Search

The following section offers a selection of reproductions from Warren Sonbert's paper archive, now housed at Harvard University (https://harvardfilmarchive.org/collections/warren-sonbert-film-collection), as well as other digital sources. This archival material underscores the extensive exhibition of Sonbert's films during the first decade of the New American Cinema.GraphGraphGraphGraphGraphGraphGraphGraphGraphGraphGraphGraphGraphGraphGraphGraphGraphGraphGraph [Extracted from the article]

In the eighteenth century, paper theatres were presented in special boxes on fairs. This technical note describes three ways to present these small decorative art objects in exhibitions: mounting the paper theatres in a box of museum board, between acrylic glass rods or in a frame. [ABSTRACT FROM AUTHOR]

The article reviews the exhibition “ Paper Brains” by Andreas Vesalius at the University of Amsterdam.

Copyright of Arxiu d'Etnografia de Catalunya is the property of Universitat Rovira I Virgili and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Retos: Nuevas Perspectivas de Educación Física, Deporte y Recreación is the property of Federacion Espanola de Asociaciones de Docentes de Educacion Fisica and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The book is dense with Susan Andrews's photographs of the exhibition, the visitors, and the post-exhibition journey of the objects. As befits its open-endedness Daniels does not draw one final conclusion as to whether the exhibition was successful or not in transforming the stereotypes that visitors had of Japanese domesticity. i challenges perceptions of contemporary exhibitions by a reversal of power from the curator to the visitor, thus looking at what exhibitions could be - "technologies of the imagination.". [Extracted from the article]

Methodologically connecting the experience- and interpretation-based aesthetic approach to popular culture (Juraj Malíček) and the pragmatist aesthetics (Richard Shusterman) on one hand and the views of what is called arch-textual thematology (Mariana Čechová) on the other, the paper seeks to observe the ties between arch-texts, in particular the final book of the New Testament — the Book of Revelation, and ‘pop-texts,’ i.e. such popcultural works of art (films, TV series, literary texts, comics etc.), within the frame of which the end of the world images appear in one way or another and which can be labelled with the agnomen ‘pop.’ Various appearances of a reanimation of the apocalypse-theme in various (popcultural) works of art become in the paper, an example-based exposition of the topic, referentially object of interest — from catastrophic films directed by Roland Emmerich and the post-apocalyptic comic book series Y: The Last Man written by Brian K. Vaughan to TV series like, for instance, Ragnarok (from 2020) and literary works like the pre-apocalyptic novel trilogy written by Ben H. Winters or other iconic genre fiction (for example, Cormac McCarthy’s post-apocalyptic novel The Road). [ABSTRACT FROM AUTHOR]

"Entre Líneas: una historia de Colombia en mapas" is a book that explores the cartographic history of Colombia and how the image of its territory became a national icon. The book is divided into five chronological sections, each covering a century, and examines the different maps that shaped Colombia's territorial configuration. The authors analyze the maps not only as descriptions but as deliberate actions that impose a past, present, and possible futures. The book also delves into the diverse geography of Colombia and the various cultures and groups that have influenced its maps. Overall, "Entre Líneas" offers a comprehensive and nuanced understanding of Colombia's history through the lens of cartography. [Extracted from the article]

The article offers information on a special issue of Brontë Studies that focuses on the Brontës and material culture, inspired by the exhibition "Defying Expectations: Inside Charlotte Brontë's Wardrobe." It invites articles that explore various aspects of material culture related to the Brontës, including women as consumers, the Victorian home, archiving, representation of objects in literature, and items owned by the Brontës.

The article reviews the exhibition "Light, Paper, Process: Reinventing Photography," featuring works of Alison Rossiter, Ansel Adams, Matthew Brandt and other members of Group f/64 at the Getty Center in Los Angeles, California from April 14-September 6, 2015.

The article reviews the exhibition "Tout Se Sait," held at the Koba Club in Dakar, Senegal in 2014.

Copyright of Revista de Estudios de la Administración Local y Autonómica is the property of Instituto Nacional de Administracion Publica and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This study presents the background and the evaluation of integrating eXtended Reality (XR) in the permanent exhibition at the Tomato Industrial Museum "D. Nomikos". This paper firstly provides the context of this study by outlining the methodological, technological, and museological approaches undertaken to integrate XR in a quest to enhance visitors' meaningful engagement with the industrial heritage-related exhibition. Storytelling and narration are key elements of the museum's museological design through audio tours and interactive AR-based visualization n of the machinery's role and function. This paper presents and discusses the design of the evaluation methodology employed in the context of pertinent methods and approaches used in related research. This study investigates the effectiveness of XR for audience engagement and the added value that such technologies offer to the user experience as well as possible improvements. The main method adopted for gathering quantitative data is the User Experience Questionnaire (UEQ), and for qualitative data, through semi-structured interviews. Moreover, the findings are analyzed, interpreted, and discussed. Based on a case study, this paper offers a broader discussion of the challenges and prospects connected to the quest of employing emerging technologies and assessing their impact on visitors' museum experience, reaching conclusions for future directions in the field. [ABSTRACT FROM AUTHOR]

The article reviews the exhibition "The Regency Wardrobe Collection," at Chertsey Museum from October 2020 to January 2021 including paper textiles for creating garments inspired by periods, places, history and story.

Copyright of University Chemistry is the property of Peking University, College of Chemistry & Molecular Engineering and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Demodulation and decoding are pivotal for the eLoran system's timing and information transmission capabilities. This paper proposes a novel demodulation algorithm leveraging a multiclass support vector machine (MSVM) for pulse position modulation (PPM) of eLoran signals. Firstly, the existing demodulation method based on envelope phase detection (EPD) technology is reviewed, highlighting its limitations. Secondly, a detailed exposition of the MSVM algorithm is presented, demonstrating its theoretical foundations and comparative advantages over the traditional method and several other methods proposed in this study. Subsequently, through comprehensive experiments, the algorithm parameters are optimized, and the parallel comparison of different demodulation methods is carried out in various complex environments. The test results show that the MSVM algorithm is significantly superior to traditional methods and other kinds of machine learning algorithms in demodulation accuracy and stability, particularly in high-noise and -interference scenarios. This innovative algorithm not only broadens the design approach for eLoran receivers but also fully meets the high-precision timing service requirements of the eLoran system. [ABSTRACT FROM AUTHOR]

Against the background of museological theory, this paper questions new trends in current museum exhibition displays, focusing on universities as institutions of higher education and as preservers of cultural heritage. The first part of this paper provides an overview of university heritage, its scale and scope and the labels of heritagisation that can be linked to it. In the second part of the paper, select examples of university exhibitions are introduced – each of which dealing with a specific university heritage. These examples are all part of the Coimbra Group network of universities, which includes some of the oldest universities in Europe. The exhibitions are analysed in terms of their forms of presentation, the way in which they deal with objects as evidence for university history and the communication modes they use. [ABSTRACT FROM AUTHOR]

The role played by national museums within the broad field of public history has not been fully addressed. Traditionally national museums have been a privileged stage for shaping and boosting national identity through the exhibition of significant objects and for disseminating official and deeply rooted views of national history. Using the National Historical Museum in Athens as a case study, this paper analyses what happens when a national museum allows its permanent exhibits to be scrutinized by a nonprofessional group whose members then present their own reading of them in the very halls of the museum. [ABSTRACT FROM AUTHOR]

Public authority addresses how actors, ranging from officials to gang leaders, and cultural innovators, interact via cooperation, competition and conflict to generate shifting degrees of social order within territories. This paper summarises four key components that directly relate to power. First, power underlies public authority. Second, public authority entails and engenders institutional bricolage. Third, public authorities utilise functions, structures, ideas and symbols of statehood. Fourth, public authorities seek legitimacy. A systematic exposition of power informs analysing public authority—notably the degree to which it facilitates inclusive or exclusive participation and distribution of benefits. This paper outlines a conceptual framework, with attention to basic elements of power, using a triadic approach that incorporates seven basic formats (or strategic templates) for exercising such power. This framework can inform subsequent inquiry and policy analysis. [ABSTRACT FROM AUTHOR]

Copyright of Ética y Cine Journal is the property of Etica y Cine Journal and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper discusses the role and agency of the architecture exhibition as a mediated space of discursive spatial narratives. The presented curatorial approach draws on the exhibition entitled Past-forward: Stavros Economou Unarchived (2021) to reflect on the development of a multimedia-enabled reading of the architectural archive. Stavros Economou is one of the most important representatives of modern architecture in Cyprus, yet his work is underdiscussed and under-published. The architectural archive, unlike other collections, consists of representations (such as drawings, models, photographs) of artefacts (buildings) that communicate design processes and final un/built proposals. The curatorial practice focused on a twofold challenge: on one hand, it explored the role architectural representation can play in the production of the multiple and complex (hi)stories of modern buildings, and secondly, it considered ways in which an architecture exhibition can connect with the host city and its local population by addressing contemporary urgencies of spatial inquiry. [ABSTRACT FROM AUTHOR]

This paper is an invitation and a map. It is also an exhibition, and it is a provocation. The reader is directly addressed and invited to be implicated in a "we" that is repeatedly mentioned throughout the essay. In doing so, we might imagine study as something that moves us, transports us, and finds us thinking alongside one another, above, or under some place we may never have thought we would end up. Many things are left unfigured. It was never the author's intent to figure them out, but instead, here, we might try something different, something out of grasp. [ABSTRACT FROM AUTHOR]

Incorporating the two leaves within the "canon" of the other accepted Book of Mormon manuscript leaves offers yet another piece to the puzzle of the original manuscript of the Book of Mormon manuscript. This paper has not stressed any one particular aspect of the Chicago leaves of the Book of Mormon manuscript - instead relying on a varied approach to understand the totality of the manuscript. Archivists at Chicago had undertaken their own analysis of the leaves in the early 1980s and felt that the handwriting matched other verified samples from Oliver Cowdery, the principal scribe for both the original and the printer's manuscripts of the Book of Mormon. [Extracted from the article]

This paper provides an exposition and defence of Lewis' theory of radical interpretation. The first part of the paper explains what Lewis' theory was; the second part explains what it wasn't, and in so doing addresses a number of common objections that arise as a result of widespread myths and misunderstandings about how Lewis' theory is supposed to work. [ABSTRACT FROM AUTHOR]

Copyright of Italian Journal of Health Education, Sport & Inclusive Didactics is the property of Edizioni Universitarie Romane and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

'The Exhibition of Archaeological Finds of the People's Republic of China' was unveiled at the National Gallery of Art in Washington, D.C. in December 1974. It was the first exhibition of Chinese archaeological relics organised by the People's Republic of China (PRC) in the United States. This occasion marked a significant moment in Sino-American relations and cultural exchange during the Cold War. This paper explores the intricacies of the planning, organisation, and curation of the exhibition, highlighting the strategic use of cultural diplomacy by China to promote its state ideology on an international scale. This paper argues that the exhibition had far-reaching implications for US-China relationship at the time. On one hand, it represented a significant step towards cultural engagement and rapprochement between the two nations. On the other hand, it served to disrupt the relationship further by exposing ideological differences and triggering contentions. Thus, the exhibition's impact on US-China relations was complex and multifaceted, reflecting the delicate act of cultural diplomacy in the context of Cold War politics. [ABSTRACT FROM AUTHOR]

In this paper, we present a comprehensive methodology to support the multifaceted process involved in the digitization, curation, and virtual exhibition of cultural heritage artifacts. The proposed methodology is applied in the context of a unique collection of contemporary dresses inspired by antiquity. Leveraging advanced 3D technologies, including lidar scanning and photogrammetry, we meticulously captured and transformed physical garments into highly detailed digital models. The postprocessing phase refined these models, ensuring an accurate representation of the intricate details and nuances inherent in each dress. Our collaborative efforts extended to the dissemination of this digital cultural heritage, as we partnered with the national aggregator in Greece, SearchCulture, to facilitate widespread access. The aggregation process streamlined the integration of our digitized content into a centralized repository, fostering cultural preservation and accessibility. Furthermore, we harnessed the power of these 3D models to transcend traditional exhibition boundaries, crafting a virtual experience that transcends geographical constraints. This virtual exhibition not only enables online exploration but also invites participants to immerse themselves in a captivating virtual reality environment. The synthesis of cutting-edge digitization techniques, cultural aggregation, and immersive exhibition design not only contributes to the preservation of contemporary cultural artifacts but also redefines the ways in which audiences engage with and experience cultural heritage in the digital age. [ABSTRACT FROM AUTHOR]

Between October 2021 and January 2022 an ambitious combined art and science exhibition presented a unique object-rich cosmological story at the University Library of Leuven, Belgium, as part of the Kunst Leuven KNAL! City Festival 2021 (English: BANG! Big Bang City Festival). To the Edge of Time was a transdisciplinary introduction for general audiences to one of the most famous and complex developments in science, the Big Bang theory. The exhibition presented artworks and science objects as equal partners that through curatorial placement and interpretation could fluidly convey key theoretical moments, materials, philosophical perspectives and ideas. The scientific story focused on how the groundbreaking work of the Belgian priest-astronomer Georges Lemaître bridged the insights of two of the twentieth century's other leading European scientists, German physicist Albert Einstein and the British cosmologist Stephen Hawking. Objects from their lives and archives revealed their specific ideas and processes of thinking and discovery. Artworks from leading international artists brought new material, critical and conceptual dimensions and multisensory encounters. The exhibition was the result of a curatorial collaboration between the author, British contemporary art and transdisciplinary curator Hannah Redler-Hawes, and Belgian cosmologist and former collaborator of Stephen Hawking, Professor Thomas Hertog, of KU Leuven. As guest curators, they worked with Annelies Vogels, Exhibition Coordinator of the university and Wouter Daenen of KU Leuven Libraries, and others to form a closely collaborating curatorial team. To the Edge of Time was not only the first exhibition worldwide to explore Lemaître's work through a transdisciplinary narrative, but also to place Stephen Hawking's work in a broader historical context. In the trans- and interdisciplinary exhibition field, where new commissions and collaborations between living artists and scientists have been increasing, it was somewhat unusual for a cosmology exhibition in its reliance on material culture, concentration on historical art and science objects and its combining of these with presentations of recent contemporary art and advanced theoretical physics concepts. These combinations helped to convey parallel movements of thought where neither the art nor the science were presented as derivative to each other, a key curatorial ambition. This practice-based paper, offering Redler-Hawes's personal reflections, discusses how the narrative evolved to define a shared language between the contributors. It considers, through a narrated walk-through of key objectartwork 'constellations', how the presentation generated new insights into different methods of enquiry, knowledge acquisition and making sense of our place in the cosmos, by bringing major themes in twentieth century science into dialogue with international artists working independently and in collaboration with science during the twentieth and early twenty-first centuries. [ABSTRACT FROM AUTHOR]

Copyright of Revista de Ensino em Artes, Moda e Design is the property of Universidade do Estado de Santa Catarina and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The documentation and visualization of ephemeral CH, especially for World's Fairs architecture, remains a neglected endeavor on the global scale. While digital products like 3D models find extensive application in CH, the use of a WebGIS has scarcely been explored in this domain. When a WebGIS is used for CH, it serves to communicate the output of research, not as a tool to support the development of the research itself. Moreover, aspects like procedural development for the creation of a WebGIS platform, its upgrading, and its long-term preservation are key factors for the maintenance of the digital tool, but they have scarcely been considered in the literature. Through the Turin 1911 project, this paper defines a procedure for the creation of a WebGIS for ephemeral architectural documentation, showing how a WebGIS platform can be designed, implemented, tested, and maintained. The novelty of this study lies in the creation of a 2D/3D WebGIS based on a tailored spatial database; the WebGIS is coupled with a dedicated website for the constant updating of the research data documenting the Turin 1911 International Exposition. The discussion emphasizes the transformative role of a WebGIS in not only sharing information but also serving as a dynamic platform for conducting digital humanities studies in 3D environments. [ABSTRACT FROM AUTHOR]

Copyright of Arte, Individuo y Sociedad is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The rapid development of exhibition tourism has led to a sharp increase in the amount of data in the tourism and exhibition industry. Through in-depth mining and application of exhibition tourism data, it can intuitively show its potential relevance and produce much valuable knowledge. The huge value of exhibition tourism data can better meet social needs. Through the analysis of exhibition tourism data, it has certain use-value and significance for the development of the industry. Scene classification in the field of computer vision is a research hotspot. However, there are far few research-related algorithms on mice tourism scene classification. Therefore, based on in-depth learning, this paper studies behavior recognition, and mice tourism scene classification, applies computer vision technology to mice tourism scene classification, collects many visual data, and speeds up the rapid development of the field of vision. In this paper, the scene classification algorithm based on a self-attention generation countermeasure network is constructed to deal with the problem of convention and exhibition tourism. The test results show that the accuracy of the classification results of this algorithm is as high as 99.12%, which is the highest compared with the classification results of other models, which fully proves that this algorithm can accurately classify conventional and exhibition tourism scenes. [ABSTRACT FROM AUTHOR]

Eye tracking technology is now mature enough to be exploited in various areas of human–computer interaction. In this paper, we consider the use of gaze-based communication in museums and exhibitions, to make the visitor experience more engaging and attractive. While immersive and interactive technologies are now relatively widespread in museums, the use of gaze interaction is still in its infancy—despite the benefits it could provide, for example, to visitors with motor disabilities. Apart from some pioneering early works, only the last few years have seen an increase in gaze-based museum applications. This literature review aims to discuss the state of the art on this topic, highlighting advantages, limitations and current and future trends. [ABSTRACT FROM AUTHOR]

A blockchain is equivalent to an assortment of open records that are divided between taking an interest parties. Exchanges remembered for a blockchain are confirmed by totally elaborate gatherings before they are recorded, and when recorded, the information can't be changed or messed with. In this way, a blockchain fills in as an exhaustive and unalterable record, everything being equal. This innovation is utilized by decentralized cryptographic forms of money like Bitcoin and Ethereum, which are shared advanced monetary standards. The paper talks about the historical backdrop of Bitcoin, its artistic expositions, and applications. Bitcoin was made basically to work with cross-line exchanging and smooth out the cycle by wiping out the requirement for outsider mediators and lessening government inclusion. This has prompted a critical decrease in exchange costs because of the absence of delegates. [ABSTRACT FROM AUTHOR]

In the first part of this paper, we present a unified framework for analyzing the algorithmic complexity of any optimization problem, whether it be continuous or discrete in nature. This helps to formalize notions like "input", "size" and "complexity" in the context of general mathematical optimization, avoiding context dependent definitions which is one of the sources of difference in the treatment of complexity within continuous and discrete optimization. In the second part of the paper, we employ the language developed in the first part to study information theoretic and algorithmic complexity of mixed-integer convex optimization, which contains as a special case continuous convex optimization on the one hand and pure integer optimization on the other. We strive for the maximum possible generality in our exposition. We hope that this paper contains material that both continuous optimizers and discrete optimizers find new and interesting, even though almost all of the material presented is common knowledge in one or the other community. We see the main merit of this paper as bringing together all of this information under one unifying umbrella with the hope that this will act as yet another catalyst for more interaction across the continuous-discrete divide. In fact, our motivation behind Part I of the paper is to provide a common language for both communities. [ABSTRACT FROM AUTHOR]

Starting from the hypothesis that an exhibition can be analyzed independently of its formal particularities, as well as being aware of the need for a research exercise focused on the conceptual mechanisms with which Belu-Simion Făinaru operates, the present article represents an interdisciplinary study on his most recent solo-show (The void of silence, Romania, 2023). Although controversial, the exhibition project stated an anti-extremist stance, criticizing political ideologies and the polarizing perspectives in contemporary status-quo. The purpose of this paper is to identify the methodological landmarks and the functional principles used in the act of artistic representation, respectively to point out the curatorial mechanism of valorization of the above-mentioned project. By using research strategies from the field of cultural studies, art history and the philosophy of arts, the main objective of this article is to identify the junction between the objectual and imagistic dimension of Belu Făinaru's installations. The research is structured on three levels: a contextual one, necessary for (art) historical and archival documentation; an imagistic/video-graphic one, regarding a possible turn in the artist's creative practice; respectively an objectual (corporeal) one, which interprets the indexical systems used to aggregate the exhibition. On a side note, the present article brings together the diachronic insertions (of a technological and video-graphic nature) from Belu Făinaru's works, in order to foreshadow his current and future visual discourse. Also, this paper aims to engage in future researches regarding the origins of his conceptualist reasoning, the artistic practices debating effects of extremism and political polarization, all the above-mentioned placed in the context of Belu Făinaru's creation affiliated within the existentialism of Paul Celan's poetics. [ABSTRACT FROM AUTHOR]

A wooden shield, made by a once-known Aboriginal person in Western Australia around the beginning of the twentieth century, sits in the Science Museum's London stores. This paper focuses on its life in an East London match factory from about 1928 until 1937, when it was transferred to the Science Museum. The shield stands out among its Aboriginal counterparts now held by museums because curators at the Bryant and May Museum of Fire-Making Appliances (and subsequently at the Science Museum) did not prioritise its links with conflict or ceremony, nor the skill with which it was carved. Instead, unprepossessing marks on its back captured their attention. These saw-marks showed that this was not 'just' a shield: it had sometimes been used to make fire. Valued now as an example of global fire-equipment, it was subsumed into an English collection of fire making technologies. By tracing the shield's early museum life, this paper considers how and why European collecting cultures have marshalled indigenous objects to promote narratives of supposed 'progress'. [ABSTRACT FROM AUTHOR]

I pp448 i [Papers from the fourth Domitor international conference, held at Université Paris 3 and La Cinémathèque fraçaise, 15-19 December 1996] [Index of names, index of films, list of films projected] Mathews, Nancy Mowll, with Charles Musser, 2005: I Moving Pictures. Films Films: Individual Films Films: Groups or genres Films: Non-fiction Films: Avant-garde or Abstract Films: Animated Films Films: Music and film Films: Sound and film Films: Colour and film Films: Dance and film Filmmaking, processes, styles 11. Films Films: Individual films Arnaud, Diane: I After i La Jetée I : Cine-Photo Albums of the Disaster i . Films: Colour and film Beyfuß, Dr. Edgar, and A. Kosssowsky: I Der sprechende Film und die Farbenkinematographie in ihren Beziehung zum Kulturfilm i . Johnson, Martin L.: I Establishing the Provenance of Early Advertising Films: Film Catalogs and the Creation of the Nontheatrical Market i . [Extracted from the article]

Mega-events imply several city transformations at different scales that could be challenging to be identified and documented. The impacts of such events like Universal Exhibitions are difficult to be identified and tracked in space and over a long period of time. This paper discusses the use of open-source geospatial technologies as innovative tools in support of urban planning and management of digital cities, analysing in particular the case of an international exhibition in the urban landscape. A GIS-based approach is used to design a spatially enabled database, which is essential for implementing advanced analytics in modern smart cities. The pilot project proposes the design and implementation of such georeferenced database for monitoring the urban transformations of the area used for Expo 2015 Milano (Italy). The potential of GIS environment in the consultation process, which allows to obtain different interactive views and to make selections and queries of the data, is explored. The paper also discusses the possibility of publishing such prototype on a shared platform, allowing a larger non-technical audience to follow the urban evolution of the area in a diachronic perspective. [ABSTRACT FROM AUTHOR]

Copyright of Spanish Journal of Applied Linguistics / Revista Española de Lingüística Aplicada (John Benjamins Publishing Co.) is the property of John Benjamins Publishing Co. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article informs that curator Mark Copley has resigned from his job of the museum, and also informs on the watermark design and paper exhibition from the paper production company Messrs Amies and Son on November 1, 2016 to January 31, 2017.