Search

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

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]

"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.

A brief overview of the field of Interaction Design is provided in order to contextualise the Create10 conference. The conference was held at Edinburgh Napier University in June/July 2010 and attracted over 120 delegates. The papers that comprise this special section in Digital Creativity reflect aspects of the debates that took place both within the main conference and in the work exhibited at the Student Design Exhibition. The papers by Fallman and Stolterman, and Edmonds explore the need for, and possible sources of, theoretical underpinnings in Interaction Design. While the work presented firstly by Kettley, Downes, Harrigan and Glazzard and secondly by Speed emphasise the importance of 'learning through doing' as a means of better understanding the process of design and the nature of user engagement. [ABSTRACT FROM AUTHOR]

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]

'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]

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]

Europe Builds was a mobile exhibition designed by the Visual Information Unit (VIU) of the Economic Cooperation Administration, which administered the Marshall Plan (MP), visiting seventeen cities throughout western Europe in 1950. The US conceived of the MP to shape western European nations into dependable allies. Often seen as a unilateral application of US hegemony, this paper claims that it was an example of multilateral global governance. The VIU's multinational designers embodied the multilateralism they promoted, and the exhibition they designed combined modern aesthetic with circus pomp to communicate the benefits of European integration. Beyond reading the exhibition's content, this paper reads the architecture of exhibition, organising it into three tropes: mobility, lightness, and ingenuity, which related to separate aspects of the MP. Beyond representing European integration, the exhibition performed it. Its users absorbed the lessons of the MP and through their participation thus, consenting to be governed. [ABSTRACT FROM AUTHOR]

Copyright of Studies in Conservation is the property of Taylor & Francis Ltd 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.)

With the arrival of the digital age and technology, creation of art and its replication reached a whole new pinnacle. Increasingly, conservators find themselves dealing with editions, copies, and replicas as part of their job. Indeed, the replication of a work of art, be it paper or a 3D printed sculpture, is becoming one of many conservation measures that may serve as a preventive conservation technique, protecting the art from excess levels of light, travel, or handling, or as a tool to better understand the art. Replication of a digitally existing master for each new display may be the artist's intent, or enable simultaneous multiple displays of the same work as per the artist's directive. This article describes the making of an Exhibition Copy of the American artist Mike Kelley's The Wages of Sin, a pile of partly melted wax candles atop a readymade, commercially sourced table. Owned by the Whitney Museum of American Art, New York, the highly complex three-dimensionality and materiality of this iconic work of art posed significant challenges to replicate. The following description illuminates the conceptual aspects considered, why and how the replica was made, and decision-making processes throughout its fabrication, exploring materiality and technical issues. The role of the Whitney's Replication Committee in this project is discussed, including participation of its curators, archivists, and other museum professionals, along with an explanation of the Committee's choice of the term 'Exhibition Copy' to describe the replica. The account of the collaboration and coordination of the project with the Mike Kelley Foundation and external fabricators is central to this comprehensive project. Ramifications for future use of the Exhibition Copy within the museum management, documentation, loans, and wall labels, and its legal and publication consequences conclude this paper. [ABSTRACT FROM AUTHOR]

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.)

Vitiligo is an autoimmune disorder which presents as depigmented macules due to selective loss of melanocytes. Heightened expression of Janus Kinase Signal transducers and activators of transcription (JAK STAT) pathway, which mediate cytokines action, suggest that targeting this signaling pathway may be an effective option. A PubMed search was carried out with the broad key words 'JAK,' 'vitiligo' from 2016 to 2023. We also analyzed papers where tissue-based JAK expression was studied, with or without concomitant treatment with JAK inhibitors. We address the role of JAK inhibitors in vitiligo and their effect on repigmentation of lesions. While JAK inhibitors help in cessation of disease progression, they have no in vivo action on melanocyte proliferation and hence cannot result in re-pigmentation as a monotherapy. There is a need for tissue-based JAK and cytokine-based studies with post-treatment expression data to validate the role of this class of drugs in vitiligo. There is as yet no data to suggest that selective JAK inhibitors are superior to pan JAK inhibitors for vitiligo. JAK inhibitors are useful in active disease and effectively modulate the cytokine mediated autoimmune dammage and makes them singularly superior to oral glucocorticosteroids. [ABSTRACT FROM AUTHOR]

In 2005 Rev. Michael Roden, the vicar at Church of England church of St Mary's in Hitchin (a small town about 30 miles north of London) was invited to India to give a series of sermons to Indian Church of England congregations. He was struck during his visit by the scars in Indian society that he thought were the remnants of Partition's aftermath. His visit set him thinking about the ways in which Partition has shaped British as well as Indian and Pakistani society, and about how little people in the UK know about the calamitous results of British policy at the time of decolonization. In particular, he wondered about why it was the case that Partition had never been taught in schools in the UK, and why children were coming out of school with no understanding of the forces which had created a multi-cultural society in the UK over the course of the twentieth century. Reverend Roden contacted the University of Cambridge's Centre of South Asian Studies and set in train a series of events that would lead to Partition being included in the curriculum of all Church of England schools in England and Wales. This process was to engage politicians, academics, playwrights, television companies and members of the general public. It would lead to more than teaching in the classroom – a swathe of television documentaries, for example, were broadcast around he 70th anniversary of Partition in 2017, providing information about a part of the shared UK/South Asian past which has been largely neglected in Britain. Alongside this process, the Centre of South Asian Studies also prepared an exhibition of materials from its own archive collections which ran from August 2017 and drew in thousands of visitors. This paper will examine the ways in which the process of presenting Partition to the people of the UK was fashioned and followed, and the nature of the output which resulted from it, looking at the ways in which academe can interact with public opinion and public knowledge in meaningful and positive ways. [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 Battle of Neretva, directed by Veljko Bulajić is one of the biggest war spectacles produced in Yugoslavia following the famous partisan battle with Axis forces during World War II. The film serves as a useful site from which we can understand the conventions of the Yugoslav war film while its exceptional production and exhibition strategies and reception history signal a critical turning point in the cultural understanding of the war film as a meditator of history. By studying the film's production, exhibition, and reception, aesthetics, and historiographical significance, and drawing upon original archival documents preserved in the Jugoslovenska Kinoteka/Yugoslav Cinematheque in Belgrade, this paper aims to identify, assess, and expose the layered significance of the film The Battle of Neretva, and to further map out its position within (Yugoslav) film history. [ABSTRACT FROM AUTHOR]

In Scotland, experimental and non-commercial art and music practices have long shared physical space, with a great deal of crossover between who is making visual art and music, as well as fluidity between artists and their audiences. Whilst Scotland's—and in particular Glasgow's—DIY scene and its history has been well documented by writers such as Sarah Lowndes and Hans Ulrich Obrist offering art-historical perspective, there has been less focus on the ways in which connections are embodied through music and sometimes experimental writing and publishing practices in these communities. This paper contains two qualitative studies of projects that operate within both visual art and music contexts: The Rhubaba Choir, an experimental choir attached to Edinburgh artist-run organisation Rhubaba and The Grass is Green in the Fields for You a small-press publishing project focused on music culture, run by Matthew Walkerdine. Working with a definition of DIY as an ethic or methodology rather than a style of production, it explores the philosophical overlap between DIY art and music practices as well as their differences and the influence they have had and continue to have on each other. [ABSTRACT FROM AUTHOR]

This article presents an exploration of the mechanisms that underpinned simulacrum in the 19th century. To do so, I take as a case study an attraction presented at the Universal Exhibition of 1900: the multi-sensory panorama known as the Maréorama. This device offered audiences the experience of a half-hour boat trip across the Mediterranean Sea. In this paper I shall argue that this simulation combines period-relevant codes that link with other artistic and cultural practices of the period – early cinema, prestidigitation, Wagnerian 'total work of art' – and a component of technological innovation oriented towards perfecting multi-sensoriality. This combination turned the Maréorama into one of the most sophisticated mimetic immersion devices at the time, blending the tradition of the great rotundas with the effects of mobile panoramas. Other features of this panorama were the physical shocks generated by the motion of the supporting platform and the interactive role assumed by the spectator, which, along with the mimesis, added an element of fiction. I shall argue that the simulation of new realities was stimulated by the imaginaries generated by contemporary novels such as Julius Verne's, which illustrated future scenarios and the exploration of unknown landscapes. The Maréorama allowed the spectator to travel across the Mediterranean from the shores of the Seine in a record time. Panoramas, including the Maréorama, became exponents of the utopian capacity of conquering the world, overcoming the limitations of time and space. [ABSTRACT FROM AUTHOR]

The biannual I Building Simulation i conference is the premier international event in the field of building performance simulation. The I Building Simulation i 2019 agenda was organized in three main themes - Simulation and Urban Modeling, Simulation and Indoor Environment, Simulation and Building Design. [Extracted from the article]

Sound-producing objects, such as musical instruments and sound devices, are a distinct category of museum objects because their museification has deprived them of their primary characteristic: sound. This paper discusses the use of sound as an interpretive tool in exhibitions of sound-producing objects. After reviewing the use of sound as an interpretive medium in contemporary museum exhibitions, the discussion focuses on sound-producing objects and analyses the concerns about their functionality in the museum context. The last section of the paper introduces sonic references, a specific type of sonic practices integrated in contemporary museum exhibitions. The documentation of the interpretive approaches adopted towards sound-producing objects aims to explore the potential of sound in creating meaningful experiences for museum visitors. Finally, the paper seeks to encourage sound-led curatorial strategies that explore more experiential ways to engage visitors with museum exhibitions. [ABSTRACT FROM AUTHOR]

The discursive turn in heritage studies has made major contributions to our understanding of heritage as a set of processual practices, demonstrating how they are inherently contingent while acknowledging their role in the legitimation of specific relationships of power. More recently, there has been a related interest in the rhetorical uses of heritage, and the paper builds on these debates to explore the ways in which the National Gallery (London) mobilised a rhetoric about access as part of its scheme of post-WWII reconstruction. The popular 'Exhibition of Cleaned Pictures' (1947) sheds light on the rhetorical devices employed by the Gallery. These were a cogent example of the Gallery's intended programme of emancipatory viewership, premised on visitors' the right to look, but simultaneously reinforced the Gallery's authoritative discourses. The paper shows how photography's reportedly unbiased language became embedded in the Gallery's democratising agenda and helped shape distinctive forms of publicness which fostered a consensual view about the Gallery's practice of cleaning. Rather than seeing both episodes as mutually exclusive, the paper investigates the internal logic of democratisation and professionalisation as a series of co-dependent rhetorical operations that simultaneously enabled freedom and coercion. [ABSTRACT FROM AUTHOR]

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]

This paper critically explores the pedagogy of Science World in creating disciplined, birthing patients within the sexuality education BodyWorks gallery on display in Vancouver, Canada. Using Multimodal Critical Discourse Analysis, I explore the ways in which power/knowledge circulates to regulate and de-agentalise bodies in a science museum encounter. I consider the regimes of truth that emerge regarding the good/right/correct way to give birth and to be a woman: that is, as White, heteronormative, slender, conforming, always a mother, but and mostly a uterus. In exposing regimes of truth within the encountered curriculum of the science museum, the hope is that sexuality educators might (re)consider space for the unruly and awe-ful within pedagogies of childbirth. [ABSTRACT FROM AUTHOR]

One area of increasing interest in contemporary art is the reconsideration and reinterpretation of archives to convey historical knowledge based on memory through exhibitions, organized by institutions. The aim of this paper is to contribute to a better understanding of how and why contemporary art institutions use archives in their exhibition practices. Six art institutions, which are members of L'Internationale, were sampled. Data from research demonstrated that contemporary art institutions organize archive-based art exhibitions to reinterpret the widely-known history; to reveal the lesser-known history; to fill in the gaps between artist, artwork, and institution; as a result of artists' archives and archive-based artworks and as an output of their research function. The paper argues that archive-based exhibitions provide a foundation for the new institutional activities and alternative interpretations out of the canonical history of art. [ABSTRACT FROM AUTHOR]

The section of "The Production of Woven Fabrics" focuses on various reports related to loom developments. An overview of developments in looms were presented in an exhibition of the International Textile Manufacturers Federation held in 1971. Before this exhibition, a paper was presented that gave general features of various shuttleless looms and compared their production rates and costs. According to a report, any development in weaving machinery should reduce conversion cost, improve cloth quality and image of the weaving industry. Many reports praise Sulzer weaving machines, which are considered as top class weaving machine by cloth manufacturers in respect of performance linked with versatility.

The art museum, as observed by Duncan, is a 'ritual' space 'reserved for a special quality of attention' materialised in a narrow set of acceptable behaviours [Duncan, Carol. 1991. "Art Museums and the Ritual of Citizenship." In The Poetics and Politics of Museum Display, edited by Ivan Karp and Steven D. Lavine, 88–103. Washington: Smithsonian Institute Press]. In recent decades, under the auspices of the new museology, the ritualised space was challenged by institutions experimenting with new ways to present exhibitions and engage with audiences to accommodate a broad cross-section of society. This paper examines how the National Gallery of Australia (NGA) has foregrounded active, social-based art experiences in an attempt to engage family audiences within blockbuster exhibitions through the implementation of family activity rooms. While many museums have invested in dedicated family spaces and programming, the NGA's innovation stems from its decision to incorporate such a space within the blockbuster. The paper investigates one such room to argue that its active, inclusive spaces physically and intellectually democratised the exhibition by building visitors' confidence and knowledge. [ABSTRACT FROM AUTHOR]

This paper clarifies the intention behind the design of the exhibition 'Urbanism Places Exhibition 2018' (UPE2018), and analyzes evaluations of exhibition visitors. It aims to develop a methodology for planning history exhibitions. UPE2018 was an exhibition that focused on plazas in the context of planning heritage. The 55 HIROBA of the Shinjuku Mitsui Building was selected as a venue so that people could experience a high-quality plaza, which is an example of planning heritage in itself. In addition, the organizer prepared content about the history of public spaces in both Japan and the Shinjuku area, as well as on contemporary methods of creating public spaces, and the exhibition featured talks about public spaces. The exhibition method was based on the following principles: 1) an exhibition should be woven into the everyday use of space and 2) the exhibition itself creates a plaza. The evaluations revealed that non-experts especially tended to appreciate the talk-type program. Planners tended to see the planning history exhibition as a source of knowledge that could be useful in urban planning, while non-experts reported the exhibition increased their awareness of surrounding urban spaces. [ABSTRACT FROM AUTHOR]

A calendar of events from February to September 2009 is presented including the European Coatings SHOW 2009 plus Adhesives, Sealants, Construction Chemical, Exhibition Centre in Nuremberg, Germany, the 29th International Exhibition-Congress for Chemical Engineering, Environmental Protection and Biotechnology in Frankfurt am Main, Germany and The Waterborne Symposium in New Orleans, Louisiana.

Auguste Fabre was a French contractor specialized in the construction of masonry vaults. He founded his company in 1896 and patented different systems of light and economic vaults, among them one for tile vaults. Fabre built thousands of vaults in France, Belgium and Algeria, some of them of great importance, such as the dome of the Petit Palais for the international exhibition in Paris in 1900, or the dome of the Congo Museum in Tervuren (Belgium). Historicism was a breeding ground for the construction of vaults, however, there is scarce technical documentation about them in the journals of the time. This paper explains the work of Auguste Fabre, his patents and some of his buildings, focusing in particular on the construction of tile vaults [ABSTRACT FROM AUTHOR]

We describe an organizing principle for online learning materials; we term coherently organized digital exercises and expositions. Larger in scale than individual lessons but smaller than a programme of study, this innovation in instructional practice is increasingly guiding our thinking in the development of university mathematics courses. Essentially we have taken the book and put it inside automatically assessed online quizzes. In doing this, we embrace the potential provided by new technology to implement evidence-based practices such as spaced retrieval practice. This paper discusses details of this innovation, and how we have implemented it. On the basis of these experiences, we believe this innovation has the potential to change the model of education for university mathematics courses in substantial and non-trivial ways. [ABSTRACT FROM AUTHOR]

This paper suggests that layered ontology is important within Kepler's method, and that it developed at least partially in response to a disciplinary and religious crisis. As such, and despite Platonic allegiances, it places him in a longue durée of geometrical constructivism in seventeenth-century Europe. After introducing the pivotal role of Mysterium cosmographicum (1596) and how Kepler's career may be seen in the context of courtly bricolage, the exposition realigns De nive sexangula (1611) with the mathematical communities of its time and argues in Reviel Netz's tradition that its cognitive practices enact a ludic style of demonstration. Kepler's essay on crystallography is an epistemological improvement on previous types of natural jokes. [ABSTRACT FROM AUTHOR]

In this paper I consider two nearly-forgotten artistic practices: that of British painter Thérèse Lessore (1884–1945) and the annual World's Fair Circus held in Islington, London which she painted on several occasions in the 1920s and 30s. Despite Lessore's significant output and the positive critical attention her artwork received during her lifetime, her career has been overshadowed by that of her second husband, the prominent British impressionist Walter Sickert. Both artists shared an interest in watching, drawing and painting popular entertainments, and even before they were married they frequently attended music halls, theatres and circuses together to gain inspiration for their work. From 1927 to 1934, the couple became regular attendees at the annual World's Fair circus, which Lessore went on to depict in several paintings. Dating back to 1883, the World's Fair, with its circus, animal menagerie, rides, and other novelties, brought the splendour of the summer fair into the Christmas period where it was sheltered from the winter elements by the glass and iron ceiling of the Royal Agricultural Hall. Despite its longevity and popularity, little has been written about the fair and the circuses it hosted. This paper begins the work of contextualising Lessore's paintings and, in the process, recuperating a circus tradition that held significance for thousands of Londoners across the late nineteenth and early twentieth century. [ABSTRACT FROM AUTHOR]

This paper addresses what I perceive to be the underlying assumptions of art psychotherapy theory, drawn from observation of my own clinical work, which I believe inform practice descriptions that were proposed as guidelines by the The British Association of Art Therapists' Special Interest Group in Personality Disorder for the practice of art psychotherapgy with individuals with a diagnosis of Borderline Personality Disorder. It is hoped that these assumptions or elements, could be seen to be applicable to all forms of art therapy practice. From these assumptions I derive the hypothesis that the art object serves a function and that it is the therapists task to determine what this function is. In order to provide a conceptual framework on which to base this task I propose the concept of the 'art-psychotherapy object' being the totality of triangular relationship. I explore the concept of the function of the art object through reference to that of defense both because I believe it to helpfully illustrate my thesis and as it seems to me an area of art psychotherapy theory and practice which has not been sufficiently studied. [ABSTRACT FROM AUTHOR]

This paper examines the relationship between First World War Centenary commemoration and state-sponsored nationalism in New Zealand. In the national museum's Gallipoli exhibition, commemoration shifts from its traditional emphasis upon military sacrifice for the nation. Film-related special effects technology promotes individual affective identification with suffering and loss, but also extolls the ingenious achievements and talents of both New Zealand soldiers historically, and Gallipoli's producers. National identity is aligned with state promotion of creative and technological innovation as central to economic growth. The national myth-making of Gallipoli locates a technologically sophisticated modern New Zealand in the historical experience of the War. [ABSTRACT FROM AUTHOR]

This paper aims to analyse to what extent the willingness to pay of art gallery visitors for the preservation of cultural artefacts is affected by the identity traits of the objects. To this purpose, we designed a discrete choice experiment that took place during a major exhibition dedicated to the artist Costantino Nivola (1911–1988) in Sassari (Sardinia, Italy). His works are known worldwide and many of them were produced after he moved from Sardinia to the United States in 1939. As a result, both the American and the Sardinian culture show up in his works and, in particular, were clearly visible in the exhibition under study. The discrete choice experiments allowed us to elicit respondents' preferences towards the identity features stemming from Nivola's artefacts. The results confirm the importance of this component indicating that its presence almost doubles respondents' willingness-to-pay for the acquisition of these artefacts to a permanent collection. [ABSTRACT FROM AUTHOR]

In this paper, we explore the use of the Portuguese generalist press as a tool to convey to the lay public the image of the engineer as the main artisan of progress and of the modern twentieth century society. In 1931, Portuguese engineers met for the first time in a national congress. Besides the obvious intention of asserting their professional identity, the first National Engineering Meeting, explicitly aimed at publicizing the work of Portuguese engineers as key players in the progress and wealth of the country, thus regaining their space as protagonists in the ‘new Portugal’. We argue that Portuguese engineers organized their first National Meeting as a way of lobbying the new Ditadura Nacional (National Dictatorship) government. They felt that they had lost power as decision-makers during the republican period (1910–1926) and they wanted to show the new leaders that they were the vital force in the building of a ‘new Portugal.’ Their strategy was to show their professional success and potential, both in a formal and academic milieu (papers presented at the conference) and in an informal techno-dazzling atmosphere (the exhibition) directed toward the general public. [ABSTRACT FROM AUTHOR]

This paper focuses on the experience of managing an exhibition project, undertaken by young professionals from the Museums of the Prussian Cultural Heritage Foundation in Berlin during the Covid-19 pandemic. The exhibition Status. Power. Movement was on display at the Berlin Cultural Forum (Kulturforum) from September 2020 to February 2021. In this interdisciplinary project, 13 co-curators selected 130 objects from 14 collections and asked how status is represented in movement. This article provides insight into how we experienced and dealt with the creation of our first exhibition amid an unprecedented crisis. Our project was confronted with the reality of the unfolding pandemic and empty museums. Key questions and concerns arose, such as: can the exhibition be opened? How to manage the planning uncertainty and, furthermore, how to deal with this ubiquitous event in our exhibition? As a result of the considerable restrictions, communication processes within the team and collaboration with external partners became extremely difficult. Our contribution adds a critical perspective from young professionals to the now-familiar discourse around museum work during a pandemic. In it, we share solutions we developed during the crisis, such as a Covid-19 themed intervention and the development of an online format for the exhibition. We additionally aim to show how we adapted our communication processes amid the crisis, working within a large cultural institution with multiple structural layers. Drawing on our experiences, we discuss issues of museum risk and crisis management. We also underline the need for a new critical discourse that would enable professionals to share experiences, responses and solutions to the ongoing pandemic and future crisis situations. [ABSTRACT FROM AUTHOR]

The Complexity Science Hub Vienna is hosting an autophagy-based art exhibition that shows the artwork by Ayelen Valko and Dorotea Fracchiolla, two artists who are also scientists engaged in autophagy research. This exhibition, called "Autophagic landscapes: on the paradox of survival through self-degradation"—which will be open to the general public from January to May 2023—proposes a visual journey from entire organisms toward the interior of a single cell. The core ideas represented in the exhibited artworks are the molecular mechanisms and vesicular dynamics of autophagy-two phenomena that have been feeding the imagination of the two artists, inspiring the creation of art that depicts intriguing subcellular landscapes. Although the microscale bears very valuable aesthetic features, it is not a common subject in art. Correcting this is the main aim of this exhibition and of the two artists. [ABSTRACT FROM AUTHOR]

This paper deals with the analysis of the impact of the autonomy of museums founded by municipalities in the Czech Republic on selected performance areas. On a sample of 180 museums founded by municipalities, comparisons were conducted for the period 2010–2016 on the performance of museums which are autonomous entities and museums that are part of the municipal authority. For the areas of performance, there was a focus on expositions, exhibitions, attendance, publications, and technical efficiency. Data shows that autonomous museums achieve better results in most of the examined areas, confirming the theory of the positive association of autonomy on performance in the very specific environment of local museums which had not been examined in detail before. [ABSTRACT FROM AUTHOR]

For the 1933 World's Fair in Chicago, a cartoonist named Robert Ripley would create his first odditorium, a public archive of his personal collection of curiosities. While Ripley was not the first to capitalize on the display of "exotic" and "monstrous" curios, his odditoriums illuminate pervasive ideas about human difference circulating in public discourse in the early twentieth century. The odditorium and the freak show are seemingly anachronistic phenomena, but the forums and yearnings for "oddities" still surface in popular culture today: the proliferation of podcasts that detail the lives of serial killers and cult leaders, the massive audiences drawn to viewing cystic acne popped in YouTube videos, and youth makeup artists who cover and uncover dermatological conditions with myriad skincare products and makeup in self-produced video tutorials. This paper will investigate odditoriums as a specific—and troubling—form of public pedagogy, shifting between readings of Ripley's Believe It or Not! in New York's Times Square and the role of body-as-mannequin and haptic simulation in contemporary sites of popular learning. [ABSTRACT FROM AUTHOR]

The article provides information on effective temporary supports that can be used in the storage and display of hats in order to prevent stress damage to both the crown and brim. Instructions are included on the design of supports made from acid-free tissue similar to those used at the Victoria and Albert Museum in London, England.

This paper focuses on Mission Raquez, a French ethnographic expedition through Laos to collect material for the Marseille Colonial Exposition of 1906. This paper discusses the location of extant material and considers the ethnographic methods used on the mission in conjunction with anthropological study, mass media, and popular celebrity in turn of the century France. [ABSTRACT FROM AUTHOR]

Archives are not only sources of evidence and information; they are also material objects with physical, tangible characteristics such as size, weight and colour. Moreover, the way in which researchers and visitors to archives respond to them may not just be intellectual, but sensory and emotional as well. Despite this, it is the informational content of archives which is routinely given prominence over their material properties. In this article, I discuss some of the recent literature regarding the physical and material properties of archives and consider why and how their materiality is often unacknowledged. In considering our response to archives, I argue that our engagement with archival records is a holistic experience, in which cognitive and physical reactions shape one another. Using the concept of the ‘body schema’ as a tool to understand how these reactions occur, the paper frames these discussions around specific examples of exhibited archives at the Petit Palais in Paris. [ABSTRACT FROM AUTHOR]

In this paper, we consider the material and visual implications of coloniality – the darker side of modernity, and structure of management that underpins and supports modernity's rhetoric of promises – within the circum-Caribbean through a reflection on curating the exhibition Decolonising Refinement: Contemporary Pursuits in the Art of Edouard Duval-Carrié. By juxtaposing the recent work of Haitian-born American painter and sculptor Edouard Duval-Carrié (1954b) and a selection of historical artefacts from the Southeastern US we bring to light the recursive patterns of colonialism and exploitation in which the Gulf region has been culturally, economically, and politically entangled. Our collaborative exhibition deconstructs the notion of refinement both in the aesthetic sense and also as processes by which a resource becomes a product. For Duval-Carrié, the Caribbean is not merely a case study for these broader global dynamics, but rather the crucible from which the modern, industrial age emerges. We thus approach this exhibition as an experiment in decolonising the museum – itself a tool of coloniality – by creating dynamic visual and material relationships in the gallery that deny the viewer the convenient binaries of past/present, art/artefact, and US/Caribbean, and thus forge new possibilities for a kind of decolonial museality that reflects upon its own medial limitations. [ABSTRACT FROM AUTHOR]