This study focuses on nuclear tourism, which flourished a decade ago in the Exclusion Zone, a regimented area around the Chornobyl Nuclear Power Plant (Ukraine) established in 1986, where the largest recorded nuclear explosion in human history occurred. The mass pilgrimage movement transformed the place into an open air museum, a space that preserves the remnants of Soviet culture, revealing human tragedies of displacement and deaths, and the nature of state nuclear power. This study examines the impact of (...) the site on its visitors and the motivations for their persistence and activities in the Zone, and argues that through photography, cartography, exploration, and discovery, the pilgrims attempt to decode the historical and ideological meaning of Chornobyl and its significance for future generations. Ultimately, the aesthetic and political space of the Zone helps them establish a conceptual and mnemonic connection between the Soviet past and Ukraine’s present and future. Their practices, in turn, help maintain the Zone’s spatial and epistemological continuity. Importantly, Chornobyl seems to be polysemic in nature, inviting interpretations and shaping people’s national and intellectual identities. (shrink)

Most of the on-going debate is about “how” to protect archaeological ruins, whilst at the same time allowing the general public to enjoy them. Today it is clear how important it is, from the actual planning stages of excavations, to interact with experts from other disciplines, who are working on their own findings and offering them up for collective enjoyment. Whatever might be feasible for an indoor museum is not always feasible with an architectonic ruin, as regards both presenting (...) objects with explicative apparatus that determines their significance, and exploring them in a new way when interpretations change or new ideologies are introduced. First of all, conserving excavations is the not the same as conserving a transportable object. In the past many countries in Europe preferred to “present” Roman remains simply as “gardens of ruins”, often endeavouring to stand them in sharp contrast with a more recurrent evocation of the original contexts of local life. Recently, with regard to the Roman tradition, there has been a noticeable inversion of trend in musealization operations, according to which the mere “contemplation of ruins” should be replaced by emotional contact with history. The main consequence of these new tendencies is the replacement of an informatics-based and didactic approach to musealization, in favour of a more authentically interpretative approach. Back-up resulting from experimentation in the fields of restoration and conservation becomes indispensible in implementing these new strategies for the musealization of archaeology. Continuous research and the progressive advance of conservation techniques have meant that the need to transfer archaeological remains has been avoided and an improved in situ “presentation” of these remains, both movable and immovable, can now be guaranteed. (shrink)

In the small village of Kinnarumma in western Sweden an old wooden church was replaced by a new church buildning in the early twentieth century. The old church was de-sacralized by being moved to an open-air museum in Borås and used there for exhibitions and the storage of museum objects. The need for more church premises in the city led to the re-sacralization of the old church in 1930. The transition of Kinnarumma’s old wooden church to (...) class='Hi'>museum object, its museumification, was an expression of change in religious heritage, and its re-sacralization expressed an unchanged part of the same heritage. (shrink)

For many people, open-air preaching is associated with a particularly limited understanding of the nature of the event. In part this is related to the fact that open-air preaching has received relatively little serious academic study. From a variety of sources, however, it is possible to piece together something of a critically analytic sketch of the practice. This sketch demonstrates that not only can open-air preaching claim longevity but that in turn it is a practice with considerable (...) diversity as open-air preachers seek to make meaning through their gathering and encounter with audiences. (shrink)

"Wisdom in the Open Air" traces the Norwegian roots of the strain of thinking called "deep ecology" - the search for the solutions to environmental problems by examining the fundamental tenets of our culture. Although Arne Naess coined the term in the 1970s, the insights of deep ecology actually reflect a whole tradition of thought that can be seen in the history of Norwegian culture, from ancient mountain myths to the radical ecoactivism of today. Beginning with an introduction to (...) Norway's emphasis on nature and the wild, Reed and Rothenberg explore the birth of the environmental movement in the 1960s and 1970s. What follows is a collection of writings by prominent Norwegian thinkers on humanity and nature, most never before published in English. From Peter Wessel Zapffe, a twentieth-century Kierkegaardian figure, the list goes on to include Arne Naess, activist/critic/artist Sigmund Kvaloy, wilderness educator Nils Faarlund, novelist Finn Alnaes, sociologist Johan Galtung, and social reformer Erik Dammann. Their points of view offer thoughts on the significance of modern life and what it means to be human in the face of deteriorating environmental global trends of the 20th century. "Wisdom in the Open Air" asks and answers a fundamental question concerning the ecomovement: what is the role of deep, often abstract, thinking in the attempt to avert a very real ecological crisis? (shrink)

The typical college lecture hall is a highly artificial environment: windowless, fluorescent-lit, and technology-heavy. It all but necessitates treating students as mental receptacles, where learning is a matter of passive absorption of knowledge, and where it is increasingly difficult to hold students’ attention. Natural environments, such as forests and public parks, provide a striking comparison—they free us from technological distractions, invigorate our senses, and encourage physical in addition to mental exploration. What’s more, research in environmental psychology suggests that natural environments (...) restore our ability to focus and pay attention. This article investigates how natural environments might support successful learning in virtue of how such environments can restore our attentional capacities. (shrink)

It will be a wrong judgment to consider grave stones as an ordinary tradition. When it is viewed in terms of history, art and culture, it can be seen that especially Turkish grave stones are record drawings that include many types of arts and artists’ labor, shed our culture and history and that is precious and unique. Grave stones are the documents that transfer not only the national culture but also transfer people’s beliefs, problems, fears, sadness and different feelings, who (...) breathe the same air and live in the same places. Because of this reason, grave stones are the cultural features that are shaped according to the differences in culture and decorated with life styles. Of course, Of course, having been applied plenty of traditional Turkish plastic arts on the tombstones, have all contributed to the diversity of tombstones in terms of composition and motifs. Rich craftsmanship of gravestones and sarcophagus in the second Bayezid graveyard is almost like an open air museum that shows Turkish motifs. While scarping was used for making gravestones are scarping, and painting were used as the main decoration tecnique is seen on foot stone with the painting technique, inscriptions of stones were coloured. Most of the inscriptions and decorations are relieved. Decoration subjects seen on gravestones are phytomorphic, geometric, objective and calligraphic. On the other side, these tombstones include wide knowledge about the socio-economic, cultural and regional headgears. When evaluating the information on the inscriptions, it can be obtained knowledge about the health conditions or epidemics in that period. Adolf Ebeling, article titled “Turkish cemeteries” in the 1882 the year Gartenlaube journal, when talking about the importance given to the graves by Turks, to say that the Turkish burial tomb can be an example to the world is no need to say more about it. The thomstones as the verbal means service to rebuilt the material world where the man has saved so far and the culture developing in accordance with this. The written tombstones which were formed by the individuals’ cherishing and remembering desires that the cultural, religious and traditional ones shaped, are the carrier elements of the values wich will provide to understand the sterotype requirements and ideologies within the cultural structure. Looking at the overall structure of the Turkish tombstones form shows major differences in male and female gravestones. In the Turkish tombstone tradition, women's elegance, finesse and beauty is reflected as a form of artwork. In fact, women in the Ottoman Empire, although excluded from the social life in very marginalized, especially in women flashy decorations tombstones, can be considered as an indication value which is given to women but unspoken. Since the tombstones have dates, they hold the distinction of being a document for ethnographic and art works. Moreover, inscribed tombstones are living evidences in order to prove that Turkish people lived in this land and also they have ethnographic value. Therefore, tombstones are important while the histories of cities, villages or boroughs are preparing. In short, tombstones are the common products of the environment that are built, religious beliefs, traditions, art, natural, social and economic conditions of the century. In this case they hold key for our culture history in addition to our art history. In this study, besides the effects of Turkish grave stones on our beliefs and daily lives, fruit patterns on the stones are also examined. The reflections traditional architectural and handicrafts motifs and the religious believes on the Turkish ornament art are explained by the examples chosen among gravestones in İstanbul II. Beyazıt Cemetery. In the colloquial language what fruit motifs mean in folk songs ang manias and how it is reflected on the ornaments of grave stones are investigated. (shrink)

Edward Verrall Lucas and Francis Meynell were men of letters in the old-fashioned sense. They were indefatigable both in creating text and bringing like matter together in new and meaningful forms. Lucas was a journalist, anthologist and publisher. Meynell was a printer, anthologist and publisher, and also a poet of considerable sensitivity and charm. Lucas did not write much poetry but was passionate about its merits, and sought, through his collections, to bring children into contact with the best of verse. (...) Today, the significant contributions that these men made to publishing in Britain are in danger of becoming forgotten, relegated to the minor byways of publishing history. This article examines the origins and connections between two hugely successful anthologies that were inspired by a growing public interest in, and engagement with, the English countryside. (shrink)

In the fall of 1950, eleven San Francisco residents were admitted to Berkeley Hospital with rare bacterial infections. Nearly thirty years later, a Senate subcommittee hearing revealed that the military deliberately released Serratia marcescens, a known opportunistic pathogen, from a naval ship in San Francisco Bay just days before the outbreak, which resulted in the death of Edward J. Nevin. Over the next twenty years, a court case and numerous investigations uncovered an alarming truth about the United States biological weapons (...) program. Government and military personnel have repeatedly and publicly defended the safety and ethics of the research program, insisting that the released substances were "harmless simulants", and that their activities did not qualify as human experimentation. These claims contradict not only official project reports, but the knowledge of civilian scientists and the experiences of the exposed populations, which document the widely ignored human dimensions of the project. (shrink)

Borrowing from the title and some of the content of Karl Popper's The Open Society and its Enemies, it is argued that museums have great value as sites for what may be called a philosophical culture. A philosophical culture is one in which members or citizens engage in fair-minded debate and shared reflection, presenting and evaluating reasons for different positions particularly as these have relevance for matters of governance. In a philosophical culture, persuasion is almost always a matter of (...) seeking to provide reasonable grounds for adopting some position without resorting to violence or physical force.A philosophical culture is, in turn, an important foundation for a democratic culture and republic. A philosophy of museums emerges, a model we shall call the Philosophical Culture Museum Model. This concept is stipulative and ideal in the sense that it presents a paradigm of a museum with great virtue and promise. It must be confessed, however, that, historically, this is an emerging concept of the role of museums and one not evident in many of the museums in the early modern era or today. Reasons are offered as to why the time may be right to recognize the philosophy of museums as a particular sub-field in the overall practice of philosophy. (shrink)

This paper discusses corporate entanglement, impactfulness and responsibility in the Anthropocene, amidst events and conditions that ‘uncontain’ time. It takes its direction of travel from artist Brian Jungen’s ‘Cetology’ (2002), a whalebone sculpture made out of cut-up plastic garden chairs, which conjoins the times of earth and world history, as it hangs in the air of the art gallery, ‘as if’ exhibited in the natural history museum. The paper relates ‘Cetology’s’ engagement with natural history, time, and commodification to matters (...) of corporate entanglement and responsibility within company law and governance. Problems with understanding the comparable imprint of large and multinational companies on matters, places, and communities are identified, after the domination of corporate legal frameworks over nature and the stability and perfection of economic incentives at law. The reading of this (critical-legal) situation is developed through theory and engagement with materialist and critical thinkers, who unite in their concern with distributed human–nature relations and the ‘concreteness’ that attends collisions in time, ruin and affect. Walter Benjamin and Theodor Adorno’s writings are central to this analysis, and strengthen the commentary on ‘natural history’ themes curated by Jungen. The paper contemplates how times’ uncontainment might invoke a change in expectation and method for the company law field, assigning contingency to the corporation and provoking a new mode of reflection about corporate entanglement and responsibility at law. (shrink)

This essay reviews the possibility of the space of appearance under the authoritarian nationalism that has been ushered in by Brexit and the election of Donald Trump. For those working in and around higher education, I propose that the tasks with which we should begin are: decolonizing the curriculum; emptying the museum; and opening theory. Each of these categories has both a history in past resistance and liberation movements and a present-day dynamic that is explored here from the South (...) African Rhodes Must Fall movement via Occupy Wall Street to the Free University and Antiuniversity. (shrink)

In the museum context, curators and conservators often play a role in shaping the nature of contemporary artworks. Before, during and after the acquisition of an art object, curators and conservators engage in dialogue with the artist about how the object should be exhibited and conserved. As a part of this dialogue, the artist may express specifications for the display and conservation of the object, thereby fixing characteristics of the artwork that were previously left open. This process can (...) make a significant difference to the visual appearance of the work, the nature of the audience's experience, and how the work should be interpreted. I present several case studies in which the nature of the artwork has been shaped by such dialogues, and discuss principles for resolving cases in which there is a conflict between instructions specified by the artist and those adopted by the museum. (shrink)

In the Spring of 1944, an informal discussion took place in Cambridge between Mr. R. S. Whipple, Professor Allan Ferguson and Mr. F. H. C. Butler, concerning the formation of a national Society for the History of Science. This is the opening sentence of the inaugural issue of the Bulletin of the British Society for the History of Science, the Society's first official publication. Butler himself was the author of this outline account of the subsequent approach to the Royal Society, (...) the parallel moves to establish a National Committee of the International Academy of the History of Science, the formation of a provisional committee to prepare a draft constitution for a national society, and the proceedings of the first Annual General Meeting in May 1947. Whipple had been in Cambridge to discuss his offer to present his collection of old scientific instruments to the University and the possible foundation of a new museum, and Butler, as Secretary of the History of Science Committee in Cambridge, was the chief mover in both this development and an initiative coupled with it to establish a department of the history of science. (shrink)

History in times of crisis is practical: future action depends on historical framing. Moving beyond “human scales” to include the evolutionary and the geological, and beyond humans to include other species, demands different approaches and new “archives” like ice-cores. This paper considers history in the Long Now, and particularly how museums and big public arts institutions develop new sorts of history through practical story-telling, taking seriously the notion that “the central role of museums [is] both an expression of cultural identity (...) and … a powerful force for human development and education.” The museum has a particular value as “slow media”, deepening news stories in times of rapid change. The new epoch of Earth, the Anthropocene, where humans have become a geological force, poses challenges for exhibitions, but also reshapes museums themselves. Crucial to managing stories, collections and objects in Anthropocene times is the capacity to change course, to remain open to new developments, using performances, events and “pop-up” exhibitions alongside traditional museum offerings. New Museology regards stories as the fundamental unit of museums. Thus, the curation of stories is central work. No longer are museums defined solely by objects: the artistic and the ephemeral are all part of story-telling. (shrink)

This paper explores the process from museumization to decolonization through an examination of a Haida eagle mask currently on display in the Exploring Medicine gallery at the Science Museum in London. While elements of this discussion are well developed in some disciplines, such as Indigenous studies, anthropology and museum and heritage studies, this paper approaches the topic through the history of science, where decolonization and global perspectives are still gaining momentum. The aim therefore is to offer some opening (...) perspectives and methods on how historians of science can use the ideas and approaches relating to decolonization in other fields, and apply them constructively to the history of science, particularly in museum settings. Decolonization is a complicated process and the focus of this paper is squarely on the preliminary steps of its implementation. To understand this process fully, the paper will recontextualize the Indigenous history of the Haida eagle mask at the Science Museum through a careful reconstruction of its provenance record. Through this process it will expose the politics of erasure and hidden voices in museum collections. (shrink)

Open the box -- The museum effect -- Art or artifact -- Public inquiry -- Framing the frame -- Curator/creator -- On the inside -- Without walls.

Why does the air-target and its associated practices matter? This special section is about the politics, practices and ethics surrounding the target and efforts to subvert or circumvent them. Since Eyal Weizman’s groundbreaking essay on the ‘politics of verticality’ in 2002, there have been numerous attempts to critically open up the aerial gaze, but rarely have they come together for sustained analysis and critique, to explore the implications of the air-target’s techniques, processes, visual cultures and aesthetics for politics and (...) life itself. This special section brings together leading international experts in order to open out a fuller and more complete analysis of the kinds of tensions of verticality that lie at the heart of today’s warfare, security and politics. This introduction outlines three dominant problematics of the air-target, which the articles in the section will go on to explore in more detail. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Museums in Transition:Thoughts from an EmpiricistSean UlmerIn March 2005 Daniel Siedell, curator of the Sheldon Memorial Art Gallery and Sculpture Garden at the University of Nebraska in Lincoln, approached me with an invitation to participate in a symposium for the Journal of Aesthetic Education that he was guest editing. He said that the symposium would be dedicated to curatorial and educational issues and suggested that each of the contributors (...) could use David Carrier's forthcoming book as a starting point for their essays. At that time, I did not know of Carrier's thoughts but had a number of thoughts myself on issues related to curatorial and educational strategies within the museum setting. My experience in a variety of positions in three—now four—institutions had provided me with a number of perspectives about different facets of the museum and its curatorial and educational missions.In Carrier's book, Museum Skepticism, released in May 2006, the author posits a number of thought-provoking observations regarding the birth, evolution, and decline of the museum. Tracing this development from the French Revolution and the opening of the Louvre, through the Isabel Stewart Gardner Museum, the Boston Museum of Fine Arts, Albert Barnes's collection and foundation/museum, and finally the J. Paul Getty Museum, Carrier looks at specific examples to support claims he makes in his intriguing opening and concluding chapters. While there are too many worthwhile observations to explore in great detail here, I will address some of the issues that piqued my interest, coming at the question from a different point of view, that of a working museum professional.Let me begin by stating that I am no theorist. Instead, I am an unapologetic pragmatist.1 My entire career has been shaped by actual work within a museum, seeing the institution—or "organism" as I usually refer to it—from a number of different vantage points.2 These varied experiences have given me the opportunity to see the museum—at least a Kunsthalle, two university museums, and a public museum—from several different vantage points. [End Page 4]In his introductory chapter, Carrier asks his primary question: "What is it like to lead the life of a work of art?"3 This is a very interesting question, and one with which many of us rarely consider in our day-to-day work within the museum's walls. In order to answer the question fully, Carrier suggests that "we need to understand museums."4 Indeed. In actuality, museums (and there are many different types) are just one component that must be considered. For a full consideration of the life of the work of art, one must start with the artist. What were his or her motivations? What was he or she trying to accomplish with the work? How was it first shown? In a gallery? In a museum show? How did the artist intend the work to be shown? What was the role of the patron or commissioner, if there was one? We know that the Catholic Church was an important originator of a number of great works of art and many were destined for church interiors, and some still are in situ. One cannot deny, however, that many of the world's great works of art ("great" simply deemed so by consensus) have found their way into museums. Museums are much more complex beasts than Carrier—or anyone for that matter—can cover within the confines of a single, publishable book. So many factors must be considered, especially when considering today's museums, as they continue to evolve and grow: the role of the collector, the patron, the board, the director, the curator, the education staff, the guards, and the public, to name just a few individuals who require consideration when analyzing museums. Such an interesting mixture of different individuals, each with a unique perspective (and agenda), coming together in one place makes for this complexity. And while the author uses this question of the life of a work of art as a starting point, he finds in the progress of the text a number of other stimulating and thoughtful observations. There is much more contained within... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Museum Education and the Project of Interpretation in the Twenty-First CenturyRika Burnham and Elliott Kai-KeeThis is what we shall look for as we move: freedom developed by human beings who have acted to make a space for themselves in the presence of others, human beings become "challengers" ready for alternatives, alternatives that include caring and community. And we shall seek, as we go, implications for emancipatory education conducted (...) by and for those willing to take responsibility for themselves and for each other. We want to discover how to open spaces for persons in their plurality, spaces where they can become different, where they can grow.—Maxine Greene, The Dialectic of Freedom, 56In the art museum of the future, we walk into a gallery in which the hum of conversation fills the space. A small group of visitors clusters around a single work of art, exchanging their observations, led quietly in their conversation by a museum educator. The group has gathered for a program in which visitors are invited into a dialogue with the educator, with each other, and above all, with the artwork. As this group's conversation concludes, other groups will take their place, attending to different works of art, unfolding them in different ways.We share with David Carrier a vision of the future museum rooted in the Enlightenment dream of a sphere of conversation accessible to all citizens, a public museum space "devoted to a genuinely democratic talk about visual art." In such a museum the galleries are not primarily considered places where art historical information is transferred. They are instead redefined as places where conversation takes place around works of art and where the project of interpretation is constantly enacted.The educators who are responsible for these conversations have a central place in the future museum. Once charged with translating curatorial interpretations to the public, educators are now charged with including everyone [End Page 11] in the translation of the artworks. Knowledgeable in the collections and experienced with audiences, they bring people and works of art together for appreciation and exploration. Engaged in the exchange of thoughts and observations about artworks, carried into the back-and-forth flow of discussion about the artworks, visitors translate impressions into conjectures, and, ideally, understanding and interpretation.Visitors come to the museum to learn about art through gallery conversations during which they actively take part in a form of interpretive play that animates, and in a sense performs, works of art as visitors look at them and talk about them. When the play is successful, it is full of energy and passion. The museum galleries become active places where ideas are freely exchanged, where hermeneutic improvisation and experimentation are encouraged and valued.The constantly recurring play of art makes the museum a place of interpretive freedom, open to many viewpoints and the possibility of multiple interpretations. Educator and visitor both realize that understandings of works of art are never complete. They know that every conversation opens the artworks to the possibility of new meanings and new interpretations.In the museum of the future, the mission of offering visitors such special experiences is not distinct from the museum's traditional charge of caring for the objects in its collections. For it is only when visitors attend to the works of art, and interpret them, that the artworks come alive. As John Dewey said almost a century ago, the work of art comes alive in the viewer's experience. Visitors, educators, and curators share in the endeavor of making sense of works of art, each taking their own part in the process of bringing them to life with their scrutiny, and keeping them alive as they interpret and reinterpret them.The deepest and most affecting experiences visitors have in art museums are those in which they share in the unfolding, unraveling, and translation of the meaning of artworks. In the museum of the future, everyone is invited into such conversations. Everyone understands that they are important participants in the lives of the objects displayed there, as they take part in the play of interpretation that dances around them.Museums are first and foremost for people; they are... (shrink)

The article is an overview of the growth of an interest in painting, from the mid-sixteenth to the mid-nineteenth century, among a public not much involved in either the production or purchase of works of art. For the earlier period the main evidence is provided by guidebooks and other publications of a more general type, especially in Italy, which often incorporated the names of leading artists, but seldom provided information about their careers or where their works could be seen. This (...) situation only began to change in a significant way in the second half of the seventeenth century. From that time onwards a new type of publication appeared, that is to say catalogues of major collections of paintings usually open to members of the public. This development was particularly evident in Germany and later in Austria. Such publications rarely included much historical or chronological information about the artists themselves, and the collections were only rarely arranged on geographical or chronological lines, a practice at first mainly confined to early paintings which previously had rarely been displayed at all. A more didactic and historical approach to display and to the compilation of museum catalogues only emerged from around 1850, after Frédéric Villot, curator of paintings at the Louvre, created the model for a new type of catalogue intended both as a contribution to art-historical knowledge and as a source of information for visitors. (shrink)

Prior to this intervention the site used to be a degraded fiscal property, that functioned as a bus yard, a police legal deposit, and a restaurant parking lot. Underneath it runs the Maldonado stream culvert, covered by a concrete slab at a depth of only -20cm. Next to the site is a 5m high railroad embankment. The plot is strategically located at the end of Juan B. Justo avenue and works as a gateway to the Tres de Febrero park (also (...) known as Bosques de Palermo, the Buenos Aires’s biggest green space designed by Charles Thays in 1875). It is situated in the neighborhood of Palermo, an area that underwent a vertiginous residential and commercial expansion since the late 90´s. -/- The design approach is influenced by the adjacent urban fragments: the grounds of the Sociedad Rural Argentina, the surrounding Avenues Santa Fe-Sarmiento; the opening of Darregueyra street expected for the near future, the implementation of historic preservation guidelines for the Tres de Febrero Park, and the proposal for the development of nearby railroad yards. -/- Specifically, the project seeks to minimize the impact of the fast traffic that runs along Bullrich avenue, improving pedestrian and cycle access to the park. At the same time it defines new landscape features, utilizing the earth made available by the tunneling works of a new subway line. -/- The project comprises the structuring of an existing 800 meter long embankment and the transformation of the sidewalk into a public promenade. This is achieved through a wider sidewalk of 12m on average, which is part of a series of longitudinal stripes ranging from high speed to quiet spaces. The first band of grass and aged tipas (tipuana tipu) buffer pedestrian and cyclist from automotive traffic. Cycle traffic is organized on its own lane. The sidewalk itself contains several bays that act as urban lounges. Next, a continuous concrete bench delimits the beginning of the slope, backed by a stripe of grass that works as a soft extension. Finally, plants for contemplation are arranged as undulating traces. Rhythmic use of retaining gabions defines longitudinal segments of varying slope, unifying the spacial criterion. This series is punctuated by an amphitheater and framed by triangular plazas at the corners. -/- Material choices for hard surfaces are constrained by concerns of durability, low cost, and consistency with other ongoing public works. -/- Hard materials, as well as the plant selection needed to be low-maintenance. The palette was kept to reinforced concrete, granitic slabs, and granite stone in large size –forming retaining gabions- and as loose finishing for pavements. Likewise, the lack of a protective enclosure and of continuous surveillance dictated that urban furniture and fixtures be anti-vandalic. The stealing of these components –from inspection lids, to benches, to plants- is a common problem in urban spaces in many Latin American cities. To prevent this, fixtures must be designed according to precise specifications regarding their weight, fixing and anchoring systems, and mechanical parts. -/- Sidewalks are organized through a 6 meter grid made of granitic white slab, infilled with textured combed nonslip concrete modules. Extended bays and corner squares are finished with white and black slabs respectively. These materials are similar to another used in public spaces under construction, in the believe that it creates a collective identification of themselves along the city. -/- The continuous reinforced concrete bench is 1.10 m wide, in order to allow people to use it in non-conventional ways. Further up on the slope, undulating paths separate plant species and provide access for gardening, but are also open to use by the public. They are paved with 2 meter-long precast concrete slabs (smaller and lighter pieces were avoided to deter robbery). As they reach the gabions they connect with sloping paths covered with loose granitic stones. The gabions themselves allow the creation of varying slopes while contributing to retaining the soil, which is reinforced with geosynthetic fabric in the perimeter to avoid landslides originated by strong rains typical of the region. -/- Urban furniture is featured on the wider bays of the sidewalk and at corner plazas. It includes seats, water fountains, bicycle racks, wastepaper baskets. As a counterpoint to the linear concrete bench, groups of concrete seats are arranged informally. These seats are a reinterpretation of the dynamic BKF chair (also known as Butterfly chair), the classic Argentinean design of the 1930’ by Antonio Bonet, Juan Kurchan, and Jorge Ferrari-Hardoy. A few low concrete tables complete these spaces as authentic urban lounges. Lighting design accompanies the general features of the project and creates a new scenography emphasizing night-time usage. -/- Landscape gardening criteria is set up by a selection of various species of high-resistant pasture (grass). The higher the slope, the higher the grass, increasing the final volumetric result. Based on considering the original tipas line (tipuana tipu, a species from the north of Argentina, yellow flowering) as a vertical wall that frames the view, the horizontal stripes contain a single species each, differing in size, shade and flowering periods –adding, in the middle band, a changing color on the big green plane slope in the same chromatic range. The final configuration of the stripe sequence from bottom to top: bermuda grass, bulbine frutescens, euryops pectinatus. The upper band existing native species is reinforced with new samples: paspalum exaltatum + cortadera selloana and ipomea + thumbergia climbing the railway fence. Each sector between gabions has an automated system of drip irrigation. Near the corner plazas, several palms are planted to provide shade and identity to the street-crossing. -/- The intervention proposes an ambivalent effect on the landscape, trascending the merely ornamental by accompanying the motorist in speed, while conforting the pedestrian with spaces for contemplation and urban relax. (shrink)

Museums and collecting is now a major area of cultural studies. This selected group of key texts opens the investigation and appreciation of museum history. Edward Edwards, chief pioneer of municipal public libraries, chronicles the founders and early donors to the British Museum. Greenwood and Murray provide informative pictures of the early history of the museum movement. Sir William Flower, Director of the British Museum (Natural History), takes a pioneering philosophical approach to the sphere of natural (...) history in relation to museums. Similarly, Acland and Ruskin discuss and explore the relationships of art and architecture to museums. (shrink)

The connection is made between the Royal Museum of Scotland and encyclopaedia, one of MacIntyre's three rival versions of moral enquiry. It is then asked how MacIntyre's other two methods, genealogy and tradition‐constituted enquiry, would function within a museum. It is proposed that the museum fulfils Haldane's criterion for tradition‐constituted enquiry in that it combines the immanence and open‐endedness of the methods of enquiry with transcendence in the objects of enquiry. The ethical judgments of the visitors (...) constitute transcendent truth in morality; hence one can see the museum as a site of Aristotelian enquiry. -/- To pursue this, the museum is explored as a site of Aristotelian study or theoria, and of MacIntyre's updated Aristotelianism. Therein we study the narratives written by historians and by individuals in a version of Aristotelian epagogê, or the sifting of the opinions of the many and the wise. This process may also enhance civic friendship and our exercise of practical wisdom towards disadvantaged groups. -/- Finally, MacIntyre's three rival versions of moral enquiry are returned to, and a museum characterised for each. All three are found to involve seriousness in the purposes of enquiry. Attention is drawn to MacIntyre's criticism of the interaction of bureaucracy and social science. It is proposed that such interaction may, in the case of the museum, dilute its seriousness as a site of enquiry. (shrink)

Museums might seem to be the enemy of metabolism: mausoleums that preserve collections and their knowledge-producing potential, out of time. We argue that museums are in fact intensely metabolic: in their attempts to manipulate the life course and temporalities of objects they proliferate metabolic processes, limits, and potentials. We suggest that looking at the museum in this way can help articulate pressing practical as well as theoretical issues: storage rooms are “constipated,” as traditional practices of disposal cannot keep pace (...) with rapidly growing collections from an over-productive present. The paper consists of three main sections. First, we follow imaginations of the museum as preserver, contrasting these with more recent descriptions of the museum as metabolism, and highlighting the intimate relationship between the two. We describe the material and metaphorical ways in which objects and their meanings are transformed within a “museum metabolism,” and suggest that cultivating such transformations might help to imagine new approaches to problems of proliferation and disposal. This leads us to The Living Room, a workshop and installation at Medical Museion in Copenhagen, where we encourage fringe objects destined for disposal to metabolize, entangled with living heritage eaters such as fungi and worms. Following Ian Bogost, this is a piece of “metabolic carpentry”; a thinking machine that explores ontology by practicing it. In the third main section, we reflect on this approach, and on how materially producing metabolic paradoxes might open new avenues for thinking about their concrete consequences, within an ethos of hospitality. We conclude by arguing for the creative potential of metabolism to link objects, organisms, and environments, emphasizing exchanges between transformation and stability at co-constituting interfaces. (shrink)

A new field of biomedical ethics is opening up, concerning what should be done to reduce the direct and indirect impacts of greenhouse gas emissions on human health. Some of these impacts could be described as ‘direct’, in the form of fatalities and illnesses due to the increasingly frequent heatwaves in many countries of recent years, ascribable to anthropogenic climate change. Other impacts are mediated through the air pollution that results from emissions from vehicles in the form of a cocktail (...) of carbon oxides including carbon monoxide, nitrogen dioxide and particulates. Most of the world’s cities have streets with unsafe pollution levels, and one child’s death in Britain has been officially ascribed to air pollution (BBC 2020). This presentation aims to validate the above claims about the impacts of emissions on health, and to suggest remedies. The early phasing out of vehicles powered by internal combustion engines is the ultimate remedy for the latter set of impacts, while the urgent replacement of energy generated from fossil-fuel sources with renewable energy is the best way to remediate the former set. More immediate remedies for air pollution include restricting the use of roads and streets in urbanised areas by vehicles to bicycles and light vehicles with small engines. Medical and nursing education should include the diagnosis and treatment of pulmonary conditions resulting from increased levels of carbon oxides, nitrogen oxides and particulates. Medical and nursing practice should focus on the early identification of vulnerable adults and children at risk from air pollution, and warnings against walking, running or cycling along the most polluted thoroughfares. (shrink)

Window opening behavior in residential buildings has important theoretical significance and practical value for improving energy conservation, indoor thermal comfort, and indoor air quality. Climate and cultural differences may lead to different window opening behavior by residents. Currently, research on residential window opening behavior in northwest China has focused on indoor air quality, and few probabilistic models of residential window behaviors have been established. Therefore, in this study, we focused on an analysis of factors influencing window opening behavior and the (...) establishment of a predictive model for window opening behavior. Four typical residential buildings in different locations and building types in Xi’an were selected. The indoor and outdoor environments and window opening states were measured. Subsequently, a multivariate analysis of variance was used to determine the factors that had a significant effect on window opening behavior. Single- and multiparameter logistic regression models for window opening behavior were established. Of all the measured factors, we found that indoor temperature and CO2 concentration, outdoor temperature, and relative humidity had significant effects on window opening behavior, and indoor relative humidity and noise did not. Meanwhile, the temperature was positively correlated with the window opening probability, whereas indoor CO2 concentration and outdoor relative humidity were negatively correlated. The prediction accuracy of the multiparameter model was promising, at almost 75%, and the model can provide theoretical support for modelling residential buildings in Xi’an. (shrink)

Galleries, libraries, archives and museums are striving to retain audience attention to issues related to cultural heritage, by implementing various novel opportunities for audience engagement through technological means online. Although born-digital assets for cultural heritage may have inundated the Internet in some areas, most of the time they are stored in “digital warehouses,” and the questions of the digital ecosystem’s sustainability, meaningful public participation and creative reuse of data still remain. Emerging technologies, such as artificial intelligence, are used to bring (...) born-digital archives to light, aiming to enhance the public’s engagement and participation. At the core of this debate lies both the openness of data and issues of privacy. How open to the public should born-digital archives be? Should everything be open and available online, and what does it take to achieve balance between openness and privacy, especially through AI initiatives? The study is qualitative and builds on the rationale of grounded theory. The role of AI development is critically investigated in relation to opening up born-digital archives online, by considering privacy and ethics issues. Grounded in the context of the author’s PhD research, the paper proposes a human-centred approach to AI development for democratising its development towards fairness and social inclusion, contrary to the stereotypical cliché of blackboxing, allowing space for the plurality of born-digital archives to flourish. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Taking Up Space:Museum Exploration in the Twenty-First CenturyTiffany Sutton (bio)Museums have become a crucible for questions of the role that traditional art and art history should play in contemporary art. Friedrich Nietzsche argued in the nineteenth century that museums can be no more than mausoleums for effete (fine) art.1 Over the course of the twentieth century, however, curators dispelled such blanket pessimism by showing that what keeps historical (...) art museums, both comprehensive and modern, "alive" and relevant in the modern art world are the things that curators do with the artworks in their collections.2 In certain cases, I will argue in this article, the focus on artworks and the relationship between them can be rewardingly shifted onto the spatial aspect of the museum. I will try to show what such a shift of focus entails, show that it involves a gestalt shift (in Wittgenstein's terms, the "dawning of an aspect"), and illustrate the limits within which this can arise.3 The foremost of these limiting factors is museum architecture, and I will discuss this to the extent that it determines the limits of what curators can do. How architects do things with museums, however, lies outside the scope of this article.An Art Historical Heuristic Gets a Curatorial MakeoverNineteenth-century art museums typically were vast, labyrinthine, and built to assume the shape of a comprehensive art historical narrative, so they were easy targets for ideologues drawn to vibrant modern artworks and the controversy surrounding them. At the turn of the twentieth century new commercial galleries developed a distinctively modern mode of display in which individual artworks were showcased with plenty of space around them.4 Had existing museums changed their ways to accommodate these developments, the momentum of a new aesthetic of flatness, surface, [End Page 87] and yet purer forms of conceptualism would have been lost. It was not a time for absorption and deflation: new museums, no less monumental and historical but smaller and with fewer volumes, were commissioned to give modern art the appearance of a fresh start.5 The weightless upward mobility of Frank Lloyd Wright's Guggenheim Museum in Manhattan, modeled in 1945 and opened to the public in 1959, consummated this trend of the first half of the twentieth century and gave it its purest form. What the building spurt revealed was that as art changes, it demands to be reflected in its surroundings, not merely accommodated. That the response was to build new museums rather than new wings suggests the inner workings of the principle—call it "curatorial heuristic one"—that, whereas art history is fluid and simply flows forward with new developments, museums are not of this nature; they can become effete.The curatorial revision of this heuristic was a century in coming. As often happens when emerging movements are yet underdetermined, modernism suppressed in its beginnings the background factor that would seem to entail the end of modern art when finally brought into focus: the very context of display that had once set it apart. Duchamp's Readymades (1913) gave the initial nod (or wink) to the gallery context; it was, however, ignored, as a suppressed punch line, until art history was ready to concede the importance of the context of display—not in the gallery, but in the museum—to a site-specific artwork by Richard Serra: his Splashing and Prop (1968). With the museum's framing context and, concomitantly, the importance of the curator's work conceded, the barrier that had kept lesser masterpieces in the basement (or out of the museum) were removed. Unearthed, these began to circulate, and attention centered on the relation in which they stood to better-known artworks, either as suppressed alternates or as descendants of an artistic lineage. So postmodern sprawl began, with the display of multiple alternative art histories drawing, as modernism had, on available display conventions for periodizing according to internal principles (period, school, genre, style) such that detection of them devolved upon the viewer.When public uses for the new public museums began to diversify (from an historical/educational focus to aesthetic/educational and cultural/political ones), principles for ordering artworks were... (shrink)

This paper attempts to open the debate on the idea of local and territorial development of microregional nodes in the Province of Buenos Aires. Under this approach, a model that proposes the creation of Municipal Development Forum, with the participation of local actors, generate local development program is proposed. The proposal is formulated for territories over 5,000 and below 30,000 inhabitants. This criterion is based on the applicability of the proposed model to municipalities with potential for territorial development, large (...) and balanced internal consumption, but where progress is hindered by the proximity of one or two political jurisdictions of a larger productive scale that have became regional administrative centers. The development program will consider a diagnosis of the productive profile of the territory and its relationship with the characteristics and origin of goods or services consumed at the municipality. This territorial development model aims to move towards self-sufficiency on goods and services, to create new jobs and to promote effective and efficient use of local resources. In short, we propose to tackle territorial development from an innovative perspective, focusing on the creation of Municipal Development Fora that foster the improvement and growth of the productive system, the creation of jobs, local identity and the consumption of goods and services locally produced. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Main Street as Art Museum:Metaphor and Teaching StrategiesElizabeth (Beau) Vallance (bio)In truth, walking down Main Street in many American small towns today is rather like walking through an art museum whose walls have mysterious gaps where paintings have been removed for cleaning. Maybe more accurately, walking down Main Street can be rather like walking through the Isabella Stewart Gardner Museum in Boston after a Vermeer, two (...) Rembrandts, and eleven other artworks were stolen in 1990: since the Gardner's charter does not allow it to rearrange its holdings, the resulting gaps remained with only explanatory notes in their too-large spaces on my last visit there. A town I know well has a disturbing number of empty storefronts, identified with only the faint outlines of their former names, their windows holding explanatory notes in the form of signs proclaiming that they are for sale or rent. Thanks to Wal-Mart and other big-box stores thriving in a distinctly nonpedestrian strip north of town, the commerce that once thrived on Main Street has died or been removed to new locations, and the once-lively street-level shop windows that testified to downtown liveliness for foot traffic are now empty, awaiting new life as, very likely, antique shops or restaurants.But in principle, a walk down Main Street can be very much like a stroll through a museum gallery—visually rich, inviting unexpected choices, aesthetically rewarding. This article explores the concept of shop windows as visually ordered compositions much like paintings and other art objects and suggests some approaches to applying this concept in teaching a range of subjects and styles of art in both classrooms and actual museums. For the purposes of argument, we will assume that our mythical Main Street is alive [End Page 25] with businesses of many kinds, with the old-fashioned windows open to the street that allow us to "window shop" for many blocks. Some of my examples are drawn from the very enjoyable experience they still offer, of wandering from image to image, commenting as we go.Museum Visitors as Window-ShoppersConsider the behavior of the average museum visitor, a composite characterization drawn from my years as a museum educator and augmented by a few statistics on how people comport themselves in museums and other public places. The behavior of visitors in art museums is an especially clear case of how people observe deliberate compositions, for in art museums objects are typically arranged fairly sparely, with minimal crowding of the objects themselves, small labels that may or may not explain much about the painting or sculpture or silver tureen, good lighting, and a fairly hushed atmosphere, unless a crowd has gathered for a family festival or a major exhibition.Generally, people come to museums in pairs or small groups and not necessarily with a clear plan beyond perhaps seeing a particular favorite work of art or generally catching the highlights of the collection. Their purpose may be social as much as specifically educational, and those who come with companions tend to chat a bit as they walk through the collection. Generally, other things being equal, they turn to the right on entering the building.1 After that, however, visitors become unpredictable, and they meander among the objects in ways the museum cannot control unless visitors are following a live tour guide or a printed self-guiding tour that recommends stopping at selected objects in a predetermined order. Visitors may move to a large object located in the center of the gallery (such as a medieval suit of armor, an Egyptian mummy case, or an enormous painting on a freestanding wall partition), or to a case filled with many small precious-looking objects (such as pre-Columbian gold jewelry from Peru, or the tiny bass sculptures that are gold weights from the Ashanti culture in Ghana). They may be drawn to something in a familiar style, such as a large Impressionist painting or a Rembrandt-looking portrait. They may gravitate to a favorite object in the collection, or they may be attracted by a new acquisition or a work recently installed after many years in storage. At all these stops, they... (shrink)

There was once a princess called Sophia,whose philosophy museum was superior.But most of the storesbecame locked behind doors,which led to collective amnesia.Then along came a band of ajar‐minders,who decided to issue remindersof the treasures insidethat hadn't yet died,and opened the doors to all finders.

In lieu of an abstract, here is a brief excerpt of the content:Buddhist-Christian Studies 22 (2002) 203-205 [Access article in PDF] The Taipai, Taiwan, Museum of World Religions Maria Reis Habito Dallas, Texas A new museum dedicated to exploring the world's great religious traditions opened in Taipei this past November. Its professed mission is rather unique: to teach about religions and religious life in the world, and to provide instructive experiences about the variety of the world's religious expressions (...) as a basis for mutual understanding, peace, and love among peoples of the world. The vision for the museum as a place that will foster religious learning, interreligious dialogue, and cooperation was developed by its founder, the Venerable Dharma Master Hsin Tao. He conceived the museum as an educational institution that will "explore the fundamental values that are at the roots of all religions." The mission of the museum—"to encourage respect, tolerance and love by fostering dialogue among people of all faiths and backgrounds as we work together to create greater understanding and peaceful interaction in the New Millennium"—has attracted widespread support among his disciples in Taiwan and overseas, whose contributions have made the museum project possible. The Content of the Museum of World Religions The goal in the content development and design of the museum has been twofold: (1) to create an institution of learning in which the visitor will find well structured information about important aspects of the world's religions and (2) to create an interactive space that, in the words of Ralph Applebaum, "immerses the visitors in an experience that enables them to view religion from many different perspectives to gain a better understanding of their own faith and the faith of others." To this, Professor Sullivan added, "[V]isitors will be invited to explore all religions as expressions of a universal search for purpose, meaning, and enlightenment. The museum will be a living monument to the human spirit and a sanctuary honoring the world's myriad faith traditions." To engage the visitor in this exploration, the visit to the museum has been designed as a journey that, even though not a ritual per se, has a structure analogous to the three-part structure of religious rituals.First, visitors experience a moment of separation from everyday life and enter into a very different quality of space and time. Second, during this kind of "time out," [End Page 203] suspended between the normal moments of everyday activity, the visitors undergo a special and intense experience, during which they receive knowledge that transforms their understanding and alters their self-perception. Such transformation occurs in the face of powerful sacred objects, symbols, or events that are displayed and experiencedin relatively dramatic presentations in the museum. They invite the visitor to participate and interact. Thirdly, steps are undertaken to reinsert the visitor back into the life of daily activity.There are fourteen steps to the museum experience, each of which lands the visitor in a different place, with its own experience of time. At each step, in each place, the religious structure of time is viewed on a different scale, seen under a different order of magnification. The museum experience is an orderly succession of times, magnified and mapped onto a series of spaces that invite the visitor's interaction. The aim is to offer the visitor an experience that, like a ritual, is satisfying and transformative and yet remains an experience proper to an institute of learning.As an example of one of the steps, imagine coming from the lobby (step 5) into the Prime Times Theater (step 6). The panel on the eastern wall of the lobby slides aside, and you enter into the darkened theater as into a cave. You are implanted there in the mysterious and primeval space to relive the experience of the seed of love and peace, planted in the fertile grounds of origins. In a fifteen-minute film you view the primordial times described in religious myths and relive the drama and emotion of how life came to be as it is. A powerful weave of narration and imagery retells the stories and poses fundamental questions... (shrink)

In the 1980s, Luce Irigaray accused Western philosophy of “forgetting” about the role that the materiality of air and the act of breathing played in pre-Socratic metaphysics. This essay explores how Jacques Derrida maintained a complicated but insightful relationship to the air throughout his career through the mediating influence of pneuma, a word with long and complicated connections to the air. I highlight two relevant sites of engagement. The first was found in Of Grammatology (1968), where he connected the breathy (...) logocentrism of “natural writing” to a concept of pneumatology (a “science of spirit” with some interesting connections to Leibniz) that served as grammatology’s Janus face. The second stemmed from Of Spirit (1991), in which Derrida emphasized the combustible, fiery face of pneuma to lambast Heidegger’s use of translation to mediate away the historical presence of the word pneuma for ideological purposes. This body of work, en toto, presents a subtle and oblique critique of Irigaray’s position. For Derrida, the air cannot function as the medium for an alternative metaphysics of presence because, historically, its space has already been infused with a pneumatic specter that cannot be ignored. (shrink)

Color FilmAs if from darkness, from gloom, from nothing —this moment is sewn through us like a thread —from above our shoulders — from primeval night —a shining river. A flying light.Onto the screen, onto a white calm,onto a cloth, onto the ground of spatial fields,it flies through the eyeless dark,it's as voluminous as seed or salt.And in this theater, where light's been banished,where even streetlight fades away completely,other light channels vibrate,and reflections wander through the eye.The curtains open up (...) — the wings of a gate.The screen shifts our eyes and soulsso that we reach new perspectives,blown by the wind into the changingof colors, landscapes, rooms,we touch fire, earth, water.But no! Not those! And not like that!There's a wall here, the screen's always a wall.So, when the shades are opened and it's over,daylight pours through the aisles,we walk as if from underground corridors,we reach for cigarettes in our pockets.We exit like a flood, like a tide,and start talking again.O reality, blinding and sublime!We learn to love. We learn to see.StanzasThose years are slowly fading.Our house was by the railroad stationwhere engines covered in soot hammeredand invisible locomotives roared at night.Pedestrians passed by our porch,their moods dependent on loveand weather, coats and sorrowscarried over their shoulders, invisibleswords drawn but hesitant — as if awaitingtournament trumpets to launch their lives.The acacia (the one that was cut down later)grew according to a centuries-long spanof rain and sun and, like a lively banner,the windows reflected its green flash.And there was lilac, a skinny creature,diminished from the leaves to the roots.But once a year it flushed numb madlyand flourished although it was in pain.(It's worth mentioning the elderberry —dense, aromatic, and luminous,and how, after trembling on the bush,a rainbow surfaced through the drizzle.)Those lands were also full of winter —Christmassy and audacious, like an invasion,and a piercing whirlwind flew inthrough cold doorways and frozen windows.And in the lanterns oranges burned,buckets clanking through the morning,snow trampled after a blizzard,brown brick ovens roaring inside houses...Those years are fading like those legends,but who will weave us sweeter memories?Elegy for the SixtiesSummer, the smell of a soccer ball, elderberry, currant,couples made out in the evening bushes,and when the twilight descended beyond the river,the stony sidewalks smelled of warm rain.The soccer ball flew over antennas and linden trees,its body leather and cosmic.From grape-covered arbors, with pubescent sobs,songs of the prodigy Robertino spread through the world.The night thickened instantly, the ball meltedin the darkness, lamps lit up in the orchards and porches,a mysterious depth opened in a treetop,the shadows on the faded curtains spoke.The ball never came back: disappeared in the distance.Frogs croaked from neglected fountainsin the park where there were dances every night,where a saxophone wheezed, where they carried knives.The ball remained in the air, and the years unfoldedlike sandy seas, like salty deserts,and spooky carousels horrendously circledand creaked for us, as in a dream, until morning.The Museum of AntiquitiesHow the two of us walkthe cramped labyrinths of an old house!...Tapestries and trumpetsglorify an unknown couple,as if seeingour conspiracy:every toucha warm flash.And then again and againwe passin the mirrors.The clock with blazonsindicates, as always, it's two,and sneaking after usmaybe anguish, maybe a fugue...Passing portraitsand palanquinsan echo of footstepswalks with us.We disappeared somewhere for a long time(for two hundred years?For three hundred?).And when it gets dark,from unheated rooms(I seem to have behaved well,I did nothing wrong),into hot neon lightswe return forever.I carry you in my hand,and life is so vast... (shrink)

Museums are conventionally viewed as institutions dedicated to the conservation of valued objects and the education of the public. Recently, controversies have arisen regarding the representation of history in museums. National museums in America and Germany considered here, such as the Smithsonian's Air and Space Museum, the Holocaust Memorial Museum, and the German Historical Museum, have become sites of contention where national histories and personal memories are often at odds. Contemporary art installations in museums which take historical (...) consciousness as their theme similarly raise contentious issues about public knowledge of and personal interest in the past. When members of publics find that their memories of the past or their expectations for museum experiences are not being met, a kind of "distortion" occurs. The "distortion" related to memory and history in the museum is not so much of facts or interpretations, but rather a distortion from the lack of congruity between personal experience and expectation, on the one hand, and the institutional representation of the past on the other. This essay explores the possibilities for a redefined relationship between personal memory and history that is experienced in contemporary museums. (shrink)

A reflection on the symposium ‘Clear-sighted Art – Open Mind? Encounters between Art and Esotericism’ arranged at the Amos Rex Art Museum, Helsinki, 25th August 2020.

The British Museum, based in Montague House, Bloomsbury, opened its doors on 15 January 1759, as the world's first state-owned public museum. The Museum's collection mostly originated from Sir Hans Sloane, whose vast holdings were purchased by Parliament shortly after his death. The largest component of this collection was objects of natural history, including a herbarium made up of 265 bound volumes, many of which were classified according to the late seventeenth-century system of John Ray. The 1750s (...) saw the emergence of Linnaean binomial nomenclature, following the publication of Carl Linnaeus'Species Plantarum andSystema Naturae. In order to adopt this new system for their collections, the Trustees of the British Museum chose to employ the Swedish naturalist and former student of Linnaeus, Daniel Solander to reclassify the collection. Solander was ordered to devise a new system for classifying and cataloguing Sloane's natural history collection, which would allow both Linnaeans and those who followed earlier systems to access it. Solander's work was essential for allowing the British Museum to realize its aim of becoming a public centre of learning, adapting the collection to reflect the diversity of classificatory practices which were existent by the 1760s. This task engaged Solander until 1768, when he received an offer from Joseph Banks to accompany him on HMSEndeavourto the Pacific. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Open Letter to the Enemy:Jean Genet's Holy WarSteven Miller (bio)J.G. seeks, or is searching for, or would like to discover, never to uncover him, the delicious enemy, quite disarmed, whose equilibrium is unstable, profile uncertain, face inadmissible, the enemy broken by a breath of air, the already humiliated slave, ready to throw himself out the window at the least sign, the defeated enemy: blind, deaf, mute. With no (...) arms, no legs, no stomach, no heart, no sex, no head, all told a complete enemy, already bearing all the marks of my bestiality that now need never be used (too lazy anyway). I want the total enemy, with immeasurable and spontaneous hatred for me, but also the subjugated enemy, defeated by me before he even knows me. Not to be reconciled with me, in any case. No friends. Above all, no friends: a declared enemy, but not a tortured one. Clean, faultless. What are his colors? From a green as tender as a cherry to an effervescent violet. His size? Between the two of us, he presents himself to me man to man. No friends. I seek an inadequate enemy, one who comes to capitulate. I will come at him with all that I can muster: whacks, slaps, kicks, I will feed him to starving foxes, make him eat English food, attend the House of Lords, be received at Buckingham Palace, fuck Prince Phillip, and be fucked by him, live for a month in London, dress like me, sleep in place of me, live in place of me: I seek the declared enemy.This brief text was not published until 1991. It was almost published in 1975 in a book of homages to William Burroughs and Brion Gysin, and was to have been preceded with the following explanation of its origins, written by Gysin:In Tangiers in 1970, Jean Genet asked me what ever happened to the English underground newspaper The International Times. When I responded that the editors were having trouble with the law in England because of the newspaper's ads for "special friendships" [amitiés particulières], he exclaimed: "Why friends? Personally, I am looking for a suitable enemy [un ennemi à ma taille]." He then wrote the following text...[qtd. in Genet, ED 9]Hence the anecdotal reason for the form of the personal advertisement. In 1991 the text was published—according to Genet's wishes—as the first page of the posthumous collection of his political writings and interviews, L'ennemi déclaré.1 Such a placement demands more than an anecdotal explanation. What is a personal ad doing as the preface to a collection of political writings? Albert Dichy, the editor of the collection, notes that this text has the status of an exception: "the text that opens the collection does not belong to the group of writings that make up the book as a whole" [ED 331]. Each of the other texts emerges from Genet's involvement in specific political events (the [End Page 85] 1968 Chicago Democratic National Convention, the Chatila massacre) or with named political figures and groups (the Palestinians, the Black Panthers, the Baader-Meinhof group, George Jackson, Angela Davis), whereas the form of the ad that he wrote for Gysin seems to number it among his literary works. Nonetheless, this eccentric text remains the first in the collection—"en tête de l'ouvrage," is Dichy's phrase—and gives the book its title. Rather than serving as an introduction to the other texts, this text, by virtue of its exceptional form, is a challenge addressed directly to the public. Dichy himself is the first to accept this challenge. His editorial notice passes quickly from anecdote to interpretation:The fact that Genet wished to see the publication of his political articles preceded by this precise text has an unavoidable impact, not only on the identity of the author, now partially assimilable to a fictional character ("J.G. cherche, ou recherche..."), but also on the way in which we read the different texts in the collection, now that we have been given the general tone and the note of secrecy.[ED 331]These suggestions are apt enough... (shrink)

In the selection of job candidates who have the mental ability to become professional ATCOs, psychometric testing has been a ubiquitous activity in the ATM domain. To contribute to psychometric research in the ATM domain, we investigated the extent to which spatial orientation ability (SOA), as conceptualized in the spatial cognition and navigation literature, predicted air traffic conflict detection performance in a simulated free route airspace (FRA) environment. The implementation of free route airspace (FRA) over the past few years, notably (...) in Europe, have facilitated air traffic services by giving greater flexibility to aviation operators in planning and choosing preferred air routes that can lead to quicker arrivals. FRA offers enhanced system safety and efficiency, but these benefits can be outweighed by the introduction of air traffic conflicts that are geometrically more complex. Such conflicts can arise from increased number and distribution of conflict points, as well as from elevated uncertainty in aircraft maneuvering (for instance, during heading changes). Overall, these issues will make conflict detection more challenging for air traffic controllers (ATCOs). Consequently, there is a need to select ATCOs with suitably high levels of spatial orientation ability (SOA) to ensure flight safety under FRA implementation. In this study, we tested 20 participants who are eligible for ATCO job application, and found that response time-based performance on a newly developed, open access, computerized spatial orientation test (SOT) predicted time to loss of minimum separation (tLMS) performance on an air traffic conflict detection task (AT-CDT) we designed. We found this predictive relationship to be significant to a moderately large extent under scenarios with high air traffic density (raw regression coefficient = 0.58). Moreover, we demonstrated our AT-CDT as a valid test in terms of eliciting well-known mental workload and spatial learning effects. We explained these findings in light of similar or overlapping mental processes that were most likely activated optimally under task conditions featuring approximately equal numbers of outcome-relevant stimuli. We conclude by discussing the further application of the SOT to the selection of prospective ATCOs who can demonstrate high levels of conflict detection performance in FRA during training simulations. (shrink)

In the struggle for breathable air amid pollution and climate change, both resistance and inspiration can be found in ‘atmospheric care practices’ (Vine 2019). In this article, I embed these practices in a more than human political approach (Puig de la Bellacasa 2017). More than human atmospheric care practices work to undo toxic harm both on a material and social level while intimately involving human beings with more than human worlds. In so doing, they are demonstrative of different kinds of (...) agency and political activity that open up alternative ways of relating and responding to climate change. (shrink)

This reflection on Palestine’s political impasses in relation to the experiences of other colonized places and peoples was inspired by the current ferment in critical indigenous and native studies, and now Palestinian studies, about settler colonialism. Tracing the promises and pitfalls of new imaginations of sovereignty and self-determination emerging through indigenous activism, the essay reflects on museums and contested rituals of liberal recognition in North America and Australia to highlight both the stark differences in the situations of Palestinians under Israeli (...) rule and the radical significance of the recent efflorescence of Palestinian cultural projects. Focusing particularly on the history of the Palestinian Museum (that opened in Birzeit in 2016), the article argues that the productivity of the settler-colonial framework lies less in the way it maps directly onto the situation on the ground than in the new solidarities it engenders and its potential to burst open the Palestinian political imagination. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:When Little Girls Become Junior Connoisseurs:A Cautionary Tale of Art Museum Education in the HyperrealMelinda M. Mayer (bio)Introducing the TaleA young girl about eleven years old appeared on the TV screen. She stood in an art museum expounding upon the painting hanging behind her. She talked about the artist and what the image portrayed. With an air of elitist prissiness that suited the museum environment, the (...) girl delivered her presentation to a group of schoolmates. As I and the other art museum educators assembled in the conference room where the video was shown learned, the girl had participated in a program at a prominent art museum in which students from her school came to the museum many times during the school year. This repeat-visit program culminated with these youngsters demonstrating what they learned about art by giving a talk on a single artwork to friends, family, or other classmates. The girl's recitation of art historically correct information was impressive. She sounded just like a junior art historian. Yet, something was missing. The little girl appeared to copy the style of art historical talk more than its content. I turned to the colleague sitting next to me and wondered, "Did that girl learn how to make meaning or how to talk like a curator?"Despite the several years that have passed since the conference, the image of that little girl lingers in my mind. A repeat-visit school program is what an art museum educator working with school tours desires.1 All an art museum educator can hope to impart on a one-shot tour is a simple exposure to art and the museum. Hopefully, that one encounter will result in a lifelong appreciation of art and art museums, but that is a tall order for one field trip. Repeat-visit programs, by contrast, allow knowledge and skills related to art to be presented in the school and museum and reinforced in subsequent sessions. Students can learn to meaningfully interpret the content [End Page 48] of works of art as well as make personal connections with them.The girl in the video, however, did not appear to be engaged in meaning-making. No hint that the painting had metaphorically come off of the museum wall and moved into her life experience appeared in the girl's presentation. Instead, she successfully imitated the manner of an art historian.In the essay "The Precession of Simulacra," the French sociologist Jean Baudrillard theorizes that reality or meaning no longer exist.2 Like the Moebus strip, which when split generates a duplicate of itself, what we experience as reality in this increasingly mediated age in which we live is no more than the repeated circulation of models or simulacra. Rather than models emerging out of real phenomena or originals, they beget themselves—models precede models. Any notion of reality implodes in the circulation of these simulations. Reality becomes what Baudrillard calls the hyperreal—simulation generating simulation. What does this imply for visual art? Interpretation of meaning in artworks would not reveal some represented truth of human experience; instead it would be the repetition of interpretive forms masking that there is no reality to represent. The talk by the little girl in the video indicated that art museum education, at least in that program, had become the perpetuation of a model of inquiry. Rather than making meaning, the girl reproduced the aesthetics of art history interpretation. Even under the ideal circumstances of a repeat-visit school program, the girl became the perfect model of a petite connoisseur.Although the video depicts one little girl in one art museum program, is there not a cautionary tale here for the field of art museum education?3 When visitors to art museums, including children on school field trips, participate in educational programs, are they engaging in meaning-making or an experience in the hyperreal? In theory art museum educators espouse facilitating meaning-making as their mission; however, in practice are they falling into a vortex of recycling the models of art historical interpretation they assimilated during their own education? Do they replicate the form of the model rather than the substance of interpretation... (shrink)

Linked data have the capability to open up and share materials, held in libraries, archives and museums, in ways that are restricted by many existing metadata standards. Specifically, LD interlinking can be used to enrich data and to improve data discoverability on the Web through interlinking related resources across datasets and institutions. However, there is currently a notable lack of interlinking across leading LD projects in LAMs, impacting upon the discoverability of their materials. This research describes the Novel Authoritative (...) Interlinking for Semantic Web Cataloguing in Libraries interlinking framework. Unlike existing interlinking frameworks, NAISC-L was designed specifically with the requirements of the LAM domain in mind. The framework was evaluated by Information Professionals, including librarians, archivists and metadata cataloguers, via three user-experiments including a think-aloud test, an online interlink creation test and a field test in a music archive. Across all experiments, participants achieved a high level of interlink accuracy, and usability measures indicated that IPs found NAISC-L to be useful and user-friendly. Overall, NAISC-L was shown to be an effective framework for engaging IPs in the process of LD interlinking, and for facilitating the creation of richer and more authoritative interlinks between LAM resources. NAISC-L supports the linking of related resource across datasets and institutions, thereby enabling richer and more varied search queries, and can thus be used to improve the discoverability of materials held in LAMs. (shrink)