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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]

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]

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]

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]

"The Great Exhibition of the Industry of all Nations", held at the Crystal Palace in London in 1851, hosted an array of objects that testified to both artistic and technical virtuosity, while their display served as a spectacle for the public. This paper takes up the rich history of mechanical technologies in the service of art using the example of the machine for reproducing sculptures, which was presented as a cutting-edge innovation at the Great Exhibition. Drawing on the history of early photography and in particular the historical context of various techniques of three-dimensional reproduction (such as the 'photo-sculpture' introduced later in 1862), the process of reproducing and displaying works of art on a small scale will be explored. The study of mechanically minded sculptors, who celebrated the almost magical qualities of their machines and the demonstration of the production processes, reveals their ambition to join the ranks of the great inventors, alongside the situation of the pioneers of early photography. The presentation of sculptures, reliefs and objets d'art in the milieu of technical knowledge, industry and manufacture at the universal exhibition of 1851 is thus put up for discussion, also with a view to subsequent international exhibitions. [ABSTRACT FROM AUTHOR]

The paper analyses the permanent exhibition of the Museo nazionale dell'emigrazione italiana (Mei) in Genoa through the themes of the film Interdit aux chiens et aux italiens by the French director Alain Ughetto. This comparison has been suggested by the temporary exhibition Vietato ai cani e agli italiani held at Genoese museum on the occasion of the film's release in Italy. The comparative perspective adopted offers an overall reading of the Mei, pointing out some general questions related to the musealization of the history of migrations. [ABSTRACT FROM AUTHOR]

Copyright of Revista Chilena de Derecho Privado is the property of Fundacion Fernando Fueyo Laneri 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 GeoHumanities is the property of Routledge 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 Millars: Espai i Història is the property of Millars: Espai i Historia 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 Sociedade e Estado is the property of Sociedade e Estado 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 e-Revista Internacional de la Protección Social is the property of e-Revista Internacional de la Proteccion Social 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 Revista Ibero-Latinoamericana de Seguros is the property of Pontificia Universidad Javeriana 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.)

In an era where an increasing number of people find it challenging to grasp scientifically accurate environmental data, the need for more engaging museum exhibits to convey this information has never been more crucial. This article discusses Daptec Flat Holm which is a data physicalisation technology project on Flat Holm Island, Wales. Flat Holm Island is designated as a site of special scientific interest and is a local nature reserve. This project aims to understand how we might improve people's engagement with environmental data through a multi-sensory museum exhibit. To achieve this, the project team applied a new creative approach to make the presentation of environmental data more engaging to a diverse science museum audience. Employing a user-centered methodology, this study reveals insights derived from three distinct user experience investigations conducted during the summer of 2022. The main contribution lies in how the researchers have extracted the nuances from the audience reactions and then identified potential audience types, their points of engagement, as well as their challenges. In detail, the findings illustrate how the application of a vignette data analysis technique revealed distinct audience types, including passive observers, active users, engaged ambassadors, disinterested participants, critical friends, and enthusiastic collaborators. In summary, the paper offers recommendations into how we might further engage a broader audience in technology mediated environmental museum exhibitions. [ABSTRACT FROM AUTHOR]

This research delves into the contemporary utilization of digital technology within the context of the material cultural heritage associated with traditional Chinese furniture. Digital technology refers to the use of computers and electronic devices to process, store, transmit, and display information, which can be used to restore and protect traditional furniture. Valuable informational resources relevant to Chinese traditional furniture, for example, can be preserved through data integration for further utilization and development. Such applications of digital technology are still in the exploratory stage and as research content is relatively scattered, a systematic understanding is still lacking. The current applications of digital technologies in the field of traditional furniture are separated into four categories in this paper: database technology, digital restoration, digital identification, and digital exhibition. Each is described systematically. Database technology includes data acquisition, data pretreatment, model building, and platform construction; digital restoration technology mainly centers on the restoration of furniture structures and patterns. Digital identification includes the identification of age, wood, lacquer film composition, and structural mechanical performance. Digital exhibition includes digital museums, virtual reality, augmented reality, and the use of holographic projection technology. Additionally, an in-depth exploration was conducted into a comprehensive range of admonitions, constraints, and focal points that may ensue from the integration of digital technology, and a concise synthesis was presented regarding the digitization applications in the realm of traditional furniture, along with a critical assessment of their inherent deficiencies. We seek to analyze these technical features to establish a comprehensive understanding of digital technology application and development trends relevant to Chinese traditional furniture. This work is geared towards the conservation professional and may provide a reference for improving the utilization and application of digital systems for the effective preservation of traditional furniture. [ABSTRACT FROM AUTHOR]

The aim of this article is to reveal some of the different points of view, priorities and visions for the future of food systems which were on display in FOOD: Bigger than the Plate, a temporary exhibition which ran in the Victoria and Albert (V & A) Museum, London, UK, from 18th May 2019 until 20th October 2019. A qualitative study was undertaken and a visual autoethnographic method was adopted to gather data for this research. To reimagine new food futures means adopting new narratives. This paper offers a visual journey into some of the potential possibilities and options for ensuring food systems become more resilient. Whilst the FOOD: Bigger than the Plate exhibition was about illustrating how a more sustainable, just and delicious food future could be achieved, as the findings show, there are deeper meanings attached to the images of the exhibits. What I believe the images of the FOOD: Bigger than the Plate exhibition do, is to challenge us to think about food and our relationships with food. What is revealed are the possible ways in which we can reimagine the future of food if we are prepared to be challenged in our thinking. [ABSTRACT FROM AUTHOR]

AbstractThis paper surveys and develops sub-Hausdorff axioms. It augments known relationships involving T0 (Kolmogorov), S0 (quasi-sobriety), S1 (sobriety), T1 (Frchet), and T2 (Hausdorff ) by examining a large suite of sub-Hausdorff axioms. Emphasis is given to hereditary S0, hereditary S1, deleted S0, deleted S1, (locally) strong S0, (locally) strong S1, Tsc, and pre-T2. Properties of the Kolmogorov functor are applied to preservation, reflection, and characterization of certain sub-Hausdorff axioms. Classes of examples are constructed to illustrate main ideas, show non-reversibility of key implications, and correct published errors. Many theorems are given both point-set based and spectrum based proofs for additional insights. Links to domain theory and the topology of digital displays are noted. Key relationships are summarized in two tables. [ABSTRACT FROM AUTHOR]

The given text is a summary of the Fifth National Climate Assessment, a comprehensive report published by the US Global Change Research Program in 2024. The report analyzes the current state of climate change in the United States and its impacts on sectors like agriculture, health, and infrastructure. It provides valuable insights into the challenges posed by climate change and potential strategies for mitigation and adaptation. This document is a valuable resource for library patrons researching climate change and its implications for the country. [Extracted from the article]

The growing importance of time series information measure raises questions about how to effectively cluster a large number of nonlinear complex time series data and accurately extract more hidden information from them. In this paper, a clustering measurement and classification method for complex time series, the symmetrical exponential Tsallis relative information (SETRI) measure, is proposed, which aims to address these problems. The intrinsic characteristics of different types of time series information could be validly identified by this method. The modified multidimensional scaling (MDS) method, based on the SETRI measure, has the ability to display the data in the form of graphs for intuitive exhibition and accomplish the process of dimension reduction. The introduction of weighted permutation patterns allows a higher-accuracy classification not only for the time series dissimilarity quantification, but also for avoiding dispensable errors. Besides, the feasibility of the modified MDS classification method is visually and quantitatively verified by the simulated and real-world data. Compared with other MDS methods, the proposed method has better performance, which is reflected in the validity and rationality of the clustering results, thus further verifying the feasibility of the proposed method. Therefore, the new results will be helpful to develop complex data clustering and dimensionality reduction methods. [ABSTRACT FROM AUTHOR]

Holden is arguably the most important vehicle brand in Australian transport history. As a result, it is intimately tied to the cultural, social and economic history of the nation. This paper discusses the tension that emerges, and the issues faced when trying to bring Holden, and all it represents, into the museum space and tell its complex story to a diverse and changing public audience. The task has been magnified, facilitated and made more urgent since the closure of the last Australian Holden manufacturing plant in 2017. Now that Holden is more realistically identified with a defined historical period, this article explores how the National Motor Museum of Australia (NMM) represents that history through thoughtful and appropriate museological practice. [ABSTRACT FROM AUTHOR]

The article focuses on the SAMPE China 2024 Conference & Exhibition, which centered on sustainability and featured various activities over four days. Topics include the event's key figures and awards, the extensive range of technical sessions and papers presented, and the international focus on sustainability within the composites and materials sectors.

Through the lens of the exhibition "Out of Place" (OOP), this paper investigates the commonalities between textile practices in the post-industrial cities of Manchester, UK and Hangzhou, China. By considering works that may exist on the periphery of textile practice, questions are raised concerning the shifting notion of textiles, particularly in regions that have deep textile histories. Through the reflections of Kate Egan, who curated the exhibition, and drawing upon the research of the fellow authors and their situatedness in Manchester, this article explores the notion of a virtual space in relation to the methods of communication employed throughout the Manchester-Hangzhou collaboration. Virtual space is presented here as an environment in which "textile narratives" take shape within and across different sites, examining contemporary methods of communication, collaboration and curation. Connecting Manchester and Hangzhou with this virtual space, the article expands the dialogue between artists at Manchester School of Art and China Academy of Art by reflecting on a common language of textiles and our contemporary manifestations of material culture. [ABSTRACT FROM AUTHOR]

This paper addresses the need for local cultural policies targeting cinema exhibition. Portugal evidences extreme dependency upon the central government, including for local movie screening, thus expressing the Portuguese high territorial asymmetry. Our research discusses the importance of noncommercial exhibition for countering this situation, as it is implemented by local agents (not only film societies) with a wider cultural intervention. When reflecting on the European countries policies for cinema and acknowledging the big socioeconomic and historical differences between Portugal and the Nordic countries, the regional-local initiatives of the latter emerged as an important issue for decentralization, especially the Norwegian scheme. [ABSTRACT FROM AUTHOR]

Copyright of Nachrichten aus der Chemie is the property of Wiley-Blackwell 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 purpose of this article is to give an exposition of a proof of the distributional form of the Whittaker Plancherel Theorem. The proof is an application of Harish-Chandra's Plancherel Theorem for real reductive groups and its exposition can be used as an introduction to Harish-Chandra's Plancherel Theorem. The paper follows the basic method in the author's original approach in his second volume on real reductive groups. An error in the calculation of the Whittaker Transform of a Harish-Chandra wave packet is fixed using a result of Raphaël Beuzart-Plessis. [ABSTRACT FROM AUTHOR]

In this paper, we conduct a thorough investigation into holomorphic Riemannian maps from nearly Kaehler manifolds. We determine the necessary and sufficient conditions for these maps to be harmonic. In addition, we explore the scenario where the total manifold admits a Ricci soliton, analyze the properties of the holomorphic Riemannian maps in this context. We also establish several conditions under which the fibers of these maps admit Ricci solitons and trivial Ricci solitons. [ABSTRACT FROM AUTHOR]

This paper explores an Actor-Network theory approach to museum space. It builds upon qualitative research conducted at the Sainsbury Centre for Visual Arts, a museum and educational building located in Norwich, United Kingdom. By following the activities of the people who work at the museum and those involved in the process of dismantling an exhibition, I examine the negotiations that emerge when issues relating to the handling of a specific artwork arise. Drawing on Bruno Latour’s concept of ‘spacing’, this article emphasizes the multiplicity and complexity inherent in this form of museum practice. I focus on space as relationally produced by actors, including nonhumans such as the building design and material features, exhibition objects, handling instructions, and surfaces, alongside people. Through the analysis of this process of ‘spacing’, the work towards, and the negotiation of, stability and flux, of homogeneity and heterogeneity inherent to museum spaces, becomes visible. This approach allows for a rich and nuanced understanding of the multifaceted relationships between these various factors. [ABSTRACT FROM AUTHOR]

The primary aim of this article is to give a more detailed exposition of the cultural, personal, and theoretical contexts in which the Viennese psychoanalyst, Herbert Silberer's theories were born. When assessing the broader picture that this approach offers, it can be concluded that Silberer was an innovative thinker who inspired several of his contemporaries. Recognized in many respects by the society and scholars of this time, he represented quite a different viewpoint that was significantly influenced by several forms of Western esoteric thinking. Yet his main aim was to contribute to the field of psychoanalysis and develop a theory in which rationalistic psychoanalytic interpretations were combined with nonreductive approaches to mystical experiences. Silberer's name is frequently mentioned in a specific context in which his tragic suicide is emphasized rather than his innovations. Upon evaluating the materials recording Silberer's private life, it seems very likely that his suicide was not triggered by the criticism of Freud alone. Silberer's family affairs, his relationship with his father, and his financial and professional struggles could have all contributed to his tragic decision. This paper contends that Silberer's oeuvre deserves greater attention and must be evaluated based upon its own merit. [ABSTRACT FROM AUTHOR]

The present paper examines possible benefits of spatial audio guides on learning outcomes in the spatial learning setting of an experimental exhibition and attempts to differentiate between different mechanisms underlying such an effect. In Experiment 1, we examined whether the spatial contiguity principle may be such a mechanism. A spatial audio guide was used that allows for perception of audio explanations either at the location of the exhibit (audio-visuo-spatially close) or within the headphones (audio-visuo-spatially distant). The results showed that with the external, exhibit-located compared to headphone-located presentation, memory of audio explanations was significantly better. No significant differences were found regarding text-picture-integration. However, these results cannot only be explained by audio-visuo-spatial contiguity but also by externalization and audio-spatial cueing. In Experiment 2, we therefore tried to disentangle these possible mechanisms and compared three conditions (audio explanations perceptually located within the exhibits, behind the visitors at the opposite wall, always at the same location in the room), thereby keeping externalization constant while varying audio-visuo-spatial contiguity and audio-spatial cueing. No significant differences between the conditions were found regarding memory of the audio explanations and text-picture integration, whereby memory of audio explanations in all conditions was at the same level as in the picture-located audio condition in the first experiment. This excludes spatial contiguity effects and audio-spatial cueing as explanations for the results in Experiment 1 and indicates a general externalization effect needing closer examination. The results are discussed regarding future studies and the use of spatial audio guides in museums and exhibitions. [ABSTRACT FROM AUTHOR]

This is an expository article that describes the spectral-theoretic aspects in the study of the stability of self-similar blowup for nonlinear wave equations. The linearization near a self-similar solution leads to a genuinely nonself-adjoint operator which is difficult to analyze. The main goal of this article is to provide an accessible account of the only known method that is capable of providing sufficient spectral information to complete the stability analysis. The exposition is based on a mini course given at the Summer School on Geometric Dispersive PDEs in Obergurgl, Austria, in September 2022. [ABSTRACT FROM AUTHOR]

The article focuses on a reflective analysis of the exhibition design process for the Pride (R)evolution exhibition during Sydney WorldPride 2023. Topics include the use of multimodal design techniques to represent LGBTQIA+ histories, the collaborative nature of the multidisciplinary team involved in developing the exhibition, and the role of sound, space, and visitor interaction in shaping the exhibition experience.

This essay explores the work of women who shaped the collection of the Smithsonian's Anacostia Community Museum: Historian and Director of Research Louise Daniel Hutchinson (1928–2014), Curator Portia James (1953–2015), and Historian Gail S. Lowe (1950–2015) whose exhibitions and projects built a rich community-based collection. Hutchinson's work during the formative years of 1974 to 1986 elevated local voices in the research process and brought educator, Anna J. Cooper (1858–1964) out of obscurity. Portia James' including community voices and perspectives in the exhibition process, resulting in her most celebrated exhibitions: Black Mosaic: Community, Race, and Ethnicity Among Black Immigrants in Washington, D.C. (1994). Her project amassed a large amount of oral history interviews, photographic documentation, and research files. Gail S. Lowe's projects expanded the museum collection to include national and international voices on issues that resonated with the local community. Her exhibition exploring contemporary African American religious traditions, generated primary research materials on diverse faiths and spiritual traditions espoused by African Americans in Washington, D.C., and selected cities across the country. The collective work of all these women generated a wealth of resources and invaluable information that continues to be consulted by scholars and the public. [ABSTRACT FROM AUTHOR]

This article delves into the collaborative efforts that unfolded in the creation of the 2012 exhibition 'TOKUSATSU: Special Effects Museum – Craftsmanship of Showa and Heisei Eras Seen through Miniatures', which in turn paved the way for the establishment of institutional facilities for popular culture. Specifically, this article explores the collaborative dynamics of two recently established facilities: the Anime Tokusatsu Archive Center in Tokyo (2017) and the Sukagawa Tokusatsu Archive Center (2020) in Sukagawa, Fukushima. Sukagawa, Tsuburaya Eiji's hometown, has played a pivotal role in mobilising artists and communities to engage with these cultural spaces. Artist groups dedicated to tokusatsu and anime began to consider preservation and exhibition strategies to convey these art forms to other generations. This article analyses the building process, and the social cooperation in building these facilities, connecting them to broader popular culture movements in Japan. [ABSTRACT FROM AUTHOR]

A network evolution with predicted tail and extremal indices of PageRank and the Max-Linear Model used as node influence indices in random graphs is considered. The tail index shows a heaviness of the distribution tail. The extremal index is a measure of clustering (or local dependence) of the stochastic process. The cluster implies a set of consecutive exceedances of the process over a sufficiently high threshold. Our recent results concerning sums and maxima of non-stationary random length sequences of regularly varying random variables are extended to random graphs. Starting with a set of connected stationary seed communities as a hot spot and ranking them with regard to their tail indices, the tail and extremal indices of new nodes that are appended to the network may be determined. This procedure allows us to predict a temporal network evolution in terms of tail and extremal indices. The extremal index determines limiting distributions of a maximum of the PageRank and the Max-Linear Model of newly attached nodes. The exposition is provided by algorithms and examples. To validate our theoretical results, our simulation and real data study concerning a linear preferential attachment as a tool for network growth are provided. [ABSTRACT FROM AUTHOR]

This article discusses applications of technology for sensory-disabled audiences in modern and contemporary art exhibitions. One case study of experimental artistic and curatorial research by The OtherAbilities art collective is discussed: a series of prototype tools for sensory translation from audible sound to vibration were developed to be embeddable in the architecture of spaces where art is presented. In the article, the case study is approached from a curatorial perspective. Based on bibliographical sources, the article starts with a brief historical reference to disability art activism and a presentation of contemporary accessibility solutions for sensory-disabled audiences in museums. The research for the case study was conducted during testing and feedback sessions on the prototypes using open-ended oral interviews, open-ended written comments, and ethnographic observation of visitors' behavior during exhibitions. The testers were d/Deaf, hard of hearing and hearing. The results focus on the reception of the sensory translation of audible sound to vibration by test users of diverse hearing abilities and on the reception of the prototypes in the context of art and design exhibitions. The article closes with a reflection on how disability scholarship meets art curatorial theory in the example of the article's case study. [ABSTRACT FROM AUTHOR]

In this brief exposition, I embark on an exploration of the essence of values through the lens of 20th-century art. Art, with its inherent lack of definitive utility, offers a fertile ground for multiple interpretations within its designated realm of meaning. Through a retrospective analysis spanning two centuries of cultural evolution, I seek to unravel the drivers behind shifts in Western mentality and lifestyle, particularly the growing detachment from reality in secular societies, moving towards a realm of pure existence. Enriched with theological and philosophical references, my discourse encourages readers to extract insights from various cultural domains. I frame the human experience within four conceivable stages of interaction between existence and reality, advocating for the fourth stage as my preferred state – one that achieves harmony between existential challenges and moral imperatives, fostering a balance between needs and ethical obligations. [ABSTRACT FROM AUTHOR]

The article discusses the use of modular architecture and prefabrication in exhibition venues, looking at the possibility of designing installations with multiple temporalities. Through four concrete experimentations, we discuss ways of repurposing precast modules in new layouts with different functional programs in line with the "design for disassembly" concept. The article also emphasises the relevance of the massive residential construction programme based on modular and prefabricated systems launched by the German Democratic Republic in the mid-1970s, and the importance of reducing the environmental impact of concrete production today. Moreover, aiming at the need to devise new strategies, it presents a research agenda towards the adoption of prefabricated modules for the cultural sector. The four cases presented here are derived from the experimental use of modular solutions by the Porto-based practice SUMMARY: the GOMOS system indicates that prefabricated modules may have a longer lifespan than traditional building layouts, as they can be repurposed, making their reuse economically viable and environmentally friendly; the "Infrastructure-Structure-Architecture" installation at La Biennale 2016 reflects on possible adjustments in the construction industry; the project for the 2018 YAP MAXXI showcases the design process of a temporary installation that becomes a permanent building; and the VR exhibition "The Reasons Offsite" addresses prefabrication as a portable dissemination project. [ABSTRACT FROM AUTHOR]

This article examines the work of 'image construction' and 'memory reconstruction' by focusing on World Expos held in Sydney and Brisbane, Australia. We argue the construction of urban imaginaries through triumphal narratives induces a form of mega-event amnesia: the erasure from collective memory of communities and cultural artefacts, and the suppression of protest and resistance against these events. We then show how art can be used as a form of 'memory reconstruction'. Two case studies offer alternative narratives in the form of public art and archival media. The first case forges new storylines that remember Aboriginal culture and language through a major public art project in the heart of Sydney. The second discusses how a digitised archival film made by feminist filmmakers spotlights decades of disregard for the destruction of Brisbane's working-class inner-city fabric when made accessible to new audiences. These alternative narratives reconstruct the memory of the 1879 Sydney International Exhibition and Brisbane's World Expo 88 to show how art may be used to awaken urban memories and collective remembrance. Alternative narratives also breathe new life into the complex and contested histories of mega-events. While protest and 'the art of dissent' have been widely discussed regarding the Olympics, few scholars have considered their relationship to World Expos. Fewer still have considered how art reconstructs and reinterprets mega-events decades after they were held. [ABSTRACT FROM AUTHOR]

This essay reflects on works chosen from the Sonnenfeld Collection at the Katzen Gallery at American University in Washington, DC—it originally accompanied an exhibition at that gallery in early 2021—to comment on the observations of several generations of Israeli artists on the land and its meaning for the culture and politics of Israel's coming into existence and evolution during the first 70 years of its existence. Beginning with a pair of photographs of pioneers in the land in the fifteen years before statehood—and conceptually re-purposed by a contemporary Israeli artist in 2008—and moving through decade after decade of engagement with the landscape of Israel in both figurative and abstract modes, with and without humans present within these contexts, veering from brightly colored to virtually colorless images, including paintings and photographs, the essay traces a distance between earlier assertions of presence and the gradual emergence of questions regarding presence, absence, and identity. Israel, in its internal development, is both visually and thus verbally interwoven with the issue of its external relationship with its immediate neighbors and to the shifts between what comprises "internal" and "external"—"this" and "other"—as the context has metamorphosized from the 1930s to the 1950s to 1967 to 1993 to 2000 and to the present. [ABSTRACT FROM AUTHOR]