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Journal articles on the topic 'Site specific museum'
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1
Kang, Yiyun. "CASTING: Site-Specific Projection Mapping Installation." Leonardo 51, no. 4 (August 2018): 399–404. http://dx.doi.org/10.1162/leon_a_01650.
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This paper investigates CASTING, Yiyun Kang’s site-specific projection mapping installation at the Victoria and Albert Museum in London, U.K., and the acquisition of the piece by the V&A in the following year. It identifies how CASTING developed distinctive properties in the field of projected moving-image installation artworks and how these novel characteristics were reflected in the acquisition by the V&A.
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Bonnes, Stephanie, and Janet Jacobs. "Gendered Representations of Apartheid: The Women’s Jail Museum at Constitution Hill." Museum and Society 15, no. 2 (July 12, 2017): 153–70. http://dx.doi.org/10.29311/mas.v15i2.830.
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This article examines the ways in which women are represented and remembered at The Women’s Jail at Constitution Hill museum, a former women’s jail that was used to incarcerate women during apartheid in Johannesburg, South Africa. Based on fieldwork at the museum, this study examines how the memory of the former prisoners and of the apartheid regime is shaped and narrated at this site. Situating our analysis within the context of the collective memory of apartheid, we examine how the museum uses artifacts and objects to depict both the specific forms of gendered dehumanization that women experienced at the jail, as well as their journeys to incarceration as a result of discriminatory apartheid laws. We also examine the absence of torture memory and references to hierarchical structures and interactions within the jail itself, noting that these were important dynamics of prison life that are not represented in the museum. This research presents a content and visual analysis of how the use of images and artifacts may illuminate and/or silence specific memories of degradation and humiliation in a museum space.Key Words: Collective Memory, Museums, Representation, South Africa, ApartheidMemorialization, Gender and Memorialization
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Del Chiappa, Giacomo, Luisa Andreu, and Martina G. Gallarza. "Emotions and visitors’ satisfaction at a museum." International Journal of Culture, Tourism and Hospitality Research 8, no. 4 (September 30, 2014): 420–31. http://dx.doi.org/10.1108/ijcthr-03-2014-0024.
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Purpose – This research aims to investigate whether emotions can be considered as a suitable variable to segment visitors at a museum. Furthermore, it seeks to analyse whether emotions influence visitor satisfaction and whether this depends on objective variables (such as age, gender and level of education) or not. Design/methodology/approach – A structured questionnaire was developed and data were collected at the National Museum of Archaeology “G.A. Sanna” in Sardinia (Italy) via 410 face-to-face interviews. Hierarchical and non-hierarchical cluster analyses and a series of chi-squared tests were run for the purpose of the study. Findings – Two segments were identified. The cluster with the higher positive emotions reported perceiving a higher level of attractiveness and uniqueness at the museum, and of being more satisfied than the other group. Furthermore, no significant differences were reported between the two segments based on socio-demographic characteristics. Research limitations/implications – The study is site-specific. The application of the study to other museums would allow for wider generalisations to be made from the results obtained. Practical implications – Managers should market and position museums as an emotionally driven experience consumption site. Furthermore, they should consider both cognitive and emotional aspects of visitor experience when designing and planning their businesses, as well as when assessing the visitor’s satisfaction. Originality/value – This study adds to the growing literature on emotions as a tool for segmentation and positioning, and suggests that cognitive and emotional aspects should be considered simultaneously when measuring visitors’ satisfaction. Further, it suggests that emotions are more significant than cognitive aspects in shaping visitors’ satisfaction.
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Rudnickaitė, Eugenija. "GEOLOGICAL „MUSEUM“ OF SCHOOL SURROUNDINGS: TO HELP TEACHERS." GAMTAMOKSLINIS UGDYMAS / NATURAL SCIENCE EDUCATION 9, no. 2 (September 1, 2012): 36–42. http://dx.doi.org/10.48127/gu-nse/12.9.36a.
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Year 2012 in Lithuania is announced as the Year of Museums, nevertheless the num-ber of museums and educational programs dedicated to Natural Sciences did not increase. Geosciences are very significant part of the whole complex of Natural Sciences. How-ever, geological disciplines are not included in Education Programm of Secondary Schools, therefore Museums of Geology became very important. Lithuania can not brag about a big number of geological museums, and most of them are not close enough for a class trip. Such luxury is only available mainly for schools in Vilni-us. Although, during recent years more and more geological knowledge is available at regional parks new information centers (Gražutės, Sartų, Nemuno kilpų, Ventos, etc.). It is convenient to nearby schools. But what about the rest? The idea of this article is to show, that a geological „museum“ can be found in schools surrounding environment: school yard, close by river slope, dug out quarry, by a water spring or a hill. Specific examples are presented how an unregistered user, visiting Lithuanian Geologi-cal Survey internet site (www.lgt.lt), can find enough information about his schools’ surround-ings geological structure (on the surface and underground), protected geological object (ge-otops), interesting outcrops, probable pollution sources, mineral resources, etc. Key words: museum of geology, Vilnius University, nonformal natural science educa-tion, geology, education, museum, teacher.
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Brida, Juan Gabriel, Marta Meleddu, and Manuela Pulina. "Understanding museum visitors’ experience: a comparative study." Journal of Cultural Heritage Management and Sustainable Development 6, no. 1 (May 16, 2016): 47–71. http://dx.doi.org/10.1108/jchmsd-07-2015-0025.
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Purpose – The purpose of this paper is to examine museum visitors’ experience. The objective of the research is to explore preferences, behaviour, overall. This study experience and the determinants on repeated visits to two heritage sites. In particular, a more comprehensive regression approach is introduced and employed to compare results at two regional museums. Design/methodology/approach – First, a factor analysis identifies a set of orthogonal factors related to visitors’ perceptions on their positive and negative experiences at two different museums. Second, a two-step cluster analysis is implemented to identify specific demand segments. Third, a regression analysis reveals the key determinants that influence visitors’ perceptions on the quality of services provided at the cultural sites. The empirical data were collected at two archaeological museums located in Sardinia and Trentino Alto Adige (Italy). Findings – On the whole, some homogeneous findings have been obtained for the two cultural sites, regardless of the different levels of attractiveness exerted by these two museums. Moreover, the outcomes highlight that the two museums need to be reinterpreted and reorganised with the provision of supplementary services, able to satisfy a broader audience, and enriching their traditional mission that is to collect, preserve and exhibit the archaeological heritage. Practical implications – The methodological approach presented in this paper is for practitioners and curators to deepen their understanding of their consumers and to improve the overall quantity and quality of services offered. Originality/value – This paper presents a novel and integrated approach to investigate customers’ experience and their needs with the aim of improving the overall quality of the services provided at the museum. The proposed methodology is used to analyse multidimensional aspects of the visit to a cultural site. Within the literature on museum marketing and management, this methodological framework can be regarded as an alternative approach to analyse visitors’ experience, characteristics, behaviour, preferences and to elicit specific characteristics of different segments of demand.
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Henninger, Maureen. "From mud to the museum: Metadata challenges in archaeology." Journal of Information Science 44, no. 5 (November 17, 2017): 658–70. http://dx.doi.org/10.1177/0165551517741790.
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An archaeological site is a palimpsest in which the evidence of the depositional episodes is destroyed through the excavation processes; all that remains are the artefacts and their documentary evidence manifested in registers, datasets, dig diaries and reports. While the reports may represent the end product of a specific excavation, the archaeological record tells a story; it is interpretative and dynamic, with later excavations adding new knowledge and narratives. Museums preserve the artefacts but unless the documentary evidence is preserved in standard formats, it cannot be easily re-used by the archaeology community to create that knowledge; nor can museums provide the narratives for the general public whose cultural heritage it is. This article presents a case study from the Ness of Brodgar excavations that examines possibilities for reconciling one part of the data of an archaeological dig, the small finds register (SFR) and its sparse amount of descriptive metadata, with the potentiality of data re-use and with the requirements of a museum that may have custody of the artefacts. It maps and enriches messy domain-specific ontologies to standard archaeological and cultural heritage ontologies and taxonomies using simple natural language processing, linked open data and the museum CIDOC conceptual reference model (CRM). This research, in examining the application of ontology mapping tools, explores common practices and processes that are useful in any discipline within the cultural heritage domain.
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King, Heather, Kate Steiner, Marie Hobson, Amelia Robinson, and Hannah Clipson. "Highlighting the value of evidence-based evaluation: pushing back on demands for ‘impact’." Journal of Science Communication 14, no. 02 (April 28, 2015): A02. http://dx.doi.org/10.22323/2.14020202.
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This paper discusses the value and place of evaluation amidst increasing demands for impact. We note that most informal learning institutions do not have the funds, staff or expertise to conduct impact assessments requiring, as they do, the implementation of rigorous research methodologies. However, many museums and science centres do have the experience and capacity to design and conduct site-specific evaluation protocols that result in valuable and useful insights to inform ongoing and future practice. To illustrate our argument, we discuss the evaluation findings from a museum-led teacher professional development programme, Talk Science.
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Voronina, A. I. "The Role of the Museum Space Narrative in Constructing Historical Memory." Concept: philosophy, religion, culture 5, no. 1 (April 1, 2021): 146–56. http://dx.doi.org/10.24833/2541-8831-2021-1-17-146-156.
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The paper concerns the issue of representation of historical memory. The museum is analyzed as the particular site of emergement of such a representation. The circulation of specific narratives belonging to a museum is viewed as the research object that is able to provide insights into the construction of historical memory. Therefore, the purpose of the undertaken study is to identify the role of the museum narrative in the formation of memory. This article focuses on the ways of exposing and assessing the effect that museum exhibitions and the concepts and the meaning they translate to the audience have on memory creation. The approach of the interdisciplinary scholar field of memory studies provides a framework for such an analysis. In particular, since the spatial dimension of memory is concerned, the contributions of Hayden White and of the theory of realms of memory of Pierre Nora are crucial. The text deconstructs the memory formation processes taking place in the space of museums using these theoretical and methodological ideas. The paper meets methodological challenges and research questions with conducting a case study. The exhibition of the Museum of the Mologa District that is a part of the Rybinsk State Historical, Architectural and Art Museum Preserve at the Russian Yaroslavl Region serve as the source of oral, textual and visual narratives. This museum offers a view on local history that is in a way unusual for Russian museums — it provides a less formal perspective, and, in addition, the museum was founded by an initiative group of the displaced people from the submerged town of Mologa. The museum displays are dedicated to this town that disappeared because of the construction of the Rybinsk hydroelectric power plant. With limited material evidence to illustrate the Mologa life, this role is passed to oral histories and memory narratives. Thus, based on the historical memory literature, the paper considers that the museum described could be characterized as a memory museum, different from traditional historical museums because of emotional links in the presentation of past events. The author concludes that the image of the flooded city presented in the museum is directly related to the traumatic nature of the social memory of the settlers. Thus, the meanings and the significance of the museum overflow to the realms of memory.
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Śmietana, Marta, and Kamil Karski. "Muzeum-archiwum pamięci. Uwagi na temat roli materiałów archeologicznych w muzeach-miejscach pamięci na przykładzie KL Plaszow." Folia Praehistorica Posnaniensia 24 (December 15, 2019): 289–308. http://dx.doi.org/10.14746/fpp.2019.24.17.
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The issues of memory, heritage, and archaeology are strictly connected to the archaeology of the contemporary past and the Nazi period. That connection is a new field of research that lead to the reconceptualization of ideas of a museum, archives, and their relations to memory. In the paper authors discuss the case study of the area of former labor and concentration camp Plaszow in Krakow (1942–1945). Since 2016, numerous archeological research and education programs were conducted by the Museum of Krakow. The main purpose of documentation, surface surveys, and excavations was preservation of the architectural relicts and landscape, and supplementing the historical knowledge of authentic archaeological sources. The results of the research were related to the preparation of the boundaries for the future commemoration of the former camp’s area and its history as a museum and memorial site. The outcome of the archaeological activity is collection of artifacts, documentation and archaeological knowledge that influenced the idea of commemoration in its specific way. The article attempts to answer the questions about the categories of archives and museums.
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Esarey, Duane, Ian W. Brown, and Anjaneen Coble. "The Mississippian Site of Origin for the So-Called Moundville Spider." Midcontinental Journal of Archaeology 43, no. 1 (April 1, 2018): 23–34. http://dx.doi.org/10.2307/26599966.
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Abstract For 60 years, the origin of an iconographically significant example of Southeastern Mississippian symbolic art has been enmeshed in error and ambiguity. A trail of sleuthing over 25 years provides information used to assess museum curation records and published clues from 1887 to the present, contextualizing the mystery and finally allowing identification of a specific Mississippian period cemetery of origin for the so-called Moundville spider.
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Mahmood, Khalid, Sher Afzal Khan, Qaiser Iqbal, Fazli Karim, and Shahid Iqbal. "Equivalent Linear and Nonlinear Site-Specific Ground Response Analysis of Pashto Cultural Museum Peshawar, Pakistan." Iranian Journal of Science and Technology, Transactions of Civil Engineering 44, S1 (January 13, 2020): 179–91. http://dx.doi.org/10.1007/s40996-020-00346-4.
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Zonno, Fabiola Do Valle. "Arquitetura, paisagem e memória – a poética de Peter Zumthor." REVISTA POIÉSIS 21, no. 36 (May 16, 2020): 35. http://dx.doi.org/10.22409/poiesis.v21i36.42734.
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O artigo apresenta o tema da construção de memória a partir da arquitetura site specific, reconhecendo os novos conjuntos como lugares poéticos da memória. Partindo de questões sobre a experiência, a complexificação dos significados e a condição do monumento na contemporaneidade, investiga o trabalho de Peter Zumthor. Apresenta seus escritos e as noções de atmosfera, imagem e feeling of history, descrevendo e analisando as obras: Steilneset Memorial (2011) e Mining Museum (2002-2016) na Noruega, além do Museu Kolumba (2008) na Alemanha. A poética de Zumthor é valorizada a partir da proposição de experiências, mobilizando o corpo fenomenologicamente e em relação à situação, e da produção de atmosferas e imagens poéticas, via memória e imaginação.
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Da Silva, Aila Regina. "O corpo mediador: dança e mediação no museu." Repertório, no. 28 (December 5, 2017): 390. http://dx.doi.org/10.9771/r.v0i28.25018.
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<p class="p1">Resumo:<span class="Apple-converted-space"> </span></p><p class="p2">De um simples piscar de olhos a um pulo, a dança traz ao ser humano novos meios de conectar-se consigo e com o espaço a sua volta. Este artigo é um estudo sobre as relações da mediação com dança em comparação aos processos do <em>site specific</em> e performance, como produtos indiretos da experiência mediativa. Recorte da pesquisa de mestrado <em>Proibido tocar, permitido dançar: dança e mediação no museu de arte contemporânea</em>, que submete um grupo heterogêneo de pessoas a vivências de dança e, posteriormente, ao diálogo sobre a obra de arte no Museu de Arte Contemporânea da Universidade de São Paulo.</p><p class="p3"><span class="s1">Palavras-chave:<span class="Apple-converted-space"> </span></span>Dança. Performance. <em>Site specific</em>. Mediação.<span class="Apple-converted-space"> </span></p><p class="p3"><span class="Apple-converted-space"><br /></span></p><p>MEDIATOR BODY: DANCE AND MEDIATION IN THE MUSEUM</p><p class="p1"><em>Abstract:<span class="Apple-converted-space"> </span></em></p><p class="p5"><em>From a simple blink of eyes to an action of jumping, the dance provides to the human being new connections with himself and with the space around him. This article is a study about the relation among the mediation with dance, ‘site specific’ process and performance as indirect products from the mediation experience. Part of the Masters’ project “Do not touch. Dance, though. Dance and mediation in the Contemporary Museum</em><span class="s2"><em>”, the project put a heterogeneous group into living mediations that combine dance improvisations as a way to talk about contemporary art.</em></span></p><p class="p6"><span class="s1"><em>Keywords:<span class="Apple-converted-space"> </span></em></span><em>Dance. Performance. Site specific. Mediation.</em></p>
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Balachandran, Anitha. "Time-travelling imaginaries: Animation at the memorial museum." Animation Practice, Process & Production 10, no. 1 (August 1, 2021): 11–49. http://dx.doi.org/10.1386/ap3_000025_1.
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Animation as a site-specific intervention in historic settings draws on the powerful affective potentials of both medium and place, enabling long past events to be experienced in immersive, intimate ways. In particular, I examine here my hand-drawn animated film He Ram, permanently installed at the site of Gandhi’s assassination, now a museum in New Delhi. In this context, the multi-layered animated presence of Gandhi becomes at once nostalgic and eerie, evoking a figure’s potential to haunt space and time, piercing the present to connect us to the last walk he took and the last breath he drew. An emotionally charged public memorial, this is also where the voice and views of government are palpable. At stake remain the inheritance and transmission of our past/s. In these circumstances, animation affords aesthetic strategies to engage a range of audiences across age, class, caste and linguistic boundaries, wielding a degree of agency in the mediation of our collective imaginations. In doing so, the film gestures towards a more fluid, interdisciplinary understanding of the ever-emerging relations between histories and our present.
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Glazyrina, Y. V. "Integration of environmental approaches into the design of the architectural and ethnographic museum's operations." Anthropogenic Transformation of Nature, no. 6 (2020): 56–60. http://dx.doi.org/10.17072/2410-8553-2020-6-56-60.
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The article presents some results on еру environmental strategic approach for the development of the Khokhlovka Architectural and Ethnographic Museum (a branch of the Perm Regional Museum), which is located on an area of 35 hectares, 40 km from Perm. The museum's territory has no nature reserved status, but is included in the group of objects of regional cultural heritage. Since 2010, the museum has been gradually implementing its environmental strategy, which began with the development of an excursion aimed at the museum landscape and ecosystems. Over the past ten years, activity guides on traditional nature management and natural features of the area were published for family audiences, as well as open-air environmental exhibition have been installed as a site specific. At least, an original concept of the slow «EcoPicnic» festival dedicated to nature observation and introduction to eco-technologies of the past and future has been created.
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Chrobak, Marzena, and Marta Paleczna. "Communication en langues étrangères avec les visiteurs d’un lieu de mémoire : un sujet périphérique des études de traduction." Romanica Wratislaviensia 68 (July 16, 2021): 57–68. http://dx.doi.org/10.19195/0557-2665.68.5.
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After some general remarks on a contemporary basic map of Translation Studies, we present the results of a research on a peripherical topic in the field Interpretation Studies: interpreting in a museum setting. The museum concerned is the Auschwitz-Birkenau State Museum, a former nazi concentration and extermination camp situated in Poland, a World Heritage Site, and a symbol of the Holocaust. The research is based on surveys conducted in 2017 and 2018 by Marta Paleczna among the camp’s visitors, guides, and interpreters. We discuss the interpreters’ main problems, which include translating camprelated and other specific terms, collaboration with a guide, the increasing number of visitors and time constraint, and their solutions, which include compressing the explanations given by a guide during the visit, taking over the role of a guide by the interpreter, and lengthening the explanation time by taking advantage of the trip to the museum and back.
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Cannas, Rita, and Daniela Pettinao. "Measuring Tourists' Emotional Experiences in a cultural site." MERCATI & COMPETITIVITÀ, no. 3 (September 2019): 122–45. http://dx.doi.org/10.3280/mc3-2019oa8504.
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The study explores emotions and the engagement with local community as the keys of satisfactory tourists' experience by investigating visitors of an Italian mine village, in which eco-museum and tourist facilities are offered. The methodology is based on a quantitative approach and the main method is a survey analysis, through a questionnaire administrated in situ. The study provides a confirmatory factor analysis in order to test the validity and reliability of the Destination Emotional Scale and the Memorable Tourism Experience Scale. Differently from other implementations, the main findings show that DES does not fit in this sample. However, this study shows the importance of emotions and feelings in the visitors' experience, particularly in the hedonistic and place attachment variables within a specific cultural site.
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Alves, Maria Thereza. "Wake in Guangzhou." Transfers 7, no. 2 (June 1, 2017): 107–14. http://dx.doi.org/10.3167/trans.2017.070208.
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Wake in Guangzhou: The History of the Earth is a site-specific installation exhibited in in the Guangdong Museum of Art in Guangzhou, China, that problematizes issues of migration, trade, and landscape transformation. Wake in Guangzhou investigates the origin of the seeds found on the site of Huagui Lu, in the Liwan district in Guangzhou’s city center, where today a hundred wholesale markets exist. A mound of earth was removed from Huagui lu, a street in the Liwan District, the former merchant quarter’s of Guangdong. The earth sample was put in the courtyard of the Guangzhou Museum so dormant seeds previously buried in deep layers could germinate when exposed. The botanist Heli Jutila writes, “Although seeds seem to be dead, they are in fact alive and can remain vital in soil for decades, and even hundreds of years in a state of dormancy.”
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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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Palmer, Lindsay. "World news at the Newseum: Interactive imaginings of international news reporting." International Journal of Cultural Studies 20, no. 3 (November 23, 2015): 321–40. http://dx.doi.org/10.1177/1367877915617012.
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This article analyzes the Newseum’s attention to questions of the international in an attempt to answer two related research questions: (1) how does the Newseum represent the ‘world news’ story, and (2) how does it represent the world’s various journalism industries? In order to answer these questions, the article first reviews the existing scholarly literature on museums and tourism with the goal of clarifying the Newseum’s positioning within a larger tradition of engaging (and governing) the museum visitor. The article then provides some background information on the Newseum’s creation, shedding light on the very specific sociocultural context that engendered the Newseum – and its view of the ‘world’. Finally, the article discusses the author’s findings from a site study of the Newseum’s 9/11 Memorial Gallery and its Time Warner World News Gallery.
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Quintas, Rudolfo. "The New Light." International Journal of Creative Interfaces and Computer Graphics 5, no. 1 (January 2014): 32–45. http://dx.doi.org/10.4018/ijcicg.2014010103.
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This article describes The New Light, a site-specific light mapping intervention in the altar of the Museu Paroquial in Óbidos, Portugal – a church converted into a sacred art museum. The work suggests a reflection on our religious heritage and raises the question on churches as the true satisfying place to our spiritual needs. What are we missing? Is spirituality not important anymore? Can we be fulfilled as human beings if we are not conscious of a spiritual dimension? The New Light talks about the light in its spiritual dimension and this paper introduces the context of the work, discusses its motivation, describes the creative process from conceptualization to materialization and details the technical process for its construction. The article ends with a conclusion on both the creative process and the audience experience with written materials from the artist statement.
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lane, cathy, and nye parry. "the memory machine: sound and memory at the british museum." Organised Sound 10, no. 2 (August 2005): 141–48. http://dx.doi.org/10.1017/s1355771805000786.
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the memory machine is a context-, people- and site-specific interactive sound installation. it has been developed as a collaboration between two composers, cathy lane and nye parry, who share an interest in sound, oral history, and memory. the memory machine is an ongoing project which, most recently, was part of the british museum's 250th anniversary exhibition entitled the museum of the mind; art and memory in world cultures.this paper discusses the background and ideas behind the memory machine within the context of the composers' work. the development of the project in collaboration with the british museum is described and an evaluation of some of the issues around the public exhibition of the piece is given as well as a full technical description of the different elements of the installation.
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Ligeti, Lukas. "A Work for the Jewish Soul of Warsaw, Old and New." Leonardo Music Journal 27 (December 2017): 57–58. http://dx.doi.org/10.1162/lmj_a_01017.
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In 2015, Lukas Ligeti created a site-specific, audience-interactive performance work while in residence at the Museum of the History of Polish Jews in Warsaw. Based on interviews with residents of Warsaw, the piece examined aural memories of Jewish life in the city, tracing the extermination and re-emergence of the Jewish community through speech and songs as well as creative musicians’ reimaginings of these memories, with computer technology as a mediator.
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Ferrato, Alessio, Carla Limongelli, Mauro Mezzini, and Giuseppe Sansonetti. "Using Deep Learning for Collecting Data about Museum Visitor Behavior." Applied Sciences 12, no. 2 (January 6, 2022): 533. http://dx.doi.org/10.3390/app12020533.
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Nowadays, technology makes it possible to admire objects and artworks exhibited all over the world remotely. We have been able to appreciate this convenience even more in the last period, in which the pandemic has forced us into our homes for a long time. However, visiting art sites in person remains a truly unique experience. Even during on-site visits, technology can help make them much more satisfactory, by assisting visitors during the fruition of cultural and artistic resources. To this aim, it is necessary to monitor the active user for acquiring information about their behavior. We, therefore, need systems able to monitor and analyze visitor behavior. The literature proposes several techniques for the timing and tracking of museum visitors. In this article, we propose a novel approach to indoor tracking that can represent a promising and non-expensive solution for some of the critical issues that remain. In particular, the system we propose relies on low-cost equipment (i.e., simple badges and off-the-shelf RGB cameras) and harnesses one of the most recent deep neural networks (i.e., Faster R-CNN) for detecting specific objects in an image or a video sequence with high accuracy. An experimental evaluation performed in a real scenario, namely, the “Exhibition of Fake Art” at Roma Tre University, allowed us to test our system on site. The collected data has proven to be accurate and helpful for gathering insightful information on visitor behavior.
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Macdonald, Maritza, David Silvernail, Natasha Cooke-Nieves, Sharon Locke, Aline Fabris, Nakita Van Biene, and Michael J. Passow. "How museums, teacher educators, and schools, innovate and collaborate to learn and teach geosciences to everyone." Terrae Didatica 14, no. 3 (September 28, 2018): 271–76. http://dx.doi.org/10.20396/td.v14i3.8653525.
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Natural History museums are well known and even famous for the multiple educational opportunities they offer to the public, which includes international visitors, and students and schools. This paper introduces a new role for museums, as sites for the education and certification of new science teachers. In 2017, the American Museum of Natural History (AMNH) completed evaluation of its initial six years as the first museum-based Master of Arts in Teaching (MAT) Earth science program in the USA. The program was conceptualized in response to multiple levels of local and national education policies, and the still cur-rent need to improve Earth science education for all students, especially those designated ‘at-risk.’ Race to the Top (RTTT) in New York State and the National Commission on Teaching for America’s Future had been call-ing for the reconceptualization of teacher education for several years. MAT began as a pilot program authorized by NYS, the result of a competition for inno-vation in the design of programs outside the traditional university structures that corre-sponded to areas of need (at the inter-section of the sciences and quality education for New English Learners and students with learning disabilities). In developing the museum-specific part of the program, theoretical perspectives from research on Strands of Learning Science in Informal In-stitutions, Spatial thinking, and Place-based Learning. Also the selection of candidates required background in one of the Earth Science fields. In addition, scientists and curators became part of the faculty and directed the field and laboratory residencies at the end of the school year and before beginning to teach in schools. After three years, the pilot was fully authorized to grant its own degrees. The institution operates on multiple levels: it is a teaching residency program that awards degrees, maintains strong partnerships with schools, is a member of the network of Independent Colleges and Universities in New York State, and provides on-site graduate courses for other col-leges and universities on the educational role of, and research on, informal learning in science institutions. The museum is at the heart of the program’s design. Courses include research on learning in museums, pedagogical content knowledge re-garding science, and experiential residencies geared toward preparing candidates to teach in both museums and public schools, as well as conduct independent and team science research. Courses are co-taught by scientists and educators, and are designed to use museum exhibitions and resources, including current and past scientific research, technology, and online teaching tools in order to facilitate instruction, demonstrate the nature of science, and com-plement science with cultural histories that highlight the role of science in society. Evaluation evidence indicates the program has been successful in pre-paring teachers to teach in high-needs urban schools in New York State. An external-impact quanti-tative study by NYU, focused on student performance on the standardized New York State Earth Science Regents Examination, indicated that (1) students of MAT graduates are doing as well as students taught by other Earth science teachers with similar years of experience in New York City; and (2) demographically, MAT teachers instruct a higher percentage of students with lower economic and academic profiles. This paper focuses on how the program design utilizes all aspects of a natural history museum to offer the science museum community, teacher educators, and policy-makers new approaches for the preparation of teachers and the education of their students.
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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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Akhmedov, Jasurbek Zokirzhonovich. "Ahsikent – A Unique Site of Fergana Valley." Ethnic Culture, no. 1 (2) (March 20, 2020): 6–8. http://dx.doi.org/10.31483/r-75065.
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The article is devoted to the issues of Ahsikent’s archaeological sites museumification. The aim of the article is to consider Ahsikent, which is the only thoroughly explored historical city of Ferghana, where as a result of archeological studies pottery in which iron and copper from Shakhristan were melted, as well as metal furnaces from artisans’ trade shops were found. Methods of study. The archaeological study of the site, which is described as "Fergana Afrosiyob", began in 1885. The results of the research. Excavations have shown that in the trade shops of Ahsikent various objects made with simplest metal and used for building and housekeeping, as well as swords and kargases that are capable to cut stones and not break when bending. The author also outlines that items found on the territory of Ahsikent indicate a high level of development of various crafts: pottery, metallurgy of bronze, contexture, jewelry, etc. The article also describes the methods of chemical conservation of sites, in particular, specific steps to restore the historical site of the The article also describes methods of chemical preservation of sites, specific steps to restore the historical site are proposed, among them: restoration of the ancient medieval appearance of Ahsikent with drawings and reliefs that depict the landscapes of Ahsikent; demonstration of the political, social and economic state of Ahsikent (writing, medical articles, coins); publication of decorative and applied art created by artisans (ceramics, glassware, jewelry), items related to military art (weapons of soldiers, arrows, bows), architectural structures (fragments of architectural decoration, foundations, stone products, ceramic pipes, wall paintings). It is concluded that it would be advisable to organize a multi-sided, deep and thorough study of the site of Ahsikent by attracting appropriate different specialists, turn Ahsikent into an open-air museum and introduce this area to international tourist destinations.
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Tseng, Ching-pin. "Exhibiting Imprisoned Memories: The Construction of Site-specific Narrations in the Jing-Mei White Terror Memorial Park, Taiwan." Athens Journal of Architecture 8, no. 2 (March 29, 2022): 153–74. http://dx.doi.org/10.30958/aja.8-2-4.
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In Chiang Kai-shek’s early governance of Taiwan, many political events occurred which violated human rights. During this ‘White Terror’ era, military commanders were authorized with powers to restrict the islanders’ freedom, as well as prohibit public assemblies. Taiwanese who acted against the martial law would be committing offences of public order, or even offences of treason. The Jing-Mei White Terror Memorial Park was once the place where such political victims were held in custody and imprisoned. Until the lift of martial law, these inhuman events were not revealed to the public, and the two courts, the Ren-Ai Building (仁愛樓, the detention centers), barracks and other public buildings on the site recently have been transformed into parts of the National Human Rights Museum, Taiwan. As many political persecutions occurred and were implemented in the two courts and previous jails of the detention centers, the transformation of the site into a memorial park suggests the site-specificity of memory recollection through exhibiting the built environments, historical archives, and victims’ leftovers. This paper intends to discuss the construction of spatial narrations and the means of patching up fragmented memories of these political events, as well as examining the exhibition settings for stimulating visitors’ perceptions of the victims’ sufferings. Finally, as young generations in Taiwan didn’t experience such political oppressions, the paper would ask what sort of immersive channels could be utilized to recall the imprisoned memories and to forge some sufferers’ traumatic experiences for visitors.
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Schroeder, Franziska. "Museum City: Improvisation and the narratives of space." Organised Sound 21, no. 3 (November 11, 2016): 249–59. http://dx.doi.org/10.1017/s1355771816000224.
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This article provides four viewpoints on the narratives of space, allowing us to think about possible relations between sites and sounds and reflecting on how places might tell stories, or how practitioners embed themselves in a place in order to shape cultural, social and/or political narratives through the use of sound. I propose four viewpoints that investigate the relationship between sites and sounds, where narratives are shaped and made through the exploration of specific sonic activities. These are: sonic narrative of space, sonic activism, sonic preservation and sonic participatory action.I examine each of these ideas, initially focusing in more detail on the first viewpoint, which provides the context for discussing and analysing a recent site-specific music improvisation project entitled ‘Museum City’, a work that aligns most closely with my proposal for a ‘sonic narrative of space’, while also bearing aspects of each of the other proposed viewpoints.The work ‘Museum City’ by Pedro Rebelo, Franziska Schroeder, Ricardo Jacinto and André Cepeda specifically enables me to reflect on how derelict and/or transitional spaces might be re-examined through the use of sound, particularly by means of live music improvisation. The spaces examined as part of ‘Museum City’ constitute either deserted sites or sites about to undergo changes in their architectural layout, their use and sonic make-up. The practice in ‘Museum City’ was born out of a performative engagement with(in) those sites, but specifically out of an intimate listening relationship by three improvisers situated within those spaces.The theoretical grounding for this article is situated within a wider context of practising and cognising musical spatiality, as proposed by Georgina Born (2013), particularly her proposition for three distinct lineages that provide an understanding of space in/and music. Born’s third lineage, which links more closely with practices of sound art and challenges a Euclidean orientation of pitch and timbre space, makes way for a heightened consideration of listening and ‘the place’ of sound. This lineage is particularly crucial for my discussion, since it positions music in relation to social experiences and the everyday, which the work ‘Museum City’ endeavoured to embrace.
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McConnel, Katie. "To amaze — the aspiration of all curators: The Voice in the Walls Theatre Project at Old Government House, Brisbane." Queensland Review 25, no. 2 (December 2018): 286–99. http://dx.doi.org/10.1017/qre.2018.26.
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AbstractOld Government House (OGH) is one of Queensland’s premier heritage buildings, and is located within the Gardens Point campus of Queensland University of Technology (QUT). This 156-year-old building, now a house museum, offers a tangible link to Queensland’s early colonial life. The museum strives to present the stories of all who lived and worked here. Children generally do not visit historic houses willingly, and to address this OGH collaborated with Imaginary Theatre to develop an innovative and fun way to interpret and present the historical significance of the House to a younger audience. The result was a one-hour site-specific theatre performance, The Voice in the Walls — part game, part audio tour, part theatre. The key objective of the project was to create a visitor experience that captured the attention of nine- to twelve-year-olds by encouraging them to imagine an unfamiliar world and time while also conveying historical information. This article discusses the background to the development of the project, and its evolution from inspiration to practical reality.
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Wilkinson, Joanne E., Kristen D. Spring, T. L. Dunn, Gilbert J. Price, and J. Louys. "The vertebrate fossil collection record from the Chinchilla Sand, South–East Queensland, 1844-2021." Memoirs of the Queensland Museum - Nature 63 (2021): 11–25. http://dx.doi.org/10.17082/j.2204-1478.63.2021.2020-07.
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Since the mid-1840s a diverse fossil vertebrate assemblage, referred to as the Chinchilla Local Fauna, has been collected from the Pliocene deposits of the Chinchilla Sand on the western Darling Downs of South-East Queensland. In large part because of this long history and the numerous collectors who have worked fossil deposits in the area, much ambiguity regarding site and locality names and their specific coordinates exists. Here, we review the vertebrate fossil collection records in the Queensland Museum Fossil, Donor, Collector and Locality Registers, correspondence, and field notes in an effort to pinpoint the location of each named locality and site and develop a digital map which highlights the historical collecting sites at one significant locality in the Chinchilla area. To ensure that a systematic framework for all future collecting from the main collecting area (Chinchilla Rifle Range) is maintained, we recommend the use of consistent nomenclature for sites so that spatial information of the highest possible quality is captured into the future. We recommend future collections include detailed recordings of stratigraphic contexts as well as GPS coordinates.
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Smits, Vivian. "Making Heritage. A Case Study on the Impact of Contract Archaeology on Museum Collecting in Sweden." Current Swedish Archaeology, no. 28 (December 14, 2020): 279–301. http://dx.doi.org/10.37718/csa.2020.11.
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Since taking off as an industry in Sweden in the 1980s, contract archaeology has changed not only the role of field archaeologists but also that of museums and the formation of collections. This paper discusses some of the effects of the commercialization of archaeological services through a case study of past and present collection practices. Data records are compared from three different archaeological investigations at the site Nya Lödöse (1473-1621) in Gothenburg. Each excavation represents a particular era in archaeological practice. The data are used to compare and analyse collecting practices within contemporary contract archaeology. Separately, a survey among contract archaeology units examines the implementation of legislative guidelines and day-to-day practices and suggests several causes for anomalies in the selection and discarding of finds in the case study. Combined, the findings of the case study and the survey results, suggest that contract archaeology leaves a specific imprint on collections in archaeological museums, impacting their compilation, and therefore influencing future research as well as the experience of the public.
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Gorokhovskaya, Larisa Georgievna. "“Exotic for our city”: discursive analysis in designing a tourism attraction." Урбанистика, no. 3 (March 2020): 102–10. http://dx.doi.org/10.7256/2310-8673.2020.3.33556.
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The object of this research is the historical quarter of Old Vladivostok called “Millionka”. The article is focused on the problem of designing tourism attraction as an imaginary site. The goal consists in analysis of the strategy of such designing. The research materials contain the publications on Millionka in digital media of Vladivostok, information from the website of the City Museum of Local Lore, YouTube video of a tour. Methodologically, the article is based on the discursive analysis of the texts, which allowed viewing the peculiarities of communication strategy on designing a tourism attraction by outlining the frames of perception, central themes and concepts that form representation on Millionka, as well as determining the combination of discursive genres. The conclusion is formulated that the design of a tourism attraction is a specific cultural product that relies on the practice of creation of an “imaginary site”. The historical discourse demonstrates milestone in the existence of Millionka and allows concluding on functionality of its space as a palimpsest. Leaning on H. Lefebvre’s concept of the production of space applicable to the practices of designing an “imaginary sire”, analysis is conducted on the two forms: representation of space and space of representation. The author reveals the key peculiarities of the design of Millionka within the frame of “uniqueness and unusualness”, explores the basic strategy of exotization of the Other using the techniques of mythologization, proxemics and all-factor communication. The author underlines prevalence of the strategy of “revision of a site” and consumer discourse in designing a tourism attraction.
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Medvedev, Stanislav P. "The collection from the Palaeolithic horizons of the Grotte du Placard at the Museum of Anthropology (Lomonosov Moscow State University)." Moscow University Anthropology Bulletin (Vestnik Moskovskogo Universiteta. Seria XXIII. Antropologia), no. 4 (December 21, 2021): 116–25. http://dx.doi.org/10.32521/2074-8132.2021.4.116-125.
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Introduction. The collection from the Palaeolithic site Grotte du Placard (Charente, France) are repre-sented at the Museum of Anthropology (Lomonosov Moscow State University). These artifacts were gath-ered by Arthur de Maret during his excavation campaigns of 1877-1888. In 1910 D.N. Anuchin bought this assemblage from m-me de Maret. After 150 years of exploration of the Grotte du Placard there were identi-fied 8 chrono-stratigraphic horizons attributed to the Mousterian, to the Middle and Upper Solutrean, to the Badegoulian, and to a good part of the Magdalenian. Materials and methods. The collection consists of 224 items. According to the data from the Scien-tific archive of the Museum of Anthropology they are divided into 4 units: the Mousterian, the Solutrean, the Magdalenian and the osseous industry (antler, bone, tooth and shell artifacts). Each unit’s inventory was studied using typological analysis. Results and discussion. The Mousterian unit is distinctive by the Mousterian points and the side-scrapers. The Solutrean unit is characterized by the shouldered points, the unifacial points and the thin end-scrapers on long blades. The Magdalenian unit is represented by scrapers. The chisel-like tools are typical for the Badegoulian. The osseous industry consists of some items specific for the Magdalenian (pierced baton and eyed needles) and for the Middle Magdalenian (double point and pierced phalanx). Conclusion. Current research affirmed the chrono-cultural characteristic of the artifact assemblages distinguished by D.N. Anuchin. The obtained information was added to the electronic database. This arti-cle’s timeliness consists of the osseous inventory publication, including antler and bone implements, per-sonal adornments and pieces of portable art.
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Rogers, Emily Buhrow. "Exhibiting Moments: Qualla Arts and Crafts Mutual at the Mathers Museum of World Cultures." Museum Anthropology Review 13, no. 1 (March 29, 2019): 32–46. http://dx.doi.org/10.14434/mar.v13i1.26472.
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In 1973, Indiana University’s Mathers Museum of World Cultures purchased a selection of works from the Eastern Band of Cherokee Indians’ Qualla Arts and Crafts Mutual, one of the oldest Native American-owned art and craft cooperatives in the United States. In this paper, I discuss, from my perspective as co-curator, the development of the museum’s 2015 exhibition of that collection, Cherokee Craft, 1973. Through this project, the curatorial team sought to creatively evoke the Qualla cooperative at the dynamic historical moment these works represented, while also contending with significant resource limitations. What resulted was an exhibit organized around the concept of a moment in time. This alternative presentation strategy gave us an opportunity to explore a variety of important topics and ongoing processes specific to the institution in the early 1970s. In this paper, I discuss how this approach allowed us to present a plurality of voices, while also showcasing many of the cooperative’s most renowned makers. I also position Cherokee Craft, 1973 as an exhibit curated by graduate students for a university audience: it was a site of innovation and representational experimentation for its creators, unique to its institutional type and its own particular moment in time.
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Selanon, Pattamon, and Ning Cui. "Article Review: Creative Thoughts Associated with Environmental Art From the 1960s Onwards." Journal of Architectural/Planning Research and Studies (JARS) 17, no. 1 (April 23, 2020): 1–22. http://dx.doi.org/10.56261/jars.v17i1.235054.
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All arts can serve as an inspiration of innovation ideas for landscape architectural design as well as other built environmental design disciplines. In 1960s, environmental art originated with aiming to rebel against the art gallery or museum by creating innovative art using natural elements setting on an outdoor location. The art is taken in various forms such as large sculptural artworks and, also, the installation art for a specific site, etc. Several artist scholars such as Rosalind Krauss (1979) and Spyros Papapetros & Julian Rose (2014) marked that there are no specific principles or general agreement or specific theory in terms of the approaches to exploring landscapes entangled with the art. However, within broad terrain of practice of the environmental art, this research attempted to provide core creative thoughts applied to the art, which can be divided into 6 themes including 1) Modernism 2) Postmodernism, 3) Genius loci or spirit of place, 4) concepts of eighteenth-century aesthetics, 5) environmentalism and 6) passage of time. Accordingly, the study explores possibilities in convergences in design expression between landscape architecture and environmental art. Summarization of the study includes with current approach of the environmental art.
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Nimenko, Nataliia. "Research on Vedmezhe settlement in Romny region: Mykola Makarenko's excavations." Materials and studies on archaeology of Sub-Carpathian and Volhynian area 23 (November 26, 2019): 388–95. http://dx.doi.org/10.33402/mdapv.2019-23-388-395.
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The article is devoted to the study of the little-known biography pages of the famous archaeologist, art critic, organizer of the museum activity M. Makarenko (1877–1938). Shot as a public enemy for his steady position on the protection of historical and cultural monuments, the scientist had left a number of publications covering various areas of his activity, as well as dedicated to specific architectural and archaeological sites. However, not all the ideas of the scientist have been implemented. Archival documents kept at central and regional institutions, museum funds include materials that reveal plans to continue exploring particular archaeological sites and writing certain publications. For several decades, M. Makarenko studied archaeological sites in Romny region (territory of modern Sumy region), which gave grounds to speak about opening of a new archaeological culture, now known as Romny culture. Four settlements were the most interesting from a scientific point of view: Monastyrysche, Vedmezhy, on the khutirs of Vashkevych and Hlynske. Fundamental work of the scientist, devoted to Romny archaeological culture, is “Monastyrysche” settlement. However, according to the documents, the scientist also planned a separate publication of the materials from the excavations of the site Vedmezhe. The plans were not implemented. Drafts were also not found. In the article on the basis of archival documents, M. Makarenko’s publications and drawings, the attempt to reproduce the chronology of the study of Vedmezhe settlement from 1906 to the end of the 1920s is made; the main results of the excavations are highlighted. The main factors that influenced the effectiveness of scientific research in the 1920s are shown. During excavations of Vedmezhe settlement, M. Makarenko for the first time applied a new technique – burial scraper, which the scientist later used when studying archaeological sites near Sumy and Mariupol. Key words: research, archaeological site, settlement, excavations, plan, drawing, pottery.
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Langin-Hooper, Stephanie M. "SELEUCID-PARTHIAN FIGURINES FROM BABYLON IN THE NIPPUR COLLECTION: IMPLICATIONS OF MISATTRIBUTION AND RE-EVALUATING THE CORPUS." Iraq 78 (October 17, 2016): 49–77. http://dx.doi.org/10.1017/irq.2016.3.
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This article formally documents an important correction to the provenance attribution of three reclining female figurines from Babylon that reside in the Nippur collection at the University of Pennsylvania Museum and were published with that corpus. Few scholars have noticed the misattribution of these figurines, and the problem has not been formally documented for scholarship. Through historiographical analysis of the late nineteenth century Nippur Expeditions and early twentieth century cataloguing and publication of the Nippur corpus, this article reconstructs how and why these three reclining figurines have been continually misassociated with Nippur, and traces the continued impact of this confusion on scholarship's understanding of the Nippur figurine tradition. Most critically, the publication of these three figurines as Nippur objects lent credence to the testimony of an antiquities dealer who sold an additional eight reclining figurines “from Nippur” to the Harvard Semitic Museum; these figurines continue to be regarded as Nippur objects. This article casts doubt upon that provenance. The figurine tradition of Seleucid-Parthian Nippur is reevaluated in light of the absence of securely-provenanced reclining female figurines at that site. An art historical evaluation of these figurines is undertaken, which links these figurines to the general use of hybrid Greek-Babylonian imagery in Seleucid-Parthian figurines, and connects the specific motif of the reclining figure to Greek banqueting imagery. It is proposed that the Nippur community's lack of interest in reclining female figurines can be correlated with a disinterest in pan-Hellenistic ceramic tablewares; together, these lacunae indicate Nippur's non-participation in negotiated Greek-Babylonian banqueting practices. These differences in cross-cultural interaction between Nippur and the neighboring Babylonian communities have not been fully recognized nor explored, due to scholarship's misunderstanding of the use of reclining female figurines at that site. It is this confusion that this article attempts to resolve.
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Bersenev, G. P., V. A. Kutuev, and A. S. Flyagin. "On scientific and practical workshop of Ural blasting specialists." Mining Industry Journal (Gornay Promishlennost), no. 4/2022 (August 25, 2022): 64–67. http://dx.doi.org/10.30686/1609-9192-2022-4-64-67.
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The article presents information on the outcomes of the scientific and practical workshop on drilling and blasting operations in surface and underground mines and special blasting operations, which was organized by the Blasting Specialists of the Urals Association and held on May 26, 2022, at the Museum Complex of the Urals Mining and Metallurgical Company in the City of Verkhnyaya Pyshma with participation of the Institute of Mining of the Urals Branch of the Russian Academy of Sciences and the Urals Department of the Federal Service for Environmental, Technological and Nuclear Supervision (Rostekhnadzor). The workshop included presentations on the following topics: dedicated blasting operations in explosion bonding of metals and demolition of buildings; experience in working with non-explosive mixtures and devices, including ‒ pulse gas generators in restrained urban conditions; results of development and testing of a method to study the rock mass strength properties during roller-bit drilling of blast holes in open-pits; forthcoming innovations in Federal Law No.116 "On industrial safety of hazardous facilities"; relevance, specific features and conditions of blasting operations below the safety covers; mining and technical conditions of underground operations in the Donskoy GOK mine in Kazakhstan. A tour of the four exhibition centres of the Museum Complex, i.e. those of the military and automobile equipment, the "Wings of Victory" aviation exhibition, the "Ceremonial Regiment" exhibition centre, and the open exhibition site with railway and artillery equipment, was held upon completion of the theoretical part of the event.
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Dzan, Wei-Yuan, Huei-Yin Tsai, Shi-Jer Lou, and Ru-Chu Shih. "Satisfaction Analysis of Experiential Learning-Based Popular Science Education." International Journal of Distance Education Technologies 13, no. 2 (April 2015): 93–109. http://dx.doi.org/10.4018/ijdet.2015040106.
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This study employed Kolb's experiential learning model-specific experiences, observations of reflections, abstract conceptualization, and experiment-action in activities to serve as the theoretical basis for popular science education planning. It designed the six activity themes of “Knowledge of the Ocean, Easy to Know, See the Large from the Small, Challenge of Vessel Knowledge, Do It Yourself, and Small Book”, with the National Science and Technology Museum (NSTM) as the research site. A questionnaire survey was distributed to 660 visitors who participated in “Large Ship! Formosa! Popular Science Education” to understand their satisfaction and preferences of the activities. The findings of the study suggest that participants were highly satisfied with the activity theme content, learning effects, and the environment and equipment. They also preferred hands-on types of activities. Particularly, “fun and interesting” and “broadening knowledge” are important factors influencing participants' willingness of participation. Finally, the results can be provided to educators, practitioners, and administrators for future promotion of popular science education.
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Holmes, Iris, and Alison R. Davis Rabosky. "Natural history bycatch: a pipeline for identifying metagenomic sequences in RADseq data." PeerJ 6 (April 16, 2018): e4662. http://dx.doi.org/10.7717/peerj.4662.
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Background Reduced representation genomic datasets are increasingly becoming available from a variety of organisms. These datasets do not target specific genes, and so may contain sequences from parasites and other organisms present in the target tissue sample. In this paper, we demonstrate that (1) RADseq datasets can be used for exploratory analysis of tissue-specific metagenomes, and (2) tissue collections house complete metagenomic communities, which can be investigated and quantified by a variety of techniques. Methods We present an exploratory method for mining metagenomic “bycatch” sequences from a range of host tissue types. We use a combination of the pyRAD assembly pipeline, NCBI’s blastn software, and custom R scripts to isolate metagenomic sequences from RADseq type datasets. Results When we focus on sequences that align with existing references in NCBI’s GenBank, we find that between three and five percent of identifiable double-digest restriction site associated DNA (ddRAD) sequences from host tissue samples are from phyla to contain known blood parasites. In addition to tissue samples, we examine ddRAD sequences from metagenomic DNA extracted snake and lizard hind-gut samples. We find that the sequences recovered from these samples match with expected bacterial and eukaryotic gut microbiome phyla. Discussion Our results suggest that (1) museum tissue banks originally collected for host DNA archiving are also preserving valuable parasite and microbiome communities, (2) that publicly available RADseq datasets may include metagenomic sequences that could be explored, and (3) that restriction site approaches are a useful exploratory technique to identify microbiome lineages that could be missed by primer-based approaches.
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Terlikowski, Wojciech, Kacper Wasilewski, Ewa Sobczyńska, and Martyna Gregoriou-Szczepaniak. "Approach to conservation of irregular stone masonry based on archaeological excavations in the Black Sea basin." E3S Web of Conferences 49 (2018): 00117. http://dx.doi.org/10.1051/e3sconf/20184900117.
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The article presents and describes the methodology of conservation of masonry structures that are architectural monuments discovered as part of the work carried out during archaeological excavations. The authors' experiences presented in the article result from many years of cooperation between the Faculty of Civil Engineering at Warsaw University of Technology, the National Museum in Warsaw and the Antiquity of Southeastern Europe Research Center at the University of Warsaw. Examples of preserved masonry structures come from excavations located in the Black Sea area - from the archaeological site in Tyritake in Kerch on the Crimean Peninsula and Tanais near Rostov-on-Don in Russia. Works on masonry structures located in the area of archaeological excavations are characterized by a unique specificity covering both formal issues, resulting from international standards and agreements regulating the conservation of historic buildings, as well as technical and environmental issues. The basic technical issues include ensuring the safety of further excavation works, protection of masonry structures against the destructive effects of atmospheric conditions and preparing the structure for possible exhibition in archaeological parks organized on the site of excavations. Environmental issues relate to local, social and economic conditions. The article presents the procedures that should be used in the conservation of these types of structures and presents the specific technological and material solutions used in the presented objects.
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Teodorescu, Laura, Ayed Ben Amara, Nadia Cantin, Rémy Chapoulie, Cătălin Ducu, Sorin Ciucă, Claudiu Tulugea, Carol Terteci, and Mărioara Abrudeanu. "Characterization of Archaeological Artefacts Using Methods Specific to Materials Science: The Case Study of Dacian Ceramics from 2nd c. BC to 1st c. AD." Materials 14, no. 14 (July 13, 2021): 3908. http://dx.doi.org/10.3390/ma14143908.
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Combined analysis methods such as optical microscopy (OM), cathodoluminescence (CL) microscopy, X-ray diffraction (XRD), and scanning electron microscopy–energy dispersive X-ray spectrometry (SEM–EDX) have made it possible to obtain the first physico-chemical data of Dacian potsherds, exhumed at the archeological site of Ocnița-Buridava, Romania; the samples were provided by the “Aurelian Sacerdoțeanu” County Museum Vâlcea, dating from the 2nd century BC to the 1st century AD. The mineralogical and petrographic analyses revealed two types of ceramic pastes, taking into account the granulometry of the inclusions and highlighting the choice of the potter for fabricating the ceramic either by wheel or by hand. All samples showed an abundance in quartz, mica (muscovite and biotite), and feldspars. These observations were confirmed by cathodoluminescence imagery, revealing heterogeneous pastes with varied granulometric distributions. The XRD patterns indicated the presence of the mineral phases, indicating a firing temperature below 900 °C. The wheel-made ceramics have a fine, compact matrix with very fine inclusions (<40 µm). On the other hand, the hand-made ceramics present a coarse matrix, with inclusions whose granulometry reaches approximately 2 mm. The difference between these two types of ceramics is also confirmed by the mineralogical and chemical analysis. The wheel-made potsherds are more abundant in MgO, Al2O3, and CaO contents.
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Kulakovska, L. V., N. P. Gerassimenko, V. I. Usik, and O. L. Votiakova. "MIDDLE PALEOLITHIC SITE RUBAN’ IN TRANSCARPATHIA: STRATIGRAPHY, CHRONOLOGY, INDUSTRY." Archaeology and Early History of Ukraine 26, no. 1 (March 22, 2018): 7–19. http://dx.doi.org/10.37445/adiu.2018.01.01.
Full textAbstract:
The Ruban’ Paleolithic site was discovered in 2005 by the Transcarpathian Paleolithic expedition of the Archaeological Museum of the IA NASU. The site is located on the territory of the former Zatysnansky chemical plant (Fig. 1b) at a distance of 800 m north of the eastern outskirts of the village of Gorbky, Vynohradiv district, in the Transcarpathian region, in the Ruban’ tract, and about 2 km to the southeast of the Korolevo site.
At the time when the site Ruban’ was discovered, the upper part the quarry wall where the site is located, has been ruined by the quarrying that made it impossible to determine a stratigraphic position of the archaeological layer and to establish the age of the culture. In order to solve these problems, 15 geological profiles of the Quaternary deposits have been set along the less disturbed quarry wall in 2016—2017. The stratigraphic subdivision of the sections, according to the Quaternary stratigraphic framework of Ukraine, and their correlation with the profile of the archaeological site have been carried out that enables to determine the geological age of the cultural layer.
The geological site Ruban’ is located along the paleoslope and, thus, there are erosional brakes in its sedimentary record. The lowermost stratigrpahical unit is represented by reddish-brown soil of Martonosha unit overlain by gleyed loam of Sula unit and strongly dissected by wedges of the Sula cryogenesis. The other Lower and Middle Pleistocene units have been truncated and now they are represented by pedosediments (with exception of the yellowish-brown soil of Upper Zavadivka unit).
Kaydaky unit (the brown forest soil of a warm interglacial climate) is separated from Zavadivka soil by the level of wedges of the Dnieper cryogensis.
Pryluky unit is represented by two soils (pl1 and pl3), separated by cryogenic fissures and, in places, by a thin loess layer (pl2). The dark-brown soil pl1 is characterized by both manganese concretions and thick managanese films in its upper part, whereas the brown forest soil pl3 is overlain by a thin layer of dense iron-manganese concretions (pl3c). This layer reflects unstable hydrothermal regime during the transition from the warm interstadial to the cold stadial climate of the Uday time. Uday unit is represented, in places, by a thin loess layer, which is overlain by brown forest soil of Vytachiv unit. The latter is dissected by cryogenic fissures, filled with the non-soil material of Bug unit. The Holocene unit is truncated in many places but the Holocene pedogenic processes (translocation) overprint the underlying units.
The stratigraphic correlation of the studied sections with the archaeological site (excavation 1) demonstrates that the archaeological layer is located in the transitional bed of iron-manganese concretions (pl3c). According to the accepted comparison of the Ukrainian stratigraphy with marine isotopic-oxygen scale, the chronostratigraphic position of the archaeological layer corresponds to the transition from the end of the MIS 5 (5a) i. e. 74—64 ka BP.
In the industry of Ruban’ site are prevailing the non-Levallois reduction methods of exploataion of Kombewa, centripetal, crossed and sub-crossed cores with a flat working surface. The parrallel reduction system is not typical and random. Blades are practically absent.
In the collection of tool-kit dominated side scrapers, among which there is a series of natural backed side scrapers with a thick working edge, created by 2—3 rows of a stepped scaled retouch (Quina retouch type). Such samples can be attributed to a specific type of side scrapers, such as Quina or Semi-Quina (Fig. 7).
In general, the main technological and typological features of the Ruban’ site industry are closely related to the cultural layer II of the Korolevo I site. These collections can be attributed to the local variant of the so-called Charantienne Techno-Complex.
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Oliveira, Emerson Dionisio Gomes de. "Tino Sehgal, site-specifics performances e as instituições da arte." ARS (São Paulo) 15, no. 29 (April 30, 2017): 62. http://dx.doi.org/10.11606/issn.2178-0447.ars.2017.128322.
Full textAbstract:
O objetivo deste artigo é debater a produção artística de Tino Sehgal enquanto site-specifics performances produzidas em instituições museológicas convencionais. Para tanto, operamos com as noções de sítio e contexto, tomando o museu como componente da obra, e não sua exterioridade. Dois operadores são observados em nossas reflexões. O primeiro é a ativação do público do museu como participante privilegiado da obra, dentro de uma pedagogia museal singular. O segundo é o controle sobre os registros das obras pelo artista, enquanto parte da ação poética e, simultaneamente, ação política debruçada sobre economias simbólicas complexas, pois coloca em evidência a relação entre obras, artistas, discursos mediadores e o público.
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Bálint, Zsolt, Krisztián Kertész, Gábor Piszter, Zofia Vértesy, and László P. Biró. "The well-tuned blues: the role of structural colours as optical signals in the species recognition of a local butterfly fauna (Lepidoptera: Lycaenidae: Polyommatinae)." Journal of The Royal Society Interface 9, no. 73 (February 8, 2012): 1745–56. http://dx.doi.org/10.1098/rsif.2011.0854.
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The photonic nanoarchitectures responsible for the blue colour of the males of nine polyommatine butterfly species living in the same site were investigated structurally by electron microscopy and spectrally by reflectance spectroscopy. Optical characterization was carried out on 110 exemplars. The structural data extracted by dedicated software and the spectral data extracted by standard software were inputted into an artificial neural network software to test the specificity of the structural and optical characteristics. It was found that both the structural and the spectral data allow species identification with an accuracy better than 90 per cent. The reflectance data were further analysed using a colour representation diagram built in a manner analogous to that of the human Commission Internationale de l'Eclairage diagram, but the additional blue visual pigment of lycaenid butterflies was taken into account. It was found that this butterfly-specific colour representation diagram yielded a much clearer distinction of the position of the investigated species compared with previous calculations using the human colour space. The specific colours of the investigated species were correlated with the 285 flight-period data points extracted from museum collections. The species with somewhat similar colours fly in distinct periods of the year such that the blue colours are well tuned for safe mate/competitor recognition. This allows for the creation of an effective pre-zygotic isolation mechanism for closely related synchronic and syntopic species.
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Lomakina, Mariia А. "The South-Eastern Suburb of Bakhchisarai though K. F. Bogaevskii’s Watercolours: Salachik and Chufut-Kale." Materials in Archaeology, History and Ethnography of Tauria, no. XXVI (2021): 571–93. http://dx.doi.org/10.37279/2413-189x.2021.26.571-593.
Full textAbstract:
Although the watercolours and pen drawings of still existing and already lost architectural buildings created by K. F. Bogaevskii in the 1920s are more modest than his pictures, they still form the golden collection of the Crimean past. The sketches of architectural monuments are a specific part of the painter’s heritage, which certainly made an impact on the development of his creative approach to the Crimean landscape, were the job he did by an order from the institution responsible for all cultural heritage in the region, or the Crimean Department for the Museum Affairs and Protection of the Sites of Art, Past, Nature, and People’s Daily Life (KrymOKHRIS). This paper presents K. F. Bogaevskii’s watercolours discovered in the collection of the Bakhchisarai Historical, Cultural, and Archaeological Museum Preserve and I. K. Aivazovskii Feodosiia Art Gallery: they show mediaeval monuments located in the south-eastern suburbs of Bakhchisarai, Salachik, and Chufut-Kale. The art historical analysis of these works has been done; the history of their creation has been explored. The author underlines the significance of these drawings for the scholarly studies of the cultural heritage sites of Bakhchisarai, reconstruction of their authentic appearance, localization and identification, and the studies in the cultural heritage site protection works in the Crimea in the 1920s. Artistic value of the painter’s works under analysis is beyond any doubt: the precision of drawing, reproduction of architectonics of buildings, necessary details of pictures were caused by the task and corresponded to K. F. Bogaevskii’s high professional attitude to works. The watercolours and drawings create an artistic image of the monuments with the composition incorporated into the existing natural setting. K. F. Bogaevskii was a landscape painter, a master with academic education, who passed through A. I. Kuindzhi’s school.
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Shen, Shiwei, Marios Sotiriadis, and Yuwen Zhang. "The Influence of Smart Technologies on Customer Journey in Tourist Attractions within the Smart Tourism Management Framework." Sustainability 12, no. 10 (May 19, 2020): 4157. http://dx.doi.org/10.3390/su12104157.
Full textAbstract:
Nowadays, smartness and smart management of tourism destinations and suppliers are becoming a top priority and big challenge. This article focuses on tourist attractions and aims at exploring how smart technologies influence the customer journey. The main research question is how smart technologies are influencing the tourists’ visit experience. The study takes a consumer behavior perspective with a specific focus on the visit cycle (prospective, active, and reflective phases), based on the theoretical foundations of customer journey process model. First, a research framework was elaborated, encompassing three hypotheses. Then, this model was empirically tested and validated by means of a quantitative research using as a study site the Ningbo Museum, Ningbo, China. This investigation allows us to get insights into consumer behavior, which is useful for tourist attraction to become ‘smarter’. The study’s findings indicate that smart technologies have an influence on the customer journey at all three phases, the most significant being at the prospective and active phases, without neglecting the reflective one. This article extends our knowledge by providing new insights into the influence of smart technologies that have theoretical and marketing implications for tourist attraction.
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Garcia, V. C., and C. V. Prado. "Use of moxibustion as an auxiliary treatment in wound healing of the snake Eunectes murinus (anaconda): case report." Arquivo Brasileiro de Medicina Veterinária e Zootecnia 69, no. 6 (November 2017): 1560–64. http://dx.doi.org/10.1590/1678-4162-9464.
Full textAbstract:
ABSTRACT Large snakes of the Boidae family, such as Eunectes murinus, require special techniques to facilitate their care when they are sick. Thus, an acupuncture technique called moxibustion was applied that utilizes burning of the weed Artemisia vulgaris for heating at specific points on the skin without handling the animals. The objective of this case report was to describe the use of moxibustion acupuncture as an auxiliary treatment for snakes. A female, 4.0 meters long and weighing about 30 kg, belonging to a Biological Museum of the Butantan Institute, showed symptoms of weight loss, anorexia and hyperemia in the ventral region. The snake was examined and treated with ciprofloxacin antibiotics and a month showed an area of necrosis that exposed the muscles in the dorsal cranial region. The female was treated with moxibustion and application of silver sulfadiazine cream at the site of the lesion. After seven months of treatment, the animal showed signs of good healing with complete wound closure. This technique of moxibustion could be easily applied without restraint, an important detail given the size of the snake, and with successful closure of the lesion.
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Savranchuk, Larisa. ""Wine" tours by Europe as one of the areas of recreational activities." Visnyk of the Lviv University. Series Geography, no. 49 (December 30, 2015): 313–21. http://dx.doi.org/10.30970/vgg.2015.49.8648.
Full textAbstract:
The term “wine” tourism and its essence are considered in the article. Program, duration and types of “wine” tours are described. Principles of organization of such tours and the term of pre-order are determined. The attention is focused on the process of tasting, that includes: the location, the quality of the material, content; features and traits of enoteks, museums and wine festivals are highlighted; examples of classification “wine” tours (group, individual, hybrids first and second) are given. The data on the structure of “wine” tours (move to the starting point of travel, transfers, accommodation, catering facilities, and excursions) are presented. It refers to additional features over the standard program. Examples of car travel by the “wine” roads of France, “wine” routes in Italy are given. “Wine” tours of European countries, particularly in Cyprus (history's most famous brands, festivals, “wine” routes, the Museum of wine) are described. The excursion to the Greek winery, the link between wine and culture of the Italians and their character are delineated. The competitive principles of annual ceremony of marking of the best restaurant for “wine” tourism; culture center of the wine, “wine” estates in Italy are described. The attention is concentrated to the history of the brand “Chianti”, production of grappa and other. The feast of the grape in Spain (dates, location, program of “hero” holidays) are discussed in the article. Peculiarities of climate and soils of Southern Spain are mentioned as factors of growing vines “Palomino”, the role and value of “noble” mold in the production of heres, the features of the technology. The regions of wineries of Spain; the largest museum in the world of wine; specific accommodation facilities “Bodega”; symbiosis SPA hotels and restaurants; recreational coverage of Panades are mentioned in the article. The examples of production of the original Porto – the Sunny nectar of Portugal in Douro valley are given. Extra motivation to visit “wine” tours in Portugal are stated. The data about the culture of wine consumption in France are presented. “Wine” tours in Bordeaux, Champagne, Burgundy and Luarska Valley, Alsace and “wine” marathons of Medoc are described. Features of “wine” tours in Germany, classes of wines quality, wine-growing region, “wine” parks are highlighted. Geneva wine region of Switzerland, which is a UNESCO World Heritage Site are characterized in the article. Attention is concentrated to the “wine” tours in Hungary (22 wine regions). Underdeveloped areas “wine” of tourism in Georgia are revealed. “Wine” tours in Transcarpathian and Odessa regions of Ukraine are described. Key words: “wine” variety of gastronomic tours as direction of recreational activities.