Literatura académica sobre el tema "Museum interventions"
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Artículos de revistas sobre el tema "Museum interventions"
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Armstrong, Eleanor Sophie. "Towards Queer Tours in Science and Technology Museums". Museum and Society 20, n.º 2 (1 de noviembre de 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, n.º 02 (19 de junio de 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, n.º 2 (marzo de 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, n.º 2 (8 de junio de 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 y Haley Pauls. "Representations of Surveillance and Perceptual Technologies at Military Museums". Surveillance & Society 19, n.º 1 (5 de marzo de 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 y CL Quinan. "Queering and decolonising the museum: ‘In the Presence of Absence’ exhibition at the Stedelijk Museum". Memory Studies 16, n.º 1 (febrero de 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, n.º 42 (3 de enero de 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 y Jennifer Fisher. "Shuffling the Collection: Card Decks as Museum Interventions". Muséologies: Les cahiers d'études supérieures 9, n.º 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, n.º 2 (julio de 2011): 243–44. http://dx.doi.org/10.2752/175470811x13002771867969.
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Treier, Leonie. "Annotating Colonialism". Museum Anthropology Review 15, n.º 1 (13 de septiembre de 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.
Tesis sobre el tema "Museum interventions"
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Diaz, Ramos Laura. "Feminist curatorial interventions in museums and organizational change : transforming the museum from a feminist perspective". Thesis, University of Leicester, 2017. http://hdl.handle.net/2381/39450.
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This thesis examines the relationship between feminist curatorship and art institutions and explores how feminism challenges and problematizes the museum. This thesis also examines the challenges in changing the structure of institutions: art organizations often respond with resistance to feminism, containing and ghettoizing feminist artists and artworks. This research project proposes that the aim of feminist curatorship is to change institutions, and their structures and hierarchies in a fundamental way. However, feminism’s objective of reorganizing the museum on a structural level has not been sufficiently discussed in feminist scholarship; feminist scholars have not been involved in a critique of art institutions or a theoretical analysis of the museum. On the contrary, feminist scholarship has focused on the criticism of institutions for the underrepresentation of women artists, on the production and display of women’s or feminist work and on adding more women artists to the museum. Thus, in this thesis I propose a redefinition of feminist curatorial practices as a broad strategy and an intervention whose objective is the museum’s reform. I propose that feminist curatorship should not simply focus on installing feminist art and curating feminist exhibitions but rather should aim at dismantling museological authority, destabilizing power structures and challenging patriarchy and hierarchy.
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Cass, Nicholas. "Contemporary art and heritage : interventions at the Brontë Parsonage Museum". Thesis, University of Leeds, 2015. http://etheses.whiterose.ac.uk/12608/.
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In this thesis I examine the Contemporary Arts Programme at the Brontë Parsonage Museum, with a particular focus on the commissioning and installation of artwork in the period interior of the museum. Reading the work of Paula Rego, Cornelia Parker, Su Blackwell, Charlotte Cory and Catherine Bertola through the literature of heritage and dialogical aesthetics, I seek to map the unexplored liminal territory between the Brontë Parsonage Museum as 'shrine' and the contemporary art installations as 'intervention'. The purpose, through following a trajectory which has its origin in what Malinowski described as 'foreshadowed problems', has been to produce a rich account of the ways in which art and heritage practices intersect. A reflexive ethnographic stance, in which the process has developed through and in, rather than prior to, the research process, acknowledges my own position as artist, museum educator and academic, engaged with a particular site where I have used visitor comment books and semi structured interviews with artists, staff and visitors to produce this account. This stance acknowledges that writing about art is itself a creative practice and should not be seen as existing as an independent, external addition; to be so, it would remain a 'shadow' of that which it describes. Instead, it is my purpose to map the complexity of these installations as points of reference in the broader topology of heritage practice and contemporary art to demonstrate that they are not reducible to the paradigmatic arguments which are used to describe their existence within the museum space. Often characterised as 'social outreach, public relations, economic development and art tourism', I argue it is more productive to consider these 'interventions' as dialogic heritage, both in order to understand their 'affective' role in the process of interpreting the legacy of the Brontës, and to understand ways in which they address visitor experience.
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Berry, Jessica y n/a. "Re:Collections - Collection Motivations and Methodologies as Imagery, Metaphor and Process in Contemporary Art". Griffith University. Queensland College of Art, 2006. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20070327.151934.
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By the 1990's many modes of artwork incorporated the constructs of the museum. Art forms including, 'ethnographic art', 'museum interventions', 'museum fictions' and 'artist museums' were considered to be located in similar realms to each other. These investigations into this emerging 'genre' of collection-art have primarily focussed upon the critique of the public museum and its grand-narratives. This thesis will attempt to recognise that the critique of institutional hierarchical systems is now considered integral to much collection art and extends this enquiry to incorporate private collections which examine the narratives of everyday existence. This paper adopts an interdisciplinary approach to material culture and art criticism in examining everyday objects within contemporary collection-art. In this context, this paper argues that: the investigation of collection motivations (fetish, souvenir and system) as metaphor, process and imagery in conjunction with the mimicking of museology methodologies (classification, order and display) is an effective model for interpreting everyday objects within contemporary collection-art. In formulating this argument, this paper examines the ways in which artists emulate museology methodologies in order to convey cultural significance for everyday objects. This is explored in conjunction with the employment of collection motivations by artists as a device to understand elements of human/object relations. In doing so, it contemplates the convergence between the practices of museums and collection-artists. These issues are explored through the visual and analytic investigations of key artist case studies including: Damien Hirst, Sylvie Fleury, Mike Kelley, Christian Boltanski, On Kawara, Luke Roberts, Jason Rhoades, Karsten Bott and Elizabeth Gower. In doing so, this paper argues that the everyday objects of collection-art can represent a broad range of socio/cultural concerns, so delineating a closer relationship between collection-art and material culture.
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Berry, Jessica. "Re:Collections - Collection Motivations and Methodologies as Imagery, Metaphor and Process in Contemporary Art". Thesis, Griffith University, 2006. http://hdl.handle.net/10072/365478.
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By the 1990's many modes of artwork incorporated the constructs of the museum. Art forms including, 'ethnographic art', 'museum interventions', 'museum fictions' and 'artist museums' were considered to be located in similar realms to each other. These investigations into this emerging 'genre' of collection-art have primarily focussed upon the critique of the public museum and its grand-narratives. This thesis will attempt to recognise that the critique of institutional hierarchical systems is now considered integral to much collection art and extends this enquiry to incorporate private collections which examine the narratives of everyday existence. This paper adopts an interdisciplinary approach to material culture and art criticism in examining everyday objects within contemporary collection-art. In this context, this paper argues that: the investigation of collection motivations (fetish, souvenir and system) as metaphor, process and imagery in conjunction with the mimicking of museology methodologies (classification, order and display) is an effective model for interpreting everyday objects within contemporary collection-art. In formulating this argument, this paper examines the ways in which artists emulate museology methodologies in order to convey cultural significance for everyday objects. This is explored in conjunction with the employment of collection motivations by artists as a device to understand elements of human/object relations. In doing so, it contemplates the convergence between the practices of museums and collection-artists. These issues are explored through the visual and analytic investigations of key artist case studies including: Damien Hirst, Sylvie Fleury, Mike Kelley, Christian Boltanski, On Kawara, Luke Roberts, Jason Rhoades, Karsten Bott and Elizabeth Gower. In doing so, this paper argues that the everyday objects of collection-art can represent a broad range of socio/cultural concerns, so delineating a closer relationship between collection-art and material culture.Thesis (Professional Doctorate)
Doctor of Visual Arts (DVA)
Queensland College of Art
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Stephan, Lina Malta. "Análise das intervenções arquitetônicas nos imóveis tombados do Museu Mariano Procópio, em Juiz de Fora – MG". Universidade Federal de Juiz de Fora, 2015. https://repositorio.ufjf.br/jspui/handle/ufjf/1121.
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O Museu Mariano Procópio é um dos exemplares arquitetônicos e artísticos mais importantes de Juiz de Fora, tendo também seu valor reconhecido tanto em nível estadual quanto nacional. Ao longo de sua história, foram realizadas significativas intervenções arquitetônicas nos prédios tombados, com a intenção de renovar, adequar às necessidades de cada época e solucionar problemas decorrentes das ações do tempo. Porém algumas dessas intervenções foram executadas sem embasamento técnico, chegando a comprometer a estrutura física e artística do bem tombado. Por se tratar de um bem tombado, faz-se necessário intervir de maneira a garantir a integridade física, porém, esse tipo de ação é recurso último a ser realizado, quando os procedimentos conservativos já não são suficientes para garantir a perpetuação do bem ao longo do tempo. O que se propõe com este trabalho é analisar as intervenções arquitetônicas realizadas nos prédios históricos Villa Ferreira Lage e Prédio Mariano Procópio e os projetos desenvolvidos para a restauração e recuperação de elementos estruturais, tomando como base os principais conceitos que envolvem a conservação e a restauração do patrimônio cultural; as discussões contemporâneas sobre o assunto e os principais problemas técnicos e teóricos. Pretende-se com esta pesquisa contribuir de forma crítica e histórica para futuros projetos e futuras intervenções.
The Mariano Procopio Museum is one of the most important architectural and artistic examples of Juiz de Fora, also with recognized value to both state and national level. Throughout its history were carried out significant architectural interventions in listed buildings, with the intention to renew, suit the needs of each era and solving problems resulting from time shares. But some of these interventions were performed without technical background and can affect the physical and artistic structure and tumbled. When it is a well fallen, it is necessary to intervene in order to guarantee the physical integrity, but such action is a last resort to be performed when conservative procedures are no longer sufficient to ensure the perpetuation of well over time . What is proposed in this paper is to analyze the architectural interventions in historic buildings Villa Ferreira Lage and building Mariano Procopio and the projects developed for the restoration and recovery of structural elements, based on the key concepts that involve the conservation and restoration of cultural heritage, contemporary discussions on the subject and the main technical and theoretical problems. The aim of this research contribute to critical and historical way for future projects and future interventions.
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Summerfield, Angela. "Interventions : twentieth-century art collection schemes and their impact on local authority art gallery and museum collections of twentieth-century British art in Britain". Thesis, City, University of London, 2007. http://openaccess.city.ac.uk/17420/.
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In the twentieth century, collecting became a core activity of local authority art galleries and museums in Britain. A key feature of these art collections was the representation of Twentieth Century British Art. The aim of this study is to examine, for the first time, this development as abroad cultural phenomenon, through the distinctive roles played by central government-funded, and independent national and provincial art collection schemes. The central government-funded art collection schemes are the V. & A Purchase Grant Fund, War Artists' Advisory Committee and the National Heritage Memorial Fund; and the national loan and exhibition schemes offered by the Tate Gallery and the Arts Council. Independent schemes are more numerous and varied. These were administered by the National Art Collections Fund (now the Art Fund), Contemporary Art Society, Scottish Modem Arts Association, Contemporary Art Society for Wales, Henry Moore Foundation and Gulbenkian Foundation. In addition, there were the independent national loan and exhibition schemes offered by the Museums Association, Peter Stuyvesant Foundation and Alistair McAlpine and provincial schemes based in Manchester (Charles Rutherston Loan Scheme), Cardiff (National Museum of Wales Loan Scheme), Liverpool ('John Moores' competition-exhibitions) and Bradford ('International Print Biennale' competition-exhibitions). Given the geographical coverage, historical scope and focus of this study, a substantial body of published and unpublished literature was consulted. The wide-range of sources examined included institutional histories, biographies and studies of Twentieth-Century British Art; permanent collection and exhibition catalogues; newspaper, journal and magazine articles, curatorial records and correspondence; institutional records and correspondence; archival material and reports; and . correspondence and interviews. This entailed the discovery of much new material and the collation of substantial random data held by the Contemporary Art Society and the Gulbenkian Foundation This research seeks to show that local authority collecting of Twentieth-Century British Art was part of a nation-wide cultural pattern determined by certain ideas, theories and policies. Within this context, Section 1 identifies and discusses the nature and purpose of public art galleries, muscums and their art collections from 1845-1945. This momentous period in the museum movement in Britain, it is argued, sustained and generated ideas, theories and policies which encompassed national institutional hierarchies and their models of collecting, high art aesthetic standards and scholarship linked connoisseurship; the organic structure of museums; and multifaceted education. It concludes that during this formative period, an enduring cultural framework was established, from which emerged key collecting impetuses which are art history, patronage and heritage. Sections 2 and 3 examine the roles played by central government-funded and independent schemes, as a response to these issues, which also engendered and reinforced the collecting of specific types of Twentieth Century British Art. Section'4 surveys the local authority collections, which participated in the schemes, and concludes that 1957-79 was a crucial period in post-war collecting, which was both facilitated by the emergence of a considerable and dynamic network of commercial art galleries, and enhanced by national and provincial measures to decentralize the arts. A principal conclusion is that the future of modem (twentieth-century) and contemporary (twenty-first- century) British art collecting, by local authority art galleries and museums, lies in its perception as part of a collective cultural enterprise, in which the intervention of collection schemes will, as in the past, play a fundamental role. Finally, there is also a strong argument for provincial institutions to feed into a national debate as to what is selected to represent both modem and contemporary British art practice in public collections in general.
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Kim, Seong Eun. "Artists' intervention in 'universal' museums as traced through the Victoria and Albert Museum, the British Museum and the Pitt Rivers Museum". Thesis, University of Oxford, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.508580.
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Foy, Elizabeth. "Spectacle: Framing the Midwestern Art Community". University of Cincinnati / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1283356889.
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Johnson, Joana. "Psychosocial interventions and museums". Thesis, Canterbury Christ Church University, 2015. http://create.canterbury.ac.uk/13809/.
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Previous research has shown that people with dementia and carers derive wellbeing-related benefits from group art-viewing, and that facilitated museum object handling is effective in increasing subjective wellbeing for people with a range of health conditions. The present study aimed to compare the impact of these activities on subjective wellbeing of people with dementia and carers. A quasi-experimental crossover design was used. People with early to middle stage dementia and their respective carers (N = 66) attended a museum session in small groups where they participated in three activities: museum object handling, a refreshment break and art-viewing. Visual analogue scales were used to rate subjective wellbeing pre and post object-handling and art-viewing. Mixed-design ANOVAs indicated wellbeing significantly increased for people with dementia and carers during the museum session irrespective of the order in which they participated in object-handling and art-viewing. Analysis of pre and post-condition scores across pooled orders indicated wellbeing significantly increased from object-handling and art-viewing for carers; wellbeing for people with dementia significantly increased from object-handling; the increase from art-viewing was not statistically significant. A refreshment break did not produce significant change in wellbeing for either group. An end-of-intervention questionnaire indicated that experiences of the session were positive. Limitations and directions for future research were discussed. Results provided a rationale for partnership working between museums and healthcare professionals.
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Lange, Andreas. "The Surreal Museum: An Intervention for the Cincinnati Art Museum". Cincinnati, Ohio : University of Cincinnati, 2007. http://www.ohiolink.edu/etd/view.cgi?acc%5Fnum=ucin1179159972.
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Thesis (Master of Architecture)--University of Cincinnati, 2007.Title from electronic theses title page (viewed July 12, 2007). Includes abstract. Keywords: Cincinnati Art Museum; Addition; Intervention; Surrealism; unheimlich; museum; Architecture Includes bibliographic references.
Libros sobre el tema "Museum interventions"
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Artists work in museums: Histories, interventions, subjectivities. Bath: Wunderkammer Press, 2013.
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Waidhofen an der Ybbs (Austria). Kulturamt, ed. Transformation und Kontinuität =: Transformation and continuity : Hans Hollein : Interventionen = interventions. Waidhofen/Ybbs: Kulturamt der Stadt Waidhofen/Ybbs, 2009.
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Kuball, Mischa. No-Place: Eine Intervention im Sprengel Museum Hannover, 31.8. bis 30.10.1994. Hannover: Sprengel Museum, 1994.
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Federle, Helmut. Symbol, Sinn, Struktur: Zwei Räume und eine Intervention in der Sammlung des Museum Folkwang Essen. Essen: Museum Folkwang Essen, 1993.
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Privatising culture: Corporate art intervention since the 1980s. London: Verso, 2002.
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Abdullah, Walid Jumblatt. Islam in a Secular State. NL Amsterdam: Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789463724012.
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The overtly secular state of Singapore has unapologetically maintained an interventionist approach to governance in the realm of religion. Islam is particularly managed by the state. Muslim activists thus have to meticulously navigate these realities – in addition to being a minority community – in order to maximize their influence in the political system. Significantly, Muslim activists are not a monolith: there exists a multitude of political and theological differences amongst them. Islam in a Secular State: Muslim Activism in Singapore analyses the following categories of Muslim activists: Islamic religious scholars (ulama), liberal Muslims, and the more conservative-minded individuals. Due to constricting political realities, many activists attempt to align themselves with the state, and call upon the state to be an arbiter in their disagreements with other factions. Though there are activists who challenge the state, these are by far in the minority, and are typically unable to assert their influence in a sustained manner. The author draws upon his own experiences as a researcher and as someone who was involved in some of the discourses explored in this book.
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Sweetapple, Christopher, ed. The Queer Intersectional in Contemporary Germany. Gießen: Psychosozial-Verlag, 2018. http://dx.doi.org/10.30820/9783837974447.
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Anti-racist and queer politics have tentatively converged in the activist agendas, organizing strategies and political discourses of the radical left all over the world. Pejoratively dismissed as »identity politics«, the significance of this cross-pollination of theorizing and political solidarities has yet to be fully countenanced. Even less well understood, coalitions of anti-racist and queer activisms in western Europe have fashioned durable organizations and creative interventions to combat regnant anti-Muslim and anti-migrant racism within mainstream gay and lesbian culture and institutions, just as the latter consolidates and capitalizes on their uneven inclusions into national and international orders. The essays in this volume represent a small snapshot of writers working at this point of convergence between anti-racist and queer politics and scholarship from the context of Germany. Translated for the first time into English, these four writers and texts provide a compelling introduction to what the introductory essay calls »a Berlin chapter of the Queer Intersectional«, that is, an international justice movement conducted in the key of academic analysis and political speech which takes inspiration from and seeks to synthesize the fruitful concoction of anti-racist, queer, feminist and anti-capitalist traditions, movements and theories. With contributions by Judith Butler, Zülfukar Çetin, Sabine Hark, Daniel Hendrickson, Heinz-Jürgen-Voß, Salih Alexander Wolter and Koray Yılmaz-Günay
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Exhibition Experiments (New Interventions in Art History). Blackwell Publishing, Incorporated, 2007.
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(Editor), Paul Basu y Sharon Macdonald (Editor), eds. Exhibition Experiments (New Interventions in Art History). Blackwell Publishing, Incorporated, 2007.
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Curious Lessons In The Museum The Pedagogic Potential Of Artists Interventions. Ashgate Publishing Group, 2013.
Buscar texto completoCapítulos de libros sobre el tema "Museum interventions"
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Sareen, Siddharth. "Just Low-Carbon Mobility Transitions: A Research-Based Art Exhibition". En Digitisation and Low-Carbon Energy Transitions, 23–27. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-16708-9_2.
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AbstractWhile research on just low-carbon energy transitions is advancing, its manifestation in the cultural domain remains limited. This chapter features analytical and aesthetic interplay by narrating the process and outcome of a co-production process at the intersection of future imaginaries of mobility, salvage frontiers, and energy systems in transformation. It mainframes a rich tapestry of co-produced art by the Rjukan Solarpunk Academy. This accompanied a book workshop convened by the Energy Anthropology Network at the Norwegian Petroleum Museum in Autumn 2021, with images from two exhibitions interspersed in thematic play with nine book chapters. Drawing on the experience of the Just Mobility Transitions Network in Norway, the chapter offers reflective insights on the process through which these research-based, socially engaged art interventions came about.
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Mazzoli, Roberto y Enrica Pessione. "Ancient Textile Deterioration and Restoration: Bio-Cleaning of an Egyptian Shroud Held in the Torino Museum". En Microorganisms in the Deterioration and Preservation of Cultural Heritage, 199–216. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-69411-1_9.
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AbstractAncient textiles are fragile and several factors can affect their integrity. In the present chapter, the main agents of deterioration of old and new textiles, namely physical-chemical (light, oxygen, heat, and humidity) and biological factors as well as human erroneous interventions will be explored. As far as the biological deterioration is considered, the effects of microbial growth, primary and secondary metabolites (acids, solvents, surfactants, pigments) and enzymes (lipases, proteases, and glycosidases) on textile strength and cleanliness will be described in details. The main fungal and bacterial species involved in the damage (textile discoloration, black and green spots, cuts) will be reported. Adhesive application during restoration procedures is discussed to highlight the risk of glue thickening giving rise to dull precipitates on the fabric.The main strategies for oil-stain and glue removal (both animal glue, such as fish collagen, and vegetal glue, i.e. starch) will be described in the paragraph devoted to biorestoration. Finally, a case study concerning an ancient Coptic tunic housed in the Egyptian Museum of Torino, Italy, and biocleaned by means of gellan-immobilized alpha-amylase from Bacillus sp. will be largely discussed by reporting historical data, adhesive characterization, methods for artificial aging of simulated sample and glue removal from the artwork.
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Akhtar, Shabbir. "Pastoral interventions". En The New Testament in Muslim Eyes, 151–78. 1 [edition]. | New York: Routledge, 2018. | Series: Routledge reading the Bible in Islamic context series 2: Routledge, 2018. http://dx.doi.org/10.4324/9781315448282-6.
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Barber, B. Bryan. "Sanctions and Interventions". En Japan's Relations with Muslim Asia, 185–220. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-34280-7_7.
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Ophrat, Hadas. "From the Museum Interior to the Public Space". En Art Intervention in the City, 25–31. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003289579-4.
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Arkannikova, Marina S., Elena Pozdeeva, Lidiya Evseeva y Anna Tanova. "Creative Interventions in Corporate Museums and the Transformation of a Company’s Communication Space". En Technology, Innovation and Creativity in Digital Society, 310–21. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-89708-6_26.
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Zinni, Anthony C. "The “Responsibility to Protect” and the Dangers of Military Intervention in Fragile States". En Secular Nationalism and Citizenship in Muslim Countries, 171–77. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-71204-8_10.
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Ofianto, Siti Fatimah y Tri Zahra Ningsih. "Through Virtual Field Trip Technology Intervention, Can Museums Be a Source of Historical Learning?" En Proceedings of the Unima International Conference on Social Sciences and Humanities (UNICSSH 2022), 1275–83. Paris: Atlantis Press SARL, 2023. http://dx.doi.org/10.2991/978-2-494069-35-0_154.
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Greifenhagen, Franz Volker. "“Little Mosque on the Prairie” and Modern Convivencia: An Intervention into Canadian Muslim Identities". En Muslims and the New Information and Communication Technologies, 129–46. Dordrecht: Springer Netherlands, 2013. http://dx.doi.org/10.1007/978-94-007-7247-2_8.
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Rasiah, Harun. "Shifting Cultural Paradigms in Global Education: Toward Decolonizing Knowledge". En Educational Theory in the 21st Century, 101–17. Singapore: Springer Nature Singapore, 2022. http://dx.doi.org/10.1007/978-981-16-9640-4_5.
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AbstractThis chapter surveys three educational policies that contend with cultural difference: cultural sensitivity, multiculturalism, and interculturality. Liberal paradigms such as these operate on the premise of good faith, in which sincere engagement with cultural differences promotes integration into the wider social order and aids in ameliorating racism and ethnic conflict. Critics, however, challenge policies of discursive inclusion for failing to address structural and systemic inequality, which requires more substantive interventions. The origins of educational inequality can be traced to class relations and coloniality, and therefore it is incumbent to question inherited myths and official histories as well as eurocentric concepts, categories, and methods. Decolonizing approaches provide alternative perspectives on culture that, in challenging existing governmental and social arrangements, seek to re-envision educational systems starting at the foundational level of knowledge construction. This contemporary approach is preceded by a long history of Muslim educationists seeking to promote religiosity through a universal outlook based in equality, expressed in “South-South” linkages predating concepts of the third world and global South. Examining education and culture over the longue durée provides a useful context for contemporary debates that problematize eurocentrism and disparities in educational outcomes.
Actas de conferencias sobre el tema "Museum interventions"
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Melchor, Jose Manuel y Jose Madrid. "DOCUMENTACIÓN Y ANÁLISIS DE PIEZAS ARQUEOLÓGICAS DEL MUSEO DE BURRIANA MEDIANTE EL USO DE RX DIGITAL". En ARQUEOLÓGICA 2.0 - 8th International Congress on Archaeology, Computer Graphics, Cultural Heritage and Innovation. Valencia: Universitat Politècnica València, 2016. http://dx.doi.org/10.4995/arqueologica8.2016.2987.
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This paper is the result of the research conducted on more than 200 archaeological artefacts from the Museum of Burriana as a result of 6 years of scientific collaboration between the Museum and the Instituto Universitario para la Restauración del Patrimonio of the Universitat Politècnica de València. Digital X-rays Technology has been used on these artefacts. This technique has allowed achieving valuable information in different aspects of the artefacts: from its content (in the case of well-preserved specimens) to technical manufacturing, or analysis of evidence of previous restoration interventions. The application of Digital X-ray Technology has shown a number of important benefits; not only at the economic level and data manipulation, but also allowing as data collectors that can be further processed and thereby obtain outcome. These results can be used into different 2D or 3D formats.
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Biagini, Carlo, Francesco Capparelli y Giorgio Verdiani. "BIM DESIGN LEAD FOR RESTORATION OF SHIPWRECK MUSEUM IN KYRENIA CASTLE IN CYPRUS". En ARQUEOLÓGICA 2.0 - 9th International Congress & 3rd GEORES - GEOmatics and pREServation. Editorial Universitat Politécnica de Valéncia: Editorial Universitat Politécnica de Valéncia, 2021. http://dx.doi.org/10.4995/arqueologica9.2021.12081.
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The paper deals with the application of Building Information Modelling (BIM) to the documentation and preservation of Archaeological Heritage. illustrating the implemantation process to a case study. The work process started from the historical analysis tighether with the geometric capturing of the built morphology. A 3D model was created by combining laser scans and a digital photogrammetric survey. To maka all 3D data sets interoperable, it was developed a BIM project execution plan focused on the restoration of Shipwreck Museum in the Kyrenia Castle in Cyprus. The HBIM approach not only allows ti represent the existing historic fabric with an effective visualization but also to lead a complex analysis of designed interventions in various scenarios. All the additional information besides the geometrical data were stored into the HBIM able ti document the manteinance and ti help the future works. It will be illustrated the procedure and the methodology by presenting the outcomes of the research.
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Das, Madhurima y Maria C. Yang. "Design Experiences as Pathways for Embracing Failure". En ASME 2021 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. American Society of Mechanical Engineers, 2021. http://dx.doi.org/10.1115/detc2021-71419.
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Abstract There is a growing movement in engineering and industry for students and practitioners to learn to embrace failure and develop resilience. The design process is naturally full of iteration and failures that can inherently be leveraged as learning opportunities for students. This study establishes a set of failure-related interventions implemented in an introductory design course, and then examines potential links to students’ experiences and attitudes towards failure. These interventions included a failure-themed “speaker seminar” series, a virtual gallery of design mistakes (“mistake museum”), and the introduction of a prototype logger for students to intentionally reflect on each iteration of their own design projects, including what went wrong and what was learned from the iteration. Students found these interventions to be effective in gaining perspective on failure and learning to embrace it. Students’ perceptions of the openness to failure of the class, perceptions of the field of design’s openness to failure, and perceptions of their major’s openness to failure all changed significantly, while their perceptions of their own openness to failure and their academic institution’s openness to failure were unchanged over the duration of the design course. Students also self-reported that the reflective processes of logging prototypes made them feel more comfortable with failure.
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August, Christopher. "Looking for Ishi: Insurgent Movements through the Yahi Landscape". En 2003 Informing Science + IT Education Conference. Informing Science Institute, 2003. http://dx.doi.org/10.28945/2718.
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In 1911 a Yahi man wandered out of the Northern California landscape and into the twentieth century. He was immediately collected and installed at the just opened Anthropology Museum by Alfred Kroeber at the University of California's Parnassus Heights campus. Dedication invitations came from the U.C. Regents led by Phoebe Apperson Hearst. Maintaining the discretion of his indigenous culture this man would not divulge his name. Kroeber named him Ishi, the Yahi word for man. These assembled facts introduce narrative streams that continue to unfold around us. To examine these contingent individuals, events and institutions collectively labeled Ishi myth is to examine our own position, our horizon. Looking for Ishi is a series of interventions and appropriations of Ishi myth involving video installation, looping DVD, encrypted motion images, web work, streaming video, print objects, written and spoken word, and documentation of the author's own insurgent movements through the Yahi landscape. [The following is a summary of an art, writing, and media project in progress.]
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Felli, Marco y Antonello Incerto. "Recovering of an identity: restoration works of the Orsini-Colonna castle in Avezzano, Italy". En FORTMED2020 - Defensive Architecture of the Mediterranean. Valencia: Universitat Politàcnica de València, 2020. http://dx.doi.org/10.4995/fortmed2020.2020.11482.
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The Orsini Colonna castle of Avezzano represents one of the most important historic buildings in the internal area of Abruzzo. Founded at the end of the fifteenth century, on the rests of an older structure, with continuing modification till the sixteenth century, the building had several damages with the earthquake of January thirteenth 1915, which destroyed the entire city Avezzano and the neighborhood, causing more than 30000 victims. After the quake event, the efforts and the works for the preservation didn’t have the time to start, because of the beginning of the world wars; in particular, the castle suffered more damages with the three different bombardments on the city in 1943 and 1944. The first works of recovering and restoration were achieved in 1964 by the Genio Civile of Avezzano, the corps of engineers, with the direction of Tommaso Orlandi; in this intervention, the building had been interested by the recovering of the structures, with the reconstruction of the perimeter walls, also with the purpose of avoiding deterioration and the complete abandonment. The second works were conducted by the architect Alessandro Del Bufalo, who designed the restoration of the entire building, inserting an internal concert hall in the courtyard with a new structure in steel and glass, recovering the castle basement under the towers, and creating a modern art gallery museum in the second level. The works finished in 1994. This paper aims to redefine the historical development of the building, focusing in particular on the restoration interventions of the last century, and their different methods in the efforts of preservation, which approached to the preservation and reconstruction of the building in different ways.
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Ramírez Rivera, Jessica Beatriz. "Prácticas Feministas en Museos y sus Redes Sociales en México: una respuesta ante la pandemia. Feminist Practices in Museums and their Social Networks in Mexico: a response to the pandemic." En Congreso CIMED - I Congreso Internacional de Museos y Estrategias Digitales. Valencia: Universitat Politècnica de València, 2021. http://dx.doi.org/10.4995/cimed21.2021.12631.
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El objetivo de esta comunicación es presentar algunas prácticas feministas que han hecho uso de las tecnologías en los museos de México, así como reflexionar en torno a la soberanía digital, los derechos culturales que se ejercen en las redes sociales y si estos se inscriben en la “internet feminista” desde los museos.En los últimos años, los movimientos feministas en México han tomado relevancia política, en ámbitos públicos y de intervención social. Muchas de ellas, han sido juzgadas negativamente por hacer uso de bienes culturales, lo cual ha desencadenado opiniones polarizadas.Si bien, la postura de los museos mexicanos a este respecto es reservada, existe una apertura a prácticas con perspectiva de género, desde sus investigaciones, oferta cultural y exposiciones temporales. Con las medidas de confinamiento derivadas del COVID-19, quedó claro que las estrategias de los museos para continuar sus actividades, se centraron y volcaron en las Redes Sociales y sus páginas web. Asimismo, se lograron continuar no solo con las prácticas con perspectiva de género que incipientemente se realizaban en estos espacios, si no que se incrementaron los contenidos de corte feminista y de acción política cultural.Entre los ejemplos más notables estuvieron la apertura de nuevos espacios virtuales como lo hizo el Museo Universitario de Arte Contemporáneo, con su Instagram Brillantinas MUAC, en donde se publican diversos materiales feministas desde la cultura y se ínsita al diálogo y la profundización de varios temas con perspectiva de género.Por otro lado, la actividad digital y cultural a raíz de la Conmemoración del Día Internacional para la Eliminación de las Violencias contra las Mujeres, fue adoptada por una gran cantidad de museos desde privados hasta estatales, ya sea con una mención al tema o una actividad o serie de actividades al respecto. Fue un ejercicio que trascendió a los 10 días de activismo y que obtuvo una interesante respuesta tanto negativa como positiva dentro de los públicos.Finalmente, uno de los ejercicios más interesantes que se lograron a pesar de las dificultades por la situación sanitaria, fue la iniciativa “Laboratoria: Mujeres en el Museo” lanzada por el Observatorio Raquel Padilla del Instituto Nacional de Antropología e Historia, que por medio de diversas herramientas digitales, se pudo llevar a cabo un ejercicio feminista y de soberanía digital en la elaboración de prototipos con perspectiva de género y para la prevención de las violencias contra las mujeres.-------- The objective of this communication is to present some feminist practices that have made use of technologies in museums in Mexico, as well as to reflect on digital sovereignty, the cultural rights that are exercised in social networks and if they are registered in the "Feminist internet" from museums.In recent years, feminist movements in Mexico have taken on political relevance, in public spheres and social intervention. Many of them have been judged negatively for making use of cultural property, which has triggered polarized opinions.Although the position of Mexican museums in this regard is reserved, there is an openness to practices with a gender perspective, from their research, cultural offerings and temporary exhibitions. With the confinement measures derived from COVID-19, it was clear that the museums' strategies to continue their activities were focused and turned over to Social Networks and their web pages. Likewise, it was possible to continue not only with the practices with a gender perspective that were incipiently carried out in these spaces, but also the contents of a feminist nature and of cultural political action were increased.Among the most notable examples were the opening of new virtual spaces such as the University Museum of Contemporary Art, with its Instagram Brillantinas MUAC, where various feminist materials from culture are published and the dialogue and the deepening of various issues are encouraged. gender perspective.On the other hand, the digital and cultural activity as a result of the Commemoration of the International Day for the Elimination of Violence against Women, was adopted by a large number of museums from private to state, either with a mention of the subject or an activity or series of activities in this regard. It was an exercise that transcended 10 days of activism and that obtained an interesting negative and positive response from the public.Finally, one of the most interesting exercises that were achieved despite the difficulties due to the health situation, was the initiative "Laboratory: Women in the Museum" launched by the Raquel Padilla Observatory of the National Institute of Anthropology and History, which through various digital tools, it was possible to carry out a feminist exercise and digital sovereignty in the development of prototypes with a gender perspective and for the prevention of violence against women.
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Drossinou-Korea, Maria. "Targeted, individually structured special education and training intervention programs and pedagogical applications in museum". En 7th International e-Conference on Studies in Humanities and Social Sciences. Center for Open Access in Science, Belgrade, 2021. http://dx.doi.org/10.32591/coas.e-conf.07.11107d.
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Anthropocentric museums are “an important place in public debate, creation and questioning ideas” because they can have a positive impact on the lives of underprivileged or marginalized people. They can also strengthen specific communities and contribute to the creation of fairer societies. The science of Museology together with the science of Special Education and Training (SET) support with the Targeted Individual Structured and Integrated Program for Students with Special Educational needs (TISIPfSEN), in children and young people with special educational needs and disabilities (SENDs). The purpose of this work was to study museology applications in accordance with the pedagogical tool TISIPfSEN. The main working hypothesis explored access to theatre and entertainment events, museums and archaeological sites of people with SENDs, which is not always an easy process given that they are a heterogeneous group due to their inherent or acquired specificity. The applications also drew pedagogical materials through the charm of the art of theatre and puppetry. In this context, performances were given free of charge through the Kalamata Experimental Stage to children and young people with SENDs, in the city of Kalamata and Sparta. This project led to voluntary application from students of department of history of University of Peloponnese. The results showed that people’s disability does not always mean impotence. Accessibility to museum programs and theatrical events in modern organized societies is possible. The learning process becomes accessible with the pedagogical tool TISIPfSEN to people with special needs. Necessary conditions, knowledge in the SET and the necessary training of all according to universal design. In conclusion, TISIPfSEN museum pedagogical programs facilitate different social groups in approaching, understanding the differential material culture, with alternative forms of communication and learning, given that heterogeneity in nature is a universal phenomenon.
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Junqueira, Mariana Garcia y Gilberto Sarkis Yunes. "A iluminação artificial como elemento estruturador da paisagem urbana contemporânea". En Seminario Internacional de Investigación en Urbanismo. Barcelona: Facultad de Arquitectura. Universidad de la República, 2015. http://dx.doi.org/10.5821/siiu.6216.
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O artigo aborda o papel da Iluminação Artificial no planejamento urbano, considerando que, entre as diversas leituras possíveis de cidade, esta pode ser incorporada em sua configuração e estruturação como elemento evidenciador do acervo de seus tempos. Entende-se que a apreensão dessa paisagem urbana depende da organização e identificação de seus acervos, adotando-se estratégia de concepção semelhante a de um projeto expográfico museológico. A responsabilidade funcional de permitir a visão noturna encobriu, por muito tempo, outras potencialidades da luz e, foi apenas no final do século XX que mudanças tomaram forma. Buscando requalificar espaços urbanos, diversas intervenções têm sido praticadas, entretanto, sem muitas considerações com relação ao impacto que provocam sobre o contexto urbano. Analisa-se e defende-se o Plano Diretor de Iluminação como instrumento de gestão que adota a base teórica da metodologia francesa, o L’Urbanisme Lumière, pois recomenda o uso das intervenções luminotécnicas considerando a contextualização espacial do projeto. The article discusses the role of artificial lighting in urban planning, considering that, among the various possible readings of the cities, this can be incorporated into your configuration and structure as disclosing element of the collection of their times. It is understood that the seizure of this urban landscape depends on the organization and identification of its collections, adopting design strategy similar to that of a museum expographic project. Functional responsibility to enable night vision shrouded, long, other light potential and it was only in the late twentieth century that changes took shape. Seeking requalify urban spaces, several interventions have been practiced, however, without much consideration about the impact they cause on the urban context. Analyzes and argues the Master Lighting Plan as a management tool that adopts the theoretical basis of French methodology, L'Urbanisme Lumière because it recommends using lighting design interventions considering the spatial context of the project.
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McLoughlin, Marc y Luigina Ciolfi. "Design interventions for open-air museums". En the 2011 annual conference. New York, New York, USA: ACM Press, 2011. http://dx.doi.org/10.1145/1978942.1979019.
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Mosneagu, Mina Adriana. "Conservation and restoration of some icons from the collection of church objects of Agapia Monastery, Neamţ, Romania". En Patrimoniul cultural: cercetare, valorificare, promovare. Institute of Cultural Heritage, Republic of Moldova, 2021. http://dx.doi.org/10.52603/9789975351379.08.
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Agapia Monastery – the remarkable Moldavian monastery painted by Nicolae Grigorescu – has a precious heritage of icons, books and documents, liturgical textiles, goldsmithing. Among these, the main place is occupied by the icons painted in the XV-XIX centuries, either in post-Byzantine style, in tempera technique, or in realistic style, in oil technique. Some icons from the XVIII-XIX centuries have been preserved and restored in the Icon Restoration laboratory of the Faculty of Theology in Iaşi. In time, the icons kept in the storage of the Monastery Museum have suffered of degradation caused both by the deficient author’s technique and by the exogenous, biotic and abiotic factors. The wooden supports of some icons were severely degraded by the attack of xylophagous insects, being affected both the mechanical resistance and the appearance of the wood. The numerous galleries immediately below the pictorial layer determined its deformation. The pictorial layer of some icons was degraded mainly due to the errors of the painters’ work technique: very thin and fragile preparation layer or excessive binder, which led to the formation of accentuated early cracks. The appearance of the icons was affected either by the chromatic alteration of the protective varnish, or by the deposits of dust and soot in the atmosphere. The interventions for the conservation of the icons consisted in biociding the painting support and in consolidating the pictorial layer detached from the wooden support. The restoration of the icons aimed at removing the dirt deposits from the painting by physico-chemical means, filling the gaps in the icons and their chromatic integration, with easily reversible materials. After conservation and restoration, the icons returned to the Agapia Monastery for use.
Informes sobre el tema "Museum interventions"
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Nelson, Gena, Hannah Carter y Peter Boedeker. Early Math Interventions in Informal Learning Settings Coding Protocol. Boise State University, Albertsons Library, noviembre de 2021. http://dx.doi.org/10.18122/sped141.boisestate.
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The purpose of document is to provide readers with the coding protocol that authors used to code experimental and quasi-experimental early mathematics intervention studies conducted in informal learning environments. The studies were conducted in homes and in museums with caregivers as intervention agents and included children between the ages of 3,0 and 8,11 years. The coding protocol includes more than 200 variables related to basic study information, participant sample size and demographics, methodological information, intervention information, mathematics content information, the control/comparison condition, outcome measures, and results and effect sizes. The coding protocol was developed for the purpose of conducting a meta-analysis; results of the meta-analysis is pending. The data set associated with this coding protocol will be available to the public at the conclusion of the grant (early 2024).
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Holland, Jeremy. Creating Spaces to Take Action on Violence Against Women and Girls in the Philippines: Integrated Impact Evaluation Report. Oxfam GB, noviembre de 2022. http://dx.doi.org/10.21201/2022.9899.
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The Creating Spaces project was a five-year, multi-country initiative aimed at reducing violence against women and girls and the prevalence of child, early and forced marriage in Bangladesh, India, Indonesia, Nepal, Pakistan and the Philippines. This evaluation focuses on tackling social norm change in the Muslim Mindanao region of the Philippines, working closely with the organizations AMWA, UnyPhil, PBSP and PLCPD. It found that strategies were effectively combined at community level to begin to shift local behaviours, while local change processes were linked to higher-level advocacy for progressive legislative and policy change at national and regional levels. Creating Spaces has successfully started to move the dial, proving change is possible with concerted, strategic and sustained effort. This evaluation provides key recommendations to guide future interventions to build on these successes, and create the basis for future social transformation around violence against women and girls and child, early and forced marriage. Find out more by reading the evaluation brief or the full report.