Готові списки джерел за темами / Curator

Добірка наукової літератури з теми "Curator"

Автор: Grafiati
Опубліковано: 4 червня 2021
Оновлено: 22 червня 2024

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Зміст

  1. Статті в журналах
  2. Дисертації
  3. Книги
  4. Частини книг
  5. Тези доповідей конференцій
  6. Звіти організацій

Статті в журналах з теми "Curator":

1

Kiselev, Nikolai N. "Educational Potential of Curatorship in a Pedagogical University." Journal of Pedagogical Innovations, no. 3 (October 16, 2022): 25–33. http://dx.doi.org/10.15293/1812-9463.2203.03.

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The purpose of the article is to analyze the educational potential of curatorship in a pedagogical university, and to determine the educational resources of the main activities of student groups’ curators. As a result of the theoretical analysis of curatorship as a subject of the educational space of a pedagogical university, various educational possibilities of the curatorʼs position are determined; the pool of roles and qualities in which the curator acts are analyzed. The article also presents the results of a broad study at Novosibirsk State Pedagogical University of the qualitative characteristics of curatorship in general, including its educational potential. The students and curators of academic groups’ relationship, the differences in the positions of an instructor curator and an undergraduate curator, the curator’s educating influence on various aspects of student life were investigated. In addition, the article presents an analysis of the regulations on curatorial activities in various universities in Russia, and the most common curator’s responsibilities are identified.
2

He, Wanrong, Mitchell L. Gordon, Lindsay Popowski, and Michael S. Bernstein. "Cura: Curation at Social Media Scale." Proceedings of the ACM on Human-Computer Interaction 7, CSCW2 (September 28, 2023): 1–33. http://dx.doi.org/10.1145/3610186.

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How can online communities execute a focused vision for their space? Curation offers one approach, where community leaders manually select content to share with the community. Curation enables leaders to shape a space that matches their taste, norms, and values, but the practice is often intractable at social media scale: curators cannot realistically sift through hundreds or thousands of submissions daily. In this paper, we contribute algorithmic and interface foundations enabling curation at scale, and manifest these foundations in a system called Cura. Our approach draws on the observation that, while curators' attention is limited, other community members' upvotes are plentiful and informative of curators' likely opinions. We thus contribute a transformer-based curation model that predicts whether each curator will upvote a post based on previous community upvotes. Cura applies this curation model to create a feed of content that it predicts the curator would want in the community. Evaluations demonstrate that the curation model accurately estimates opinions of diverse curators, that changing curators for a community results in clearly recognizable shifts in the community's content, and that, consequently, curation can reduce anti-social behavior by half without extra moderation effort. By sampling different types of curators, Cura lowers the threshold to genres of curated social media ranging from editorial groups to stakeholder roundtables to democracies.
3

Kartoningrat, Raden Besse, and Edi Krisharyanto. "Principles of Statutory Duty and Fiduciary Duty in The Responsibility of The Bankruptcy Curator." Media Iuris 6, no. 2 (June 20, 2023): 205–30. http://dx.doi.org/10.20473/mi.v6i2.37738.

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AbstractThe curator is a subject of Bankruptcy Law who has complete authority and responsibility for managing and resolving the bankruptcy estate. Curators are required to have integrity and are prohibited from having conflicts of interest with their duties and authorities. The issue raised in this study is the application of the principles of statutory duty and fiduciary duty in the responsibility of the bankruptcy curator. This study aims to identify, understand, and analyze bankruptcy law regarding the curator’s responsibility based on the principles of statutory duty and fiduciary duty. This study employed a normative method by examining the consideration materials to conclude. The results of the analysis in this study indicate that in carrying out the duties of managing and settling, the curator must comply with the principles of statutory duty and fiduciary duty as regulated in Law Number 37 of 2004 on Bankruptcy and Postponement of Debt Payment Obligations and the code of ethics of the curator profession. The curator’s actions that can harm the parties, whether creditors or bankrupt debtors, can be personally accounted for outside the bankruptcy estate by imposing civil, criminal, or administrative sanctions. Keywords: Halal Tourist; Additional Service; Local Economy.
4

Yuhelson, Yuhelson, and Muhamad Adystia Sunggara. "The Curator Responsibility of the Loss of Wealth Bankrupt Limited Company." Proceeding of Community Development 2 (February 21, 2019): 37. http://dx.doi.org/10.30874/comdev.2018.74.

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Curators can be personally liable if they make a mistake or negligence outside the provisions of the Bankruptcy Act and PKPU which causes losses to bankrupt assets. If the curator has carried out his duties in accordance with the provisions of the Bankruptcy Act and PKPU, then if a loss arises from bankruptcy, he does not have to be personally liable and the loss will be charged to the bankrupt assets. In connection with the personal responsibility of the curator, in addition to being able to be held accountable civilly it is possible for the curator's actions to be held criminally accountable. In addition, administrative sanctions can also be imposed on the curator. It should be borne in mind that as long as the curator carries out his duties and authorities in accordance with the provisions of the Bankruptcy and PKPU Law, he should not be sued either civilly, criminally or subject to administrative sanctions even if his actions cause losses to bankrupt assets.
5

Tahlina, Yuliia S., and Oleksandra S. Kutenko. "THE ROLE OF THE PRINCIPLE OF CURATION IN THE CONTEMPORARY CULTURE." Journal of V. N. Karazin Kharkiv National University, Series "The Theory of Culture and Philosophy of Science", no. 63 (May 31, 2021): 68–76. http://dx.doi.org/10.26565/2306-6687-2021-63-08.

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The article analyzes phenomenon of the «principle of curation» in historical and philosophical development. In the modern world, overloaded with large volumes of information, it is not just access to information that becomes important, but the ability to navigate it. Problems of critical reflection, choice, interpretation in the information space are gaining in importance. That is exactly why the use of the principle of curation is proposed to implement these processes. The authors consider history of the emergence of the concepts of «curator» and «curatorship», delineation of the features of curatorial principle and differences in meanings and understanding of the principle of curation. Having considered the history of transformation of these concepts, having analyzed their use in various fields, the authors come to the conclusion that semantic component of the curator changes over time. If initial connotations were limited to the view of the curator as a guardian and caretaker of collections, then in the modern sense curator him/herself is a creative subject. Therefore, the interpretation of works of art essentially depends on the creative activity of the curator and the space that he creates for presentation. Modern practice of curation should be considered as a newly formed field of activity, which is fundamentally different from the forms that preceded it. In the 21st century, the principle of curation is becoming a universal and necessary method of presenting selected and orderly information, which aims to solve the problem. Curators are the ones who work with this flow of information in the era of information overload: they process it, systematize, organize, conceptualize and present it to the public, thus becoming liquidators of the problem of information overload. The article puts forward a hypothesis for further philosophical reflection: the curatorial principle is a necessary component for organizing the presentation space of a cultural archive.
6

Reidla, Jana. "Who Is Leading the Project? A Comparative Study of Exhibition Production Practices at National Museums in Finland and the Baltic States." Museum and Society 18, no. 4 (October 30, 2020): 368–85. http://dx.doi.org/10.29311/mas.v18i4.3456.

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This paper presents research into exhibition-production practices at five national museums of four Baltic Sea region countries. The focus is the changes wrought by the expansion of exhibition teams, and how researchers in the curatorial role perceive their position, especially in relation to designers and project leaders. The analysis of semi-structured interviews with museum professionals showed exhibition production at museums comprise two models: A) curator-driven, and B) manager-driven. In Model A, the curator’s knowledge of museum collections is dominant. The curator creates the concept, and subsequently leads the exhibition project. The curator is the decision maker. In Model B, the field of communication is dominant. Managers are in charge of the design concept and fulfilling the exhibition. Managers are the decision makers. Curators feel their credibility as experts suffers and their competencies are underexploited, as they no longer have either authorship or leadership responsibilities.
7

Anam, Khoirul, Lono P. Simatupang, and Suwarno Wisetrotomo. "Different Types of Curators Based on Field of Work and Responsibilities in OHD Museum." Lekesan: Interdisciplinary Journal of Asia Pacific Arts 5, no. 2 (October 28, 2022): 72–81. http://dx.doi.org/10.31091/lekesan.v5i2.1821.

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The development of curatorial work practices will be very important for the development of museums, arts, and culture. However, it is undeniable that studies and understanding of the development of curatorial work practices are still not optimal in Indonesia. Awareness of the realm and responsibility of the curator is also sometimes poorly understood by the public and the practitioners of curatorial work practices themselves. This vacancy becomes an obstacle in the development of the profession of independent curator and museum curator. Where the curator profession is no longer seen only as a museum guard or seen only as a writer in an exhibition. The discourse in this study will raise the question of how curatorial work practices at OHD Museum are based on the field of work and responsibilities, which we can see from the different types of curators in an art museum. This study focuses on explaining and understanding the definition of curator and the types of the curator in the development of curatorial studies in an art museum. The results of this study indicate that from the division of In-House Curators and Guest Curators at the OHD Museum, they are distinguished by their field of work and responsibilities. The In-House Curators has responsibilities, among others; acquisition, deaccession, borrowing, conservation, restoration, documentation, and research, where related to the field of collection. Then, look at the Guest Curator with responsibilities, among others; creating a curatorial concept for an exhibition, selecting the collections and artists involved, producing a narrative document (curatorial text), and designing an exhibition.
8

Wyse Jackson, P. N. "Silver Pages: 25 years of the Newsletter of the Geological Curators' Group and The Geological Curator." Geological Curator 7, no. 3 (June 2000): 95–99. http://dx.doi.org/10.55468/gc436.

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Soon after its inception in 1974 the Geological Curator's Group established the publication Newsletter of the Geological Curators' Group. In the following years it has undergone several changes not only in style, but also most notably in name to The Geological Curator. This reflected an evolution of an original newsletter-style into a journal-style publication. In 1980 the newsletter Coprolite was first published. The publications of the Geological Curators' Group have aided the development of professionalisation amongst geological curators.
9

Dupuis, Chris. "Dance curation as choreographic practice." Dance Articulated 6, no. 1 (June 24, 2020): 89–110. http://dx.doi.org/10.5324/da.v6i1.3640.

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Dance curators (or programmers, as they are often called) have a significant impact on the dance field throughtheir selection processes: elevating certain works, practices, and artists, while effectively excluding others. Through this, they have a considerable hand in shaping what kinds of dance pieces a local audience has access to,effectively writing dance history over time. But their working processes remain poorly understood, and there have been limited attempts to theorize their practice. This article begins with an exploration of the etymology of the term curator and the historical emergence of the curator in both the fine arts and dance. It then goes on to examine the role of the curator as mediator in two common models for dance presentation (the festival and the theater season) and explores two alternative curatorial models (the focus program at Brussels venue Beursschouwburg and the uncurated model of Amsterdam festival Come Together). Finally, it explores the practice of dance curation as a form of choreography itself. It concludes that contextualizing dance curation asa form of choreography could be an effective starting point for theorizing the practice, hopefully paving the way for further study.
10

Meehitiya, Luanne. "Be A Curator: Developing a new Geological Curators' Group activity to engage the public with geological curation." Geological Curator 10, no. 6 (December 2016): 259–61. http://dx.doi.org/10.55468/gc17.

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A new outreach activity developed by the author for GCG is briefly described. The Be A Curator activity is aimed at use in FossilFestivals and similar events, and for loan by curators for local use. The activity is based around a range of labels on a magnetic board and introduces people to the idea of curation.
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Статті в журналах Дисертації Книги

Дисертації з теми "Curator":

1

O'Neill, Rebecca. "The rise of the citizen curator : participation as curation on the web." Thesis, University of Hull, 2017. http://hydra.hull.ac.uk/resources/hull:16449.

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From jazz clubs to cheese plates, the term curation has become a signifier of the growing need to organise and prioritise the seemingly endless possibilities of the digital sphere. The issue addressed here is in the associated meanings of the word curation and what it means to be a curator by examining the experience of the curatorial within a discrete context: the Irish curatorial landscape. The word curation comes from the Latin curare, to care for, and has long been associated with the professional duties of those selected as custodians for objects and knowledge deemed to be important to communities, nations, countries or even the world. However, as objects move from being purely physical to the digital, and knowledge changes from being transmitted through similarly physical media to digital formats that can be set free on the Web, what it means to curate has also changed. Curators are no longer necessarily identified as employed within museums or galleries; the word is now also applied to those who engage with and aid in the management and presentation of digital assets online. Curators have emerged in the online space much like their forerunners, bloggers or citizen journalists. We are now seeing the rise of citizen curators on the Web, which has not created these individually motivated curators, but has made their curatorial activities visible. Citizen journalists no longer need to have a printing press or publishing house to communicate with their audience; similarly, citizen curators do not need a private cabinet of curiosities or a job in a museum to allow them to curate or exhibit to an audience. The aims of this research are threefold: to examine the current terminology related to curation by those who identify as curators or engage in curation in Ireland; to define what it means to be a curator or a citizen curator within the Irish context; and to investigate the changing nature of exhibition spaces contained in the Irish context in light of the Web and digital spaces. The study will take the form of an autoethnography, exploiting my unique position within the museum and open knowledge community in Ireland to examine current understandings of curation and the phenomenon of the citizen curator. The focus will be on my work within Wikimedia Community Ireland (WCI), a branch of the Wikimedia Foundation which promotes the use of Wikipedia in Ireland in education, culture, and open knowledge. As an autoethnographer, I can act as an intermediary, part way between those working in cultural organisations and the public involved in knowledge building projects. The study will look at how those engaged in curation articulate the work they do by means of interviews and participant observation. These sources will allow for the development of a spectrum of curatorial practice. The spectrum will arise from the participants’ (both citizen curators and those working in Irish cultural institutions) own understanding and definitions of curation and what it means to curate. In placing these definitions of curation within a spectrum that takes in broader understandings of curatorial practice, the newer forms of digital curation, and a picture of how the citizen curator relates to these methods, will emerge. The disruptive effect which the digital, and in particular the concept of the Long Tail, has brought to bear upon understanding of the assembling, storing, and using of collections will be examined. It will answer many of the issues surrounding the discipline-specific definitions of curation and the curator while informing their relationship with each other. By drawing out curation into a spectrum, what unfolds is the movement of curation from a traditional and closed system of learnt practices, to one which is formed around more open and accessible conventions of curation. In identifying the citizen curator, their role in the larger curatorial debate can be acknowledged and better incorporated into the multitude of online curated projects. This hinges on the emergence of the Do It With Others ethos which pervades both online and offline creative communities, and it redefines curation from a solitary practice, to one which is demarcated by its participatory nature.
2

Meier, Dominicus M. "Der Curator im kanonischen Prozeßrecht /." Essen : Ludgerus-Verl, 1998. http://www.gbv.de/dms/spk/sbb/recht/toc/274215608.pdf.

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3

Marinaki, Irini. "Nicolas Calas : critic and curator." Thesis, Birkbeck (University of London), 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.600386.

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4

Black, Sarah. "Mother as curator : performance, family and ethics." Thesis, Middlesex University, 2018. http://eprints.mdx.ac.uk/25913/.

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This thesis attends to the mother-artist developing a performance-based practice with her family in the home. This is a practice-as-research exploration which integrates areas of maternal ethics and the mother-artist, family and narrative enquiry, the home and sited practices. It consists of a written dissertation, three full (larger) scale installations set within the family home, Trace (2013), Reclaiming the Ritual (2014), 31 Days Old (2016), and a series of smaller works Bed Bound (2014) and Children's Practice (2014-17), plus digital documentation. The main argument focuses on the role of the mother-artist who initiates an art making practice with her family and considers the personal, professional and ethical questions that can arise. Furthermore, weaving throughout the thesis is the development of what I call, 'Mother Ethics' - emphasising a sensitive approach to art-making with children and family, and considering practices and implications of exploring the home as a site for the dissemination of an art practice. The methodology is developed from the position of the mother and uses practice-as research creative methodologies alongside narrative enquiry, and memory work. It employs sensitive approaches to documentation, and anecdotal writing modes. This thesis is situated and contextualised within theoretical fields of maternal studies, maternal ethics, narrative studies, and site-specific dance practices. The key arguments have been developed through engaging with Sara Ruddick, Lisa Baraitser, Iris Marion Young, Llangellier and Peterson, Jerome Bruner, and Mike Pearson. For the purpose of situating my own work and drawing upon the practices of others in the related worlds of maternal, family and home, I have drawn upon current practices and discourses in particular Mary Kelly, Lena Simic, Grace Surman, Lenka Clayon, Jo Spence, and The Institute for Art and Practice of Dissent at Home.
5

Wilkinson, Judith. "Uncovering the legacy : Samuel Beckett : artist + curator." Thesis, Goldsmiths College (University of London), 2012. http://research.gold.ac.uk/7408/.

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6

Ostling, Susan. "The Defining and Shaping of the Contemporary Art Curator." Thesis, Griffith University, 2013. http://hdl.handle.net/10072/368133.

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Curators have come to figure quite prominently in the cultural landscape of late, such that the concept of a curator is now applied in a wide variety of contexts from art to shopping. It is said curators are now far more linked to the internet and social networks, than to the interiors of museums; and most accounts see the contemporary art curator as caught in the flux of global cultural economies. Why should this be? It is in this volatile terrain I have situated my research on the contemporary art curator. I ask how has the role of the curator been shaped, defined and constrained by competing discourses? Were there other influences, I ask beyond the global market place that may have contributed to the defining and shaping of the contemporary curator? I undertake this study in two ways. Firstly, I conduct an historical overview to explore whether there were precedents of curatorial practice that might lead to a greater understanding of the contemporary curator. Here, following Foucault, I consider the transformations in dominant discourses that have effected the assembling and interpretation of collections of significant objects. Secondly, using interviews conducted with three ‘independent’ curators—Seth Siegelaub, Juliana Engberg and Charles Esche—I undertake discourse analyses, identifying a number of fields of discourse, which I argue have impacted and shaped their curatorial practices. What has emerged through this study has been recognition of how across time there is a duality of discourses at the core of curatorial activities. And far from undermining or weakening the curatorial practice, I suggest this duality plays a dynamic and regenerative role in forming the relationships produced between place, ideas, objects, artists, viewers and capital.
Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Queensland College of Art
Arts, Education and Law
Full Text
7

Steierhoffer, Eszter. "The rise of the curator and architecture on display." Thesis, Royal College of Art, 2016. http://researchonline.rca.ac.uk/1815/.

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This thesis constitutes a new approach to contemporary exhibition studies, a field of research that has until now dedicated little attention to connections between exhibitions of contemporary art and those of architecture. The late 1970s saw a 'historical turn' in the architectural discourse, which alluded to the rediscovery of history, after its abandonment by all the Modern masters, and developed in close alignment with architecture’s project of autonomy. This thesis proposes a reading of this period in relation to the formative moment for contemporary curatorial practices that brought art and architecture together in unprecedented ways. It takes its starting point from the coexisting and often contradictory spatial representations of art and architecture that occur in exhibitions, which constitute the inherently paradoxical foundations – and legacy – of today’s curatorial discourse. The timeframe of the late 1970s, which is this study’s primary focus, marks the beginning of the institutionalisation of the architecture exhibition: The opening of the Centre Pompidou in Paris (1977), the founding of ICAM in Helsinki (1979), and the first official International Architecture Biennale in Venice (1980), all of which promoted architecture within the museum. This period also saw the idealism of the social, political and artistic revolutions of 1968 finally dissipate, marking the emergence of a new conservatism. The concurrent postmodernisation of the cultural discourse, together with the post- industrial era’s changing economic climate, prompted a need to redefine the purpose and position of the architectural profession. The resulting new architecture not only developed within the space of art, but also substantially reshaped it, provoking numerous artistic and curatorial responses, which continue to this day. In order to explore and elucidate the connections between the fields of architecture, contemporary art and curatorial practices, the chapters consider the often-overlapping notions of architecture as object, concept, process, media and context through period case studies, including examples of the ‘void shows’ and artist museums, Ungers’ building of the DAM, Friedman’s Street Museum, Frankfurt’s Museumsufer, Matta-Clark’s and Kabakov’s respective practices and Portoghesi’s ‘Strada Novissima’ at the first Venice Biennale of Architecture. Surveying the separate models of architectural displays, drawn from different institutional and disciplinary contexts of the late 1970s and early 1980s, this thesis questions how these different exhibition typologies have expanded the definition of architecture. It also investigates the ways in which contemporary curatorial and art practices have been informed and shaped by architecture, and, how these curatorial representations of architecture adhere to the wider cultural, political and economic contexts. Ultimately, the thesis reconsiders the past as a way to grasp the present, and, through the analysis of the socio-political and economic contexts of the case studies, it builds a critique of the globalised hyper-acceleration of contemporary curatorial production.
8

Ekman, Jan. "Gränser och passager : En analys av de curatoriska och konstnärliga subfälten." Thesis, Södertörns högskola, Institutionen för kultur och kommunikation, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-15375.

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I have, with a point of departure in two case studies; the artist, curator and scientist Andreas Gedin and Maria Lind, curator and director of Tensta konsthall, contextualized with a couple of respondents; the freelance curator, writer and editor Power Ekroth and the freelance curator and artist Carl Michael von Hausswolff, conducted a field analysis on curatorial and artistic practices. I have applied key concepts in order to conduct the analysis. Furthermore, the case studies and the respondents have been placed in a contemporary artworld. These components have been related to a contemporary historical segment of the artworld. This in turn, has been related to older, international cicumstances of change and various conditions in the two subfields. I have suggested certain a proximity in the artistic and curatorial practices. I have also suggested three types of conduct or signature features linked to the curatorial practices. One result implied in the responses in the interviews is that the formal requirements to enter the field are low on part of the artist as compared to that of the curator. This is only a weak indication due to the small sample. This distribution seems plausible in that, amongst other things, the connection on the curatorial part to the institution as well as a greater proximity to centres of power requires a larger accumulation of educational capital. The movements that at times occur between the subfields could simply be a consequence due to the frail demarcation of the fields. The dynamics due to the accumulated capital appears to be the foremost distinctive factor that influence the possibility of movement across the demarcations. The artist appears to have the most to gain from the weak demarcations due to the fact that venturing in to curatorial territory provides a greater access to the possibilities of defining the field. Another plausible explanation to the at times frequent passing over the borders is the economical cicumstances in the cultural sector.
VG
9

Beignon, Anaëlle. "Participatory Design Fiction Curator – Providing inspiration from Participatory Design fiction Research." Thesis, Malmö universitet, Fakulteten för kultur och samhälle (KS), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-23284.

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Designers take inspiration about the future in order to shape values for their design practice, especially whennew technologies are involved. Participatory design fiction is an approach that enables designers to reflectupon futures are created by non-designers. These narratives about technologies that come from nondesignersare valuable for designers in the industry as inspirational material. Nonetheless, the distancebetween the academic research and designers in the industry makes difficult the spreading of design fictionsproduced by non-designers.This thesis project explore the following: How might we design a digital infrastructure that integrates the enduser's imaginaries about new technologies as inspiration and material for reflection in the design industrypractice?As well as: How might we enable the design research community to share results of their participatory designfiction experiments with the design industry in ways that benefit both parts?I will present an investigation in the relations between the academic design researchers and the designpractitioners by the means of co-design workshops, interviews, virtual ethnography and iterative prototyping.The outcome is an infrastructure which takes advantage of the existing practices of the design community onTwitter. By investigating these social media dynamics, I intent to create a bridge between academia anddesign industry for enabling critical inspiration from participatory design fiction outcomes. The final prototypeis a Twitter account run by a bot which enables an autonomous collection of design fictions from nondesignersshared on Twitter by design researchers with designers from the industry.
10

McCartney, Laura Lee. "Unpacking Self in Clutter and Cloth: Curator as Artist/Researcher/Teacher." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc849713/.

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This a/r/tographic dissertation offers opportunities to interrogate curator identity and curator ways of being in both public and private spaces. Instead of an authoritative or prescriptive look at the curatorial, this dissertation as catalogue allows for uncertainty, for messiness, for vulnerable spaces where readers are invited into an exhibition of disorderly living. Stitched throughout the study are stories of mothering and the difficulties that accompanied the extremely early birth of my daughter. Becoming a mother provoked my curating in unexpected ways and allowed me to reconsider the reasons I collect, display, and perform as a curator. It was through the actual curating of familial material artifacts in the exhibition Dress Stories, I was able to map the journey of my curatorial turns. My engagement with clothing in the inquiry was informed by the work of Sandra Weber and Claudia Mitchell, where dress as a methodology allows for spaces to consider autobiography, identity, and practice. It was not until the exhibition was over, I was able to discover new ways to thread caring, collecting, and cataloging ourselves as curators, artists, researchers, teachers, and mothers. It prompts curators and teachers to consider possibilities for failure, releasing excess, and uncaring as a way to care for self, objects, and others.
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Книги з теми "Curator":

1

Strauss, Jacques. The curator. London: Jonathan Cape, 2015.

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2

Romano, Gianni. Become a curator. Milano: Postmedia books, 2019.

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3

Nutter, Jude. The curator of silence. Notre Dame, Ind: University of Notre Dame Press, 2007.

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4

M. A. L. M. Willems. Faillietverklaring, curator en r-c. Deventer: Kluwer, 2005.

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5

Wiehager, Renate, and Katharina Neuburger. Duchamp als Kurator: Duchamp as curator. Köln: Snoeck, 2017.

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6

Bonami, Francesco. Curator: Autobiografia di un mestiere misterioso. Venezia: Marsilio, 2014.

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7

Watson, Fleur. The New Curator: Exhibiting Architecture & Design. Abingdon, Oxon ; New York : Routledge, 2021.: Routledge, 2021. http://dx.doi.org/10.4324/9781351029827.

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8

Speyer, A. James. A. James Speyer: Architect, curator, exhibition designer. Chicago, Ill: Distributed by the University of Chicago Press, 1997.

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9

Han, Mi-ae. K'yureit'ŏ, kŭrigo misulgwan: Curator & museum of art. 8th ed. Sŏul-si: Chŏngju, 2001.

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10

Niessen, S. A., I. C. van Hout, Willie Jager-Ruchti, and Gusta van der Leegte. Rita Bolland, 1919-2006: Curator of textiles. Amsterdam, The Netherlands: KIT publishers, 2008.

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Частини книг з теми "Curator":

1

Theisohn, Philipp. "»Carsten Curator« (1878)." In Storm-Handbuch, 209–12. Stuttgart: J.B. Metzler, 2017. http://dx.doi.org/10.1007/978-3-476-05447-0_59.

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2

Hassal, Arthur. "Curator of Common Room." In Lewis Carroll, 54–55. London: Palgrave Macmillan UK, 1989. http://dx.doi.org/10.1007/978-1-349-08724-2_23.

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3

Gusmita, Ria Hari, Rricha Jalota, Daniel Vollmers, Jan Reineke, Axel-Cyrille Ngonga Ngomo, and Ricardo Usbeck. "QUANT - Question Answering Benchmark Curator." In Lecture Notes in Computer Science, 343–58. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-33220-4_25.

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4

Gurian, Elaine Heumann. "Curator—From Soloist to Impresario." In Centering the Museum, 100–115. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003096221-7.

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5

Watson, Fleur. "The Activist (Curator as Agent)." In The New Curator: Exhibiting Architecture & Design, 205–36. Abingdon, Oxon ; New York : Routledge, 2021.: Routledge, 2021. http://dx.doi.org/10.4324/9781351029827-11.

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6

Watson, Fleur. "The Prosthetic (Curator as Interloper)." In The New Curator: Exhibiting Architecture & Design, 121–52. Abingdon, Oxon ; New York : Routledge, 2021.: Routledge, 2021. http://dx.doi.org/10.4324/9781351029827-7.

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7

Goodwin, Paul. "Confessions of a recalcitrant curator." In The Persistence of Taste, 174–86. 1 [edition]. | New York : Routledge, 2018. | Series: Culture, economy, and the social: Routledge, 2018. http://dx.doi.org/10.4324/9781315617299-14.

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8

Peabody, Rebecca. "Gabriel PhD, Art History Museum Curator." In The Unruly PhD, 75–87. New York: Palgrave Macmillan US, 2014. http://dx.doi.org/10.1057/9781137319463_5.

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9

Burdick, Melanie N., and Heidi L. Hallman. "From Content Expert to Content Curator." In At the Crossroads of Pedagogical Change in Higher Education, 85–98. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003024842-7.

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10

Watson, Fleur. "Event as Performance (Curator as Dramaturge)." In The New Curator: Exhibiting Architecture & Design, 245–70. Abingdon, Oxon ; New York : Routledge, 2021.: Routledge, 2021. http://dx.doi.org/10.4324/9781351029827-13.

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Тези доповідей конференцій з теми "Curator":

1

Sprengart, Benjamin, Anthony Collins, and Judy Kay. "Curator." In the ACM International Conference. New York, New York, USA: ACM Press, 2009. http://dx.doi.org/10.1145/1731903.1731946.

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2

Walsh, Greg, and Jennifer Golbeck. "Curator." In the 28th international conference. New York, New York, USA: ACM Press, 2010. http://dx.doi.org/10.1145/1753326.1753643.

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3

Chun Wai, Wilson Yeung, and Estefanía Salas Llopis. "THE SPACE BETWEEN US." In INNODOCT 2020. Valencia: Editorial Universitat Politècnica de València, 2020. http://dx.doi.org/10.4995/inn2020.2020.11901.

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This article explores how to integrate the collective creation of contemporary art exhibitions, and how to transform exhibition works into contemporary language and novel visual art materials, thereby generating cultural exchange between Australia and Spain. The Space Between Us (2017- ), co-curated by Australian artist-curator Wilson Yeung and Spanish artist Estefanía Salas Llopis, resolve these questions by examining the contemporary art exhibition. This paper also asks how to transform art exhibitions into laboratories, how artists and curators work together in a collective innovation environment, how collective creation generates new knowledge, and how to develop collective creation among creative participants from different cultures and backgrounds.
4

Porcheron, Martin, Andrés Lucero, and Joel E. Fischer. "Co-curator." In AcademicMindtrek'16: Academic Mindtrek Conference 2016. New York, NY, USA: ACM, 2016. http://dx.doi.org/10.1145/2994310.2994350.

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5

Trielli, Daniel, and Nicholas Diakopoulos. "Search as News Curator." In CHI '19: CHI Conference on Human Factors in Computing Systems. New York, NY, USA: ACM, 2019. http://dx.doi.org/10.1145/3290605.3300683.

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6

Vladetić, Srđan. "FRONTINOV OSVRT NA POLOŽAJ STARATELjA RIMSKOG VODOVODA (CURATOR AQUARUM)." In XV Majsko savetovanje: Sloboda pružanja usluga i pravna sigurnost. University of Kragujevac, Faculty of Law, 2019. http://dx.doi.org/10.46793/xvmajsko.469v.

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After the Agrippa’s death (12 B.C.) and encouraged with his achievements August has established permanent service for maintenance of water supply. That service has been governed by the curator aqaurummentioned by the Frontinus on the several occasions in his peace “De aquaeductuurbisRomae”. Having in mind position of the curator aquarum, particularly the fact that he was entitled for issuing the licenses for using of water to the private individuals, their biographies, criteria they have to meet to be on that position, their social status and duration of their mandate in this work the actual position of curator aquarum will be presented.
7

Stach, Christoph, and Bernhard Mitschang. "Curator --- a secure shared object store." In SAC 2018: Symposium on Applied Computing. New York, NY, USA: ACM, 2018. http://dx.doi.org/10.1145/3167132.3167190.

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8

Kitaya, Koki, Hung-Hsuan Huang, and Kyoji Kawagoe. "Music curator recommendations using linked data." In 2012 Second International Conference on Innovative Computing Technology (INTECH). IEEE, 2012. http://dx.doi.org/10.1109/intech.2012.6457799.

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9

Pei Wu, Yi, and Chien-Hsu Chen. "Design a Visual Communication Platform for curators and artists to curate an exhibition remotely." In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1002034.

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Art is an expression of emotion; art exhibitions bring artists' creations and perceptions to the visitors. International art exhibitions present diverse and high-quality artistic creations through the curator's elaborate exhibition planning, and the connection between artworks and visitors is established to allow visitors to admire and understand; on the contrary, it also challenges the digital communication tools for curators and artists when conducting co-curation remotely. This study utilizes interviews and field study to collect pain points and ultimately provides guidelines and crucial functions for curators and artists to design a visual communication platform during international curation collaboration.
10

Sainik, Lavanya, and Dheeraj Khajuria. "Fault tolerant data flow using curator — Storm." In 2014 5th IEEE International Conference on Software Engineering and Service Science (ICSESS). IEEE, 2014. http://dx.doi.org/10.1109/icsess.2014.6933608.

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Звіти організацій з теми "Curator":

1

Lämmli, Dominique. Review of Marquard Smith (ed.), "Research: Practitioner, Curator, Educator". Jar-online.net, July 2020. http://dx.doi.org/10.22501/jarnet.0028.

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2

Yonemura, Ann. Art in Context: Aesthetics, Environment and Function in the Arts of Japan. Inter-American Development Bank, March 1995. http://dx.doi.org/10.18235/0007915.

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3

Hasty, Ashley. From Teacher to Curator: The Power of Intrinsic Motivation in Students. Ames: Iowa State University, Digital Repository, November 2016. http://dx.doi.org/10.31274/itaa_proceedings-180814-1526.

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4

McKittrick, Susan. HiveFire’s Curata Platform for B2B Content Curation. Boston, MA: Patricia Seybold Group, May 2011. http://dx.doi.org/10.1571/pr05-05-11cc.

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5

Soenen, Karen, Danie Kinkade, Adam Shepherd, Mak A. Saito, Dana Gerlach, Lynne M. Merchant, Sawyer Newman, Shannon Rauch, and Amber York. Fitting square pegs into a round hole. Curating heterogeneous oceanographic data at BCO-DMO. Woods Hole Oceanographic Institution, February 2024. http://dx.doi.org/10.1575/1912/67676.

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BCO-DMO is a domain-specific repository containing 18 years of curated, heterogeneous oceanographic data. Data managers are at the core of the repository, applying the F.A.I.R. principles to every dataset coming in. This talk steers the audience through such a curated dataset, covering the advancements and challenges that comes with domain curation.
6

Kupfer, Monica E. Perceptive Strokes: Women Artists of Panama. Inter-American Development Bank, March 2013. http://dx.doi.org/10.18235/0006215.

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The IDB Cultural Center is proud to host this exhibit honoring the Republic of Panama, host country of the IDB Annual Meeting, which will take place from March 14¿20, 2013. The exhibition highlights the history of modern and contemporary art by Panamanian women and will include paintings, photographs, sculptures, and video art from the 1920s to the present. The 22 artworks, selected by Panamanian curator Dr. Monica E. Kupfer, reveal the ways in which a varied group of female artists have experienced and represented significant geopolitical events in the nation¿s history. Their interpretations also show the position of women in Panamanian society, and their views of themselves through their own and others¿ eyes. Among the artists are: Susana Arias, Beatrix (Trixie) Briceño, Fabiola Buritica, Coqui Calderón, María Raquel Cochez, Donna Conlon, Isabel De Obaldía, Sandra Eleta, Ana Elena Garuz, Teresa Icaza, Iraida Icaza, Amelia Lyons de Alfaro, Lezlie Milson, Rachelle Mozman, Roser Muntañola de Oduber, Amalia Rossi de Jeanine, Olga Sánchez, Olga Sinclair, Victoria Suescum, Amalia Tapia, Alicia Viteri, and Emily Zhukov.
7

Koerner, Gabrielle-Elisabeth, Paraskevi Dimitriou, Axel Boeltzig, Roger Garbil, Sylvie Leray, Marel Lewitowicz, and Eberhasrd Widmann. Summary Report of the IAEA Consultants’ Meeting on Needs for a Comprehensive European Plan to Acquire and Curate Nuclear Data. IAEA Nuclear Data Section, August 2023. http://dx.doi.org/10.61092/iaea.e56v-fj6f.

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ABSTRACT A Consultant’s Meeting was held at the IAEA to discuss the needs for a comprehensive European plan to acquire and curate nuclear data. Participants representing nuclear data groups, the nuclear physics community (NuPECC), and the existing funding agency (EURATOM), reviewed the status of nuclear data curation in Europe, including coordination, funding, and capacity building. A summary of the discussions as well as the list of recommendations and actions are included in this report.
8

Soenen, Karen, Dana Gerlach, Christina Haskins, Taylor Heyl, Danie Kinkade, Sawyer Newman, Shannon Rauch, et al. How can BCO-DMO help with your oceanographic data? How can BCO-DMO help with your oceanographic data?, December 2021. http://dx.doi.org/10.1575/1912/27803.

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BCO-DMO curates a database of research-ready data spanning the full range of marine ecosystem related measurements including in-situ and remotely sensed observations, experimental and model results, and synthesis products. We work closely with investigators to publish data and information from research projects supported by the National Science Foundation (NSF), as well as those supported by state, private, and other funding sources. BCO-DMO supports all phases of the data life cycle and ensures open access of well-curated project data and information. We employ F.A.I.R. Principles that comprise a set of values intended to guide data producers and publishers in establishing good data management practices that will enable effective reuse.
9

McKittrick, Susan. Eqentia Content Curation Platform. Boston, MA: Patricia Seybold Group, February 2011. http://dx.doi.org/10.1571/pr02-24-11cc.

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10

Lisa, Johnston. The DCN Curation Workflow. University of Tennessee, Knoxville Libraries, 2021. http://dx.doi.org/10.7290/bw893st4dk.

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