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Artykuły w czasopismach na temat "Historical museums – history"
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Addy, Shadrick. "History Re-Experienced: Implementing Mixed Reality Systems into Historic House Museums". International Journal of Machine Learning and Computing 11, nr 4 (sierpień 2021): 311–16. http://dx.doi.org/10.18178/ijmlc.2021.11.4.1053.
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As immersive technologies have become ubiquitous today, traditional museums are finding success augmenting existing exhibits to increase visitors’ satisfaction. However, due to the immutable nature of house museums, and their tendency to place visitors in direct contact with historical artifacts, museum managers are seeking original approaches to cultural preservation. Implementing mixed reality systems into historic house museums is one such approach. The goal of this study is to develop and test a conceptual matrix that guides how designers use the affordances of mixed reality systems to create experiences that align with the range of historical narratives found in house museums. Experiences that can contribute to improving visitors’ satisfaction, self-interpretation, and understanding of the homeowner’s life and the community within which they lived. Building on human-centered design methods, the researcher developed and tested a prototype of an augmented reality (AR) mobile application centered on the Pope House Museum in Raleigh, North Carolina. The outcome of the research suggests house museum visitors should have agency in deciding the lens through which they experience the variety of historical narratives present in the home.
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Smaysa, Smaysa, i Zafri Zafri. "Ketersediaan Sumber Sejarah pada Museum Adityawarman yang Relevan dengan Pembelajaran di SMA". Jurnal Kronologi 5, nr 2 (27.06.2023): 181–95. http://dx.doi.org/10.24036/jk.v5i2.686.
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The use of museums as a source for studying history can add broad insights for students. One example is making the museum collection a source of study. The museum collection is supposed to be used to add information, insights, and to increase interest in studying history. The study is a qualitative description that aims to identify the availability of museum Adityawarman history sources. The object in this study is a historical or museum collection. Some historical sources in museums include libraries, sites/temples, relics, textbooks, encyclopedias, the Internet, maps, atlas, newspapers, historical dictionaries, archives, historiography works, and other written sources. The museum’s mollection of relics of ancient human life, the roots of Indonesian ancestors, of pre-racial cultures, and of object during the colonization of Europe.
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Tulliach, Anna. "Simmons, J.E. (2016) Museums. A History. London: Rowman & Littlefield". Museum and Society 15, nr 3 (10.01.2018): 343–45. http://dx.doi.org/10.29311/mas.v15i3.2507.
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Museums convincingly achieves the aim of giving a general summary of the key themes of the museum’s history. The author does not fail in missing a point: he offers a comprehensive history of museums from the ancient world to contemporary times, focusing on well-known historical examples of museum collections taken from different parts of the world and on contemporary subjects of debate in the museum world, producing a valuable synthesis of this wide topic. I recommend this book to museum studies students interested in the history of museums, but also to scholars who would like to have a complete and valuable summary of the subject.
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Mironova, Tat'yana Yu. "REPRESENTATION OF HISTORY: CONTEMPORARY ART IN MUSEUMS OF CONSCIENCE". RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, nr 8 (2020): 116–32. http://dx.doi.org/10.28995/2686-7249-2020-8-116-132.
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Contemporary art more and more actively interacts with the nonartistic museums. For instance, biological, historical as well as anthropological museums become spaces for contemporary art exhibitions or initiate collaborative projects. This process seeks to link different types of materials to make the interaction successful. Thus, several questions appear: can we talk about interaction, if the museum becomes a place for the exhibition devoted to the topics of history, ethnography or biology? Does any appearance of contemporary art in the museum territory become a part of intercultural dialogue? And how do we assess and analyze the process of interaction between these two spheres? Among nonartistic museums working with contemporary art the museums of conscience appear to be one of the most interesting. This type of museums is quite new – it developed in 1990s when the International Coalition of Sites of Coscience was created and the United States Holocaust Memorial Museum was founded. The interaction between contemporary art and museums of conscience starts to develop in the context of changing attitudes towards historical memory as well as widening the notion of museums. In this situation museums need new instruments for educational and exhibitional work. Contemporary artists work with the past through personal memories and experience, when museums turn to documents and artifacts. So, their collaboration connects two different optics: artistic and historical. Thus, it is possible to use the Michel Foucault term dispositif to analyze the collaboration between artists and museums. Foucault defines the dispositif as a link between different elements of the system as well as optics that makes us to see and by that create the system. The term allows us to connect the questions of exhibition work with philosophical and historical issues when we analyze the projects in the United States Holocaust Memorial Museum, Yad Vashem and Auschwitz-Birkenau.
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Korneeva, Anastasiia Aleksandrovna. "Network of literary museums in Moscow: formation and present condition in the context of the historical and cultural process". Культура и искусство, nr 1 (styczeń 2024): 53–67. http://dx.doi.org/10.7256/2454-0625.2024.1.69565.
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The network of literary museums in Moscow is the largest in the country. The article examines the history of the formation and present condition of the network of literary museums in the capital in the context of the historical and cultural process. The chronological framework covers the period from the 19th century until now. This is due to the moment of the appearance in Moscow of the first proto-museum forms of literary museums, the first museums of this profile, as well as the formation and development of their network. Significant historical and cultural prerequisites for the emergence of museums of this profile are identified. The main periods in the history of the formation and development of the network of literary museums are considered in the context of the periodization of the history of museum affairs and the historical process in the country. Museums that also have characteristics of another profile, such as historical and literary, literary and artistic, and literary and local history, are also considered. The total number of literary museums in Moscow has been identified, including state, municipal, departmental, public, private and school. Museum-type institutions representing and popularizing literary heritage are shown. Museums of other profiles (music, art, local history and others) are indicated, the funds and exhibitions of which contain literary monuments and collections of rare books. A special place is occupied by book museums, which are not literary museums, but are close to them in that their collections also contain monuments of literature (including fiction). The total number of literary museums in the capital and their percentage in the museum network have been calculated.
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Abbasov, Iftikhar B., i Christina Lissette Sanchez. "Design features of the Inca museum of culture". International research journal of engineering, IT & scientific research 6, nr 5 (19.08.2020): 1–12. http://dx.doi.org/10.21744/irjeis.v6n5.970.
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The paper deals with the development of a design concept for a museum of Inca culture in Ecuador. The current trends in the organization of historical museums in Latin America are presented. An overview of the graphic support of the Latin American museums of culture, archeology, and history is made. The historical foundations of the Museum of Inca culture are presented, the iconography of the Inca civilization of various periods is analyzed. The current state of the museum, the history of its foundation, prerequisites for creating a new brand are described. Associative graphic images for creating a new logo for the museum were considered, corporate colors were substantiated, and components of the brand were developed. This will strengthen the museum's brand and increase its social significance for the popularization of the Inca culture.
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Danek, Jan, B. Shaushekova i E. Ibrayeva. "Advantages of joint work of school with organizations of supplementary education at different historical stages". Bulletin of the Karaganda University. Pedagogy series 101, nr 1 (29.03.2021): 66–72. http://dx.doi.org/10.31489/2021ped1/66-72.
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Article deals with the problem of interaction of the museum and school from the early ages. Authors give thoroughly full images of joint work of museums and schools in developed countries and analyze their experiences in conducting this way of cooperation. In the article there were listed the problems of interaction between the museum and the school and features of interaction at different historical stages. Authors describe the promising models of cooperation and the answers to question ‘How the problem of “museum and school” is solved abroad?’ Work of museums with students have been discussed in details, i.e. work with preschoolers and younger students, middle and high school students. Authors gave classification of museums of educational institutions: university museums, school museums, pedagogical museums. They have considered pedagogical museums in the period of origin and prosperity, the evolution of pedagogical museums, museums of the history of education and children's museums. Authors have analyzed the prospective of having museumschool partnership.
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Amirullah i Patahuddin. "Museum-Based History Learning Innovation With Outing Class Model". Technium Social Sciences Journal 50 (1.11.2023): 466–74. http://dx.doi.org/10.47577/tssj.v50i1.9928.
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The historical learning approach is strengthened by students seeking, discovering, observing and developing historical events as a dynamic science through a methodological approach, bringing objects closer, or student learning spaces in the learning process, so it is necessary to study with historical object approaches such as museums so that students are able to find creativity and their innovation is even wider. Strengthening Indonesian history learning materials, apart from teachers, teaching materials in the form of books, articles or modules with museum objects by developing the Outing Class model, where museums are the main attraction opening space and horizons for students' thinking and creativity by not only showing historical objects which are displayed in museums, but are able to think critically, observe, study and find the origins of these historical sources. Museums as learning resources are able to increase understanding, study facts, concepts, principles, laws, theories and ideas, ideas and innovations at the memory level, students are able to apply them effectively in solving them so as to acquire creative and innovative historical thinking skills and foster historical awareness for students.
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Borges, Priscila Lopes d'Avila. "Museu Imperial: narrar entre as reticências da memória e as exclamações da História". Revista Discente Ofícios de Clio 5, nr 8 (14.10.2020): 187. http://dx.doi.org/10.15210/clio.v5i8.19023.
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O presente trabalho propõe a análise dos discursos produzidos na visita guiada do Museu Imperial (Petrópolis-RJ), bem como o estudo de elementos materiais da exposição permanente da instituição. A composição hegemônica formulada pelo museu, como retrato da sociedade oitocentista, promove silenciamentos ensurdecedores acerca de temas sensíveis da história do Brasil, restringindo a percepção dos visitantes. O artigo indica alguns desafios do uso pedagógico de museus históricos. Em seguida, apresenta dados coletados em visitas observadas em pesquisa de campo, entre os anos de 2017 e 2018, com o objetivo de esclarecer a natureza hegemônica das narrativas do setor educativo e da exposição permanente do museu. Finalmente, aborda dificuldades cognitivas do público escolar, decorrentes da atual relação social com o tempo, no uso do patrimônio material e memória coletiva reforçada por museus históricos, superando as fronteiras expográficas.Palavras-chave: Ensino de história; Museus históricos; Educação museal; Museu Imperial.Abstract The present article proposes an analysis of the speeches produced in the guided tour of the Museu Imperial (Petrópolis-RJ), as well as the study of the material elements of the permanent exhibition of the institution. The hegemonic composition formulated by the museum, as a portrait of 19th century society, promotes deafening silences about sensitive themes in the history of Brazil, restricting the perception of visitors. The article indicates some challenges of the pedagogical use of historical museums. After that, it presents some data collected in visits observed in field research, between the years 2017 and 2018, in order to clarify the hegemonic nature of the narratives of the museum's educational sector and permanent exhibition of the museum. Finally, it approaches cognitive difficulties of the school public arising from the current social relationship with time, in the use of material patrimony and collective memory reinforced by historical museums, overcoming expographic boundaries.Keywords: History teaching; Historical museum; Museum education; Museu Imperial.
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MAKHANOV, N. I. "THE MUSEUM IS A MEDIUM OF SPIRITUAL KNOWLEDGE, COLLECTING EXHIBITS OF ANCIENT HISTORY". Ethnography of Altai and Adjacent Territories 11 (2023): 305–8. http://dx.doi.org/10.37386/2687-0592-2023-11-305-308.
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The purpose of the article is to conduct a scientifc analysis of the history of the development of the Turkic peoples through the exhibits of the State Historical and Cultural Reserve - Museum “Otyrar”, one of the largest historical monuments of Kazakhstan. In addition, to show an original approach to the spiritual and social aspects of the current activities of this museum. One of the tasks of the research work is to determine the essence of the historical and spiritual reasons that determine the signifcance of the formation and development of the museum. Today, the assessment of the museum’s role in state and public spaces is relevant. We set ourselves the task of analyzing the statistical data of museum visitors and developing a general judgment. As the relevance of the research work, we would call the inadmissibility of the stagnation of the consequences of spiritual and cultural consciousness in modern information and global movements. We especially promote the activities of museums as one of the sources of education of the younger generation in order to protect themselves from the fow of information waves and not lose their national and cultural identity. It is obvious that the ability to properly convey the historical and cultural resources of the “Otrar” Museum to the consciousness of the younger generation enriches their spiritual values. As a result of the research, a comprehensive analysis of the historical ways of formation and development of the «Otrar» Museum was carried out. At the same time, on the basis of various examples, an assessment of the historical and spiritual activities of the museum today is given. Opinions were expressed on the future signifcance of the development of museums.
Rozprawy doktorskie na temat "Historical museums – history"
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Tivy, Mary. "THE LOCAL HISTORY MUSEUM IN ONTARIO 1851-1985: AN INTELLECTUAL HISTORY". Thesis, University of Waterloo, 2006. http://hdl.handle.net/10012/2821.
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This thesis is a study of the changing model of the local history museum in Ontario, Canada and the consequential changing interpretations of the past in these institutions. Beginning in 1879, local history museums in Ontario developed largely from the energies of local historical societies bent on collecting the past. While science museums used taxonomy and classification to mirror the natural state of the world, history museums had no equivalent framework for organizing collections as real-world referents. Often organized without apparent design, by the early 20th century a deductive method was used to categorize and display history collections into functional groups based on manufacture and use.
By the mid-twentieth century an inductive approach for interpreting collections in exhibits was promoted to make these objects more meaningful and interesting to museum visitors, and to justify their collection. This approach relied on the recontextualization of the object through two methods: text-based, narrative exhibits; and verisimilitude, the recreation of the historical environment in which the artifact would have been originally used. These exhibit practices became part of the syllabus of history museum work as it professionalized during the mid-twentieth century, almost a full century after the science museum. In Ontario, recontextualizing artifacts eventually dominated the process of recreating the past at museums. Objects were consigned to placement within textual storylines in order to impart accurate meaning. At its most elaborate, artifacts were recontextualized into houses, and buildings into villages, wherein the public could fully immerse themselves in a tableau of the past. Throughout this process, the dynamic of recontextualization to enhance visitor experience subtlety shifted the historical artifact from its previous position in the museum as an autonomous relic of the past, to one subordinate to context.
Although presented as absolute, the narratives and reconstructions formed by these collecting and exhibiting practices were contingent on a multitude of shifting factors, such as accepted museum practice, physical, economic and human resources available to the museum operation, and prevailing beliefs about the past and community identity. This thesis exposes the wider field of museum practice in Ontario community history museums over a century while the case study of Doon Pioneer Village shows in detail the conditional qualities of historical reconstruction in museum exhibits and historical restoration.
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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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Cook, Bettye Alexander Contreras Gloria. "A chronological study of experiential education in the American history museum". [Denton, Tex.] : University of North Texas, 2007. http://digital.library.unt.edu/permalink/meta-dc-5190.
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Brown, Lyndsey S. "Founding Force, Forgotten Focus: A Case Study of Gender Influence Within the Preservation of Historic House Museums, with Emphasis on the Jacobsburg Historical Society's Boulton Historic Site in Pennsylvania". Master's thesis, Temple University Libraries, 2012. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/162987.
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HistoryM.A.
Historic house museums are the focus of an ideological tension between preservation and interpretation within the public history community. At a time where many house museums are failing, preservationists advocate for solutions to the house museum dilemma focused on saving the building. Historians and other museum professionals point to the importance of the value of the collections, memories, and documents preserved within the house as critical tools for understanding and teaching American history. Of specific focus in this thesis is the role gender influence played in the formation of historic house museums and how an examination of its continuing effect on agency within heritage sites creates access points for cutting-edge public history and interpretation. This is done through a case study of the history of the Jacobsburg Historical Society's Boulton Historic Site in Nazareth, Pennsylvania. The site was the location of the Boulton Gun Works, built in 1812 by the Henry family, manufacturers of the Pennsylvania Longrifle and key members of the early industrial community of Jacobsburg, located just north of the Moravian community of Nazareth.
Temple University--Theses
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Birdwhistell, Benjamin P. "Manipulated Museum History and Silenced Memories of Aggression: Historical Revisionism and Japanese Government Censorship of Peace Museums". ScholarWorks@UNO, 2017. http://scholarworks.uno.edu/td/2312.
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The Japanese government has a vested interest in either avoiding discussion of its war-torn past or arguing for a revisionist take. The need to play up Japanese victimization over Japanese aggression during World War II has led to many museums having their exhibits censored or revised to fit this narrative goal. During the 1990’s, Japan’s national discourse was more open to discussions of war crimes and the damage caused by their aggression. This in turn led to the creation of many “peace museums” that are intended to discuss and confront this history as frankly as possible. At the beginning of the 21st century, public discourse turned against these museums and only private museums have avoided censorship. Some museums, like the Osaka International Peace Center, have been devastated by the censorship. This museum and other museums with similar narrative issues raise questions about appropriate narrative on display. What is appropriate to censor for the sake of respect for the dead? What must be included for the sake of historical accuracy and honesty about the past? These questions are investigated at four different peace museums throughout Japan.
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Choi, Kam-lung Franky, i 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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Cook, Bettye Alexander. "A Chronological Study of Experiential Education in the American History Museum". Thesis, University of North Texas, 2007. https://digital.library.unt.edu/ark:/67531/metadc5190/.
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This study traced the evolution of experiential education in American history museums from 1787 to 2007. Because of a decline in attendance, museum educators need to identify best practices to draw and retain audiences. I used 16 museology and history journals, books, and archives of museums prominent for using the method. I also interviewed 15 museum educators who employ experiential learning, one master interpreter of the National Park Service, and an independent museum exhibit developer. Experiential education involves doing with hands touching physical materials. Four minor questions concerned antecedents of experiential learning, reasons to invest in the method, the influence of social context, and cultural pluralism. Next is a review of the theorists whose works support experiential learning: Dewey, Piaget, Vygotsky, Lewin, Bruner, Eisner, Hein, and David Kolb plus master parks interpreter Freeman Tilden. The 8 characteristics they support include prior experiences, physical action, interaction with the environment, use of the senses, emotion, social relationships, and personal meaning. Other sections are manifestation of experiential learning, transformation of history museums, and cultural pluralism in history museums. The research design is descriptive, and the procedure, document analysis and structured interview. Findings are divided by decades after the first 120 years. Social context, examples of experiential learning, and multicultural activities are detailed. Then findings are discussed by patterns of delivery: sensory experiences, actions as diversion and performance, outreach of traveling trunks and of organized activity, crafts as handwork and as skills, role-playing, simulation, hands-on museum work, and minor patterns. The decline of involvement of citizens in the civic and cultural life of the community has adversely affected history museums. Experiential learning can stop this trend and transform museum work, as open-air museums and the National Park Service have demonstrated. In the future history museums may include technology, a more diverse audience, and adults in its experiential educational plans to thrive. Further research is needed on evaluation, finances, and small museums.
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Smith, Charlotte H. F. "The house enshrined : great man and social history house museums in the United States and Australia /". Online version, 2002. http://bibpurl.oclc.org/web/24545.
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Pienoski, Christine Marie Pienoski. "Pyramids of Lake Erie: The Historical Evolution of the Cleveland Museum of Art's Egyptian Collection". Kent State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=kent1461522282.
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Wagner, Krista Ann. "Farbs, Stickjocks, and Costume Nazis: A Study of the Living History Subculture in Modern America". Youngstown State University / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=ysu1196710568.
Pełny tekst źródłaKsiążki na temat "Historical museums – history"
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Kavanagh, Gaynor. A bibliography for history, history curatorship, and museums. Aldershot, Hants: Scolar Press, 1996.
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E, Rider Peter, i Canadian Museum of Civilization, red. Studies in history & museums. Hull, Quebec: Canadian Museum of Civlization, 1994.
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Society, New Jersey Historical. Centers for history. New Jersey: New Jersey Historical Society, 2000.
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Kavanagh, Gaynor. History curatorship. Washington, D.C: Smithsonian Institution Press, 1990.
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Kavanagh, Gaynor. History curatorship. Leicester: Leicester University Press, 1990.
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Lambert, Jeffrey M. Living history museums: A bibliography. Monticello, Ill: Vance Bibliographies, 1986.
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author, Anderson Carla Lee, red. Travels Into Our Past: America's Living History Museums & Historical Sites. Columbia, Missouri: AKA-Publishing, 2013.
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Magelssen, Scott. Living history museums: Undoing history through performance. Lanham, MD: Scarecrow Press, 2007.
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Alexander, Edward P. Museums in motion: An introduction to the history and functions of museums. Wyd. 2. Lanham: AltaMira Press, 2008.
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Alexander, Edward P. Museums in motion: An introduction to the history and functions of museums. Walnut Creek, Calif: Published in cooperation with the American Assocation for State and Local History [by] AltaMira Press, 1996.
Znajdź pełny tekst źródłaCzęści książek na temat "Historical museums – history"
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Ukielski, Paweł. "New Historical Museums in Poland". W Public History in Poland, 50–66. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003165767-5.
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Mainstone, Madelaine, i Bryant Margaret. "The Use of Museums and Historical Sites". W Handbook for History Teachers, 163–72. London: Routledge, 2021. http://dx.doi.org/10.4324/9781032163840-15.
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Kludkiewicz, Kamila. "Museums of a Stateless Nation, between History and Art". W Spaces for Shaping the Nation, 131–52. Bielefeld, Germany: transcript Verlag, 2024. http://dx.doi.org/10.14361/9783839466940-007.
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In this article, Kamila Kudkiewicz is dedicated to the question of Polish national museums in the nineteenth century. At the end of the eighteenth century, the historical territory of Poland was divided among Russia, Austria, and Prussia. Each of these countries had its own laws and policies towards Poles: take, for example, the policies of Russification and Germanization implemented by the Russian and German authorities in their respective territories and, contrastingly, the autonomy granted to Polish Galicia in Austria-Hungary after 1860. Despite the differences between the regions, in the second half of the nineteenth century, Poles founded museums that were perceived to be 'national', whether on a de facto basis - as attested by publications and written sources from the period - or because they had the word 'national' in their very name. Although early initiatives to create museums with the designation 'national' were undertaken in Poland as early as the eighteenth century, actual national museums (or institutions considered to be such) only emerged after 1870. The latter consisted of : the Musee National Polonais (Polish National Museum) in Rapperswil, Switzerland (opened 1870), the Muzeum im. Mielzynskich w Poznaniu (Mielzynski Museum in Poznan, 1881), the Muzeum Narodowe w Krakowie (National Museum in Krakow, 1883), the Muzeum Narodowe im. Krola Jana III we Lwowie (King Jan III National Museum in Lviv, 1908), and the Muzeum Sztuk Pieknych w Warszawie (Museum of Fine Arts in Warsaw), which was called after 1916 the Muzeum Narodowe w Warszawie (National Museum in Warsaw). The most important Polish national museums were established in large urban centres, namely in regional capitals (i.e. Poznan, the capital of Greater Poland in the nineteenth century within the borders of Prussia, and Krakow, the main city of Galicia in the nineteenth century within Austria and later Austria-Hungary), but also in other nations (i.e. Rapperswil in Switzerland). They were founded by city authorities, learned societies, or private collectors. The fact that the museums were established and managed by various entities made their activities very diverse. However, one can observe two main areas of interest for Polish national museums in the nineteenth century: national (Polish) history, on the one hand, and Polish art, primarily contemporary painting, on the other. In some cases, like that of Rapperswil, the dominating elements of the collection were connected with historical elements that, at least initially, were also sentimental, nostalgic, and emotional in character. This sentimentality bespeaks the institution's intended influence on viewers. Elsewhere, the wish to exhibit and promote Polish art prevailed over the interest in objects related to national history (i.e. the Mielzynski Museum in Poznan). And certain museums underwent an evolution in their declared status, from that of a national gallery of painting to that of an institution attempting to show various aspects of Polish culture (National Museum in Krakow). The present analysis of the activity of these museums will focus on the discourse accompanying their creation, the goals set by their founders, and the curation of their exhibitions.
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de Oleaga, Marisa González. "Democracy and History Museums. Museo de América". W Palgrave Handbook of Research in Historical Culture and Education, 133–51. London: Palgrave Macmillan UK, 2017. http://dx.doi.org/10.1057/978-1-137-52908-4_7.
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Bergvelt, Ellinoor. "History in the Dutch National Museums 1800-1900". W Spaces for Shaping the Nation, 65–86. Bielefeld, Germany: transcript Verlag, 2024. http://dx.doi.org/10.14361/9783839466940-005.
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In this article, Bergvelt discusses how historical objects were handled in the Dutch 19th-century national museums. Three examples are given: a painting by Jan Asselijn, The Threatened Swan (later made into an allegory on Grand Pensionary Johan de Witt); an 18th-century cannon captured in Sri Lanka (which would have belonged to the 17th-century admiral Michiel de Ruyter), and a portrait of Michiel de Ruyter by Ferdinand Bol. In general one can say that history was subordinate to art, both when we look at acquisitions and at the amount of space and attention that history received in the museum presentations.
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Ziębińska-Witek, Anna. "Polish Historical Museums and Challenges of the Twenty-First Century". W Public History in Poland, 67–85. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003165767-6.
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Pietrobruno, Sheenagh. "Tales of the Viking Helmet: Narrative Shifts from Museum Exhibitions to Personalised Search Requests". W Museum Digitisations and Emerging Curatorial Agencies Online, 39–70. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-80646-0_3.
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AbstractThe stories of museum objects on YouTube can counter and support those advanced by museums. How the narratives of the Viking helmet on YouTube reflect or differ from those put forward by the Swedish History Museum’s Viking exhibitions is approached through a previous methodological study that investigated the issue of location in the personalisation of historical narratives of museum objects on YouTube search engine result pages (SERPs) (Pietrobruno 2021). This revised method combining language with location brings together two media forms—actual museum exhibitions and personalised YouTube SERPs. The philosophy behind their interconnection is rooted in how the personalised content of SERPs produce meaning and museum exhibitions employ forms of individual customisation to generate meaning by enabling visitors to personalise their exhibition experience.
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Pozzi, Laura. "China, the Maritime Silk Road, and the Memory of Colonialism in the Asia Region". W Regions of Memory, 139–60. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-93705-8_6.
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AbstractThis chapter analyzes how the city museums of Shanghai, Hong Kong, and Galle Fort deal with the memory and legacy of colonialism in the framework of the expanding economic and political power of the People’s Republic of China (PRC) in Asia. In the PRC, the historical memory of the country’s colonial past has been shaped by the Chinese Communist Party (CCP). In contrast to the transnational nature of the communist ideology, the CCP’s interpretation of history is strongly nationalist. China’s political expansion in the ex-British colony of Hong Kong and its economic ties to other Asian countries such as Sri Lanka open space for a discussion about its power to influence these countries’ understanding of their own history. How is the expansion of China, defined by many as a neo-colonial power, changing the way other countries in Asia understand the colonial past? Is China able to exports its own vision of colonialism and post-colonial order outside its own borders? This chapter answers these questions through an analysis of the permanent exhibitions of three city museums: The Shanghai History Museum; the Hong Kong Museum of History, and the Galle Fort Museum in Sri Lanka, part of the “One Belt, One Road” project.
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Lütticken, Sven. "From Re- to Pre- and Back Again". W Cultural Inquiry, 1–16. Berlin: ICI Berlin Press, 2022. http://dx.doi.org/10.37050/ci-21_02.
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Tracing the complex history of the term ‘reenactment’, back to R.G. Collingwood’s philosophy of history, on the one hand, and popular practices of war reenactments and living history museums, on the other, a survey of its current contribution in art and museum practices highlights the importance of historicity — a category the postmodern was supposed to have vacated — in a wide range of examples, from Rod Dickinson and Jeremey Deller to Alexandra Pirici, Manuel Pelmuş, and Milo Rau. Performance reenactments, in particular, are premised on performance art having become historical, but also threaten to digest history in favour of a mere productivist mobilization for the needs of current attention economies. An alternative could be the attempt to counter historical with dramatic time in order to unlock unrealized possibilities and futures, as the term preenactment promises.
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Brunelli, Marta. "Il museo della scuola come luogo di sperimentazione di percorsi di Public History: il caso del Museo della Scuola «Paolo e Ornella Ricca» dell’Università di Macerata". W Studi e saggi, 169–83. Florence: Firenze University Press, 2019. http://dx.doi.org/10.36253/978-88-5518-009-2.17.
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Public historians have definitively recognized the crucial role that museums – on par with libraries, archives, schools as well as media, cultural and tourism industry, and «all other sectors where the knowledge of the past is required to work with different audiences» (AIPH, The Italian Public History Manifesto, 2018) – can play for the development of Public History practices. In this scenario, historians of education do well know the potential that is locked up inside the historical-educational museums too. A potential that, especially in university museums, can improve academic teaching quality, promote innovative research and, finally, foster cultural and social empowerment of communities.
Streszczenia konferencji na temat "Historical museums – history"
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Egorova, Evgeniia Nikolaevna. "School Museum as an educational space". W International Research-to-practice conference. Publishing house Sreda, 2020. http://dx.doi.org/10.31483/r-86184.
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The article deals with the organization of school museums in the aksubayevsky district of the Republic of Tatarstan. Against the background of attempts to correspond historical events in Ukraine, the countries of the near and far abroad, the issue of preserving the historical memory of the current and future generations of our country is acute. The school Museum becomes an excellent alternative to the usual history lesson, the work of students in the school Museum is of a research nature, develops patriotism, love for their small homeland, their country.
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Shelegina, Olga N. "MODERN TREND IN THE DEVELOPMENT OF MUSEUMS AND MUSEOLOGY: Materials of the IV All-Russian (with International Participation) Scientific Conference". W MODERN TREND IN THE DEVELOPMENT OF MUSEUMS AND MUSEOLOGY, redaktor Galina M. Zaporozhchenko. Novosibirsk State University, 2020. http://dx.doi.org/10.25205/978-5-4437-1115-7.
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The collection of materials of the IV all-Russian scientific and practical conference «Modern trends in museums and museology» presents reports of employees of Russian research institutes, leading museums of the Russian Federation and the Republic of Belarus, the Republic of Kazakhstan, teachers of higher educational institutions, representatives of cultural institutions. They reflect a wide range of topical issues related to the development of the theory and practice of Museum business in modern conditions at the international, national and regional levels. Important attention is paid to socio-cultural practices for the development of historical and cultural heritage, digitalization of the Museum sphere and its adaptation to the conditions of the pandemic. The publication will be interesting for specialists in the field of history of science and culture, heritage management, Museum studies and cultural studies, teachers of universities, employees of museums and libraries, local historians.
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Strizhkova, Natalia. "Museum as an Institutional Form of Personal & Social Experiments: Project of Russian Avantgardism Artists". W The Public/Private in Modern Civilization, the 22nd Russian Scientific-Practical Conference (with international participation) (Yekaterinburg, April 16-17, 2020). Liberal Arts University – University for Humanities, Yekaterinburg, 2020. http://dx.doi.org/10.35853/ufh-public/private-2020-10.
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Museums as cultural institutions certainly reflect the sociocultural transformations of the new era and are changing with the new reality. Except for that, a museum is, by definition, an institution of memory, a keeper of history, it is based on adoption: the collection, successiveness and actualisation of past experience. What is perceived as innovation by contemporary society may have historical roots and be an actualisation of innovations of a bygone era. Modern museum development recalls a global project undertaken by Russian avant-garde artists in the early 20th century, and implying the institutional modernisation of museums. This study addresses a project taken on by avant-garde artists for the modernisation of museums in the context of general cultural construction, in cooperation with the Soviet Government. The research methodology is based on a conjunction of a historical study and culturological analysis, primarily the concept of the institutional approach. The study consisted in looking through archival documents: The Fund of the People’s Commissariat for Education and its departments (declarations, provisions, resolutions, decrees, minutes of meetings, correspondence, protocols and statements of estimates, inventory books of the State Museum Fund etc.), personal funds of artists and cultural figures, their theoretical works, articles, correspondence. A holistic inter-disciplinary approach combining historical and culturological analysis with prospects for contemporary sociocultural development and the role of museums is seen as a promising novelty of the research. Russian avantgardism as an artistic and sociocultural phenomenon has remained of great interest for a century. Different studies shed light only on separate aspects of this vast topic in different scientific contexts. The examination of the museum project by avant-garde artists under this study allows us to conclude that they were the first to undertake the institutional modernisation of museums by considering them in the focus of new demands of time and society, innovative programmes as forms of personal initiatives and experiments expressed in the broad public space of artistic culture.
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Rogushin, S. V. "Organization of students' project activities on History in the school museum: from work experience". W Problems of the Arctic region. FRC KSC RAS, 2023. http://dx.doi.org/10.37614/978.5.91137.510.2.008.
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The article presents the experience the most relevant direction of the functioning of school museums, namely the organization of project activities of schoolchildren in history. Using the example of our own methodological experience, it is proved that the use of school museum materials contributes to the implementation of a competence-based approach in education. The article describes in detail the author's personal experience in guiding students' project activities. Based on the example of creating a virtual tour of the city of Murmansk, the effectiveness of project technology and positive experience in the development of historical education and upbringing in secondary school within the framework of the considered type of project is substantiated.
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Kirana, Ayu Dipta, i Fajar Aji Jiwandono. "Indonesian Museum after New Order Regime: The Representation that Never Disappears | Museum Indonesia Selepas Orde Baru: Representasi Rezim yang Tak Pernah Hilang". W The SEAMEO SPAFA International Conference on Southeast Asian Archaeology and Fine Arts (SPAFACON2021). SEAMEO SPAFA, 2021. http://dx.doi.org/10.26721/spafa.pqcnu8815a-33.
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Indonesia marked a new era, known as the Reformation Era, in 1998 after the downfall of Suharto, the main face of the regime called the New Order (Orde Baru) and ran the government from 1966 to 1998. This long-run government creates certain structures in many sectors, including the museum sector in Indonesia. Suharto leads the government in a totalitarian manner, his power control over many layers, including the use of museums as regime propaganda tools. The propaganda in the museums such as a standardized storyline, the use of historical versions that are approved by the government, and the representation of violence through the military tale with the nation’s great enemy is made for the majority of museums from the west to east Indonesia at that time. Thus, after almost two-decade after the downfall of the New Order regime how Indonesian museum transform into this new era? In the new democratic era, museum management is brought back to the regional government. The museums are encouraged to writing the local history and deconstruct the storyline from the previous regime. Not only just stop there, but there are alsomany new museums open to the public with new concepts or storylines to revive the audience. Even, the new museum was also erected by the late president’s family to rewrite the narration of the hero story of Suharto in Yogyakarta. This article aims to look up the change in the Indonesian museum post-New Order regime. How they adjust curatorial narration to present the storyline, is there any change to re-write the new narrative, or they actually still represent the New-Order idea along with the violence symbolic that never will deconstruct. Indonesia menandai masa baru yang dikenal sebagai masa reformasi pada tahun 1998 dengan tumbangnya Soeharto yang menjadi wajah utama rezim yang dikenal dengan sebutan Orde Baru ini. Pemerintahan Orde Baru telah berlangsung sejak tahun 1966 hingga 1998 yang mengubah banyak tatanan kehidupan, termasuk sektor permuseum di Indonesia. Corak pemerintahan Orde Baru yang condong pada kontrol dan totalitarian mengantarkan museum sebagai kendaraan propaganda rezim Soeharto. Dimulai dari narasi storyline yang seragam di seluruh museum negeri di Indonesia hingga kekerasan simbolik lewat narasi militer dan musuh besar bangsa. Lalu setelah hampir dua dekade era reformasi di Indonesia bagaimana perubahan museum di Indonesia? Pada era demokrasi yang lebih terbuka, pengelolaan museum dikembalikan kepada pemerintah daerah dan diharapkan untuk dapat menulis kembali sejarah lokal yang baru. Tak berhenti disitu, banyak museum-museum baru yang tumbuh berdiri memberikan kesegaran baru namun juga muncul museum yang berbau rezim Orde Baru turut didirikan sebagai upaya menuliskan narasi.
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Lintott, Bryan. "The History and Heritage of the Age of Simulation". W 14th International Conference on Applied Human Factors and Ergonomics (AHFE 2023). AHFE International, 2023. http://dx.doi.org/10.54941/ahfe1003581.
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Simulation of modern technologies has an important and informative history and an inspirational heritage. Simulation was utilised early in the development of aviation. Aircraft are controlled through a coordinated series of inputs from the pilot, similar to riding a horse. The difference is that falling from a horse is not as hazardous as falling from the sky. In response to this steep learning curve, the Antoinette simulator of 1910, operated by humans responding to the trainee´s inputs, was developed. World War I´s Allied and Central Powers utilised simulation to enhance combat effectiveness. Major Lanoe Hawker VC, of the Royal Flying Corp, pioneered British military simulators with a ´Rocking Fuselage´ for firing at a moving target, with a later version in which the ´Rocking Fuselage´ was mounted on a track. Hawker´s distinguished and innovative career abruptly ended when he was shot down and killed by Manfred von Richthofen. The advent of fly-by instruments and navigation by radio-directional beacons provided an ideal opportunity for enhanced simulation. Overcoming initial reluctance, a common historical occurrence with innovative technologies, Edwin Link combined his expertise and experience from the family´s piano and organ company to produce the iconic Link Trainer. The ability to incorporate communication from a ´ground controller´ and record on a map the pilot´s course enhanced the allies´ training programmes. The advent of shipboard radar, during WWII, in the maritime realm enabled operation in low or non-existent light situations, such as fog. However, this new technology resulted in a new class of accidents – misinterpretation of screen information leading to collisions. From the 1950s onwards, simulation has been integral to the training of deck officers in radar technology. In the late-1950s. N.S. Savannah, the United States´ atomic-powered merchant ship, pioneered civilian maritime simulation of a nuclear reactor and propulsion system. During the 1960s, maritime simulation was increasingly utilised to understand operation and crew performance better. In 1976, the use of CGI at the Computer Aided Operations Research Facility (CAORF), US Merchant Marine Academy, demonstrated the value of simulation in deck officer training. Increasingly, computers: analogue, electro-mechanical and digital, drove simulation forward. Early advances enhanced the experience for the operator and monitoring by the supervisor. DARPA´s pioneering role in the integration of ´networking, instrumentation and command and control´ has been transformative. This led to ´… outcomes that were in no way predictable, through after-the-fact were understandable.´ (Thorpe 2010)The material culture of simulation is in the collections of many museums – especially the Link Trainer. Most museum-based simulators are no longer operational due to malfunctions, lack of knowledge and concern about damage by "enthusiastic" public members. However, in a twist, there is interest in simulating simulators. The ´Rocking Fuselage inspires the WW1 Aviation Heritage Trust dogfight simulator´. In recent decades, the software associated with simulation has also gained its own historical archival value. Given the complexity of modern simulators and simulations, the question arises: what will be retained in museums and archives for future generations to engage with, personally or professionally, that records the Age of Simulation?
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Procop, Svetlana. "Towards a question of the creation of a museum of Roma culture in the Republic of Moldova (experience and perspectives)". W Simpozionul Național de Studii Culturale, Ediția a 2-a. Institute of Cultural Heritage, Republic of Moldova, 2022. http://dx.doi.org/10.52603/9789975352147.24.
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This article attempts to raise an important conceptual topic of the need to create a museum of Roma culture in Republic of Moldova and abroad, relying on the existing experience. The experience of creating an improvised museum of Roma culture in the courtyard of his own house by a resident of Chisinau, which was mentioned in 2004 by the local press, as well as the European experience of founding historical museums related to the culture of Roma with different status (private or governmental), prompts the author of the article to draw the attention of public organizations, government agencies, patrons and sponsors from the Roma community to this important component of the preservation of the cultural heritage of the Roma in the Republic of Moldova. As a part of the educational processes taking place among the Roma people, the creation of a museum where the younger generation of Roma people can come and contemplate the artifacts of popular culture so this fact will contribute in overcoming the alienation of Roma people in relationship between their own history and culture. Nowadays it does not really matter the place where this museum will be located: either in Chisinau or maybe inside the courtyard of the baron’s house in Soroca. The only important thing is the fact that creating of this museum it’s a huge step forward into an accurate and deep research and studying of Roma’s people of Moldova culture and history..
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Иванова, Евгения, i Велчо Крыстев. "Knowledge about the gypsy/roma communities in Bulgaria, presented by visual anthropology". W Patrimoniul cultural: cercetare, valorificare, promovare. Institute of Cultural Heritage, Republic of Moldova, 2021. http://dx.doi.org/10.52603/9789975351379.28.
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The Gypsy/Roma ethnic group has lived in the Balkans for centuries. Gypsies/ Roma turn out to be bearers of a traditional cultural heritage that has long been forgotten by those around them. In our presentation, we look at how authentic knowledge of the Gypsy/Roma community can be the subject of public presentation in museums through the techniques of visual anthropology. Our thesis is that for those studying the Gypsy/Roma ethnic group, which has no writing and written history, visual anthropology is of particular importance as a primary source of knowledge, as a testimony of time. The photos, images, video recording preserve, show and transmit the material culture, traditions and way of life of the different Gypsies/Roma groups, which, together with the common, have very specific group and regional differences. We also ask the question – the historical knowledge about the community created up to which historical moment is authentic, as the culture of the Gypsies/Roma is not static in time, but is influenced by modern forms, typical for today’s global world.
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Litwin, J. "Historic Ships and Warships in Polish Museums". W Historic Ships 2012. RINA, 2012. http://dx.doi.org/10.3940/rina.hist.2012.05.
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Radu, Catalin. "DIGITAL MEDIA, IDENTITY AND THE LEARNING DESIGNER". W eLSE 2018. Carol I National Defence University Publishing House, 2018. http://dx.doi.org/10.12753/2066-026x-18-277.
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Museums, archives, and other educational institutions around the world share on social media activity focused on World War I history. Following these institutions on social media, allow any user to discover interesting content almost every single day. More, experts and educators are sometimes online to answer questions, test knowledge in pop quizzes, and stream behind the scenes with live video. A special point is that of showing that the First World War marked a turning point with the appearance of news and artwork intended to capture the moment in a realistic way, by first-hand participants. Before World War I, war news and art largely depicted heroic military leaders and romanticized battles, done long after the fact, far from the battlefield. This study try to encompass all the forms in which social media contribute to the creation of public knowledge, underlining that, the number of object records created or the number of records made available to the public online, gives us vital information and a strong sense of what in military history is known and where improvement is needed. This article examines how practitioners can make informed choices about curriculum design and pedagogical approaches in their settings, based on historical theories and principles. The approaches advocated here respect some of the tenets of the ideological tradition, but at the same time provide a secure justification for play that inform by evidence from research and curriculum models from different countries. We have emphasized that practitioners should use policy frameworks as a guiding structure.
Raporty organizacyjne na temat "Historical museums – history"
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Кучерган, Єлизавета Валеріївна, i Надія Олександрівна Вєнцева. Historical educational experience of the beginning the twentieth century in the practice of the modern higher school of Ukraine. [б.в.], 2018. http://dx.doi.org/10.31812/0564/2139.
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The author of the study analyzes and determines the features of the introduction of new forms of education in the highest historical pedagogical institutions of Ukraine in the early twentieth century. In particular: colloquiums, excursions, rehearsals, the organization of scientific sections of students and societies. Colloquiums were held to discuss the creative work of students. Proseminars prepared students for participation in seminars. Excursions prepared students for scientific work and taught them to collect information about historical monuments. Interviews and rehearsals took an important place in the revitalization of academic activity of students in universities. During the interviews, students learned to express their thoughts freely. Rehearsals were used as a means of monitoring the progress of students. An important component of the preparation of the future teacher of history was the organization of scientific student sections and societies. The main forms of their work were: the discussion of scientific reports, the publication of periodicals, the creation of libraries, museums, etc. The most talented students took part in scientific sections and societies. Thus, higher education institutions created prerequisites for the education of gifted young people. The publication also reveals the specifics of the practical training of students. The practical component included not only pedagogical, but also museum practice. In addition, pedagogical institutions of higher education conducted educational excursions, literary and musical evenings, organized social, sanitary and charitable activities. The author of the publication not only explores the features of various forms of education, but also the possibility of using them in the practice of the modern higher pedagogical institution in Ukraine.
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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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Khomenko, Tetiana, i Yuriy Kolisnyk. Втрати української культури у російсько-українській війні: культурно-інформаційний спротив. Ivan Franko National University of Lviv, marzec 2023. http://dx.doi.org/10.30970/vjo.2023.52-53.11749.
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The authors explored the activity of mass media and cultural organizations aimed at clarification of the current problematic issue – preservation of Ukrainian cultural heritage under the conditions of the full-scale invasion of Russia into Ukraine. The authors emphasize that occupants not only destroy historic buildings, i.e. material objects, but also steal art values, destroy library and archive funds; their actions are aimed at destruction of our spirituality, identity and history. It is pointed out that there are the main streams in the work of journalists, experts, and culture figures, namely: fixation of losses, propaganda of the Ukrainian culture in the world, expert evaluation of the restitution possibilities, and filling of the culture material with patriotic sense. The full-scale invasion of Russia into Ukraine on the 24th of February 2022 led to the numerous loss of life, ruination of the military, civil and infrastructure objects. But the state-aggressor destroys and robs our culture in this war. Since the beginning of the war mass media have been actively informing about the situation in the regions, which happened to be at the line of the Russian troops attack. The information was in particular about the fact that different educational establishments, libraries and their funds, museums with valuable collections, theatres, religious buildings and historic buildings had been ruined. To tell the truth the information was incomplete due to the limited opportunities to monitor the situation. However, later it has been systematized. The work of journalists and experts contributed to this since they stated the criminal acts of Russia, informing about the ruination facts of historic, sacral, cultural monuments, devastation of many museum collections, destruction of library and archive funds. Digitalization of the Russian war crimes against Ukrainian culture became one more important work aimed at preservation of the Ukrainian cultural heritage. It was done by means of interactive maps of the Ukrainian cultural losses and it enables documenting crimes of the occupant army and spreading this information at the international level. Key words: culture, cultural front, cultural losses, cultural values, cultural heritage, war, media.
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Jaramillo, Pedro. The Sustainability of Urban Heritage Preservation: The Case of Quito. Inter-American Development Bank, sierpień 2010. http://dx.doi.org/10.18235/0006912.
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This study analyzes the Historic Center of Quito, which was declared as a World Heritage Site by UNESCO in 1978. The churches, squares, museums, and heritage monuments characterize this area and make up a fundamental part of the city's identity.
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Ayala-García, Jhorland, Jaime Alfredo Bonet-Morón i María Beatriz García-Dereix. Museo de Arte Moderno de Cartagena (MAMC), una colección con 63 años de historia. Banco de la República, lipiec 2023. http://dx.doi.org/10.32468/chee.59.
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Los museos son importantes generadores de cultura que contribuyen a la oferta turística local, lo cual puede tener implicaciones significativas en las economías locales. Estos espacios e instituciones tienen a sufrir problemas financieros en los países en desarrollo debido a la poca importancia que se les asigna desde los sectores público y privado. Se olvidan los beneficios que trae para la economía local y regional la inversión en museos, pues estos pueden atraer nuevas inversiones por parte de quienes buscan lugares con amenidades para sus ejecutivos en un mundo globalizado. También pueden contribuir a crear una oferta turística que atrae viajeros con mayor poder de compra, lo que facilita la preservación en las ciudades con patrimonio cultural. Cartagena no es ajena a esta tendencia de escases de apoyo institucional a los museos y no ha logrado consolidar una oferta cultural sólida, a pesar de contar con un patrimonio histórico y cultural importante. En la ciudad, uno de los museos con mayor tradición es el Museo de Arte Moderno de Cartagena (MAMC), que posee una valiosa colección de arte que podría contribuir a generar esa oferta turística cultural requerida. El presente documento describe la colección actual del MAMC para dar a conocer al público su evolución y la importancia de dichas obras desde un punto de vista cronológico. Se presentan los antecedentes y la evolución de la colección haciendo énfasis en los principales artistas cuyas obras se exhiben en el museo y el contexto cultural cartagenero en las décadas de 1970 y 1980, años en que se consolidó la mayor colección del MAMC
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Martin, Kathi, Nick Jushchyshyn i Claire King. Christian Lacroix Evening gown c.1990. Drexel Digital Museum, 2017. http://dx.doi.org/10.17918/wq7d-mc48.
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The URL links to a website page in the Drexel Digital Museum (DDM) fashion image archive containing a 3D interactive panorama of an evening gown by French fashion designer Christian Lacroix with related text. This evening gown by Christian Lacroix is from his Fall 1990 collection. It is constructed from silk plain weave, printed with an abstract motif in the bright, deep colors of the local costumes of Lacroix's native Arles, France; and embellished with diamanté and insets of handkerchief edged silk chiffon. Ruffles of pleated silk organza in a neutral bird feather print and also finished with a handkerchief edge, accentuate the asymmetrical draping of the gown. Ruching, controlled by internal drawstrings and ties, creates volume and a slight pouf, a nod to 'le pouf' silhouette Lacroix popularized in his collection for Patou in 1986. Decorative boning on the front of the bodice reflects Lacroix's early education as a costume historian and his sartorial reinterpretation of historic corsets. It is from the private collection of Mari Shaw. The panorama is an HTML5 formatted version of an ultra-high resolution ObjectVR created from stitched tiles captured with GigaPan technology. It is representative the ongoing research of the DDM, an international, interdisciplinary group of researchers focused on production, conservation and dissemination of new media for exhibition of historic fashion.
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Martin, Kathi, Nick Jushchyshyn i Daniel Caulfield-Sriklad. 3D Interactive Panorama Jessie Franklin Turner Evening Gown c. 1932. Drexel Digital Museum, 2015. http://dx.doi.org/10.17918/9zd6-2x15.
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The 3D Interactive Panorama provides multiple views and zoom in details of a bias cut evening gown by Jessie Franklin Turner, an American woman designer in the 1930s. The gown is constructed from pink 100% silk charmeuse with piping along the bodice edges and design lines. It has soft tucks at the neckline and small of back, a unique strap detail in the back and a self belt. The Interactive is part of the Drexel Digital Museum, an online archive of fashion images. The original gown is part of the Fox Historic Costume, Drexel University, a Gift of Mrs. Lewis H. Pearson 64-59-7.
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Suárez, Nicólas. Museos del cine latinoamericanos Políticas de preservación fílmica en contextos conviviales y desiguales. Maria Sibylla Merian Centre Conviviality-Inequality in Latin America, czerwiec 2022. http://dx.doi.org/10.46877/suarez.2022.46.
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Hacia mediados del siglo XX, en distintas partes del mundo se crearon diversos museos del cine y cinematecas, para preservar el patrimonio cultural de sus respectivas comunidades. En el caso de Latinoamérica, al establecerse en contextos socialmente desiguales y culturalmente diversos, estas instituciones se desarrollaron como configuraciones conviviales en las que las relaciones entre las personas y los archivos se vieron afectadas por profundas diferencias culturales y asimetrías de financiamiento. Este artículo provee un análisis comparativo de la historia de una serie de instituciones emblemáticas del Cono Sur que dan cuenta de esas relaciones. Para ello, se examina el modo en que estos archivos toman la forma de configuraciones conviviales que, por un lado, legitiman jerarquías existentes, y, por el otro, constituyen estrategias antihegemónicas de memorialización frente a políticas públicas deficientes y frente a tecnologías digitales que aceleran la obsolescencia del cine. Esta formulación estético-política de relaciones conviviales desiguales que abarcan la preservación, producción y circulación del patrimonio cinematográfico es lo que denomino “museos del cine latinoamericanos”.
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Martin, Kathi, Nick Jushchyshyn i Claire King. James Galanos Evening Gown c. 1957. Drexel Digital Museum, 2018. http://dx.doi.org/10.17918/jkyh-1b56.
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The URL links to a website page in the Drexel Digital Museum (DDM) fashion image archive containing a 3D interactive panorama of an evening suit by American fashion designer James Galanos with related text. This evening gown is from Galanos' Fall 1957 collection. It is embellished with polychrome glass beads in a red and green tartan plaid pattern on a base of silk . It was a gift of Mrs. John Thouron and is in The James G. Galanos Archive at Drexel University. The panorama is an HTML5 formatted version of an ultra-high resolution ObjectVR created from stitched tiles captured with GigaPan technology. It is representative the ongoing research of the DDM, an international, interdisciplinary group of researchers focused on production, conservation and dissemination of new media for exhibition of historic fashion.
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Martin, Kathi, Nick Jushchyshyn i Claire King. James Galanos, Wool Evening Suit. Fall 1984. Drexel Digital Museum, 2018. http://dx.doi.org/10.17918/6gzv-pb45.
Pełny tekst źródłaStreszczenie:
The URL links to a website page in the Drexel Digital Museum (DDM) fashion image archive containing a 3D interactive panorama of an evening suit by American fashion designer James Galanos with related text. This evening suit is from Galanos Fall 1984 collection. The skirt and bodice of the jacket are black and white plaid wool. The jacket sleeves are black mink with leather inserts that contrast the sheen of the leather against the luster of the mink and reduce some of the bulk of the sleeve. The suit is part of The James G. Galanos Archive at Drexel University gifted to Drexel University in 2016. The panorama is an HTML5 formatted version of an ultra-high resolution ObjectVR created from stitched tiles captured with GigaPan technology. It is representative the ongoing research of the DDM, an international, interdisciplinary group of researchers focused on production, conservation and dissemination of new media for exhibition of historic fashion.