Journal articles on the topic 'Museum interventions'
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Armstrong, Eleanor Sophie. "Towards Queer Tours in Science and Technology Museums." Museum and Society 20, no. 2 (November 1, 2022): 205–20. http://dx.doi.org/10.29311/mas.v20i2.3941.
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This paper argues that the Queering the Science Museum tour series (2018) provides an example of a conceptual pathway for translating queer tour guiding approaches found in socio-historical and arts museums into STEMM spaces. I use participatory methods and qualitative and quantitative participant data to reflect on my work on the tours in the context of wider practices of tour-guided interventions. I highlight how the Queering the Science Museum tours, at the Science Museum, London, moved beyond existing models of queer engagement in socio-historic and arts museums by introducing an explicitly critically queer approach to science and technology, which has the potential to expand the possibility of queer interventions in museums generally. I close by examining the limitations of tour-as-intervention for change within the museum, while exposing the tensions around how resolving such issues would challenge queer theory’s call for rejecting the making of queer ‘normal’ within displays.
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Redler, Hannah. "From interventions to interactions: Science Museum Arts Projects’ history and the challenges of interpreting art in the Science Museum." Journal of Science Communication 08, no. 02 (June 19, 2009): C04. http://dx.doi.org/10.22323/2.08020304.
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Hannah Redler’s paper examines the 13 year history of Science Museum, London’s contemporary art programme and explores how changing cultural conditions and the changing function of museums are making the questions raised by bringing art into the Science Museum context increasingly significant. It looks at how Science Museum Arts Projects started as a quirky, experimental sideline aimed at shaking up the Museum and its visitors’ assumptions, but has now become a fundamental means by which the Science Museum chooses to represent the impact of science, medicine, engineering and technology on peoples’ everyday lives.
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Deloria, Philip J. "The New World of the Indigenous Museum." Daedalus 147, no. 2 (March 2018): 106–15. http://dx.doi.org/10.1162/daed_a_00494.
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Museums have long offered simplistic representations of American Indians, even as they served as repositories for Indigenous human remains and cultural patrimony. Two critical interventions–the founding of the National Museum of the American Indian (1989) and the passage of the Native American Graves Protection and Repatriation Act (1990)–helped transform museum practice. The decades following this legislation saw an explosion of excellent tribal museums and an increase in tribal capacity in both repatriation and cultural affairs. As the National Museum of the American Indian refreshes its permanent galleries over the next five years, it will explicitly argue for Native people's centrality in the American story, and insist not only on survival narratives, but also on Indigenous futurity.
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Parrino, Lucia. "“Words to receive. Words to be received”: reflections on the Intercultural City museum work." Alterstice 5, no. 2 (June 8, 2016): 45–60. http://dx.doi.org/10.7202/1036690ar.
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Although diversity has always been a fundamental characteristic of human societies, now more than ever it has become central to the political and research agenda. The question of how we can live together while enjoying our differences is a fundamental issue of our time, and the city is viewed as the most promising site to negotiate identities. That being so, what is the role of museums? How can local museums develop interventions that address local cultural diversity issues? In the first part of the article, I introduce the idea of “Intercultural City museum work.” I present a metadesign framework that aims to help museums emphasize the impact of diversity work on their local contexts, proposing the Intercultural City approach as a reference point. In the second part of the article, I describe the “Intercultural City museum work” and on using the metadesign framework with reference to MUST-Museo del Territorio Vimercatese, a civic museum on local history and identity in Vimercate, a town in the metropolitan area of Milan. Immigration to the geographical area over the past few decades and the resulting cultural diversity are neither reflected in the museum collections nor the permanent exhibitions. As a result, the museum decided to address these topics through services, events and special projects. In particular, I describe the exhibition Words to Receive. Words to be Received, designed and created by COI-Centro Orientamento Immigrati—a local immigrants’ resource centre—with the museum.
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Walby, Kevin, and Haley Pauls. "Representations of Surveillance and Perceptual Technologies at Military Museums." Surveillance & Society 19, no. 1 (March 5, 2021): 37–52. http://dx.doi.org/10.24908/ss.v19i1.14068.
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Drawing from fieldwork at military museums across Manitoba, Canada, we explore the objects and narratives used to curate museum displays featuring what Bousquet (2018) calls “military perception.” Using Bousquet’s categories of military perception to organize our analysis, we examine how these museums position scopes, sonars, camouflage, and other devices meant to create visibility or invisibility as aesthetic objects rather than as instruments enabling state violence. With a focus on curatorial strategies and the arrangement of objects at these museums, we explore how surveillance and camouflage displays are organized to minimize the harm that military interventions cause and align the affect of the viewer with the form of Canadian nationalism animating the museum and against “enemy” others and spaces, a process we refer to as encasement. In conclusion, we reflect on what our analysis adds to literature on military museums and representations of surveillance.
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Dragojlovic, Ana, and CL Quinan. "Queering and decolonising the museum: ‘In the Presence of Absence’ exhibition at the Stedelijk Museum." Memory Studies 16, no. 1 (February 2023): 161–65. http://dx.doi.org/10.1177/17506980221143708.
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This review engages with the recent ‘In the Presence of Absence’ exhibition (2020–2021), which was held at the Stedelijk Museum of Modern Art (Amsterdam, the Netherlands). By focusing on three artistic interventions included in the exhibition (Werker Collective’s ‘A Gestural History of the Young Worker’, Farida Sedoc’s ‘The Future Ain’t What it Used to Be’, and Jennifer Tee’s ‘Tampan Ship of Souls #2’ and ‘Tampan the Collected Bodies’), we aim to highlight ways of creatively queering and decolonizing artistic practices and spaces, including museums and conventional memory narratives.
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Machado, Tiago. "A ARTE A PARTIR DO SEU LUGAR: O TRABALHO IN SITU DE DANIEL BUREN E OS ESPA�OS EXPOSITIVOS NOS NOS 19701 / Art from its place: Daniel Buren?s in situ work and exhibition spaces in the 1970?s." arte e ensaios 27, no. 42 (January 3, 2022): 188–209. http://dx.doi.org/10.37235/ae.n42.15.
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Pela an�lise de algumas instala��es realizadas pelo artista franc�s Daniel Buren (1938)�durante a d�cada de 1970, procura-se evidenciar a import�ncia dos locais especializados de exposi��o da arte para a constru��o do sentido da hist�ria da arte contempor�nea. Apesquisa ora apresentada se organiza em torno dos escritos de Daniel Buren e na documenta��o fotogr�fica produzida na ocasi�o de cada uma das interven��es analisadas, centrando-se em tr�s pontos principais: na an�lise da situa��o dos museus de arte europeus que ent�o se abriam para a arte contempor�nea; na atua��o comercial e pr�tica das galerias de vanguarda nos Estados-Unidos e, finalmente, no papel exercido no campo art�stico pelos ?novos museus? que, ao final da d�cada de 1970, se consolidam como espa�os importantes para a anima��o da vida cultural no hemisf�rio Norte.Palavras-chave:Trabalho in situ. Museu. Galeria. Novos museus. D�cada de 1970.�AbstractThrough the analysis of some installations carried out by the French artist Daniel Buren (1938) during the 1970s, we seek to highlight the importance of specialized art exhibition sites for the construction of the meaning of the history of contemporary art. The� research presented here is organized around the writings of Daniel Buren and the photographic documentation produced during each of the analyzed interventions, focusing on three main points: the analysis of the situation of European art museums that were then opening up to the contemporary art; in the commercial and practical performance of avant-garde galleries in the United States and, finally, in the role played in the artistic field by the ?new museums? which, at the end of the 1970s, were consolidated as important spaces for the animation of cultural life in the North hemisphere.Keywords:Work in situ. Museum. Gallery. New museums. 1970s.
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Drobnick, Jim, and Jennifer Fisher. "Shuffling the Collection: Card Decks as Museum Interventions." Muséologies: Les cahiers d'études supérieures 9, no. 2 (2018): 169. http://dx.doi.org/10.7202/1052666ar.
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Warren, Sarah. "Contemplating the Void: Interventions in the Guggenheim Museum." Design and Culture 3, no. 2 (July 2011): 243–44. http://dx.doi.org/10.2752/175470811x13002771867969.
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Treier, Leonie. "Annotating Colonialism." Museum Anthropology Review 15, no. 1 (September 13, 2021): 84–105. http://dx.doi.org/10.14434/mar.v15i1.31800.
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This exhibition review essay compares three recent interventions into historic cultural representations at the American Museum of Natural History: the Digital Totem that was placed in the Northwest Coast Hall in 2016 to partially modernize its content, the 2018 reconsideration of the Old New York Diorama, which attempts to correct its stereotypical representations of Native North American peoples, and the 2019 exhibition Addressing the Statue providing context for the Theodore Roosevelt statue. Paying attention to visual and textual strategies, I characterize these three interventions as temporary annotations to what have been remarkably static, long-term cultural representations. I argue that, through these annotations, the museum acknowledges the misrepresentations but does not resolve them. The case studies show varying degrees of critical historical reflection expressing the complexities of negotiating different approaches and agendas to engaging with the museum’s past. I also comment on the pervasiveness of a digital aesthetics in all three projects, even though only the Digital Totem was produced as a digital, interactive intervention into the museum space. The invocation of a digital design vocabulary enhances the impression of annotation.
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Barranha, Helena, João Vieira Caldas, and Rita Nobre Neto da Silva. "Translating heritage into museums: two architectural strategies inside Lisbon Castle." Journal of Cultural Heritage Management and Sustainable Development 7, no. 1 (February 6, 2017): 33–47. http://dx.doi.org/10.1108/jchmsd-05-2016-0033.
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Purpose The purpose of this paper is to discuss the role of contemporary architecture in heritage protection, reinterpretation and reuse, an issue that has become increasingly relevant due to the recognition of architectural heritage as a key factor for cultural and economic development. Design/methodology/approach In Portugal, as elsewhere in Europe, cultural heritage management has often been associated with the creation of new museum spaces, namely, within national monuments and archaeological sites. Drawing on restoration theories and international charters, this paper analyses and compares two parallel interventions recently built inside São Jorge Castle, in Lisbon: the Museum Centre (Victor Mestre and Sofia Aleixo, 2007-2008) and the Archaeological Site (João Luís Carrilho da Graça, 2008-2010). This approach offers insight on the complexity of addressing and reconfiguring the profusion of past transformations within a single monument. Findings These two complementary museum spaces are representative of different attitudes towards heritage appropriation, substantiating the thesis that musealizing always entails the creation of narratives, which translate history and heritage into architectural and curatorial discourses. Besides meeting the functional requirements of specific museum programmes, such interventions frequently deal with the challenge of opening up new perspectives on the past. Originality/value Considering the central role of communication in contemporary museums, this paper discusses how heritage musealization can contribute to the translation of historical evidence into updated iconographies, narratives and dialogues. Furthermore, the unique characteristics of this twofold case study can provide an insightful contribution for a broader debate on the reinterpretation of iconic monuments and sites.
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Rousell, David, Riikka Hohti, Maggie MacLure, and Hannah-Lee Chalk. "Blots on the Anthropocene: Micropolitical Interventions With Young People in a University Museum." Cultural Studies ↔ Critical Methodologies 21, no. 1 (September 2, 2020): 27–40. http://dx.doi.org/10.1177/1532708620953187.
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In this article, we discuss a series of artistic interventions in a university museum co-created by young people, researchers, and museum curators. We focus on the co-development of techniques for disrupting and re-imagining museological spaces and times, while exploring young people’s shifting sense of inheritance in relation to the “Anthropocene” as a particular figuration of the current epoch. Drawing together an eclectic range of sources at the intersections of schizoanalysis, posthumanism, decolonial studies, and surrealism, we argue that young people’s interventions in the museum constitute micropolitical nodes of resistance to the colonial-capitalistic capture of subjectivity that dominates the current epoch.
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Cadelano, Gianluca, Francesco Cicolin, Giuseppe Emmi, Giulia Mezzasalma, Davide Poletto, Antonio Galgaro, and Adriana Bernardi. "Improving the Energy Efficiency, Limiting Costs and Reducing CO2 Emissions of a Museum Using Geothermal Energy and Energy Management Policies." Energies 12, no. 16 (August 20, 2019): 3192. http://dx.doi.org/10.3390/en12163192.
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Museums are major energy consumers amongst buildings, especially if they are housed in historical constructions. Museums usually present high energy demand for the air-conditioning due to their architectonical and structural characteristics, such as the presence of large exhibition rooms and open spaces. At the same time, temperature and humidity have to be strictly controlled in order to assure proper microclimate conditions for the conservation of the housed collections and adequate thermal comfort for visitors and personnel. Moreover, despite being subjected to architectural protection that limits most structural refurbishment interventions, these buildings must be adequate from an energy point of view to allow their reuse or continuity of use according to current quality standards, while retaining their heritage significance. In this awkward context, ground source heat pump working with high temperature terminals is proposed as a viable refurbishment solution. The use of shallow geothermal systems can improve the energy efficiency of the heating ventilation air-conditioning systems and, at the same time, increases the renewable energy source exploitation without affecting the indoor environmental conditions. However, after the interventions, the expected benefits and the sought-after limitation of energy consumption/cost may not occur for different reasons. In fact, even if the installed solution is working perfectly and properly designed, every effort will be in vain if adequate attention is not paid to the management of the plants during the operational phase. This document is meant to evaluate and compare the magnitude that invasive (i.e., technical interventions) and not invasive (i.e., energy management policies) actions respectively and their combined interaction, have on a museum. Through energy simulations it has been possible to quantify the effects that different interventions and energy management strategies had on an existing museum housed in an historical building, from energy consumption, energy costs and CO2 emission standpoints.
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Schall, Arthur, Valentina A. Tesky, Ann-Katrin Adams, and Johannes Pantel. "Art museum-based intervention to promote emotional well-being and improve quality of life in people with dementia: The ARTEMIS project." Dementia 17, no. 6 (September 15, 2017): 728–43. http://dx.doi.org/10.1177/1471301217730451.
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ARTEMIS (ART Encounters: Museum Intervention Study) is an art-based intervention designed especially for people with dementia and their care partners that involves a combination of museum visits and artistic activity. This paper reports the results of a randomized wait-list controlled study on the influence of the ARTEMIS intervention on the emotional state, well-being, and quality of life of dementia patients. People with mild-to-moderate dementia (n = 44) and their care partners (n = 44) visited the Frankfurt Städel Museum once a week on six pre-arranged occasions. The intervention consisted of six different guided art tours (60 minutes), followed by art-making in the studio (60 minutes). Independent museum visits served as a control condition. A mixed-methods design was used to assess several outcomes including cognitive status, emotional well-being, self-rated aspects of quality of life, and subjective evaluations by informal caregivers. In a pre-post-assessment, we found significant improvements in participants’ self-rated quality of life (t = −3.15, p < .05). In a situational assessment of emotional well-being immediately before and after each of the museum sessions, we were able to demonstrate statistically significant positive changes with medium effect sizes (dcorr = .74–.77). Furthermore, the total Neuropsychiatric Inventory score as well as the affective (depressed mood and anxiety) and apathy subscales were significantly lower after the ARTEMIS intervention (tNPI total = 2.43; tNPI affective = 2.24; tNPI apathy = 2.52; p < .05). The results show that art museum-based art interventions are able to improve the subjective well-being, mood, and quality of life in people with dementia. This promising psychosocial approach deserves further attention in future studies and consideration in community-based dementia care programs.
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Taher, Hassan, Giuseppina Addo, Pille Pruulmann Vengerfeldt, Maria Engberg, and Åsa Harvard Maare. "Reuse and Appropriation: Remediating Digital Museum Collections and Digital Tools for a Participatory Culture in Transition." Baltic Screen Media Review 10, no. 1 (April 1, 2022): 122–38. http://dx.doi.org/10.2478/bsmr-2022-0009.
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Abstract Museums have always used different media to communicate, widen perspectives and bring new knowledge, but in the era of digital media, their various offerings are increasingly part of the media ecosystem. Our research interventions explored the possibility of reusing existing digitised material in a participatory setting. The aim was to explore the object-centred audience participatory method in digital settings. We held a series of digital and in-person workshops that invited the participants to “imagine” narratives about the provenance of the museum’s objects and journeys to Sweden in a playful and creative exploration. We could observe how the virtual workshop setting supported focused discussions, and allowed zooming, drawing and remixing of digital photographs to facilitate conversation. The workshop participants on-site worked with the museum objects on display to remediate them through photos, drawings, clay modelling, and writing down thoughts and questions about the objects on discussion postcards. The participants’ contributions were included in the virtual collection database (Carlotta), under the same collection as the other museum objects, making the remediation process circular. We argue that object-centred methods enable audience participation in digital media ecosystems both in museums and with other media makers. The audience’s expectations and experiences from using other media bring them to the digital museum platforms with a willingness to explore, remix and integrate.
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Leischner, Emily Jean. "What Happens to Indigenous Law in the Museum?" Museum Worlds 10, no. 1 (July 1, 2022): 31–47. http://dx.doi.org/10.3167/armw.2022.100104.
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In this article, I argue that recontextualizing Indigenous cultural heritage through institutional acquisition and cataloging can also be understood as a jurisdictional strategy that upholds the supremacy of US and Canadian legal regimes over Indigenous laws. To do this, I share what I have learned from participating in a Nation-led, community-based research project with the Nuxalk First Nation Ancestral Governance Office, in what is currently British Columbia, Canada. Our work together focused on reinvigorating the Nation’s laws, teachings, and protocols through the evolution of their own database of Nuxalk objects, still held in museum collections worldwide. I discuss this project and how it illustrates the legal context inherent to understanding much Nuxalk material culture. Next, bringing together literature on organizing knowledge in museums, settler colonial theories of dispossession, and archival copyright law, I look at how accessioning Indigenous objects into settler collections in the US and Canada is enacting another legal process, “written on top of” the legal meanings objects hold for the Nuxalk Nation, and reframing them as objects the museum has legitimate control and possession over. I close by reflecting on the strategies Nuxalk people, and other Indigenous artists and scholars, are undertaking to challenge the normative power of museum authority through interventions that are grounded in Indigenous governance and sovereignty.
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Besoain, Felipe, Jorge González-Ortega, and Ismael Gallardo. "An Evaluation of the Effects of a Virtual Museum on Users’ Attitudes towards Cultural Heritage." Applied Sciences 12, no. 3 (January 27, 2022): 1341. http://dx.doi.org/10.3390/app12031341.
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(1) Background: Several opportunities have appeared for the dissemination of culture and heritage thanks in part to the widespread use of information and communications technologies. Virtual museums have appeared as innovative technological products but often lack an evaluation of the impact that they have and their success in achieving their purpose. In this sense, this work seeks to evaluate the impact of a virtual museum on users’ attitudes toward cultural heritage. (2) Methods: We used a factorial design of 2 (direction of thoughts: positive vs. negative) × 2 (presence level: high vs. low) × 2 (virtual museum vs. interactive website). (3) Results: Attitudes toward heritage can change as a function of a multimedia experience, thought favorability, and presence. In a virtual museum, when general attitudes are evaluated, a sense of high psychological presence reduces the effect that thoughts (especially when negative) have on attitudes. However, in the case of visiting an interactive website, the effect of the direction of thoughts on attitudes occurred regardless of conditions of high or low presence. Similar tendencies are observed for specific attitudinal objects. (4) Conclusion: A virtual museum can have different effects depending on the interaction of important variables from the virtual reality literature and not only the classic main effects. Recommendations for interventions and future practical and theoretical work are presented.
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Ashmore, Nicola. "Curious lessons in the museum: the pedagogic potential of artists’ interventions." Visual Studies 30, no. 1 (March 24, 2014): 107–8. http://dx.doi.org/10.1080/1472586x.2014.887315.
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Cass, Nick. "Provoking numinous experience: contemporary art interventions at the Brontë Parsonage Museum." International Journal of Heritage Studies 26, no. 3 (May 28, 2019): 299–316. http://dx.doi.org/10.1080/13527258.2019.1621924.
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Louise, Dany. "Curious lessons in the Museum: The pedagogic potential of artists’ interventions." Cultural Trends 23, no. 3 (June 18, 2014): 208–10. http://dx.doi.org/10.1080/09548963.2014.925289.
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Knutson, Karen, Mandela Lyon, Kevin Crowley, and Lauren Giarratani. "Flexible Interventions to Increase Family Engagement at Natural History Museum Dioramas." Curator: The Museum Journal 59, no. 4 (October 2016): 339–52. http://dx.doi.org/10.1111/cura.12176.
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Tebeau, Mark. "Engaging the Materiality of the Archive in the Digital Age." Collections: A Journal for Museum and Archives Professionals 12, no. 4 (December 2016): 475–87. http://dx.doi.org/10.1177/155019061601200411.
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This article asks how public audiences are negotiating the material world of archives and artifacts in the digital age. The digital age would seem to have diminished the physical experience of the archive and artifact, creating a world of pure information. However, the binary of virtual and physical obscures more than it explains. In recent years, digital tools have begun to reconnect public audiences to the physical world in sometimes surprising ways. This article draws examples from interpretive projects using mobile devices, crowdsourcing in museum environments, and explorations of digital audio to show how physical experiences of cities, museums, and sound have taken on greater interpretive weight and salience as a result of digital interventions. Finally, it considers the implications of such digital interventions for curatorial practice, asking how digital tools can accentuate the ways that history is both contained in and expressed through material archives and artifacts.
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Koebner, Ian, Helen Chatterjee, Daniel J. Tancredi, Claudia M. Witt, Pier Luigi Sacco, Ruchi Rawal, and Fred J. Meyers. "4046 Museum and Arts-Space Programming Intended to Improve Health: Interim Survey Results." Journal of Clinical and Translational Science 4, s1 (June 2020): 88. http://dx.doi.org/10.1017/cts.2020.276.
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OBJECTIVES/GOALS: Many museums and art spaces conduct programming intended to improve health outcomes, but arts professionals’ perceptions of these programs are not well known. This study describes arts professionals’ experiences with museum and art-space interventions intended to improve health. METHODS/STUDY POPULATION: A 14-item digital Qualtrics survey was administered to museums and arts organizations selected using snowball sampling. The survey was sent to a range of arts and cultural organizations and professional membership bodies in the US and UK. Survey questions assessed the range of audiences involved in health programs, what types of activities museums and arts organizations are offering to support health outcomes, and how programs are evaluated. RESULTS/ANTICIPATED RESULTS: From 10/30/19-11/19/19, 151 surveys were completed; 66 respondents (44%) have a museum/arts in health program. Common target populations include individuals with mental health concerns (33, 22%) and older adults (26, 17%). Improving wellbeing (56, 37%) and social isolation (50, 33%) were the most common intended outcomes. Respondents reported using a variety of program evaluation methods including formal (23, 15%), informal (31, 21%), and anecdotal (37, 25%). Interviews are planned with a purposive sample of respondents conducting, or interested in conducting, a program for individuals with chronic pain and those formally evaluating their programs. DISCUSSION/SIGNIFICANCE OF IMPACT: Interim survey responses indicate many cultural organizations engage in programming intended to improve health outcomes. Understanding the cultural sector’s current efforts to improve health represents an initial step in translating these efforts into effective intersectoral research partnerships.
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Trevisan, R. "Restauro das cúpulas do Museu Nacional de Belas Artes no Rio de Janeiro." Revista ALCONPAT 4, no. 1 (January 30, 2014): 26–34. http://dx.doi.org/10.21041/ra.v4i1.59.
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RESUMOO atual Museu Nacional de Belas Artes foi projetado por Morales de Los Rios para ser a sede da Escola Nacional de Belas Artes. Foi construído em 1908. Está localizado na Cinelândia, centro da cidade do Rio de Janeiro. O edifício sofreu diversas intervenções para adaptar o espaço interno às necessidades físicas do Museu. Em 2005 foi realizado o projeto de restauração das cúpulas laterais, utilizando uma tecnologia moderna, tendo como foco a durabilidade dos serviços para evitar novas intervenções em curto espaço de tempo. As patologias existentes nas cúpulas causaram danos irreversíveis à técnica construtiva original e foram determinantes para as ações de restauro propostas. Este artigo tem como objetivo apresentar a metodologia de execução dos trabalhos projetados. O projeto durou um ano com cooperação multidisciplinar de especialista em corrosão, engenheiro estrutural, historiadores e arquitetos especializados em Restauração.Palavras chaves: Patrimônio Cultural; Restauração; Museu Nacional de Belas Artes.ABSTRACTThe current National Museum of Fine Arts was designed by Los Rios Morales to host National School of Fine Arts. It was built in 1908. It is located in Cinelandia, city center of Rio de Janeiro. The building has undergone several operations to adapt to the physical space inside the Museum. In 2005 we carried out the restoration project of the side domes, using modern technology, focusing on the durability of services to prevent further interventions in short time. The conditions existing in the domes caused irreversible damage to the original construction technique and were instrumental in the restoration actions proposed. This article aims to present the methodology for carrying out the work designed. The project lasted a year with the cooperation of multidisciplinary specialist corrosion, structural engineer, historians and architects specializing in Restoration.Keywords: Cultural Heritage; Restoration; National Museum of Fine Arts.
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Ramalho, Cybele Maria Rabelo. "SOCIODRAMA AND ROLE-PLAY: THEORIES AND INTERVENTIONS." Revista Brasileira de Psicodrama 29, no. 1 (February 8, 2021): 26–35. http://dx.doi.org/10.15329/2318-0498.20814.
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This article presents the sociodramatic method developed by Jacob Levy Moreno (origin, definitions, unfolding, characteristics, modalities, objectives), differentiating it from psychodrama, as well as presents the role-play, in sociopsychodramatic practice, especially for socioeducational purpose. It illustrates the application of these modalities with brief accounts of the author’s experience with groups in sociodramatic acts and processes. It reports an institutional experience with retired elderly citizens, held for six months, using as initiators, tales for adults that bring archetype themes common to this age group; another experience with several thematic workshops, focused on the development of female roles, using the technique of the living museum; finally, an experience of supervision with graduation students, held during two university terms.
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Hollenbach, Julie. "Curating the Living Room: A Queer Feminist Decolonial Intervention in Public and Private Spaces." Public 32, no. 64 (December 1, 2021): 198–209. http://dx.doi.org/10.1386/public_00083_1.
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Many scholars and institutional critique artists have made the role of the museum in the formation of national/state ideologies clear. However, interventions that extend this critique to the private space of the home and its domestic cultures and practices remain few and far between. This article considers the decolonial and queer feminist curatorial methodologies that framed the creation and development of the exhibition Unpacking the Living Room (MSVU University, Kjipuktuk/Halifax, Nova Scotia, 2018). This exhibition was posited as not only an intervention into the settler colonial taxonomies and display practices of Western museum systems and modernist white cube galleries, but also an invitation for guests visiting the Living Room to reflect on their own living room as sites where power and meaning and identity are constantly negotiated. This article outlines the process of curating Unpacking the Living Room and shares it methodological growth and research outcomes.
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Failler, Angela. "Unsettling homocolonial frames of remembrance: Two-Spirit and Indigiqueer interventions at the museum." Memory Studies 16, no. 1 (February 2023): 12–31. http://dx.doi.org/10.1177/17506980221144545.
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This article considers a Two-Spirit and Indigiqueer protest at the Canadian Museum for Human Rights as a flashpoint that exposes problems with how memory-making institutions are incorporating lesbian, gay, bisexual, trans and queer issues into their programming and/or collections. The protest brings into relief the museum’s investment in a homocolonial framing of remembrance for the way in which the telling of lesbian, gay, bisexual, trans and queer ‘progress’ is entangled with a settler colonial political economy wherein the tokenistic inclusion of some queers into the sexual citizenry happens alongside the dispossession, devaluing and criminalizing of others. I then undertake some preliminary ‘curatorial dreaming’ upon two other interventions–commentaries uploaded to a digital story bank by a Two-Spirit and an Indigenous queer museumgoer, and the short film Woman Dress by Plains Cree artist TJ Cuthand. Along with the protest, the commentaries and the film unsettle homocolonial frames of remembrance and provide critical openings towards decolonial queer memory work at the museum.
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Gaskell, Ivan. "The Museum of Big Ideas." Royal Institute of Philosophy Supplement 79 (October 2016): 55–75. http://dx.doi.org/10.1017/s1358246116000072.
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AbstractAlthough museums of all kinds continue to proliferate, they have lost the capacity to generate big ideas that characterize epistemic shifts, such as evolution, the labour theory of value, or relativity. They have become mere echo chambers for ideas proposed elsewhere. How might museums regain their capacity to generate big ideas? The development of a Tangible Turn in scholarly thinking is leading to a reinvigoration of knowledge claims derived from material things. Museums are well placed to participate in such a reinvigoration, and in some instances – notably in the natural sciences – already are. Yet to do so they must overcome the taxonomic and systematic divisions that in the nineteenth century stimulated but now inhibit creative thinking. How can disciplinary ossification associated with collection definition be overcome? Two possible models are artists' interventions and arrangement according to philosophical principles, yet neither is sufficient. Curatorial scholars should acknowledge the physical and cultural instability of tangible things, and work with these properties to combine things in revelatory ways, eschewing stable categories. This can be accomplished most effectively in museums associated with universities through collaboration among the scholarly staffs of university collections and with university faculty.
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Gonzalez, Ana Carolina De Souza, Diego Vaz Bevilaqua, and Marcus Soares. "Communicating science is an art! What do artists who work in an itinerant science museum say?" ACTIO: Docência em Ciências 6, no. 2 (July 20, 2021): 1. http://dx.doi.org/10.3895/actio.v6n2.14266.
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The research presented in this article sought to investigate the visions and perceptions of artists involved in the context of a traveling science museum in respect to science communication, the role of artistic interventions that travel with this museum, and their participation in this dynamic. The Fiocruz Museum of Life stands out, having since its creation in 1999, conceived and offered its public educational activities that promote the dialogue between art and science. In a similar way, Mobile Science, the mobile unit of the Museum of Life, inaugurated a new season of itinerant activity in 2013 called "Art and Science on Wheels". This new configuration aimed to promote socio-artistic-cultural inclusion on its travels to cities in southeastern Brazil. Since then, there has been an expansion and diversification of the artistic interventions that travel with this mobile science museum. The research question that has been raised is: what views on science communication do these artists involved in the activities have? Furthermore, what would be the perceptions of theater, circus, and visual arts professionals about the role of arts in an itinerant context and their involvement and experiences in this process? For this, interviews were conducted with 09 (nine) artists involved in the artistic activities developed within the scope of Mobile Science, who were still actively traveling before the activities were suspended by the Covid-19 pandemic. For the analysis of the interviews, qualitative methodology was used, based on an intuitive process of immersion and crystallization (STEWARD; GAPP; HARWOOD, 2017). The results considered the dimensions previously presented and raised some of the potentialities and opportunities that this type of activity offers for this interface between the fields of the arts and science communication, even though challenges are recognized. The interviewees reflected on the goals pursued by scientific communication activities, from the most concrete to the most symbolic, on how art merges with this and broadens horizons, and on how they see themselves as participants in this work. At the end of the article, it is concluded that mobile science museums’ actions are presented as a fundamental social inclusion strategy for the scientific and cultural dissemination of Brazilian productions, allowing them to be accessible to populations that often do not have access to cultural facilities. By allowing broad access to culture in an interaction between art and science, itinerant projects reinforce their role in popularizing culture and knowledge. The interaction between art and science allows the planning of scientific communication activities that go beyond the deficit model, developing actions that support dialogue, criticism, and the perception of knowledge in not only cognitive, but also affective and emotive, ways
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Bharti, Nisha. "Evolution of agriculture finance in India: a historical perspective." Agricultural Finance Review 78, no. 3 (June 4, 2018): 376–92. http://dx.doi.org/10.1108/afr-05-2017-0035.
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Purpose Lack of access to finance is one of the major contributing to low profitability in agriculture. Various policy interventions were performed for promoting access to finance. However, access to finance always remained one of the biggest challenges to Indian policymakers. The purpose of this paper is to explore the policy interventions in the areas of agriculture finance. Design/methodology/approach This paper makes an attempt to explore the relation of earlier policy initiatives with the current microfinance industry as well. The data for the paper are collected from Reserve Bank of India Archive Museum at Pune. This Museum is having huge collection of archives of policy documents of the Indian financial sector and is one of its kinds in India. Findings The study concludes that many of the interventions of today were earlier experimented or proposed in the past but, due to some or the other reason those, interventions were not successful. The study concludes that if those interventions had been implemented that time, it would have taken India in one of the tops in the list of financial inclusion. Originality/value This paper is a unique in its feature as it has tried to link the evolution of agriculture finance and the microfinance industry of India as microfinance is an integral part of agricultural finance in India.
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Koebner, Ian, and Jorge Pena. "265 The design of a virtual museum to address social disconnection and pain among individuals with chronic pain (IWCP)." Journal of Clinical and Translational Science 6, s1 (April 2022): 44. http://dx.doi.org/10.1017/cts.2022.143.
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OBJECTIVES/GOALS: Engagement with art may reduce the social disconnection that accompanies chronic pain. Disaggregating specific from non-specific effects of arts-based programs is challenging. This study creates an experimental virtual museum to identify the separate and joint effects of art and social connection. METHODS/STUDY POPULATION: Two x two factorial experiment with repeated measures: (1) Artwork present condition is a virtual exhibition featuring paintings from the Google Arts & Culture collection; (2) Artwork absent condition is the same exhibition space but with the paintings removed; (3) Social connection condition asks participants to write about a situation in which they felt more socially connected to others; (4) Social disconnection conditions asks participants to write about a situation in which they felt more socially disconnected from others. Participants: (1) English language proficiency; (2) ≥18 years; (3) Chronic moderate to severe pain; (4) Lonely; (5) Has electronic device with internet connection. RESULTS/ANTICIPATED RESULTS: Participants will be recruited through a 3-month social media campaign conducted by StudyPages, a clinical trial recruitment and management platform. This study will evaluate the effects of virtual art exposure and social connectivity priming on pain and social disconnection reduction among lonely IWCP. Pre-intervention scores for pain intensity, pain unpleasantness, and perceived social disconnection will be compared to post-intervention scores. Secondary outcome measures include (a) Museum visit data (e.g., user movement, click, object interaction, open comments) and (b) perceptions about artwork. DISCUSSION/SIGNIFICANCE: Psychosocial support for IWCP may improve pain-related outcomes. This studys data will help to optimize virtual museum interventions and provides the first data we are aware of to evaluate the specific effects of art in virtual museum engagement to reduce pain and social disconnection among IWCP.
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Salis, Rita. "The retouching in Maria Lai’s outdoor artworks: documenting Ulassai’s open-air museum." Ge-conservacion 18, no. 1 (December 10, 2020): 200–206. http://dx.doi.org/10.37558/gec.v18i1.818.
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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.
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Efthymiou, Chrysanthi, Nikolaos Barmparesos, Panagiotis Tasios, Vasileios Ntouros, Vasileios Zoulis, Theoni Karlessi, José Manuel Salmerón Lissén, and Margarita Niki Assimakopoulos. "Indoor Environmental Quality Evaluation Strategy as an Upgrade (Renovation) Measure in a Historic Building Located in the Mediterranean Zone (Athens, Greece)." Applied Sciences 11, no. 21 (October 28, 2021): 10133. http://dx.doi.org/10.3390/app112110133.
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The assessment of indoor environmental quality in historic buildings converted to museums is a significant tool in deep energy renovation processes, as it provides insights for the microclimatic conditions in the interiors of the building where vast numbers of visitors walk every year and where artifacts that are vulnerable to pollution are exhibited. In this work, aiming to contribute to the development of an energy retrofitting protocol applied in the Mediterranean region (HAPPEN MedZeb protocol) for museums hosted in historic buildings by providing useful data, an experimental campaign to evaluate the indoor environmental quality of a museum housed in a historic building located in Athens took place from February 2019 to April 2021 and was divided into two periods. The findings revealed high concentrations of volatile organic compounds as well as poor thermal comfort levels since the sensors recorded low acceptable percentages of T values within the limits from 7 to 33% for the entire experimental period. Based on the findings, recommendations for retrofitting interventions are made.
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Gonsales, Flavia I. "Social marketing for museums: an introduction to social marketing for the arts and culture sector." RAUSP Management Journal 56, no. 3 (June 7, 2021): 314–33. http://dx.doi.org/10.1108/rausp-08-2020-0194.
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Purpose The paper aims to introduce social marketing (SM) as a tool to overcome the low cultural participation, a problem of the arts and culture sector that has worsened in the post-pandemic scenario. Design/methodology/approach The study uses a multidisciplinary literature review (SM, museum marketing, museology and cultural policy) to address the problem of museums and other cultural heritage institutions, at both the macro-level (prevailing cultural policies and antecedents, barriers and consequences to cultural participation) and micro-level (challenges faced by museums in the 21st century and marketing as a management instrument). Findings The downstream, midstream and upstream approaches can be used to design and implement SM interventions intended to address the problem of low cultural participation in museums. The three approaches should be considered holistically, with their synergetic and recursive effects. Research limitations/implications Due to its introductory and conceptual nature, the study provides a comprehensive intervention framework to be used as a platform for future theoretical and empirical research. Further investigations may expand on the specificities of each approach (down, mid and upstream) and extend the framework to other nonprofit cultural institutions beyond museums, such as libraries and archives, cultural heritage sites and theater, music and dance companies. Practical implications The paper proposes a comprehensive SM intervention framework that integrates three interdependent approaches (downstream, midstream and upstream). Originality/value The paper provides a starting point for the holistic application of SM in the arts and culture sector. It also encourages researchers, cultural policymakers and cultural heritage professionals to investigate, design and implement SM programs that better understand, expand and diversify the audience and strengthen the legitimacy and relevance of cultural actors and activities to transform them into inclusive, accessible and sustainable institutions.
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Peterson, Stephanie Lebas. "The Permanent Collection as Larval Specter: Recent Artist Interventions in the Museum Space." International Journal of Critical Cultural Studies 10, no. 3 (2013): 1–10. http://dx.doi.org/10.18848/2327-0055/cgp/v10i03/58275.
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Bancel, Nicolas, and Herman Lebovics. "Building the History Museum to Stop History: Nicolas Sarkozy’s New Presidential Museum of French History." French Cultural Studies 22, no. 4 (October 26, 2011): 271–88. http://dx.doi.org/10.1177/0957155811417069.
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When he ran for president in 2007 Nicolas Sarkozy promised to build a museum of French history. He declared that he was troubled by the lack of a coherent account of the nation’s great moments and great heroes. On being elected, he started the planning process, finally settling on the Hôtel de Soubise, part of the Archives nationales, as the site of the future Maison de l’histoire de France. Although his project was supported by a certain number of intellectuals, many university scholars, especially the historians, raised strong objections to a concept that returned to the old Third Republic civic history in the style of Ernest Lavisse. The future museum was to offer visitors old-fashioned narrative history of male achievements, with no account taken of new insights that women’s, gender, social, cultural, colonial and immigration history have added to any discussion of what France is or might be. It rejects the idea that there have been, and can be, many ways of being French. The critics of the museum project deplored the instrumentalisation of the nation’s past – one of several such presidential ventures – for short-term political gain. The strike of archive employees, which lasted for several months, scuttled that site as the future home of the history museum. The story is not finished. The discussion of the presidential museum initiative is placed in a larger context in which increased economic neo-liberalism, greater state interventions at home and overseas, and the propagation of a nostalgic-conservative vision of the nation’s past reinforce each other, even as they coexist in uneasy union.
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Santoro, A., L. Barazzetti, and V. Pracchi. "REVEALING AN UNKNOWN MUSEUM AND ITS COLLECTION USING DIGITAL TOOLS: THE PALAZZO DI GIUSTIZIA IN MILAN." International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLVI-M-1-2021 (August 28, 2021): 669–76. http://dx.doi.org/10.5194/isprs-archives-xlvi-m-1-2021-669-2021.
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Abstract. The paper presents the generation of an interactive cataloging system for the Courthouse of Milan (Palazzo di Giustizia) and more than one hundred artworks stored in the building. The courthouse is an “unknown museum” in the city and represents a masterpiece of the architectural and figurative culture in the '30s. The online system developed in the project aims at solving a twofold task. First, it must present the "unknown museum" to citizens through a simple and effective online website. Second, it must serve as a repository for technical information not available to the public and only limited to the specialists in conservation. This second section includes catalog forms produced according to specific national standards for artworks, which require a variety of information such as size, material, artist, state of conservation, and description of previous restorations and interventions. The catalog, supported by the development of a preventive conservation plan, meets the need to identify all artworks and their conditions, planning interventions, and keeping a record of restoration activities.
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Yeo, Pearline. "Exhibiting Transformative Fashion: Digital Interventions to Enhance Display and Interpretation." Costume 55, no. 1 (March 2021): 97–120. http://dx.doi.org/10.3366/cost.2021.0184.
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While the issues of displaying fashion in motion in museum exhibitions have been addressed with various interventions to animate displays, the challenge of successfully presenting transformative fashion in exhibitions has received less attention. With more contemporary designers creating conceptual fashion that is transformative and technological in nature, this article discusses a research project that proposes a series of digital interventions to best display these garments. With the use of digital technology in fashion exhibitions becoming commonplace, this article aims to explore this application and the ways in which it can be used to greater effect to enhance the performance of transformation in the presentation of fashion. The use of digital technology to improve and advance opportunities for inclusivity and accessibility in reading fashion in exhibitions will also be demonstrated.
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Cova, Ioana. "Remedial Conservation of Mummified Birds, Animals and Human Remains from the Egyptian Collection of the National Museum of Transylvanian History." Acta Musei Napocensis. Historica, no. 59 (January 30, 2023): 205–15. http://dx.doi.org/10.54145/actamn.59.08.
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The aim of this paper is to give an account of the remedial conservation treatments which were undertaken on the animal and bird mummies, as well as on mummified human parts from the Egyptian collection of the National Museum of Transylvanian History in Cluj‑Napoca, while considering the conservation‑restoration standards (minimum interventions on the object) as well as the objects’ history.
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Писарев, Александр Александрович. "IMAGERY OF TAXIDERMY IN SCIENCE MUSEUMS: FROM SYSTEMATICS OF SPECIES TO SYSTEMATICITY OF VIOLENCE AND POSTHUMANIST NATURE." ΠΡΑΞΗMΑ. Journal of Visual Semiotics, no. 2(24) (July 27, 2020): 91–130. http://dx.doi.org/10.23951/2312-7899-2020-2-91-130.
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Статья посвящена изменениям образности таксидермических объектов в музеях естественной истории. На ряде случаев прослеживаются связи этих изменений с трансформациями сети разнородных элементов – научных теорий и парадигм, музея, национальной политики, моральных представлений. Таксидермический объект понимается как объект науки, обладающий собственной материальностью и историей, музей – как пространство репрезентации природы, научных категорий и морально- политических идей. Таксидермия входит в музей естественной истории в XVIII веке ценой стирания своей художественности и искусственности в пользу объективной репрезентации «самой» природы. В контексте географических открытий и колониальных завоеваний чучела позволяли решить проблему удаленного во времени и пространстве наблюдения. Благодаря натурализации удается превратить чучело, теперь анонимное и стандартизированное, в воплощение таксона линнеевской систематики, неотделимой от соображений государственного управления ресурсами. Эта сцепка проявлялась в организации пространства экспозиции. В XIX веке с изменением принципа систематики, разработкой идеи организма в таксидермическую экспозицию через диорамы и биологические группы вводится измерение жизни. На конкретном примере демонстрируется использование таксидермических диорам в качестве инструмента морально-политической субъективации индивидов. В середине XX века наступает упадок таксидермии. Актуальная наука меняется и уходит из музеев естественной истории, разрушается колониальная система, критически переосмысливается отношение к колониальному наследию и животным, развиваются кинотехника и телевидение. Чучела становятся нежеланными артефактами жестокой политики и эстетики прежней эпохи и в большей степени объектами критических исследований и истории науки, чем науки. Музеи же, теряя финансирование и посетителей, оказываются в дважды противоречивом положении. Во-первых, между антиисторической натурализирующей научностью и историчностью денатурализованных экспонатов. Во-вторых, между неоднозначными эстетикой и историей таксидермии и изменившимся моральным порядком. Помимо других способов они пытаются разрешить эти противоречия путем переинтерпретации таксидермической экспозиции в рамках экологической повестки и при помощи точечных материально-дискурсивных вмешательств, превращающих чучела в аллегории вымирания и поврежденной природы. Этот ход позволяет удержаться в границах естественно-научного дискурса, одновременно обращаясь к моральному чувству посетителя. Однако при этом он воспроизводит мифологему «золотого века», основанную на противопоставлении природы и культуры, естественного и искусственного. На этом фоне выделяются другие траектории чучел в музее. Во-первых, художественные интервенции на территории музея, обращающиеся к таксидермии и шире архиву естественной истории. В таких случаях музей делегирует художникам право критической рефлексии по поводу научной идеологии и власти. Приводится ряд примеров таких интервенций. Во-вторых, таксидермические коллекции новых типов, изначально создаваемые не как плод объективирующего и систематизирующего подхода науки, а как проявление систематичности насилия и новой природы, безразличной к упомянутым выше оппозициям. Такая таксидермия может стать инструментом осмысления новой природы в эпоху, столь неудачно названную антропоценом, и рабочим объектом постгуманистической образности. The article is devoted to the transformations of the imagery of taxidermic objects in natural history museums. By examining several cases these transformations are linked to changes in a network of heterogeneous contexts - scientific theories and paradigms, the role of the museum, national politics, and public morals. While discussing the topic a taxidermic object is understood as an object of science with its own materiality and history and science museum is considered as a space for the representation of nature, scientific categories, and moral and political ideas, and as an instrument of collective empiricism. The history of taxidermy in a museum is the history of erasing its artistry and artificiality in favor of an objective representation of nature “itself". This naturalization makes it possible to turn the stuffed animal, now anonymous and standardized, into a taxon of Linnaean taxonomy, inseparable from considerations of public resource management. The consequences of such entry into the museum for the visual nature of taxidermy are written out. Next, we consider the change in taxonomy in the XIX century and the introduction of the idea of life in taxidermic exposition through dioramas and biological groups. A concrete example demonstrates the use of taxidermic dioramas as a tool for moral and political transformation of individuals through the aura-like experience of nature. In the middle of the XX century, the decline of taxidermy begins. Due to the withdrawal of up-to-date science from natural history museums, changes in politics, collective imagination, and the ethics of dealing with colonial heritage and nature, museums are losing funding and visitors and are gradually shifting to the periphery of culture. It is shown that they find themselves in a twice contradictory position between their own anti-historical and naturalizing scientific nature and the historicity of denaturalized exhibits, between the ambiguous aesthetics, history of taxidermy and the changed moral order. Museums tried to resolve these contradictions and return to the current culture by including in the communication about the environmental agenda and the environmental reinterpretation of taxidermy exposition with the help of occasional material and discursive interventions that turn stuffed animals into allegories of extinction. This move allows them to stay within the boundaries of the natural science discourse of preservation species diversity, while simultaneously appealing to the moral sense of the visitor and influencing the collective sensibility. At the same time, it reproduces the mythologem of the "golden age", based on the opposition between nature and culture, natural and artificial. Thus, these contradictions are not completely resolved. The first possible way further are artistic interventions on the territory of the museum, in which the Museum delegates to artists the right of critical reflection on scientific ideology and power. A number of examples of such interventions are provided and analyzed. The second way are new taxidermy collections, initially created not as a result of the objectifying approach of science, but as a manifestation of systematic violence and a new nature, indifferent to the above-mentioned oppositions. Such taxidermy can become a tool for understanding the new nature in an era so aptly called the anthropocene, and a working object of posthumanistic imagery.
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Invernizzi, Stefano, Clara Bertolini-Cestari, and Emanuele Chiabrera. "Numerical Assessment of the Ebe Schooner-Brig." Advanced Materials Research 133-134 (October 2010): 295–300. http://dx.doi.org/10.4028/www.scientific.net/amr.133-134.295.
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The Ebe schooner-brig was built in 1921 and sailed the Mediterranean’s sea for almost forty years, before being dissected into ninety parts to be transported in Milan (Italy). There, the schooner was reassembled and the naval pavilion of the National Museum of Science and Technology was built up all around the ship. After forty years in the museum, the ship presents significant deformations of both the deck and the keel, particularly in correspondence of the external supports. Despite several interventions in the past and a recent restoration, the deformation phenomenon is still worrying, and the understanding of the real cause is lacking from many aspects. Experts have already advanced some hypotheses, often in opposition to one another, and unfortunately, a continuous monitoring of the ship deformation has not been started yet. In the present paper, the schooner structure is modeled with the commercial finite element code Diana, considering a two-dimensional model of the ship cross-section. The obtained results allow for a deeper understanding of the stress-strain field in the schooner, providing a first safety assessment and useful hints for the design of the monitoring and future interventions.
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Dinu, Monica, Lucian Cristian Ratoiu, Camelia Călin, and Gerard Călin. "Multi-Analytical Investigations of the Medieval Turkish Bath from Golești Open Air Museum." Buildings 13, no. 2 (January 21, 2023): 321. http://dx.doi.org/10.3390/buildings13020321.
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The Golești Manor ensemble consists of architectural monuments dating back to the 17th, 18th, and 19th centuries, with ephemeral architecture roots from Phanariot times but also some pre- Brancovan influences. The Turkish steam bath is placed in the northeast of the enclosure, and it is thought to have been built by Stroe Leurdeanu. Although there are still original fragments of the old plaster that have been preserved, the Turkish bath has undergone several restorations through time, some of them poorly documented. Hyperspectral imaging (HSI) combined with LIBS were used in order to analyze the bricks and the mortars, evaluate their preservation state, map the original elements, and document and classify the interventions previously made. Based on the supervised classifications, several areas of interest were selected for LIBS elemental analysis, and multivariate data analysis was conducted in order to discriminate similar composition materials and to map the interventions and the original. By analyzing the variability of the spectral profiles, different algorithms were applied to the SWIR hyperspectral images in order to classify the main elements of the brickwork.
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Kwanda, Timoticin. "Adaptive Reuse and Interventions of Chinese Architectural Heritage in the City of Lasem, Indonesia." International Journal of Environmental Science & Sustainable Development 5, no. 1 (July 1, 2020): 68. http://dx.doi.org/10.21625/essd.v5i1.718.
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In Indonesia, Lasem identities as a China Town are constructed and developed over time, and Chinese architectural heritage is one of the main qualities and identity of the city. Recently, these unique Chinese architectural heritages have been transformed for tourism needs. This paper aims to document the transformation of functions or adaptive reuse, and its impact to forms and meanings of the Chinese architectural heritage of the city, and focuses on whether the interventions occurred was by the principles of architectural conservation. In April 2019, the study surveyed and documented five Chinese historic buildings in Karangturi area in Lasem to understand how the architectural heritage has transformed. The result shows that tourism has a direct influence on changes in the building functions in Lasem, such as the Oei House and Little China that have changed from residences to homestays to accommodate the needs of tourists lodgings. The other two buildings, namely House of Nyah Giok and Nyah Lasem museum have also changed their functions from residences to a batik home industry and a museum related to tourism attractions. Interventions on the four buildings with sensitive uses are following the principle of minimum intervention that preserved the original main buildings and changed only in the wings buildings, and new buildings for lodgings were infilled in vacant land of the site for the Oei House case. For one building, however, tourism has no direct influence on changes in the building functions, it has changed from a residence to an Islamic boarding school for the development of Islamic education that had nothing to do with preserving Chinese culture. Indirectly, the building remains a tourist destination because of its unique Chinese architectural features. Findings shows that for the four Chinese owners, the meaning or significance for the adaptation of the building is preserving historic values of the Chinese architecture, and economic values as well by developing commercial spaces and historic areas for tourist attractions.
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Mayer, Carol E. "Take out those nasty red labels: Interventions as Agents of Change in a Teaching Museum." Museum Anthropology 26, no. 2 (September 2003): 43–53. http://dx.doi.org/10.1111/j.1548-1379.2003.tb01202.x.
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Nilsson, Johanna, and Östen Axelsson. "Attributes of Aesthetic Quality Used by Textile Conservators in Evaluating Conservation Interventions on Museum Costumes." Perceptual and Motor Skills 121, no. 1 (August 2015): 199–218. http://dx.doi.org/10.2466/27.24.pms.121c10x7.
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Wilson, Mike. "Lighting in museums: Lighting interventions during the European demonstration project ‘Energy efficiency and sustainability in retrofitted and new museum buildings’ (NNES-1999-20)." International Journal of Sustainable Energy 25, no. 3-4 (September 2006): 153–69. http://dx.doi.org/10.1080/14786450600921546.
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Federici, Angelica, and Joseph Chandler Williams. "Digital Humanities for Academic and Curatorial Practice." Studies in Digital Heritage 3, no. 2 (June 12, 2020): 117–21. http://dx.doi.org/10.14434/sdh.v3i2.27718.
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The Digital Humanities have challenged all disciplines of Art History to engage with new interdisciplinary methodologies, learn new tools, and reevaluate their role within academia. In consequence, art historians occupy a new position in relation to the object of study. Museums have been equally transformed. The possibilities of creating virtual realities for lost/inaccessible monuments poses a new relationship between viewer and object in gallery spaces. Digital Humanities interventions in museums even allow us to preserve the memory of endangered global heritage sites that cease to exist or are inaccessible (celebrated examples including the lost Great Arch of Palmyra reconstructed with a 3D printer). Curatorial practices are now trending towards a sensorial and experiential approach. Is the role of Digital Humanities, in academic as well in museum settings, to “reveal” the object itself, through an empirical display of existing material, or to “reconstruct” something of the original experience of the object to engage spectators? Can we propose a reconciliation between these two “poles”? The Sixth International Day of Doctoral Studies promoted by RAHN aims to investigate the role of Digital Humanities by fostering a dialogue between the protection of cultural heritage sites, museology, the history of art, and the digitalization of Big Data.
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Markham, Annette N., and Gabriel Pereira. "Analyzing public interventions through the lens of experimentalism: the case of the Museum of Random Memory." Digital Creativity 30, no. 4 (October 2, 2019): 235–56. http://dx.doi.org/10.1080/14626268.2019.1688838.
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Alcaide Ramírez, Aurora, and Ana Ruiz-Abellón. "CUANDO LA PINTURA AMPLÍA LA ARQUITECTURA: INTERVENCIONES REALIZADAS EN EL ESPACIO PÚBLICO." Proyecto, Progreso, Arquitectura, no. 24 (2021): 70–87. http://dx.doi.org/10.12795/ppa.2021.i24.04.
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El artículo analiza cuatro intervenciones pictóricas llevadas a cabo en el espacio público en las que la pintura actúa sobre la arquitectura, y a veces también sobre el pavimento y mobiliario urbano colindante, produciendo una resignificación del lugar. Los proyectos seleccionados, The museum of gravity, de Krijn de Koning; Color Jam, de Jessica Stockholder; Rockaway, de Katharina Grosse y la intervención en la empresa Flax Art & Design de Heather Day, amplían la arquitectura intervenida posibilitando maneras diversas de experimentarla y percibirla. Para conseguir este fin, estas propuestas se materializan mediante composiciones abstractas (geométricas o gestuales-orgánicas) en las que el color detenta el máximo protagonismo, suponiendo un aporte adicio-nal a la tonalidad original del entorno arquitectónico sobre el que se aplica, generalmente neutra y sin ninguna función específica. Entre las principales conclusiones del estudio destaca la utilización del color en todas las propuestas por su valor intrínseco y por su capacidad para transformar la percepción de las propiedades formales de la arquitectura intervenida; la unión de pasado y presente en dos de ellas, al actuar sobre edificios en ruinas o abandonados; la reversibilidad o carácter efímero de la mayoría de los proyectos; el diálogo con el entorno; la aproximación al urbanismo táctico en diferentes sentidos y el alejamiento de un plantea-miento puramente decorativista.
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Vaquero, C., M. Cebollero, M. Á. Escudero, and J. Saiz. "Reduction of negative social attributions towards people with mental illness through a combination of treatments." European Psychiatry 33, S1 (March 2016): s245—s246. http://dx.doi.org/10.1016/j.eurpsy.2016.01.622.
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IntroductionStigma towards people with mental illness can have very negative consequences for the persons that experience it. So, it becomes strongly necessary to combat this problem.Objectives/AimsEvaluate the effectiveness of multiple interventions to reduce stigma against mental illness in a group of high school students.MethodsQuasi-experimental study. Seventy-six students between 16 to 19 years old from 3 schools of southern Madrid State participated. No significant differences in age and gender between groups were found. The quasi-control group was obtained from 3 different classrooms (1 in each school). This group did not go through any treatment. The experimental group had 2 treatments. Treatment “A” consisted in 1 psychoeducation session. Treatment “B” was 1 visit (real or virtual) to the Thyssen-Bornemisza museum. Persons exercising as museum guides had been diagnosed with mental illness. They already were participants in the PCEA program of the CRPS Latina. The instrument to assess stigma was the AQ-27, validated in Spanish.ResultsWe found significant reductions of stigma in all dimensions explored: Anger (A vs BC; P < 0.001), Threat (A vs BC; P < 0.001), Fear (A vs BC; P < 0.001), Coercion (A vs BC; P < 0.001) Segregation (A vs BC; P < 0.001) and Avoidance (A vs BC; P < 0.001).ConclusionsThe combination of treatments for intervention on stigma in samples of school students seems to be a very effective option to reduce stigma.Disclosure of interestThe authors have not supplied their declaration of competing interest.