Bibliografie tematiche / Museum of Printing History

Letteratura scientifica selezionata sul tema "Museum of Printing History"

Autore: Grafiati

Pubblicato: 26 luglio 2024

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Articoli di riviste sul tema "Museum of Printing History"

Clary, Katie Stringer, e Carolyn Dillian. "Printing the Past". Public Historian 43, n. 2 (1 maggio 2021): 41–62. http://dx.doi.org/10.1525/tph.2021.43.2.41.

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This article describes and evaluates a 3-D scanned and printed exhibit created by students and faculty in collaboration with a local museum to increase accessibility to archaeological and historical collections for audiences with visual disabilities, neurodivergence, and sensory processing differences. 3-D technologies allowed for the creation of a hands-on exhibit, accompanied by a variety of accessible solutions, such as audio, video, and braille, allowing audiences to explore reproductions of artifacts through touch. Surveys of museum attendees and students who participated in the project revealed that the tactile exhibit and design experience were extremely positive. As museums and public historians strive for universal design and access in programs, this technology provides another opportunity for engagement. The authors explain methods and applications for public historians, museums, and outreach.

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Lipson, Hod, Francis C. Moon, Jimmy Hai e Carlo Paventi. "3-D Printing the History of Mechanisms". Journal of Mechanical Design 127, n. 5 (17 ottobre 2004): 1029–33. http://dx.doi.org/10.1115/1.1902999.

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Physical models of machines have played an important role in the history of engineering for teaching, analyzing, and exploring mechanical concepts. Many of these models have been replaced today by computational representations, but new rapid-prototyping (RP) technologies are now allowing reintroduction of physical models as an intuitive way to demonstrate mechanical concepts. This paper reports on the use of RP to document, preserve, reproduce, and share in three dimensions, historic machines, and mechanisms. We have reproduced several preassembled, fully functional historic mechanisms from the Cornell Collection of Reuleaux Kinematic Models, and made these available as part of a new online museum of mechanism: Not only can visitors read descriptions, view pictures and videos, and interact with simulations of machines, but they can now also download and 3D-print their own physical functional replicas. We expect that this new form of “physical” preservation will become prevalent in future archives.

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Kepin, Dmytro. "The editions on historical and natural sciences 1923 year as a source of formation of Ukrainian museum work". Вісник Книжкової палати, n. 2 (22 febbraio 2024): 38–45. http://dx.doi.org/10.36273/2076-9555.2024.2(331).38-45.

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The article analyzes the books of 1923 on history and natural history of museum orientation, which are stored in the State Printing Archive of the Book Chamber of Ukraine. In total, 18 books have been identified, which are divided into the following types: scientific (2), popular science (4), popular (1), educational and educational-methodical (8), reference (3). According to the thematic orientation, there are 7 books on history, 5 — on natural science, 3 — on reference, 2 — on museum work, 1 — on book monumentology. The books of G. Levin-Dorsch and G. Kunov, M. Zieber, B. Vipper, M. Yavorsky, A. Winterhalter, M. Levin, B. Komarov, Iv. Trojanovski, O. Nikol'sky, P. Tutkovsky, V. Hnatyuk, F. Schmit are analyzed. The processed editions make it possible to introduce unknown and little-known publications on museum studies of 1923 into scientific circulation, to reveal the "white spots" in the activities of specialists in museum pedagogy.

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Datta, Ann. "Our beautiful world: art at the Natural History Museum, London". Art Libraries Journal 30, n. 1 (2005): 15–21. http://dx.doi.org/10.1017/s0307472200013808.

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Behind the scenes at the Natural History Museum is the world’s largest natural history library, with approximately one million printed books. But the crown jewels are the Library’s art collections, depicting rocks, minerals, fossils, plants and animals, and dating from the 17th to the 21st centuries. Its more than half a million individual items make this the largest collection of natural history art not only in the UK but in the world. Commercial exploitation of the collection has mostly been by publishers of books and journals, but others have seen opportunities for writing books about the illustrations, putting the art in exhibitions, printing the images on decorative items, and other marketing ventures. In 2003 the Library launched a website designed to promote the art collections further and make them accessible to a global audience.

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Youst, Lionel. "History by Headline: Browsing the Newspaper Repository of the Marshfield Sun Printing Museum". Oregon Historical Quarterly 119, n. 1 (2018): 120–23. http://dx.doi.org/10.1353/ohq.2018.0050.

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Willis, John. "Museum of Printing History Elizabeth P. Griffin Charles Criner Kelly Papinchhak Kilby Hoskins". Public Historian 25, n. 4 (ottobre 2003): 110–12. http://dx.doi.org/10.2307/3379274.

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Kowalski, Micaela. ":Early Colour Printing: German Renaissance Woodcuts at the British Museum". Sixteenth Century Journal 53, n. 3 (1 settembre 2022): 841–44. http://dx.doi.org/10.1086/scj5303133.

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Łubocki, Jakub Maciej. "Pismo jako obiekt muzealny (na przykładzie zbiorów Działu Sztuki Wydawniczej Muzeum Narodowego we Wrocławiu)". Z Badań nad Książką i Księgozbiorami Historycznymi 16, n. 2 (29 luglio 2022): 215–37. http://dx.doi.org/10.33077/uw.25448730.zbkh.2022.695.

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Writing systems and typefaces embodimented in any form (letter sketches, designs of typefaces, resources of sorts and matrices, prints and manuscripts, printing specimens, type foundries catalogues, typefaces specimens) are objects worth to become museum objects. Based on these, the museum will generate knowledge about script and lettering through: giving insight into conceptual work on designs of typefaces, acknowledging about history of development writing systems and typefaces, storaging of materials for the future correct digitization of the typeface, saving typefaces and writing systems from total annihilation. Hence: the catalogue of basic types of artefacts relevant to process of embodiment the script was present; the benefits that can result from the deliberate and conscious collecting of this type of artefacts as museum objects was outlined; the importance of the museum collection in research on script, typefaces and writing systems and its preservation as an element of heritage was indicated.

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Antanavičius, Darius. "Plantinus ubique plantinus: nauji faktai Mikalojaus Kristupo Radvilos Našlaitėlio „kelionės į Jeruzalę“ 1601 ir 1614 m. leidimų istorijai". Lietuvos istorijos metraštis 2023, n. 1 (1 luglio 2023): 35–84. http://dx.doi.org/10.33918/25386549-202301002.

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The article presents a unique copy of the 1601 edition of Hierosolymitana peregrinatio (‘The Journey to Jerusalem’) by Nicholas Christopher Radziwiłł the Orphan currently preserved at the library of the Lithuanian Institute of History in Vilnius. Specific corrections left in margine prove the proofreading nature of this copy. It is asserted that the second Latin edition of the ‘Journey’ printed in Antwerp by the Plantin printing house in 1614 was prepared and published on the basis of the aforementioned copy. Unpublished letters stored in the archival collections of the Plantin-Moretus Museum reveal a completely unknown history of the printing process of the second Latin edition of the ‘Journey’. All these letters are published in the appendix to the article in their original language (Latin) with comments and translation into Lithuanian.

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Reddy, David P., Angela V. Klaus, Renée Recker e William K. Barnett. "Web Site Development at a Museum Microscopy Laboratory". Microscopy Today 7, n. 3 (aprile 1999): 12–15. http://dx.doi.org/10.1017/s1551929500064051.

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The Interdepartmental Laboratories (IDL) is the core microscopy and scientific visualization research facility for the American Museum of Natural History (AMNH), Its purpose is to operate and maintain facilities that have broad application within the Museum and would be either too costly for the individual research departments to maintain or which would be underused in a typical department setting, The IDL currently maintains two state-of-the-art analytical/imaging microscopes, as well as resources for visualization, webaccessible databases, and networked image scanning, archiving, and printing. The IDL is overseen by Bill Barnett, the IDL Director, and staffed by Angela Klaus, the Laboratory Manager, and David Reddy, the Scientific Visualization and Informatics Manager.

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Tesi sul tema "Museum of Printing History"

Sorvetti, Laura. "California Printing History and the Shakespeare Press Museum". DigitalCommons@CalPoly, 2010. https://digitalcommons.calpoly.edu/theses/438.

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The Shakespeare Press Museum, a working letterpress museum at Cal Poly, San Luis Obispo, houses letterpress printing presses and equipment dating from the 1850s to the 1970s. Although the museum has been at Cal Poly since the 1960s, little work was completed on the historical context of the collections or to address the archival and educational frameworks of the museum’s collection. This thesis has three purposes: to place the museum’s collections in their nineteenth-century California historical context; to provide the first in-depth examination of the museum’s original founder, Charles “Shakespeare” Palmer; and to create an archival reference and program for the museum’s collections in their physical and digital form.

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De, Pasquale Andrea. "Jean-Baptiste Bodoni, imprimeur d’Europe". Thesis, Paris, EPHE, 2015. http://www.theses.fr/2015EPHE4051.

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Jean-Baptiste Bodoni (1740-1813) est l’un des imprimeurs les plus célèbres du monde occidental et, pour l’Italie, le dernier représentant de la « Typographie d’Ancien Régime » en même temps que le premier des « modernes ». Il a en effet été le dernier capable de dessiner, graver et fondre lui-même ses caractères, tout en exerçant conjointement l’imprimerie et la librairie. Après lui, l’industrialisation du livre commence : les activités qu'il réunissait dans son entreprise, selon la tradition remontant à la naissance de l’imprimerie, se scindèrent sans retour, tandis que la production imprimée s’adressait désormais à la fois à des marchés plus vastes et à des publics différents et plus larges. Les tirages de masse s'accompagnèrent d'une baisse de la qualité et d'une plus grande banalité du style. Grâce à Angelo Pezzana, directeur de la Bibliothèque de Parme au XIXème siècle, les outils utilisés par Bodoni pour fabriquer les caractères, mais aussi ses archives et une collection complète des volumes produits par son atelier, ont été conservés jusqu’à nos jours. Il est donc possible de reconstruire la vie de Bodoni, en insistant notamment sur ses rapports avec les cours d’Europe et avec le marché de la bibliophilie, sur les conditions et les pratiques de travail dans la fonderie de caractères et dans l’imprimerie, et sur la genèse des ouvrages les plus célèbres. La fortune qui a été la sienne remonte aux décennies qui suivent sa disparition et se prolonge jusqu’à aujourd’hui, où les caractères Bodoni sont utilisés dans les graphismes publicitaires et dans les revues, ainsi que pour les marques de mode. Ils sont, toujours, des symboles de l’élégance, de la simplicité, et en même temps du luxe et de l’italianité
Giambattista Bodoni (1740-1813) is one of the most famous printers of the western world and, for Italy, the last representative of the "Ancien Régime Typography" at the same time as the first "modern". It has indeed been able to make his own characters while exercising together printing and book trade. After him, the industrialization of the book begins: the activities he met in his company, according to tradition dating back to the birth of printing, divided without return, while print production is now addressed to both larger markets and different and wider audiences. Mass prints were accompanied by a decline in quality and of greater banality of style. With Angelo Pezzana, director of the Library of Parma in the nineteenth century, the tools used by Bodoni for making type, but also its archives and a complete collection of volumes produced by his typography, have been preserved until today. It is therefore possible to reconstruct Bodoni of life, with particular emphasis on its relations with the courts of Europe and the market for bibliophile, on the conditions and labor practices in the foundry of characters and in printing, and the genesis of the most famous works. His fortune follow his death and continues until today, where Bodoni characters are used in graphics and for publications and magazines, as well as for fashion brands. They are always, symbols of elegance, simplicity, and at the same time of the luxury and of the Italian style

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Choi, Kam-lung Franky, e 蔡錦龍. "Macau history museum complex". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1996. http://hub.hku.hk/bib/B31982670.

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Choi, Kam-lung Franky. "Macau history museum complex". Hong Kong : University of Hong Kong, 1996. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25948684.

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Jokinen, Heidi. "Turku Museum of History". Thesis, KTH, Arkitektur, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-262843.

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In 2017 Finland celebrated its 100 years of independence. In honour of this event the City of Turku, Finland’s oldest city and former capital, decided to gift Finland a History Museum to commemorate the event. This project’s purpose is to propose a location, a program and a building for the museum. I have chosen a location in Turku Harbour across the street from Turku Castle, a fortress that has been on the site since 13th century. Today the Castle functions as a museum and is the city’s most popular museum with about 140 000 visitors annually. On the south end of the site there are four log warehouses belonging to the Castle from 1880’s as well as in the north end a 1930’s brick building that also functions as a warehouse. The Museums brings together not only the history of Finland and that of the City of Turku, but also the different buildings on the site. The new building is in the middle of the site, it brings together the surrounding buildings by parasiting itself to the existing buildings and in that way connecting them.

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Chan, Fat-tim, e 陳發添. "Hong Kong natural history museum". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1996. http://hub.hku.hk/bib/B31982761.

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Chan, Fat-tim. "Hong Kong natural history museum". Hong Kong : University of Hong Kong, 1996. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25948398.

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Balcerek, Katherine Emma. "The Whitney Museum of American Art gender, museum display, and modernism /". NCSU, 2010. http://www.lib.ncsu.edu/theses/available/etd-04012010-131832/.

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The Whitney Museum of American Art founded in 1931 by Gertrude Vanderbilt Whitney offers insight into the role of women patrons in the American art world. Furthermore, the Museumâs contemporary identification with the Museum of Modern Art obscures its unique history and different founding principles. This paper explores the foundation of the Whitney Museum in roughly the first two decades of its existence from 1931 to 1953 to examine how Whitney and the Museumâs first director, Juliana Force, negotiated gender and class ideology and the Modernist discourse to found the first museum solely devoted to American art. Gertrude Vanderbilt Whitney and Juliana Force operated the Whitney Museum based on three main principles: the primacy of the individual artist, the promotion of American art, and the importance of an informal museum space. The Whitney Museum of American Art, staked Whitney and Forceâs claim in a male dominated art world. The Museum was a complex space, representing a modern feminine viewpoint that embraced inclusivity and elitism, masculine and feminine, Modernism and conservatism. Whitney and Force wanted the Whitney Museum to be less formal and more inclusive, so they designed it like a middle class home with intimate galleries, furniture, carpets, and curtains. However, the decor hindered the Whitney Museumâs influence on the modern art canon because critics perceived the Museum as feminine and personal, Modernismâs rejection of the feminine and realism that ultimately led to the exclusion of the Whitney Museumâs collection of realist art from the modern art historical canon.

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Cash, Derek. "Access to museum culture : the British Museum from 1753 to 1836". Thesis, University of Oxford, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.361866.

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Bennett, Hunter Alane. "Help, Museum Needed| Building a Digital Museum for Lincoln County, Arkansas". Thesis, University of Arkansas at Little Rock, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10812452.

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Lincoln County, Arkansas, is a small county in the southeastern sector of Arkansas that lacks a museum dedicated to its history. With Lincoln County lacking the funds to purchase/build a physical space that is on-par with current museum standards, a museum building is an impossibility at this point. Yet, the older generations that are full of knowledge about the history of the county are fading away. To preserve past and future history, a new spin on a museum had to be accomplished. The spin was creating a digital museum. This study goes in-depth on the creation of a digital database and museum for Lincoln County using Omeka.net and WordPress.com according to Dublin Core and museum standards. The websites showcase a broad and general history of Lincoln County that will hopefully become a foundation for the creation of a physical museum.

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Libri sul tema "Museum of Printing History"

(Tokyo, Japan) Insatsu Hakubutsukan. Printing Museum guidebook. Tokyo]: [Toppan Print. Co., Printing Museum], 2003.

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Adolf, Halbey Hans, a cura di. Museum der Bücher. Dortmund: Harenberg, 1986.

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Wis.) Hamilton Wood Type & Printing Museum (Two Rivers. Hamilton Wood Type and Printing Museum: Preserving history for a new generation. Saint Paul, Minn: Blinc Pub., 2008.

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Museum, Plantin-Moretus. Musée Plantin-Moretus, Anvers. [Bruxelles]: Ministère de la Communauté flamande, 1989.

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Nave, Francine de. The Plantin-Moretus house-workshop-museum complex : Unesco World Heritage: A concise building history of the only fully fitted and furnished 16th-century printers and publishers business and residential premises in the world, located on the Vrijdagmarkt in Antwerp. Antwerpen: Plantin-Moretus Museum/Print Room, 2005.

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Museum, Plantin-Moretus. Het Museum Plantin-Moretus te Antwerpen. Antwerpen: Het Museum, 1985.

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Adolf, Halbey Hans, Liepe Jürgen, Gutenberg-Museum Mainz e Stadtbibliothek Mainz (Rhineland-Palatinate Germany), a cura di. Schrift, Druck, Buch im Gutenberg-Museum. Mainz am Rhein: P.v. Zabern, 1985.

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Moss, Gillian. Printed textiles 1760-1860, in the collection of the Cooper-Hewitt Museum, the Smithsonian Institutionʼs National Museum of Design. New York, NY: Cooper-Hewitt Museum, 1987.

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Harris, Elizabeth M. The boy and his press: An exhibition in the Hall of Graphic Arts, National Museum of American History, Smithsonian Institution, 1992. Washington D.C: Smithsonian Institution, 1992.

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(Korea), Kungnip Minsok Pangmulgwan. Inswae munhwa ŭi kkot kop'anhwa: Myŏngjusa Kop'anhwa Pangmulgwan, Kungnip Minsok Pangmulgwan kongdong kihoekchŏn = The blossom of print culture traditional woodblock printing : co-exhibition of The Museum of Ancient Asian Woodblock Prints and The National Folk Museum of Korea. Wŏnju-si: Myŏngjusa Kop'anhwa Pangmulgwan, 2015.

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Capitoli di libri sul tema "Museum of Printing History"

Yakubovych, Mykhaylo. "4. The King Fahd Complex for the Printing of the Qur’an". In The Kingdom and the Qur’an, 89–146. Cambridge, UK: Open Book Publishers, 2024. http://dx.doi.org/10.11647/obp.0381.04.

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Chapter Four, ‘The King Fahd Complex for the Printing of the Qur’an: A Turning Point in the History of Qur’an Translations’, discusses a unique phenomenon in twentieth-century Muslim intellectual life: the creation of a special institution (in 1984) for the production, revision, and publication of translations. While a significant proportion of the translations published by the KFGQPC are merely revised editions of earlier works, the organisation has also produced more than fifty newly-prepared translations, some of which have become extremely influential in various parts of the Muslim world. Remaining a leading international actor in the field, the KFGQPC has become the gold standard for many Salafi readers of the translations, as well as a broad range of Sunni audiences, with its own set of regulations and requirements for its translations, in terms of both their content and formal features.

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Loubere, Philip A. "Printing". In A History of Communication Technology, 65–97. New York, NY : Routledge, 2021.: Routledge, 2021. http://dx.doi.org/10.4324/9780429265723-6.

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Loubere, Philip A. "Industrial printing". In A History of Communication Technology, 117–51. New York, NY : Routledge, 2021.: Routledge, 2021. http://dx.doi.org/10.4324/9780429265723-8.

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Esdaile, Arundell. "Bond, Principal Librarian: Printing the General Catalogue (1879–88)". In The British Museum Library, 132–40. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003228585-7.

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Mumford, Lewis. "The Invention of Printing". In Communication in History, 72–76. 8^a ed. New York: Routledge, 2023. http://dx.doi.org/10.4324/9781003250463-12.

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Mumford, Lewis. "The Invention of Printing". In Communication in History, 85–89. Seventh edition. | New York : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315189840-13.

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Yusoff, Kathryn. "Museums of Non-Natural History". In Edition Museum, 77–82. Bielefeld, Germany: transcript Verlag, 2023. http://dx.doi.org/10.14361/9783839468487-007.

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Peed, Emily, e Newton Lee. "3D Printing, History of". In Encyclopedia of Computer Graphics and Games, 1–8. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-08234-9_279-1.

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Peed, Emily, e Newton Lee. "3D Printing, History of". In Encyclopedia of Computer Graphics and Games, 26–33. Cham: Springer International Publishing, 2024. http://dx.doi.org/10.1007/978-3-031-23161-2_279.

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Atti di convegni sul tema "Museum of Printing History"

Neff, Randall. "Computer history museum". In 2008 IEEE Hot Chips 20 Symposium (HCS). IEEE, 2008. http://dx.doi.org/10.1109/hotchips.2008.7476528.

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Trustee, John Mashey. "Computer history museum". In 2005 IEEE Hot Chips 17 Symposium (HCS). IEEE, 2005. http://dx.doi.org/10.1109/hotchips.2005.7476575.

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Koreneva, A. Yu. "Museum: A Timeless Educator". In Pedagogical Education: History, Present Time, Perspectives. European Publisher, 2020. http://dx.doi.org/10.15405/epsbs.2020.08.02.43.

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Maryati, Tuty, Luh Putu Sri Ariyani e Nengah Bawa Atmadja. "Museum Based Learning : Museum-Based History Learning (Study at Beleleng Museum, Singaraja, Bali)". In Proceedings of the 5th International Conference on Law, Social Sciences and Education, ICLSSE 2023, 1st June 2023, Singaraja, Bali, Indonesia. EAI, 2023. http://dx.doi.org/10.4108/eai.1-6-2023.2341414.

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Rosemann, Eric, e Peter Korian. "National Museum of American Jewish History". In ACM SIGGRAPH 2003 video review. New York, New York, USA: ACM Press, 2003. http://dx.doi.org/10.1145/1006114.1006123.

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Cignoni, Giovanni Antonio, e Sergei Prokhorov. "Museum of One Computer". In 2021 7th IEEE History of Electrotechnology Conference (HISTELCON). IEEE, 2021. http://dx.doi.org/10.1109/histelcon52394.2021.9787323.

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Kitov, Vladimir, Alexander Nitusov e Edward Proydakov. "Russian Virtual Museum of the IT History". In 2018 International Conference on Engineering Technologies and Computer Science (EnT). IEEE, 2018. http://dx.doi.org/10.1109/ent.2018.00015.

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Lipps, Jere H. "THE ORANGE COUNTY DISPERSED NATURAL HISTORY MUSEUM". In 112th Annual GSA Cordilleran Section Meeting. Geological Society of America, 2016. http://dx.doi.org/10.1130/abs/2016cd-274568.

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Marshall, David, Laura Hobbs, Hannah Bird e Charlotte Bird. "THE VIRTUAL NATURAL HISTORY MUSEUM: PLACING DIGITIZED COLLECTIONS BACK WITHIN A MUSEUM CONTEXT". In GSA 2020 Connects Online. Geological Society of America, 2020. http://dx.doi.org/10.1130/abs/2020am-351284.

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Вертяшкина, Анастасия Валентиновна, e Андрей Анатольевич Ярцев. "MUSEUM COMPLEX “FRIEDLAND GATE”: HISTORY OF 20 YEARS OF MUSEUM IFICATION OF FORTIFICATIONS". In Международная научно-практическая конференция «Музеефикация фортификационных сооружений. проблемы и пути их решения». Crossref, 2023. http://dx.doi.org/10.54016/svitok.2023.22.91.001.

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Статья посвящена процессу музеефикации Фридландских ворот Кенигсбергской крепости. Задачей любой музеефикации является установление, раскрытие и сохранение исторической, научной, культурной, воспитательной, художественной, эстетической значимости объекта. За 20 лет прошедших с момента придания Фридландским воротам статуса музея было решено множество проблем. При этом в его состав были включены близлежащие крепостные постройки, что позволило увеличить объем экспозиционного пространства и рабочей территории. На сегодняшний день комплекс представляет ценность и как памятник фортификационного искусства и как пример реконструкции и приспособления к современным потребностям. Бывший некогда фортификационным объект стал служить мирным целям. The article is devoted to the process of museumification of the Friedland Gate of the Königsberg Fortress. The task of any museumification is to establish, disclose and preserve the historical, scientific, cultural, educational, artistic, aesthetic significance of the object. In the 20 years that have passed since the Friedland Gate was given the status of a museum, many problems have been solved. At the same time, nearby fortifications were included in its composition, which made it possible to increase the volume of the exposition space and working area. Today, the complex is of value both as a monument of fortification art and as an example of reconstruction and adaptation to modern needs. The once for- tified object began to serve peaceful purposes.

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Rapporti di organizzazioni sul tema "Museum of Printing History"

Hodnett, John, Ralph Eshelman, Nicholas Gardner e Vincent Santucci. Geology, Pleistocene paleontology, and research history of the Cumberland Bone Cave: Potomac Heritage National Scenic Trail. National Park Service, gennaio 2023. http://dx.doi.org/10.36967/2296839.

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The Cumberland Bone Cave is a public visitation stop along the Potomac Heritage National Scenic Trail renowned for its unique fossil resources that help reconstruct Appalachian middle Pleistocene life in the mid-Atlantic region of North America. This site is gated for safety and to prevent unwanted exploration and damage. Approximately 163 taxa of fossil plant and animals have been collected from Cumberland Bone Cave since 1912. Most of the fossils that have been published pertain to mammals, including many extinct or locally extirpated genera and species. Though the early excavations made by the Smithsonian Institution between 1912 and 1915 are the best known of the work at Cumberland Bone Cave, over many decades multiple institutions and paleontologists have collected and studied the fossil resources from this site up until 2012. Today, fossils from Cumberland Bone Cave are housed at various museum collections, including public displays at the National Museum of Natural History in Washington D.C. and the Allegany Museum in Cumberland, Maryland. This report summarizes the geology, fossil resources, and the history of excavation and research for Potomac Heritage Trail’s Cumberland Bone Cave.

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Brison, Jeffrey, Sarah Smith, Elyse Bell, Antoine Devroede, Simge Erdogan, Christina Fabiani, Kyle Hammer et al. The Global Engagement of Museums in Canada. University of Western Ontario, 2021. http://dx.doi.org/10.5206/vdjm2980.

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The Global Engagement of Museums in Canada examines Canadian museum diplomacy, assessing the international activities of Canadian museums to consider the ways these institutions act as cultural diplomats on the global stage. The report presents the results of a multi-partner collaborative research project addressing the work of ten institutions, including the Art Gallery of Alberta; Aga Khan Museum; Canadian Museum of History; Canadian Museum of Immigration at Pier 21; Montreal Museum of Fine Arts; Museum of Anthropology at UBC; National Gallery of Canada; Ottawa Art Gallery; Pointe-à-Callière, Montréal Archaeology and History Complex; and the Royal Ontario Museum. Focusing on the period of 2009 to 2019, this report highlights new activities and methods within museum practice, while also grounding these within the context of developments in the last decade. Drawing on archival research, document analysis, and interviews with museum professionals, this research establishes baseline data on the global reach of Canadian museums and identifies best practices to share with the museum sector and cultural diplomacy community. Comprised of three sections, the report begins by presenting the framework for the project, explaining the logic behind the selection of institutions and the pedagogical considerations that informed our collective methodology. Second, the report provides a review of the literature in the field of cultural diplomacy, situating the research project. And third, the core of the project, are ten studies of specific institutions, drawn from the fieldwork conducted by the team. These institutional reports demonstrate the ways in which museums engage with a range of global activities and actors. They further address developing trends in the sector, while also suggesting future avenues for research. The Global Engagement of Museums in Canada is a research project led by Primary Investigators Jeffrey Brison and Sarah E.K. Smith. Funded by a Mitacs Accelerate Grant, the initiative is a collaboration between the Montreal Museum of Fine Arts and Queen’s University.

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Samper, Cristián. Cultural Ecology in the Americas. Inter-American Development Bank, dicembre 2003. http://dx.doi.org/10.18235/0007950.

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Andersson, Elise. Proceedings of the symposium Woodworking Tools and Techniques –Past, Present and Future, Stockholm 16-19 September 2022. Linköping University Electronic Press, novembre 2023. http://dx.doi.org/10.3384/9789180754149.

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The 3rd Swedish Symposium on Furniture Technology& Design was held in Stockholm the 16th through the19th of September 2022, this time arranged by MalmstensAlumni in collaboration with the Swedish History Museum,Skokloster Castle and LiU Malmstens.

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Reeves-DeArmond, Genna. Infusing popular culture into the museum experience via historic dress: Visitor perceptions of Titanic’s Rose as a living history interpreter/character. Ames: Iowa State University, Digital Repository, 2013. http://dx.doi.org/10.31274/itaa_proceedings-180814-779.

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Matos Fernandes, Teresa, Joana Tinoco, Paulo Farinha Marques e Iúri Frias. Application for the recognition of Botanical Garden of Porto - Natural History and Science Museum of the University of Porto as International Camellia Garden of Execellence. University of Porto, 2020. http://dx.doi.org/10.24840/10216_140253.

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Abowd, Naina, Rachel Chaffee, Linda Curtis-Bey, Margaret Hoffman, Alison Sheehan e Jacob Sienko. BEES: What is the impact of a weeklong science teaching residency at the American Museum of Natural History on elementary teachers and students? [interim report]. Research Brief #16. American Museum of Natural History, marzo 2024. http://dx.doi.org/10.5531/edu.rb.9.

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Stone, Robert P., Stephen D. Cairns, Dennis M. Opresko, Gary C. Williams e Michele M. Masuda. A guide to the corals of Alaska. US Department of Commerce, NOAA, NMFS Scientific Publications Office, gennaio 2024. http://dx.doi.org/10.7755/pp.23.

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The Magnuson-Stevens Fishery Conservation and Management Reauthorization Act of 2006 mandat¬ed the research and management of the nation’s deep-sea coral resources through establishment of the National Oceanic and Atmospheric Administra¬tion’s Deep Sea Coral Research and Technology Program. The challenge for Alaska was daunting, where expansive, world-class fisheries often coincided with extraordinarily rich coral habitats for a high-latitude region. The first chal¬lenge was to inventory known locations of deep-sea corals. Many coral records and some museum collections existed from Alaska, but the taxonomy of cor¬als was little studied and field iden¬tification of corals was problematic. Formal bycatch programs and research activities in recent decades provided many more specimens for taxonomic study, but guides to species were largely incomplete, inaccurate, and outdated given the fast pace of species discovery in Alaska. We provide a comprehen¬sive, up-to-date guide, detailing 161 coral taxa identified from museum collections, primary literature, and video records. Each profile includes a description, images for each taxon, taxonomic history, biology, ecology, geographical distribution, and habitat, including depth distribution. Corals are found in the six regions of Alaska but the coral fauna of the Aleutian Islands is by far the most species rich. The state of taxonomy for some coral groups is ex¬cellent, while others require additional collections and more taxonomic work. Construction of this guide resulted in descriptions of several antipatharian species, published separately from this guide (Alternatipathes mirabilis, Bathypathes alaskensis, B. ptiloides, B. tiburonae, and Parantipathes pluma) and the scleractinian Flabellum (Flabel¬lum) oclairi Cairns, sp. nov. described herein. The guide provides informa¬tion for targeting new collections and identifying areas of high abundance and indicator species of vulnerable marine ecosystems. Stakeholders can now more adequately assess Alaska’s coral resources and risks from natural and anthropogenic stressors.

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Moreno Mejía, Luis Alberto, e Iván Duque Márquez. Contemporary Uruguayan Artists: An Uruguayan Presence in the About Change Exhibition. Inter-American Development Bank, febbraio 2012. http://dx.doi.org/10.18235/0006209.

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Contemporary Uruguayan Artists is part of About Change: Art from Latin America and the Caribbean, a project of the World Bank Art Program in cooperation with the Cultural Center of the Inter-American Development Bank and AMA | Art Museum of the Americas at the Organization of American States. The initiative comprises a series of exhibitions of art from Latin America and the Caribbean being offered in various venues in Washington during 2011-12. The exhibition is presented In honor of Uruguay and the City of Montevideo, site of the 53rd Annual Meeting of the Board of Governors of the IDB. The works selected for the exhibition offer a panorama of contemporary Uruguayan creativity. These pieces revisit history, explore memory, examine changes that have transformed culture and the environment, and rethink traditions. It includes painting, print, sculpture, mixed media, and photography, by 13 artists: Santiago Aldabalde, Ana Campanella, Muriel Cardoso, Gerardo Carella, Federico Meneses, Ernesto Rizzo, Jacqueline Lacasa, Gabriel Lema, Daniel Machado, Cecilia Mattos, Diego Velazco, Santiago Velazco, and Diego Villalba.

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Løvschal, Mette, Havananda Ombashi, Marianne Høyem Andreasen, Bo Ejstrud, Renée Enevikd, Astrid Jensen, Mette Klingenberg, Søren Munch Kristiansen e Nina Helt Nielsen. The Protected Burial Mound ‘Store Vejlhøj’, Vinderup, Denmark: First Results. Det Kgl. Bibliotek, 2023. http://dx.doi.org/10.7146/aulsps-e.479.

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An archaeological excavation of the protected burial mound Store Vejlhøj in northwestern Denmark was carried out in October-November 2021. The excavation formed part of the ERC-funded research project called ANTHEA, focusing on the deep history of anthropogenic heathlands. It was conducted by Aarhus University in collaboration with Holstebro Museum and Moesgaard Museum. The aim was to test a new method of sampling pollen data from different construction stages in a burial mound and comparing them with pollen data from nearby lake sediments with a view to improving our understanding of prehistoric anthropogenic heathland dynamics. Prior to the excavation, soil cores were collected from two nearby peat sediments as well as six burial mounds (including Store Vejlhøj) within a 1 km range of Lake Skånsø, where previous pollen analyses had been carried out. Based on these preliminary corings, Store Vejlhøj was selected for further archaeological investigation. A dispensation for excavating the protected mound was granted by the Danish Palaces and Culture Agency. The excavation was based on a 5 m long trench through the barrow, moving from its foot inwards. The surface vegetation and 40 cm topsoil were removed by an excavator, after which the remainder of the trench was manually dug in horizontal layers. Observation conditions were good. The excavation revealed a series of well-defined barrow construction stages, as well as unusually wellpreserved turf structures. Only two archaeological finds could be related to the barrow, both of which were later than its initial construction: a secondary urn in the top layer, and the base of a second urn at the foot of the mound. The burial mound was constructed using a minimum of three shells, which could be observed in the trench profile. Turfs were most probably collected locally in a landscape dominated by grass pastures, where no previous turf cutting had taken place. A total of 34 soil samples were collected for paleoecological analyses (pollen, Non-Pollen Polymorphs (NPPs), macrofossils) and geoarchaeological analyses (micromorphology, bulk samples). Preliminary pollen and macrofossil results from the burial mound revealed poor preservation conditions, which prompted a trench extension of 0.5 m by 0.2 m to find better preservation conditions. This extension resulted in the collection of a single final macrofossil sample, although there was no identifiable change in the in-situ preservation conditions. The dating results of the mound have not yet been completed and will be included as appendix 4-6 in 2023.

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