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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.
Повний текст джерелаАнотація:
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.
Повний текст джерелаАнотація:
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.
Повний текст джерелаАнотація:
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.
Повний текст джерелаАнотація:
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.
Повний текст джерелаАнотація:
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.
Повний текст джерелаАнотація:
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.
Повний текст джерелаАнотація:
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.
Повний текст джерелаАнотація:
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.
Повний текст джерелаАнотація:
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.
Повний текст джерелаАнотація:
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.
11
Cachia, Amanda. "Reflections on Access: Disability in Curatorial Practice." Canadian Journal of Disability Studies 8, no. 1 (February 21, 2019): 98–117. http://dx.doi.org/10.15353/cjds.v8i1.472.
Повний текст джерелаАнотація:
Access is a vital tool to deploy within a critical disability curatorial practice and can embody both conceptual and physical possibilities, whereby the very idea of access can be discovered in an artist’s work, and, at the same time, be productively curated into both gallery spaces and the exhibition of the artwork. This essay reflects on the author’s critical disability curatorial practice with the exhibitions Marking Blind (2015) and Sweet Gongs Vibrating (2016). Through the curation of works by Raphaëlle de Groot and Carmen Papalia, and through the artist curator relationship between the artists and the curator, the author of this paper, both exhibitions incorporated access in order to benefit the artists, the artworks, as well as diverse audiences. This paper argues that through the guidance of the curator, access can be incorporated into the exhibition in highly imaginative and artistic ways.
12
Nenastina, T., K. Berezhna, and S. Bugaevskyi. "Curator's work during the adaptation period of students at the Kharkiv National Automobile and Road University." New Collegium 1, no. 110 (March 28, 2023): 59–64. http://dx.doi.org/10.30837/nc.2023.1-2.59.
Повний текст джерелаАнотація:
Due to the transition to the new generation of educational standards and the increase in hours for independent work, there is a need to train a creative, active person who can independently choose his own life path. The educational process in the life of the university is planned and organized along with studies and scientific activities. The curator of the academic group is usually assigned an experimental teacher, since this position includes responsible and thorough work, which should take into account the profile of training of specialists and the specifics of the faculty. Students' problems related to the educational process at the university, interpersonal conflicts and relations in the group, and the question of the student group participation in the public and cultural mass activities of the university are resolved by the curator. The effectiveness of the educational work of the curator of the academic group is largely determined by its planning. Based on the analysis of theoretical studies and the experience of modern pedagogues-practitioners, the roles and functions of the curator in working with the group are defined, the curator's duties are described, and an approximate plan for the work of curators in universities is proposed. The views on the organization of educational work in higher education are presented. The creation of new mechanisms related to the selectivity of some disciplines makes it necessary to carry out additional explanatory and advisory work of curators regarding the formation of individual study plans for applicants. It is shown that the curator uses various forms of educational work in his activities, which contribute to the formation of the personality of the future specialist as a patriot citizen, who cares about the fate of the Ukrainian state, law, and order, education, and culture.
13
Mulyatno, Ahmad Dwi. "Kewenangan Kurator Untuk Mengurus Perseroan Terbatas Pailit." Asas Wa Tandhim: Jurnal Hukum, Pendidikan Dan Sosial Keagamaan 1, no. 2 (July 29, 2022): 155–78. http://dx.doi.org/10.47200/awtjhpsa.v1i2.1280.
Повний текст джерелаАнотація:
The problems in this study are: 1) What is the authority of the curator to manage a limited liability company (PT) in bankruptcy?, 2) What is the curator’s responsibility for managing the bankruptcy estate of a limited liability company (PT) in the event of the curator’s negligence or error in managing a bankruptcy?. This type of research is normative. The technique of collecting legal materials uses literature study. The analytical technique used is qualitative descriptive authority. The results show that: 1) The curator in alimited liability company (PT) bankrupt is the transfer of authority to the curator which previously was the authority of the board of Directors only with regard to the management and or settlement of assets of a limited liability company (PT) bankrupt, the authority possessed by the curator in the bankruptcy of a limited liability company (PT) arises from tasks ordered by law. The use of such authority is immediately followed by their respective responsibilities for the implementation of their authority, while the exercise of authority that is not in accordance with legal provisions and causes losses to the company will result in legal consequences for the curator. 2) The curator’s responsibility for managing the assets of a limited liability company (PT) in bankruptcy consists of the curator’s responsibility in the curator’s capacity and the curator’s personal responsibility. Result in loss of bankruptcy estate. Meanwhile, all losses that arise as a result of negligence or due to the unprofessionalism of the curator are the personal responsibility of the curator and such losses cannot be charged to the bankruptcy estate.
14
Simanjuntak, Ranto Parulian. "CURATORS ARE VULNERABLE TO BE CRIMINALIZED AND CRIMINATED IN BANKRUPTCY AND PKPU PROCESSES." Global Legal Review 3, no. 2 (October 31, 2023): 141. http://dx.doi.org/10.19166/glr.v3i2.7424.
Повний текст джерелаАнотація:
<p>The Curator is one of the important organs in the debt settlement process between debtors and their creditors through bankruptcy law instruments. Based on Law Number 37 of 2004 concerning Bankruptcy and Postponement of Debt Payment Obligations (PKPU), the Curator is given broad and broad duties and powers in managing and settling the assets of a bankrupt debtor. Because since being declared bankrupt by the court, the debtor has lost his right to manage his business and assets. The duties and authorities to administer the business and assets of the bankrupt debtor rest in the hands of the Curator, who works under the supervision of the Supervisory Judge. In carrying out its duties and authorities, the Curator must adhere to the provisions of the Law and the Professional Code of Ethics, namely being independent, having no conflict of interest and not handling more than 3 (three) Bankruptcy and PKPU cases. If in carrying out its duties and authorities it causes damage to the bankrupt assets, then the Curator must be legally responsible. That means, the Curator does not have the right of immunity or impunity in carrying out his duties and authorities to manage and settle bankruptcy assets in accordance with the provisions of the law. The Curator is not a public official. The Curator may be punished if his actions and decisions in administering and settling the bankrupt assets cause harm to the bankrupt assets. However, Law Number 37 of 2004 concerning Bankruptcy and PKPU does not include criteria for criminal acts and criminal sanctions for Curators. Because of this, Curators are vulnerable to being criminalized and punished.</p><p>The Curator is one of the important organs in the debt settlement process between debtors and their creditors through bankruptcy law instruments. Based on Law Number 37 of 2004 concerning Bankruptcy and Postponement of Debt Payment Obligations (PKPU), the Curator is given broad and broad duties and powers in managing and settling the assets of a bankrupt debtor. Because since being declared bankrupt by the court, the debtor has lost his right to manage his business and assets. The duties and authorities to administer the business and assets of the bankrupt debtor rest in the hands of the Curator, who works under the supervision of the Supervisory Judge. In carrying out its duties and authorities, the Curator must adhere to the provisions of the Law and the Professional Code of Ethics, namely being independent, having no conflict of interest and not handling more than 3 (three) Bankruptcy and PKPU cases. If in carrying out its duties and authorities it causes damage to the bankrupt assets, then the Curator must be legally responsible. That means, the Curator does not have the right of immunity or impunity in carrying out his duties and authorities to manage and settle bankruptcy assets in accordance with the provisions of the law. The Curator is not a public official. The Curator may be punished if his actions and decisions in administering and settling the bankrupt assets cause harm to the bankrupt assets. However, Law Number 37 of 2004 concerning Bankruptcy and PKPU does not include criteria for criminal acts and criminal sanctions for Curators. Because of this, Curators are vulnerable to being criminalized and punished.</p><p><strong><br /></strong></p>
15
Torrens, Hugh S., and John A. Cooper. "George Fleming Richardson (1796-1848) - man of letters, lecturer and geological curator." Geological Curator 4, no. 5 (February 1986): 249–72. http://dx.doi.org/10.55468/gc791.
Повний текст джерелаАнотація:
Seeing the familiar poem The Nautilus and the Ammonite featured in a recent issue of the Geological Curator (Delair 1984) reawakened an idea which has Iain dormant for some time: that we should start a series on forgotten or neglected curators. In my view the single most important cause of the widespread neglect which geological and other natural science collections have suffered in Britain over the years can be put down to a lack of caring curators. Sometimes there was a lack of curators, othertimes they didn't care! The history of curation seems to be an even more neglected subject than the history of collections - a point I tried to make at the Ashmolean Tercentenary Symposium in Oxford in 1983 (Torrens 1985b). So while we try to document the collections perhaps we should also stop to consider the curators who *made it all possible*. This point was made specifically by Edwards (1984) about one of the most remarkable of such curators, ex-railway clerk Thomas Sheppard (1876-1945), the Curator of Hull Museums from 1900 to 1941. What has all this to do with the poem The Nautilus and the Ammonite? Simply that it is not by Ernest Westlake, and was neither written in the 1880s nor hitherto unpublished as claimed by Delair (1984). Instead it is by one of the earliest forgotten curators - George Fleming Richardson (1796-1848).
16
Sidorova, Tatiana V., Bayan T. Tsydypov, and Yulia V. Shibanova. "Personal and Professional Position of the Student Group Curator." Siberian Pedagogical Journal, no. 3 (July 3, 2023): 80–89. http://dx.doi.org/10.15293/1813-4718.2303.08.
Повний текст джерелаАнотація:
The article discusses the concept of the personal and professional position of curators working in the system of secondary vocational education. The mentoring work of a curator requires from the teacher not only psychological and pedagogical knowledge, but also high intellectual, moral-volitional and moral qualities. The authors conducted a research among the curators of the College of the Buryat State University named after D. Banzarov to identify their personal and professional position, to determine its productivity. Analysis of the results showed that the pedagogical position of the curator depends primarily on internal causes rather than on external circumstances. The purpose of this article is to identify the personal and professional position of the curators of the BSU College, determination of its productivity. The main methods of this research are the analysis of scientific literature on the topic, regulatory documentation related to the activities of the curator; empirical methods: questioning and interviewing curators of the Buryat State University college, processing the results. In conclusion, it is concluded that a modern curator must have a number of personal qualities that contribute to an effective educational process and the formation of a student’s personality. As the research showed, the development of a productive personal and professional position of curators can contribute to the improvement of educational activities in the system of secondary vocational education.
17
Schuppert, Mirjami. "Learning to Say No, the Ethics of Artist-Curator Relationships." Philosophies 6, no. 1 (February 17, 2021): 16. http://dx.doi.org/10.3390/philosophies6010016.
Повний текст джерелаАнотація:
The article suggests that the perceived ethics of curatorial practice are not often in balance with operative ethics, and analyses the problem by focusing on the curator-artist relationship. Contemporary art curators constantly find themselves in a situation where they have to choose between the needs of the few and the many. Counter-hegemony theory is used to examine the curator’s duty toward the many, while the reading of Jacque Derrida’s concept of responsibility toward an individual and Alain Badiou’s ‘singularity of situations’ suggest that the few are to be considered first. In this article, I suggests that curators could learn to say no in order to be able to balance these different demands.
18
Reidla, Jana. "Curators With and Without Collections : A Comparative Study of Changes in the Curator’s Work at National Museums in Finland and in the Baltic States." Journal of Ethnology and Folkloristics 12, no. 2 (December 1, 2018): 115–38. http://dx.doi.org/10.2478/jef-2018-0014.
Повний текст джерелаАнотація:
Abstract Traditionally, the curator’s work has been in close connection with the main functions of the museum - preservation, research, and communication. The changes that have occurred at museums over the past few decades have also influenced the profession of curator. Specialisation has taken place inside the museum, and so the curator’s functions have also changed. This article focuses on the curator’s field of work at national museums in Finland and in the Baltic states. The analysis is mainly based on interviews conducted with curators and other museum professionals at the Estonian National Museum, the Estonian History Museum, the National History Museum of Latvia, the National Museum of Lithuania, and the National Museum of Finland. Emanating from the PRC model provided by the Reinwardt Academy as well as the global changes induced by the new museology, the focus is on the curator’s connection with museum collections. The analysis shows that the curator’s role is not similar in all the museums under discussion; there are regional differences in structure, curatorial duties, and priorities. While at some museums the curator is regarded as a collection keeper who can also do some research, at others they are rather researchers and have only infrequent contact with collections.
19
Dekker, Annet, and Gaia Tedone. "Networked Co-Curation: An Exploration of the Socio-Technical Specificities of Online Curation." Arts 8, no. 3 (July 8, 2019): 86. http://dx.doi.org/10.3390/arts8030086.
Повний текст джерелаАнотація:
Online curation is shaped and defined not merely by its content, but just as much by the nature of the structure and the systems that are used by curators and artists. It could be argued that this applies to any medium, but as this essay will show, the Web profoundly influences the role of the curator in new ways. In this paper we show how curation on the Web is not merely concerned with presenting art, but that curation functions within a wider ecology of social and technical power relations. This shift is characterized by a collision of different interests driven by economic, cultural, and socio-political agendas, and can be framed as a new space of performativity: signaling a move from curating a set of objects to a conceptual and operational process that puts different constellations of human and machinic agents, objects and practices into relation with one another. This means that a curator needs to take into account a complex interrelated network of dependencies and contexts that are often invisible or incomprehensible to most people. In such a scenario online curation becomes ‘networked co-curation’ and shifts the attention from what is produced to how it is performed under the socio-technical conditions and relations that characterize the current state of the Web.
20
Richards, Greg. "The curatorial turn in tourism and hospitality." International Journal of Contemporary Hospitality Management 36, no. 13 (February 9, 2024): 19–37. http://dx.doi.org/10.1108/ijchm-06-2023-0905.
Повний текст джерелаАнотація:
Purpose This study, a conceptual paper, analyses the growth of curation in tourism and hospitality and the curator role in selecting and framing products and experiences. It considers the growth of expert, algorithmic, social and co-creative curation modes and their effects. Design/methodology/approach Narrative and integrative reviews of literature on curation and tourism and hospitality are used to develop a typology of curation and identify different curation modes. Findings Curational techniques are increasingly used to organise experience supply and distribution in mainstream fields, including media, retailing and fashion. In tourism and hospitality, curated tourism, curated hospitality brands and food offerings and place curation by destination marketing organisations are growing. Curation is undertaken by experts, algorithms and social groups and involves many of destination-related actors, producing a trend towards “hybrid curation” of places. Research limitations/implications Research is needed on different forms of curation, their differential effects and the power roles of different curational modes. Practical implications Curation is a widespread intermediary function in tourism and hospitality, supporting better consumer choice. New curators influence experience supply and the distribution of consumer attention, shaping markets and co-creative activities. Increased curatorial activity should stimulate aesthetic and stylistic innovation and provide the basis for storytelling and narrative in tourism and hospitality. Originality/value This is the first study of curational strategies in tourism and hospitality, providing a definition and typology of curation, and linking micro and macro levels of analysis. It suggests the growth of choice-based logic alongside service-dominant logic in tourism and hospitality.
21
Yuliyanto Waisapi, Jefri. "The Role of Curators and Liquidators In Solving Problems Insolvent Limited Liability Company." Eduvest - Journal of Universal Studies 3, no. 2 (February 20, 2023): 477–90. http://dx.doi.org/10.59188/eduvest.v3i2.760.
Повний текст джерелаАнотація:
This study aims to review and analyze the role of curators in insolvency in limited liability companies, as well to review and analyze the role of liquidators in the settlement of assets bankrupt limited liability companies. By using normative legal research methods, which use secondary data based on primary legal sources, secondary legal materials and tertiary legal materials, data collection through literature studies or document studies, as well qualitative analysis. The results showed that the curator's decision in bankruptcy in limited liability company begins in the process of managing and settling bankruptcy assets, starting from the stage management, appointment and appointment qualified curators, settlement bankruptcy assets by the curator, so that from the date bankruptcy statement decision, all executors of the management and settlement of bankruptcy assets are handed over to the curator. After Limited Liability is declared bankrupt, the task of the curator in clearing the assets in Limited Liability is to block assets of a Limited Liability Company. That the role of the liquidator in the settlement assets of a bankrupt limited liability company is that the liquidator has a position in the settlement of the assets of the dissolved company, so that it has the rights, obligations and responsibilities of the liquidator in the settlement of the assets the dissolved limited liability company, the liquidator has responsibility if the liquidation has not ended. The liquidator has a great responsibility from the time dissolution Limited Liability Company to Limited Liability Company legal entity status Limited Liability Company ends
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Oliveira, Alcinete Maquine Carvalho, Ana Isabel Sousa Rosa, and Rosangela da Silva Gomes. "O contributo do profissional da informação na curadoria digital." Prisma.com 45 (2021): 74–83. http://dx.doi.org/10.21747/16463153/45a6.
Повний текст джерелаАнотація:
The information professional is gaining more and more space in the current information society. Information and communication technologies appear to facilitate the performance of work in the digital environment. With the increasing amount of information, either digitized or born digital, the care of digital objects has become urgent. Digital curation appears as an alternative in the care of digital objects, ensuring that they have a longer life and can be used. It is believed that activities related to digital curation have required constant updates and other competencies for the information professional. Therefore, we intend to know: what are the information professional's practices that contribute to digital curatorship? General Objective: To identify which types of information professionals perform activities related to digital curatorship. Specific objectives: to highlight the literatures that deal with the information professional in digital curatorship; to verify the necessary competences for the information professional to act as digital curator; to specify the similar and different aspects in the typologies of the information professional. Results: Most digital curators are librarian, archivist or museologist professionals, with master's degrees in the areas of librarianship, records management, archivists or in information science. Few specialize or have master's degrees in digital curation or data curation. Some of the activities that the digital curator performs include the following services: creating metadata; accessing, collecting and manipulating content; discarding; maintaining resources; developing policies and managing data plans and procedures for digital content. Conclusion: Digital curation is important to ensure the long life and integrity of the digital object, so organizations adapt to their reality, life cycle models to work with these digital objects. The specialized training for digital curators is directly linked to the areas of Librarianship and Information Science. This research highlights the type of information professional: the librarian, who most performs activities related to digital curation.
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Aprita, Serlika. "WEWENANG DAN TANGGUNG JAWAB HUKUM KURATOR ATAS KESALAHAN ATAU KELALAIANNYA MENGAKIBATKAN KERUGIAN BAGI DEBITOR DALAM PROSES HUKUM PENGURUSAN DAN PEMBERESAN HARTA PAILIT." Solusi 17, no. 2 (May 1, 2019): 154–74. http://dx.doi.org/10.36546/solusi.v17i2.173.
Повний текст джерелаАнотація:
ABSTRACT
In general, the monetary crisis that hit a country gave an unfavorable influence on the economic life of the country concerned and caused great difficulties in the business community to continue its activities. The ability of the business world to develop its business is very disturbed, even to maintain the continuity of its business activities is also not easy. It was decided that a debtor becomes a bankrupt debtor by the Commercial Court, it will cause legal consequences for the debtor and his assets. In connection with the loss of the right to control and manage the assets of the debtor, the curator has the authority to administer and deposit bankrupt assets. However, in its implementation, the curator has done a lot of mistakes and negligence in carrying out his duties, as found in various case examples, so the debtor must be responsible for errors and omissions. The existence of legal ratios as well as the form and mechanism of curatory legal responsibility has been regulated in Law Number 37 of 2004 based on the theory of legal responsibility and legal protection theory and the opinions of bankruptcy law experts are the main basis for curators to be responsible for their errors or omissions. It is expected that the curator in carrying out his duties to manage and deposit bankrupt debtors' assets can maximally increase the value of bankrupt assets in the interest of creditors.
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Tryandari, Maya. "Legal Protection for Bankruptcy Curators in the Resolution of Bankruptcy Cases." Journal of Law and Legal Reform 2, no. 3 (July 31, 2021): 421–38. http://dx.doi.org/10.15294/jllr.v2i2.46621.
Повний текст джерелаАнотація:
Bankruptcy is a general confiscation of the assets of a bankrupt debtor who is no longer able to pay his debts and is deemed unfit to run his business, then the management and settlement of his assets are carried out by the bankruptcy curator under the supervision of the court supervisory judge. The research method used is using sociological juridical method by analyzing various legal regulations as well as examine behaviors and direct relationships based on an understanding of the law in terms of social phenomena. The focus of this research is limited to the responsibility of the Curator in resolving bankruptcy cases and the protection of the bankruptcy curator in resolving bankruptcy cases. In the field of curator, there is very little supervision. regarding the supervision carried out by the supervisory judge but the supervisory judge does not supervise the performance of the curator in the field but only supervises based on work reports and complaints by one of the parties concerned in bankruptcy cases. more supervision and consists of 3 elements related to bankruptcy, namely the courts, associations and curator education. Legal protection for bankruptcy curators is very much needed because protection is very much needed in a profession, especially the curator profession which leads to the extension of the court in resolving bankruptcy.
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Saija, Ronald. "Perspektif Sanksi Pidana Kurator Menurut Hukum Kepailitan." PAMALI: Pattimura Magister Law Review 1, no. 1 (February 24, 2021): 1. http://dx.doi.org/10.47268/pamali.v1i1.480.
Повний текст джерелаАнотація:
Introduction: Some bankruptcy cases eventually evolve into criminal matters when a bankruptcy curator who is responsible in handling and administering bankruptcy case is positioned as defendant charged for conducting criminal acts.Purposes of the Research: The purpose of writing is to find out and analyze the perspective of curator criminal sanctions according to bankruptcy law.Methods of the Research: Normative juridical research, namely an approach based on legal materials by examining concepts, legal principles and legislation related to this research.Results of the Research: Criminal sanctions for non-independent curators aimed at preventing the curator from committing criminal acts in the course of the execution of the duty and maintenance tasks. Here, the role of criminal law is as a guardian of the norms that exist in the Law on Bankruptcy related to the duties and responsibilities of the curator. In order for a curator or committee before declaring his willingness to accept the duties and responsibilities of the consequences of the bankruptcy verdict or the postponement of the debt obligation obligation (PKPU) really ensure that he will not commit a disgraceful act of.
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Prelikova, Elena A., and Andrey P. Trifonov. "Role of the Curator in the Educational process of University Students." Alma mater. Vestnik Vysshey Shkoly, no. 8 (August 2022): 59–64. http://dx.doi.org/10.20339/am.08-22.059.
Повний текст джерелаАнотація:
The work is devoted to the study of the role of the curator of an academic group in the educational process of students of a higher educational institution. The author’s sociological research was carried out, which made it possible to evaluate the activities of the curator in organizing the interaction of students within the study group, with teachers, structural units of the university. The issues of the curator’s assistance in solving students’ problems are considered. The satisfaction of students with the work of the curator is analyzed.
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Astiti, Sriti Hesti. "PERTANGGUNGJAWABAN PIDANA KURATOR BERDASARKAN PRINSIP INDEPENDENSI MENURUT HUKUM KEPAILITAN." Yuridika 31, no. 3 (August 24, 2017): 441. http://dx.doi.org/10.20473/ydk.v31i3.4794.
Повний текст джерелаАнотація:
This article aimed to criticize the juridical basis of scope of crime mentioned on Law Number 37 of 2004, focuses on criminal responsibility of a curator based on independence principle of bankruptcy law. Essentially, bankruptcy is a part of civil law. However, some bankruptcy cases eventually evolve into criminal matters when a bankruptcy curator who is responsible in handling and administering bankruptcy case is positioned as defendant charged for conducting criminal acts. As stated on Article 234 Verse 2 of Law Number 37 of 2004, a curator who is proven not independent during bankruptcy court may be charged with criminal law. Criminal sanctions for non-independent curators aimed at preventing the curator from committing criminal acts in the course of the execution of the duty and maintenance tasks. Here, the role of criminal law is as a guardian of the norms that exist in the Law on Bankruptcy related to the duties and responsibilities of the curator. In order for a curator or committee before declaring his willingness to accept the duties and responsibilities of the consequences of the bankruptcy verdict or the postponement of the debt obligation obligation (PKPU) really ensure that he will not commit a disgraceful act of.
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Thompson, Santi, and Michele Reilly. "“Everyone’s a Curator”: Identifying the Everyday Curator." International Journal of the Image 10, no. 2 (2019): 25–38. http://dx.doi.org/10.18848/2154-8560/cgp/v10i02/25-38.
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Slive, Daniel J. "INTERVIEW WITH ROGER E. STODDARD." RBM: A Journal of Rare Books, Manuscripts, and Cultural Heritage 5, no. 2 (September 1, 2004): 127–40. http://dx.doi.org/10.5860/rbm.5.2.234.
Повний текст джерелаАнотація:
Roger E. Stoddard will retire in December 2004 as Curator of Rare Books in the Harvard College Library after four decades of service in the Houghton Library. To commemorate this event, Stoddard curated an exhibition in Spring 2004 titled “RES Gestae: Libri Manent: A Curator’s Choice of Books Purchased for the Houghton Library from 1965 to 2003,” which explored many of the collecting areas he pursued at Harvard. Acquisitions for Historical Collections, a symposium in the curator’s honor, was also held at Harvard in March 2004.1 Born and raised in New England, Stoddard attended Brown University and received his bachelor’s . . .
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Sukardi, Didi. "THE LEGAL RESPONSIBILITY OF DEBTOR TO PAYMENT CURATORS IN BANKRUPTCY SITUATION." Jurnal Pembaharuan Hukum 8, no. 2 (July 1, 2021): 142. http://dx.doi.org/10.26532/jph.v8i2.15905.
Повний текст джерелаАнотація:
The Law on Bankruptcy and the Obligation to Postpone Debt Payment does not explicitly stipulate that the obligation to pay the Curator's fee is borne by the Applicant, the Debtor or the Applicant and the Debtor jointly. The obligation to pay the curator fee is imposed through the determination of the Court of Judges who decides the bankruptcy case on the Curator's Application based on the details submitted by the Curator after hearing the considerations of the Supervisory Judge. The approach method used is a normative juridical approach the curator fees. according to Act No. 37 of 2004 concerning Bankruptcy and the Obligation to Postpone Debt Payment is not absolute, because the obligation to pay the Curator's fee can be imposed on the Applicant for the Declaration of Bankruptcy, the Bankrupt Debtor, or on the Petitioner for the Declaration of Bankruptcy and the Debtor for Bankruptcy jointly through the Determination of the Panel of Judges who decides the Bankruptcy Application.
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Vlieghere, Dieter De. "Alfred H. Barr, MoMA, and the Entrance and Exit of Outsider Art (1936‐1943)." Journal of Curatorial Studies 10, no. 1 (April 1, 2021): 2–25. http://dx.doi.org/10.1386/jcs_00029_1.
Повний текст джерелаАнотація:
Fantastic Art, Dada, Surrealism (1936), curated by Alfred H. Barr at the Museum of Modern Art (MoMA), New York, was the first major exhibition of outsider art at the epicentre of the art world. The entrance of outsider art in the art museum coincided with the changing role of the curator: from a custodian of fine arts to an exhibition author with creative agency. The disconnection of outsider art from canonized art history and the peculiar appearance of the works and their makers inspired new curatorial narrations and settings. Barr’s inclusive vision of modern art and curation was, however, strongly criticized, and a few years later that vision was replaced by a hierarchical one demanding the exclusion of outsider art from the art museum. The developments at MoMA between 1936 and 1943 exemplify how outsider art served as a catalyst for the curatorial turn in which the division between the roles of curator and artist began to shift.
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Abdul Jalal, Ahmad Farid, and Rahimin Affandi Abdul Rahim. "PEMAKAIAN TEORI KEMASYARAKATAN IBN KHALDUN DALAM MEMPERKAYA KONSEPSI KURATOR MUSEUM ISLAM." TEMALI : Jurnal Pembangunan Sosial 2, no. 2 (July 3, 2019): 311–53. http://dx.doi.org/10.15575/jt.v2i2.4925.
Повний текст джерелаАнотація:
This article discusses the importance of museum curators for developing civilization. The magnitude of the concept of the museum curator can be derived from the theory of Ibn Khaldun. With literature review, this study found that the theory of Sociology-History theory proposed by Ibn Khaldun could be utilized for the profession of the museum's curator. It's not just about improving the curators in their day-to-day tasks, but also empowering them to make them more critical in handling issues. The application of Ibn Khaldun's theory may be an alternative to the rise of the Malay knowledge system as a nation that must have been excluded from colonialism, including in geopolitical and science (epistemology).
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Bradshaw, Elaine Beckley, and Stephen C. Wagner. "A Common Ground: Communication and Alliance between Cataloguer and Curator for Improved Access to Rare Books and Special Collections." College & Research Libraries 61, no. 6 (November 1, 2000): 525–34. http://dx.doi.org/10.5860/crl.61.6.525.
Повний текст джерелаАнотація:
Rare book catalogers and special collections curators can benefit greatly from cooperating on matters concerning cataloging policy and practice. This alliance is necessary for providing full access to special collections in a rapidly changing library environment. The authors examine rare book cataloging from the perspectives of cataloger and curator; discuss the areas where a cataloger–curator alliance can affect cataloging, as well as relevant factors over which the two have little control; and promote a concept of customized cataloging for special collections materials.
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Al Faridzi, Evans. "Tanggung Jawab Kurator Keperdataan Pegawai Negeri Sipil dalam Pengurusan dan Pemberesan Harta Pailit." Jurist-Diction 5, no. 6 (November 30, 2022): 2173–92. http://dx.doi.org/10.20473/jd.v5i6.40122.
Повний текст джерелаАнотація:
AbstractBankruptcy is one of the instruments in overcoming a situation where the payment of an obligation does not run smoothly. Creditors or even debtors themselves can submit bankruptcy applications to the competent Commercial Court to examine whether they meet the requirements for determining bankruptcy status. If it meets the requirements and no objections are raised by the parties, the curator will proceed with the process of managing and clearing the bankruptcy estate. The curators are divided into state curators, namely Balai Harta Peninggalan (BHP) and private curators. In carrying out its duties as a curator, BHP shall be borne by the Civil Curator Functional Officer. The purpose of this study is to determine the location of the responsibility for the management and settlement of bankruptcy assets carried out by BHP and what sanctions can be imposed if an error occurs. Keywords: Bankruptcy; Curator; Government Employees. AbstrakKepailitan merupakan salah satu instrumen dalam mengatasi terjadinya suatu keadaan pembayaran atas kewajiban yang tidak berjalan dengan lancar. Kreditor atau bahkan debitor sendiri dapat mengajukan permohonan pailit kepada Pengadilan Niaga yang berwenang untuk diperiksa apakah sudah memenuhi persyaratan ditetapkannya status pailit. Jika memenuhi persyaratan dan tidak diajukannya keberatan oleh pihak-pihak maka dilanjutkan dengan proses pengurusan dan pemberesan harta pailit oleh kurator. Kurator terbagi menjadi kurator negeri yaitu Balai Harta Peninggalan (BHP) dan kurator swasta. BHP dalam melaksanakan tugasnya sebagai kurator dibebankan kepada Pejabat Fungsional Kurator Keperdataan. Tujuan penelitian ini untuk mengetahui letak tanggung jawab pengurusan dan pemberesan harta pailit yang dilakukan oleh BHP dan apa saja sanksi yang dapat dikenakan jika terjadi kesalahan. Kata Kunci: Kepailitan; Kurator; Pegawai Negeri Sipil.
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Nikishova, A. V., E. V. Kryvonosova, and S. M. Rybakova. "CURATOR PARTICIPATION IN A STUDENT GROUP FORMATION." Vestnik Orenburgskogo gosudarstvennogo universiteta 230 (2021): 39–45. http://dx.doi.org/10.25198/1814-6457-230-39.
Повний текст джерелаАнотація:
The existence of the supervising institution for many decades does not solve the problem of defining the functions of the student group supervisor, his role in the formation of the team, it remains very urgent. We have investigated the activities of a curator in higher education institutions. In the course of practical research, we found that it is significant to use in the curator's work such key positions as adaptation technologies, reducing the level of anxiety, minimizing material and housing difficulties, and time management. A survey of curators working in student groups of the first and second years revealed a number of problems: 1) the student group is still a completely immature collective, which complicates effective interaction; 2) most freshmen are not ready for new challenges, the requirements of a new schedule, and, ultimately, they find themselves in a situation of overload, which often leads to stressful situations; 3) some students have to experience pressure from parents or teachers in an effort to get good grades, to earn authority in a new student group. A survey of first and second year students showed the shortcomings of the educational process, such as incomplete awareness of students about their rights, responsibilities and opportunities provided by the new student status; the wish of freshmen to receive timely qualified assistance from a curator in their studies and resolving conflict situations, in adaptation, monitoring progress and attendance, communication with parents; insufficient implementation of the organizational function of the curator. The conducted research work gives grounds to conclude that the task of creating a team based on a student group can be solved with the successful implementation of the activities of the institution of supervision as a pedagogical system. The most productive for the learning process consequence of solving the indicated problem is an increase in the degree of trust at the level “curator — student” and, of course, directly in the student environment, which, in turn, leads to an increase in motivation for the learning process and, as a result, a decrease in indicators. for unsuccessful and expelled students.
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Ketut Eka Patni, Ni, and I. Wayan Wiryawan. "LEGAL PROTECTION OF THE AUTHORITY OF THE CURATOR IN THE MANAGEMENT AND SETTLEMENT OF BANKRUPT ASSETS." SIBATIK JOURNAL: Jurnal Ilmiah Bidang Sosial, Ekonomi, Budaya, Teknologi, dan Pendidikan 2, no. 6 (May 31, 2023): 1715–28. http://dx.doi.org/10.54443/sibatik.v2i6.926.
Повний текст джерелаАнотація:
This writing aims to determine the legal protection for the curator in exercising the authority to manage and settle bankrupt assets as well as the duties and authority of the curator in managing and controlling the bankrupt debtor's assets. This paper uses the normative juridical law research method by conducting a study and analysing laws and regulations related to the problem under study so that the results of the research above in the provisions of Law Number 37 of 2004 concerning Bankruptcy and Suspension of Obligations for Payment of Debt do not guarantee legal protection for curators in carrying out their duties of managing and dealing with bankruptcy assets. Article 50 of the Criminal Code provides protection for curators who carry out their duties based on statutory regulations.
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Radley, J. D. "Reply to Donovan et al., Comment on 'Bioerosion, preparation and curation'." Geological Curator 8, no. 4 (December 2005): 179–80. http://dx.doi.org/10.55468/gc359.
Повний текст джерелаАнотація:
I welcome Stephen Donovan, Caroline Hensley and David Lewis's positive response to a note recent published in The Geological Curator (Radley & Twitchett 2004), reinforcing the case for the preservation and curation of trace fossils as repositories of palaeobiological and palaeoenvironmental information. With reference to the perceived subservience of bioerosion traces to the body fossils on which they are commonly preserved; this would be hard to deny for their status, often unrecognised, amongst many collections. Hopefully this correspondence, and a forthcoming thematic set of papers in The Geological Curator concerning curation of trace fossils, will go some way to furthering their cause within museums.
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Thomas, Lynne M. "The Embedded Curator: Reexamining the Documentation Strategy of Archival Acquisitions in a Web 2.0 Environment." RBM: A Journal of Rare Books, Manuscripts, and Cultural Heritage 13, no. 1 (March 1, 2012): 38–48. http://dx.doi.org/10.5860/rbm.13.1.368.
Повний текст джерелаАнотація:
An embedded curator uses his or her physical and virtual presence within a selected community to document that community while simultaneously serving as a resource to it. While the “embedded curator” term may be relatively new to the profession, the practices that inform its implementation are not. Collection development for special collections, particularly for archival materials, has a robust history of debate about the best methods for encouraging and managing gifts.1 Embedded curators require a pragmatic and flexible written collection development policy that values occasional serendipitous acquisitions, as well as a strategic plan to build ongoing collections that focus on . . .
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Lai, Mankit. "Curating pandemic contingencies: Remote collaboration and display reconfiguration in practice." Journal of Contemporary Chinese Art 8, no. 2 (November 1, 2021): 313–37. http://dx.doi.org/10.1386/jcca_00049_1.
Повний текст джерелаАнотація:
Amid the restrictions on travelling and gathering imposed during the COVID-19 pandemic, exhibitions with international collaborations in Hong Kong experimented with curating across borders and time. This article examines recent curatorial practices in Hong Kong’s art institutions, particularly relating to site-specific installations and performances that had to cope with the artist’s physical absence and institutional restrictions. Two site-specific art commissions ‐ Shirley Tse’s Negotiated Differences (2020), installed at the M+ Pavilion, and Eisa Jocson’s Zoo (2020), performed at Tai Kwun Contemporary ‐ serve as cases in point illustrating how curatorial practices enabled remote collaboration and display reconfiguration to address authorial absence and institutional interventions during the installation and exhibition phases due to the pandemic. The former case study decentralized the authorial control of artistic criticality from the artist to a collective curation and installation process, while the latter evolved in accordance with protean institutional and social contexts by actively changing the display during the exhibition. Despite the pandemic-imposed separation and restrictions, these two case studies shed light on how curators collaborated with artists and participants across distance and time, actively and flexibly forging responsive and relevant connections between site-specific artworks and the immediate present. Their curatorial practices ‐ as artistic mediation ‐ complicated the conceptual framework of artworks and exhibitions through co-curation and co-production with artists, thus lending a collaborative dimension to the model of exhibition-making and the role of the curator as the ‘curator-as-artist’.
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Lawton, Pamela Harris. "Curate, curate | curator, curator: Curatorial practice in art education." Visual Inquiry 6, no. 1 (March 1, 2017): 95–105. http://dx.doi.org/10.1386/vi.6.1.95_1.
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Rickards, R. B. "A Century of Graptolite Research in Cambridge." Geological Curator 7, no. 2 (November 1999): 71–76. http://dx.doi.org/10.55468/gc433.
Повний текст джерелаАнотація:
Graptolite research in Cambridge was dominated during the first half of the 20th Century by two people: Gertrude Elles and Oliver Bulman. They had quite different approaches to research, and to curation of collections. Elles' research was primarily field-based and her curatorial procedures a curator's headache; Bulman's work was primarily laboratory based and palaeobiological. The present author overlapped with and succeeded Bulman, and his curatorial biases led to his succeeding A. G. Brighton as Curator of the Sedgwick Museum. The nature of these changes through the century and the contribution to graptolite research on a wider scale are analysed.
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Ruswati, Ruswati. "Eksistensi Sita Umum Kepailitan Terhadap Sita Pidana Dalam Pemberesan Harta Pailit." Khatulistiwa: Jurnal Pendidikan dan Sosial Humaniora 2, no. 1 (May 26, 2022): 26–36. http://dx.doi.org/10.55606/khatulistiwa.v2i1.407.
Повний текст джерелаАнотація:
This journal was created to examine the implementation of the authority of curators and investigators on general confiscation of bankruptcy against criminal confiscations in the settlement of bankrupt assets and their legal certainty. The method used in this research is normative juridical research. The results of the study show that the curator and investigator in carrying out their authority are both based on the laws and regulations, but in practice there is a dispute over the authority attribution between the curator and the investigator regarding confiscation, as referred to in Article 31 paragraph (2) of Law Number 37 year 2004 concerning Bankruptcy and Postponement of Obligations for Payment of Debt with Article 39 paragraph (2) of the Criminal Procedure Code. So that the judge's decision aims to provide legal certainty for the litigants, namely between the curator and investigators and/or the prosecutor's office regarding disputes over authority regarding confiscation, namely between general confiscation and criminal confiscation.
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Tedone, Gaia. "Forging Strategic Alliances." Journal of Science and Technology of the Arts 11, no. 2 (December 29, 2019): 41–49. http://dx.doi.org/10.7559/citarj.v11i2.662.
Повний текст джерелаАнотація:
Under conditions of so-called “Platform Capitalism”, software and algorithms undertake the important task of designing the interaction amongst online users and establishing criteria of relevance for content. As such, they operate as curatorial agents of platforms’ content, establishing what is there to see, know and consume. This state of affairs calls for a revision of the traditional role of the (human) curator who is confronted with an online environment characterised by the unprecedented collision of commercial, aesthetic, cultural and political interests. The question of what kind of relationship the curator shall create with the algorithm then becomes crucial: is this a relationship of antagonism, resistance or alliance? How do these two curatorial agents influence each other? In this article, I analyse a cluster of hybrid artistic and curatorial experiments (including my own curatorial work) that foregrounds online platforms as discrete modes of socio-technical assemblages that curate particular forms of connectivity amongst networks of users, data layers and technical infrastructures. By doing so, I argue for the forging of strategic alliances between human and machinic curators as a strategy to channel new forms of creativity and cooperation under conditions of “Platform Capitalism” and to operationalise human-algorithmic curation as a political and aesthetic practice within the networked culture.
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Hansungule-Nefale, Zita M., and Morgan R. Courtenay. "The expanding role of the curator ad litem i n protecting children's rights in South Africa." De Jure 56, no. 1 (February 7, 2023): 525–42. http://dx.doi.org/10.17159/2225-7160/2023/v56a32.
Повний текст джерелаАнотація:
The appointment of the curator ad litem during litigation in which children's interests are concerned has, over the years, played a critical role in advancing the child's right to be heard and participate in matters affecting them for the advancement of their best interests. Prof Boezaart's seminal article on the role of the curator ad litem and children's access to the courts set out a comprehensive review of the origins, duties and role of the curator. Litigation and resultant court pronouncements subsequent to the article have continued to affirm the importance of the curator's role in matters dealing with the care of children; delictual matters in which children have legitimate financial claims; and acquisition of parental rights and responsibilities of the unborn child. The courts have affirmed the fact that the curator must only be appointed when their presence is necessary and not duplicate the functions of attorneys representing parents or caregivers of the children or the parents or caregivers themselves. The curator represents and protects the interests of the children concerned, prevents conflict with the interests of the parents, guardian or caregiver or represents the child when such parent, guardian or caregiver is unwilling to act in the interests of the child. The courts have held that in highly contested matters, the curator must, as an officer of the court, keep an open mind, remain neutral, and be open to all arguments in the interests of the children concerned. They must not allow themselves to be distracted by contentious issues in litigation and must honour their obligation to provide insight into the wishes and views of children and to apply their legal knowledge to the child's perspective. The curator has also played a critical role in protecting the interest of the unborn child by conducting an objective investigation and ensuring that their interests are fully before the court.
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Титова, Оля Зокировна. "THE SPECIFIC OF CURATOR’S ACTIVITIES IN DEPARTMENTAL INSTITUTIONS OF THE FEDERAL PENITENTIARY SERVICE OF RUSSIA." Vestnik Samarskogo iuridicheskogo instituta, no. 4(45) (November 29, 2021): 92–96. http://dx.doi.org/10.37523/sui.2021.45.4.014.
Повний текст джерелаАнотація:
Автор рассматривает специфику кураторской деятельности в вузе ФСИН России, анализирует понятие «куратор взвода». В статье раскрываются принципы деятельности куратора, его функции и обязанности. Суть воспитательной работы с курсантами вузов ФСИН России заключается в применении конкретных мер со стороны кураторов взводов, сотрудников психологической службы, а также членов ветеранской организации, направленных на развитие личности курсанта в целях тщательного изучения его личных качеств, способностей, индивидуальных особенностей, интересов и потребностей. Кураторская деятельность является важным элементом педагогического воздействия. При соответствующем планировании и правильной организации взаимодействия кураторов взводов и обучающихся возможно преодолеть многие сложности, связанные с образовательным процессом и прочими проблемами, возникающими при обучении в ведомственном вузе. Кураторская деятельность является важной составляющей в профессиональном становлении обучающихся. Взаимодействие куратора взвода и курсантов наиболее эффективно осуществлять с первого курса. Куратор - это тот человек, который помогает первокурсникам пройти адаптацию к новым условиям, настроиться на эффективное выполнение служебных обязанностей, решить жилищно-бытовые вопросы, создать позитивный настрой в коллективе. Куратор также делится собственным опытом и знаниями, приобщает к традициям вуза, помогает формировать морально-нравственные установки обучающихся и гуманное мировоззрение. The author examines the specifics of curator activities in the departmental higher educational institution of the Federal Penitentiary Service of Russia as well as analyzes the concept of «platoon curator». The article reveals the principles of the curator's activities, his functions and responsibilities. The essence of educational work with cadets of higher educational institutions of the Federal Penitentiary Service of Russia is the application of specific measures by the curators of platoons, employees of the psychological service, as well as members of the veteran organization, aimed at developing the personality of the cadet in order to thoroughly study his personal qualities, abilities, individual characteristics, interests and needs. Curatorial activity is an important element of pedagogical influence. With proper planning and proper organization of the interaction between the curators of platoons and students, it is possible to overcome many difficulties associated with the educational process and other problems that arise during training at a departmental university. Curatorial activity is an important component in the professional development of students. The interaction between the platoon supervisor and the cadets is most effective from the first year. A curator is the person who helps freshmen to adapt to new conditions, tune in to effective performance of official duties, solve housing and everyday issues, and create a positive attitude in the team. The curator also shares his own experience and knowledge, introduces to the traditions of the university, helps to form the moral and ethical attitudes of students and a humane worldview.
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Geddes, Hannah. "Methodologies of collective listening: What could be next for our cultural institutions?" JAWS: Journal of Arts Writing by Students 8, no. 2 (October 1, 2022): 157–65. http://dx.doi.org/10.1386/jaws_00050_1.
Повний текст джерелаАнотація:
This article focuses on the role of collective and collaborative conversation. It draws on a discussion that took place between Mark Sealy, director of Autograph; Dr Maggie Matić, curator, writer and researcher; Marie Smith, visual artist and writer; Becky Warnock, artist and organizer; Heather Agyepong, visual artist, performer and actor; Angela YT Chan, curator and artist, and Hannah Geddes, curator, writer and researcher. The event took place at London College of Communication (LCC), London, in November 2022. The conversation was centred on the provocation: What is next? How do we turn intentions into actions through social justice practice and curation? It started as an informal workshop, before concluding in a public discussion chaired by Sealy. The following article draws on the initial workshop discussion, surfacing the idea of listening as a form of collective and collaborative practice.
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Susanto, Mikke, Lono P. Simatupang, and Timbul Haryono. "Curating the Painting Collection of the Presidential Palace of the Republic of Indonesia." Lekesan: Interdisciplinary Journal of Asia Pacific Arts 1, no. 1 (May 22, 2018): 19. http://dx.doi.org/10.31091/lekesan.v1i1.342.
Повний текст джерелаАнотація:
The Presidential Palace of the Republic of Indonesia's collection of art objects was started by Indonesia's first president, Sukarno. Today, this collection includes more than 2,500 paintings, and as such this institution has acted like a museum. Throughout the tenure of Indonesia's seven presidents, this collection has experienced diverse stories related to its curation by various individuals over time. This article will focus on the historical issues of this collection's curation using qualitative research methods, in the hopes of revealing various curatorial issues. More specifically, the qualitative research conducted for this study is related to art history. This articleutilizes theory related to curation to discuss a number of topics, ranging from the role of the individuals responsible for the collection (i.e. curators), the systems of caring for and selecting works (curation), and the curatorial practices that have occurred until now. Elaborating on a number of archival documents related to this collection, this article examines the work of the collection's curators, from inventorization to opening the collection to the public. Over the course of 70 years, the Presidential Palace's collection has undergone various forms of curation, including acquisition, documentation, preservation, and exhibition. This research concluded that the role of the curator is very important and causes the collection to be preserved and more valuable. As such, this article suggests a special museum related to the paintings within the palace collection.
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Bangun, M. Firman, Achmad Fitrian, and Gatut Hendro TW. "Perlindungan Hukum Kreditor Atas Pembagian Hasil Pemberesan Harta Pailit Oleh Kurator." SALAM: Jurnal Sosial dan Budaya Syar-i 9, no. 6 (September 15, 2022): 1769–82. http://dx.doi.org/10.15408/sjsbs.v9i5.27737.
Повний текст джерелаАнотація:
In the Professional Standards for Curators and Administrators issued by the Association of Curators and Administrators of Indonesia (AKPI), a curator is defined as an individual or civil association that possesses the special expertise required to manage and settle bankrupt assets and that has been registered with the Ministry of Justice and Human Rights, as outlined in Articles 69 and 70 of the Bankruptcy Law and its implementing regulations. In this study, the author employs a qualitative descriptive research methodology. The results of this study are to find out what the process and mechanism for the implementation of the distribution of proceeds from the bankruptcy estate by the curator to each creditor against a decision that has permanent legal force (inkracht) and then also discusses the legal protection for creditors against the implementation of the distribution of settlement proceeds. bankrupt assets by the curator if there are objections to the value of the distribution.Keywords: Curator; Creditors; Bankruptcy Assets Abstrak Dalam Standar Profesi Kurator dan Pengurus yang diterbitkan oleh Asosiasi Kurator dan Pengurus Indonesia (AKPI) dijelaskan kurator adalah perseorangan atau persekutuan perdata yang memiliki keahlian khusus sebagaimana diperlukan untuk mengurus dan membereskan harta pailit dan telah terdaftar pada Departemen Kehakiman dan Hak Asasi Manusia, sebagaimana dimaksud dalam Pasal 69 dan 70 Undang-Undang Kepailitan dan peraturan pelaksanaannya. Dalam penelitian ini digunakan metode penelitian kualittatif deskriptif. Hasil penelitian ini adalah untuk mengetahui bahwa seperti apa proses dan mekanisme pelaksanaan pembagian hasil pemberesan harta pailit oleh kurator kepada masing-masing kreditor terhadap putusan yang sudah berkekuatan hukum tetap (inkracht) dan kemudian juga membahas mengenai perlindungan hukum bagi para kreditur terhadap pelaksanaan pembagian hasil pemberesan harta pailit oleh kurator jika terjadi keberatan-keberatan atas nilai pembagian tersebut.Kata Kunci: Kurator; Kreditor; Harta Pailiti
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Bizeleva, Anna A. "The Role of the Curator in the Professional Self-Determination of First-Year Students of the University in the Humanitarian Areas of Training." Economic Strategies 144, no. 3 (June 25, 2021): 130–33. http://dx.doi.org/10.33917/es-3.177.2021.130-133.
Повний текст джерелаАнотація:
The article reveals the role of university curators in the professional self-determination of first-year students in humanitarian areas of training. The concept of “professional self determination” is being clarified. Possible directions of professional orientation work with students are indicated. The relevance of the topic of obtaining a humanitarian education in society is substantiated, the reasons for the emergence in society of the need for professions of a social and humanitarian orientation are indicated. The works of research scientists studying the areas of professional self-determination are analyzed. The dynamics of personal changes that occur with firstyear students as a result of their professional orientation are analyzed. The meaning and tasks of curatorial work are presented, as well as problems that university curators may face today: possible mistakes of the curator in working with first-year students, namely lack of experience, lack of conscientiousness, incompetence. The main directions of the curator's work with first-year students are revealed. The directions of activity of the university curators in conjunction with the psychological and pedagogical service are proposed. The conditions for the successful implementation of the curator's activities with students in the direction of professional self-determination, such as planning, organization, control, motivation, are noted.
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Black, Sarah. "Mother as curator." Conceição/Conception 8, no. 2 (December 13, 2019): 163–82. http://dx.doi.org/10.20396/conce.v8i2.8657874.
Повний текст джерелаАнотація:
This article and the research practice, ‘Mother as Curator’, speak directly to the mother developing art with her family, and addresses the ethical implications which arise this kind of performance making. The author discusses two pieces of work she has developed with her children, Oliver’s World (2014) and Isabel’s Shoes (2017). These performance works and encounters highlight and encourage performance making from different angles, acknowledging the ways in which art making as part of family life shifts perspectives on, and understandings of, what we mean be art practice and the ways it might be experienced.