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Paolo, Cherchi Usai, Francis David 1935-, Horwath Alexander 1964-, Loebenstein Michael 1974-, Österreichisches Filmmuseum, SYNEMA-Gesellschaft für Film und Media., and Giornate del cinema muto, eds. Film curatorship: Archives, museums, and the digital marketplace. Vienna: Österreichisches Filmmuseum, 2008.

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Hansen, Malene Vest. Kuratering af samtidskunst. Roskilde: Museet for Samtidskunst, 2011.

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Lewis, Ralph H. Museum curatorship in the National Park Service, 1904-1982. Washington, D.C: Dept. of the Interior, National Park Service, Curatorial Services Division, 1993.

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Beasley, David R. Douglas MacAgy and the foundations of modern art curatorship. Simcoe, Ont: Davus Pub., 1998.

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Hutchinson, John. Pearl fishers. Dublin: Douglas Hyde Gallery, 2014.

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Hujatnikajennong, Agung. Kurasi dan kuasa: Kekuratoran dalam medan seni rupa kontemporer di Indonesia. Serpong, Tangerang Selatan: Marjin Kiri, 2015.

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Montornés, Frederic. Especies de comisarios, especies de críticas. Murcia]: CENDEAC, 2020.

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Book chapters on the topic "Curatorship"

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Taylor, Jeffrey. "Curatorship." In Visual Arts Management, 79–86. New York : Routledge, 2018.: Routledge, 2017. http://dx.doi.org/10.4324/9781315543666-9.

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Taylor, Jeffrey. "Curatorship." In The Art Business, 124–37. 2nd ed. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003431756-9.

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Adebo, Abiti Nelson, Francis Nono, Kate Moles, and Lizzi O. Milligan. "Participatory curatorship." In Post-Conflict Participatory Arts, 54–70. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003121046-5.

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"Curatorship." In Silent Cinema. The British Film Institute, 2019. http://dx.doi.org/10.5040/9781911239123.ch-016.

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"Curatorship." In Encyclopedia of Gerontology and Population Aging, 1270. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-22009-9_300532.

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Pyles, Damiana Gibbons, Beth A. Buchholz, Kris Hagaman, and Peaches Hash. "Teacher Curatorship." In Handbook of Research on Integrating Digital Technology With Literacy Pedagogies, 287–312. IGI Global, 2020. http://dx.doi.org/10.4018/978-1-7998-0246-4.ch013.

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Grounded in digital literacy and literacies research, the authors explore how a kindergarten teacher facilitated digital literacy in a science lesson using YouTube playlists and the YouTube Kids app. By curating videos and modeling how to “read” the video texts, the teacher prepared her students for their own guided searches using streaming video texts in the YouTube Kids app on iPads. The authors show how teacher curatorship can foster real, authentic learning experiences, even for young children, as a way for students to begin developing the complex new literacy practice(s) of curating videos across in and out of school spaces.
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"curatorship, n." In Oxford English Dictionary. 3rd ed. Oxford University Press, 2023. http://dx.doi.org/10.1093/oed/5073123414.

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Tyburczy, Jennifer. "6. Queer Curatorship." In Sex Museums, 175–99. University of Chicago Press, 2015. http://dx.doi.org/10.7208/chicago/9780226315386.003.0007.

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"On the Curatorship." In Art Power. The MIT Press, 2008. http://dx.doi.org/10.7551/mitpress/7469.003.0005.

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Preziosi, Donald. "Curatorship as Bildungsroman." In Curatorial Challenges, 11–21. Routledge, 2019. http://dx.doi.org/10.4324/9781351174503-3.

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Conference papers on the topic "Curatorship"

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Olszewska, Anna. "Senster 2.0: Cultural context of media art curatorship." In Electronic Visualisation and the Arts. BCS Learning & Development, 2018. http://dx.doi.org/10.14236/ewic/eva2018.12.

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Wollenweber, Amanda, and Polly Sturgeon. "CONVEYING GEOLOGY FROM MUSEUM CURATORSHIP BACKGROUND USING ARCGIS STORYMAPS." In GSA Connects 2022 meeting in Denver, Colorado. Geological Society of America, 2022. http://dx.doi.org/10.1130/abs/2022am-380317.

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Andrusova, S. S. "Curatorship as a factor in the successful adaptation of freshmen." In ТЕНДЕНЦИИ РАЗВИТИЯ НАУКИ И ОБРАЗОВАНИЯ. НИЦ «Л-Журнал», 2018. http://dx.doi.org/10.18411/lj-05-2018-40.

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Spiridonova, Larisa N. "General Curatorship As A Special Task In Teacher’s Work With Foreign Students." In IFTE 2019 - 5th International Forum on Teacher Education. Cognitive-Crcs, 2020. http://dx.doi.org/10.15405/epsbs.2020.01.54.

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Lisá, Dominika, and Andrea Bánovčinová. "IDENTIFYING FACTORS OF INCIDENCE OF VIOLENCE IN FAMILIES BY WORKERS FROM DEPARTMENT OF SOCIAL AND LEGAL PROTECTION." In NORDSCI International Conference Proceedings. Saima Consult Ltd, 2019. http://dx.doi.org/10.32008/nordsci2019/b1/v2/29.

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Abuse of children is considered one of the most serious socio-pathological phenomenon that can occur in families. The first indicators of child abuse can be information from doctors, data from teachers, or police notifications. By analyzing several sources, it has been found that no exists only one factor that would have result in child abuse. It is a complex phenomenon that can be caused by a combination of biological, social, cultural economic or environmental factors. The aim of our research was to identify risk factors which workers from the Department of Social and Legal Protection of Children and Social Curatorship observe in families where child abuse is reported. The research has been conducted using a qualitative research strategy. The interview has been used in order to collect the data. The survey sample consisted from 11 workers from the Department of Social and Legal Protection of Children and Social Curatorship by Local Labour Office, Social Affairs and Family. The results show that there are several risk factors present in families where child abuse is present. As the most serious factors, participants have identified lower mental levels of parents, lack of parenting skills. As an important factor in terms of practice, it seems to be also the presence of violence in the family of origin. As our participants have pointed out the cultural context of the family has a great impact on the perception of violence by family members. On the basis of the findings, work not only with the child but also with the whole family is necessary. Prevention has an irreplaceable place here, not only at the primary or secondary level but especially at tertiary level. For effective prevention of child abuse is consistent identification of risk factors. As a deficiency, we perceive that in the Slovak environment there are no standardized methods of neglect assessment that would be used in the practical exercise of social and legal protection of children. In the context of tertiary prevention, it is necessary to focus on preventing the relapse of abuse and preventing further abuse and the development of long-term health psychological and social consequences.
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Hudson, Bob. "Old Burmese weights were not opium weights. They were weights. What else do we know about them? | ရှေးဟောင်းမြန်မာ့အလေးများသည် ဘိန်းချိန်သည့်အလေးများမဟုတ်ပါ၊ အချနိ ်အတွယ်အလေးများသာ ဖြစ်သည်။ ယင်းတို့အကြောင်း ဘာတွေများ သိရပါသနည်း။." In The SEAMEO SPAFA International Conference on Southeast Asian Archaeology and Fine Arts (SPAFACON2021). SEAMEO SPAFA, 2021. http://dx.doi.org/10.26721/spafa.pqcnu8815a-29.

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Bronze weights from Myanmar (old Burma) are popularly but incorrectly identified as “opium weights”. This paper examines the historical evidence for a system of weights and measures in old Burma going back to the 11th to 14th century Bagan period. It also examines the challenge to Southeast Asian archaeology, history and museology posed by the popular “Angel Weights” website and Facebook pages, which claim that a hoard of bronzes and associated documentation kept in a so-far undisclosed location represents a hitherto unknown collection of weights that date back to the Bagan and 14th to 16th century First Ava periods. This (so far) private curatorship of alleged historical data presents a dilemma: how does an academic deal with data that is available only on the internet, presented only from the viewpoint of its owners? မြန်မာပြည် (ယခင်ဗမာပြည်)မှ ကြေးရုပ်အလေးများကို လူသိများလှသော်လည်း ဘိန်းချိန် အလေးများဟူ၍ လွဲမှားစွာ ဖွင့်ဆိုလေ့ရှိသည်။ ယခုစာတမ်းမှာ အေဒီ(၁၁)ရာစုမှ (၁၄)ရာစု ရှေးခေတ် မြန်မာပြည် ပုဂံခေတ်ကာလတွင် သုံးစွဲခဲ့သော အလေးချိန်စနစ်တစ်ခုအတွက် သမိုင်းဆိုင်ရာ အထောက်အထားများကို လေ့လာရှာဖွေရန်ဖြစ်သည်။ အလားတူပင် အရှေ့တောင်အာရှ ရှေးဟောင်း သုတေသန၊ သမိုင်းနှင့် ပြတိုက်ဆိုင်ရာ ကြေးထည်ပစ္စည်းများနှင့် ဆက်စပ်အထောက်အထားများကို ယင်းတို့၏ မူရင်းနေရာ အတိအကျ မသိရှိဘဲ ပုဂံခေတ်မှ အေဒီ(၁၄_၁၆) ရာစု အင်းဝခေတ်တို့နှင့် သက်ဆိုင်သည့် ကြေးထည်ပစ္စည်းနှင့် အလေးများဟူ၍ “နတ်ရုပ်အလေးများ” ကွန်ယက်နှင့် ဖေ့စ်ဘုတ် လူမှုကွန်ယက်စာမျက်နှာများတွင် လူသိထင်ရှားဖော်ပြ ထားခြင်းတို့အပေါ် စောဒကတက်စရာရှိသည် များကို စစ်ဆေးလေ့လာသွားရန်လည်းဖြစ်သည်။ ဤသို့ (ဖော်ပြထားသည့်) ကိုယ်ပိုင်ပြသမှု များမှ သမိုင်းဆိုင်ရာ အချက်အလက် များကို လိုသလို သုံးစွဲနေမှုများသည်-“ပစ္စည်းပိုင်ရှင်တို့၏ အထင် အမြင်ဖြင့်သာ ဖော်ပြထားသည့် အင်တာနက် တွင်သာရနိုင်သော အချက်အလက်များနှင့် ပညာရပ်ဆိုင်ရာ လေ့လာမှုတို့မည်ကဲ့သို့ ဆက်စပ်နိုင်ကြ မည်နည်း”ဟူသော အကြပ်အတည်းတစ်ခုကိုလည်း ဖော်ပြ လျက်ရှိသည်။
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Rossi Rognoni, Gabriele, Marie Martens, Arnold Myers, and Jen Schnitker. "CIMCIM Call for Papers ‘Global Crises and Music Museums: Representing Music after the Pandemic’." In Global Crises and Music Museums: Representing Music after the Pandemic, edited by Mimi Waitzman and Esteban Mariño. CIMCIM, 2023. http://dx.doi.org/10.46477/seca7941.

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The COVID-19 pandemic has arguably caused the biggest disruption to the museum and heritage sector since the Second World War. All over the world, museums have had to close, some never to reopen, and many have had to suspend their operations for prolonged periods. However, the disruption has also invited – sometimes forced – substantial changes in the way museums perceive themselves and their interactions with their audiences. This has included an increased focus on digital offers, a reconsideration of the human relationships with external as well as internal stakeholders, new ways to guarantee the preservation, documentation and availability of collections and revised financial and sustainability planning. Some of these changes will be transitory, while others are likely to leave permanent footprints on the identity of museums and the way they operate even after the emergency has passed. This conference will highlight and discuss some of the initiatives and innovations that emerged from the past year, with particular attention to curatorship, conservation, learning and participation, and documentation and research. Critical perspectives, as well as case studies are invited to focus on the long-term impact of the pandemic and on the way the identity of music museums, their value and relevance to society and research, and their ways of operating internally and externally may have been transformed. CIMCIM 2021 Conference Organising Committee Gabriele Rossi Rognoni (Royal College of Music, London, UK) Mimi Waitzman (Horniman Museum and Gardens, London, UK) Marie Martens (The Danish Music Museum, Copenhagen, Denmark) Arnold Myers (University of Edinburgh and Royal Conservatoire of Scotland, Glasgow, UK) Jen Schnitker (Metropolitan Museum of Art, New York, USA)
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Fischer, Andre. "New transmedia design for traditional film festivals." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.121.

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The disruptive transformations process in the audiovisual sector were unexpectedly accelerated after the covid-19 pandemic. This caused a rearrangement in the chain of the distribution, exhibition and circulation, thus restructuring the whole design of film festivals, once considered the launching point of this entire industry and strongly based on specific physical locations. Streaming has become the main way in which image and sound content are distributed. Entertainment became multiplatform and interactive, changing the way in which narratives are structured, and these contents are produced and consumed. The convergence of media made porous the boundaries between what are conventionally called video, cinema, theater and performance. The platformization process permanently changed the traditional model of audiovisual distribution, staffing and curation of festivals - which undergo a hybridization operation that allows the potential use of interactive resources and online delivery of movies, plays and performances to audiences all around the globe. To understand the potential of transformations, the study investigates in depth the experience of MixBrasil Festival, largest LGBTQIA+ cultural event in Latin America, created in 1993, showcasing multiple formats and techniques (cinema, theater, music, literature). With digital content being programmed since 2018, in 2020 it expanded its online exhibition to four different digital platforms. The study is carried out concurrently with the monitoring of MixBrasil and other film festivals held in Brazil, considering what strategies are being adopted and how they will stand out as innovative - or just replications of the traditional movie theater model. It also aims to identify processes, paths and perspectives for the sector considering that the old template for launching films used since the 1950´s might no longer be applicable to the current state of the industry. Facts and trends that are forcing these events to face a crisis of identity and questioning the viability of a (still) prestigious circuit. Platformization implies the adoption of online functionalities integrated at economic and infrastructure levels which fully affects the organization strategies of festivals. Therefore, a change in the way of thinking the place of film festivals in the industry chain is in progress: as a possible space for capturing data from the public to support future curatorships and permanent actions which would make them more dynamic and relevant. Associated with this process is the notion of attention economy and the reorientation of users as active producers of culture, in the way they can affect the hybrid future of festivals. Metrics recurrently used like engagement, geolocation, retention and abandon rates are necessary to identify obstacles and potentialities that the new scenario presents. The research is raising additional questions about the behavior and expectations of different age groups, the motivations of audiences for attending festivals. It also investigates why although movie theaters are closing, distributors keep restrictions on festival theatrical screenings. This is a unique opportunity to reflect on perspectives for audiovisual festivals in order to capture viewers' attention, reposition their relevance to society, get the (re)cognition of different audiences and forge new experiences.
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