Examination of Archaeological Ethics and the Repatriation Movement Respecting Cultural Property (Part Two)
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Assistant Curator Job Description ……
Assistant Curator Job description ……. Background For over a century, the Whitechapel Gallery has premiered world-class artists from modern masters such as Pablo Picasso, Jackson Pollock, Mark Rothko and Frida Kahlo to contemporaries such as Sophie Calle, Lucien Freud, Sarah Lucas and Walid Raad. With beautiful galleries, exhibitions, artist commissions, collection displays, historic archives, education resources, inspiring art courses, dining room and bookshop, the newly expanded Gallery is open all year round, so there is always something free to see. The Gallery is a touchstone for contemporary art internationally, plays a central role in London’s cultural landscape and is pivotal to the continued growth of the world’s most vibrant contemporary art quarter. Exhibitions Department The Exhibitions Department realises the ambitious programme of temporary exhibitions and commissions, including the production of catalogues to accompany these events. In addition, the Department is closely involved with an MA in Curating Contemporary Art, taught jointly with London Metropolitan University. The Department consists of the Chief Curator, Curator and Head of MA Curatorial Studies, Curator, 3 x Assistant Curators, Assistant Curator – Special Projects, Archivist and Archive Curator, Head of Exhibition Design and Production, Gallery Manager and Installation Manager. Role The Assistant Curator works with a small and busy team on the realisation of projects with artists, lenders and arts institutions; delivering modern and contemporary exhibitions and commissions, including the organisation of transport and insurance; registrarial duties; and the production of catalogues. As a member of the exhibitions team, the Assistant Curator contributes ideas to the Gallery’s programme, is essential to the department's collegiate work environment and liaises with other internal departments and with the professional art world, in one of the most dynamic art environments in Europe. -
The Mindful Body: a Prolegomenon to Future Work in Medical Anthropology
ARTICLES NANCYSCHEPER-HUGHES Department of Anthropology, University of California, Berkeley MARGARETM. LOCK Department of Humanities and Social Studies in Medicine, McGill University The Mindful Body: A Prolegomenon to Future Work in Medical Anthropology Conceptions of the body are central not only to substantive work in med- ical anthropology, but also to the philosophical underpinnings of the en- tire discipline of anthropology, where Western assumptions about the mind and body, the individual and socieo, affect both theoretical view- points and research paradigms. These same conceptions also injluence ways in which health care is planned and delivered in Western societies. In this article we advocate the deconstruction of received concepts about the body and begin this process by examining three perspectives from which the body may be viewed: (1) as a phenomenally experienced indi- vidual body-self; (2) as a social body, a natural symbol for thinking about relationships among nature, sociev, and culture; and (3)as a body politic, an artifact of social and political control. After discussing ways in which anthropologists, other social scientists, and people from various cultures have conceptualized the body, we propose the study of emotions as an area of inquiry that holds promise for providing a new approach to the subject. The body is the first and most natural tool of man-Marcel Maw(19791 19501) espite its title this article does not pretend to offer a comprehensive review of the anthropology of the body, which has its antecedents in physical, Dpsychological, and symbolic anthropology, as well as in ethnoscience, phenomenology, and semiotics.' Rather, it should be seen as an attempt to inte- grate aspects of anthropological discourse on the body into current work in med- ical anthropology. -
Book Self-Publishing Best Practices
Montana Tech Library Digital Commons @ Montana Tech Graduate Theses & Non-Theses Student Scholarship Fall 2019 Book Self-Publishing Best Practices Erica Jansma Follow this and additional works at: https://digitalcommons.mtech.edu/grad_rsch Part of the Communication Commons Book Self-Publishing Best Practices by Erica Jansma A project submitted in partial fulfillment of the requirements for the degree of M.S. Technical Communication Montana Tech 2019 ii Abstract I have taken a manuscript through the book publishing process to produce a camera-ready print book and e-book. This includes copyediting, designing layout templates, laying out the document in InDesign, and producing an index. My research is focused on the best practices and standards for publishing. Lessons learned from my research and experience include layout best practices, particularly linespacing and alignment guidelines, as well as the limitations and capabilities of InDesign, particularly its endnote functionality. Based on the results of this project, I can recommend self-publishers to understand the software and distribution platforms prior to publishing a book to ensure the required specifications are met to avoid complications later in the process. This document provides details on many of the software, distribution, and design options available for self-publishers to consider. Keywords: self-publishing, publishing, books, ebooks, book design, layout iii Dedication I dedicate this project to both of my grandmothers. I grew up watching you work hard, sacrifice, trust, and love with everything you have; it was beautiful; you are beautiful; and I hope I can model your example with a fraction of your grace and fruitfulness. Thank you for loving me so well. -
New Traveling Exhibition from the Guild of Book Workers with 50 New Book Artists' Work Form Across the Country
New Traveling Exhibition from the Guild of Book Workers with 50 New Book Artists’ Work form Across the Country May 24, 2021 Contact Person: Jeanne Goodman Contact Email: [email protected] The Guild of Book Workers traveling exhibition will travel from June 2021 to September 2022. The opening and close dates for “Wild/LIFE” should be confirmed with each venue before travel and to check local public health precautions in place due to COVID-19. EXHIBITION “Wild/LIFE: Guild of Book Workers Triannual Exhibition”, June 2021 to September 2022 DESCRIPTION This exhibition features approximately 50 works by members of the Guild of Book Workers, an book artists organization that promotes interest in and awareness of the tradition of the book and paper arts by maintaining high standards of workmanship, hosting educational opportunities, and sponsoring exhibits. Members were invited to interpret the theme of “wildlife” in any way they wish, be it literal or abstract, humorous or serious. In a biological sense, wildlife describes the myriad of creatures sharing this planet, interacting and adapting, all connected to each other and their environment. "Wild" also describes an untamable essence that survives despite the constraints of society and culture. As craftspeople, knowledge of materials and keen observation of how they behave (and often how they refuse to comply) is an integral part of the practice of book making, and a reminder of how traditional bookbinding materials originate in nature. The exhibition opens at the American Bookbinders Museum in San Francisco, CA in June 2021, and will continue to travel to five additional venues across the country, closing in the fall of 2022. -
Collections Management Policy Fenimore Art Museum & the Farmers’ Museum
Collections Management Policy Fenimore Art Museum & The Farmers’ Museum Approved by: The Farmers’ Museum Board of Directors, November 2019 Fenimore Art Museum Board of Trustees, November 2019 1 Table of Contents 1 Purpose ................................................................................................................................................ 3 2 Founding Documents ........................................................................................................................... 3 3 Scope, Use and Management of Collections .................................................................................... 4 4 Management of the Collections ........................................................................................................... 5 5 Authority and Responsibility ............................................................................................................... 5 6 Acquisition and Accessioning ............................................................................................................. 6 7 Deaccessioning and Disposal .............................................................................................................. 7 8 Loans ................................................................................................................................................... 9 9 Temporary Custody of Objects ......................................................................................................... 11 10 Staff and Museum Collections ......................................................................................................... -
Federal Laws and Regulations Requiring Curation of Digital Archaeological Documents and Data
Federal Laws and Regulations Requiring Curation of Digital Archaeological Documents and Data Cultural Heritage Partners, PLLC Prepared for: Arizona State University October 25th, 2012 © 2012 Arizona State University. All rights reserved. This report by Cultural Heritage Partners, PLLC describes and analyzes federal requirements for the access to and long-term preservation of digital archaeological data. We conclude that the relevant federal laws, regulations, and policies mandate that digital archaeological data generated by federal agencies must be deposited in an appropriate repository with the capability of providing appropriate long-term digital curation and accessibility to qualified users. Federal Agency Responsibilities for Preservation and Access to Archaeological Records in Digital Form Federal requirements for appropriate management of archaeological data are set forth in the National Historic Preservation Act (“NHPA”), the Archaeological Resources Protection Act (“ARPA”), the regulations regarding curation of data promulgated pursuant to those statutes (36 C.F.R. 79), and the regulations promulgated by the National Archives and Records Administration (36 C.F.R. 1220.1-1220.20) that apply to all federal agencies. We discuss each of these authorities in turn. Statutory Authority: Maintenance of Archaeological Data Archaeological data can be generated from many sources, including investigations or studies undertaken for compliance with the NHPA, ARPA, and other environmental protection laws. The NHPA was adopted in 1966, and strongly -
Inheritance and Development of Ancient Buildings Culture Based on Digital Image Technology
E3S Web of Conferences 179, 01011 (2020) https://doi.org/10.1051/e3sconf/202017901011 EWRE 2020 Inheritance and Development of Ancient Buildings Culture based on Digital Image Technology Jicong Wang1*, Min Li1, Jia Wang1, Xiaoqing Ma1 1Art College, Jiangxi University of Finance and Economics, Nanchang City, Jiangxi Province, 330013, China Abstract. Given the glorious achievements China boasts in the construction of ancient buildings, developing digital image technology for exploring the existing ancient buildings is of great significance, which cannot only analyse ancient civilization thoroughly, but also provide a reference for the field of modern architecture. It is efficient and accurate to collect information of ancient buildings by using modern digital image technology. However, it also has the drawbacks of having enormous sources which cannot be directly applied to image transmission. How to simplify the miscellaneous information resources and combine them with the ancient architectural culture is the key and difficult points of this study. In order to overcome the problem caused by incomplete information and lack of cultural concepts in ancient architecture construction, this paper explores the cultural connotation of ancient architecture from two aspects—material culture and intangible culture. When high-quality ancient architectural culture is demonstrated through modern digital image technology, ancient architectural culture is further promoted with the help of a variety of media platforms, so as to provide a reference for the inheritance and development of Chinese ancient architectural culture. possible for us to study it without contact, which meets the needs of the masses to understand the ancient architectural 1 Introduction culture. With the development and progress of the times, the economy, education, science and technology of human 2.2 Practical significance of digital image society have developed to an unprecedented level. -
Digital Preservation Workflows for Museum Imaging Environments
The 11th International Symposium on Virtual Reality, Archaeology and Cultural Heritage VAST (2010) A. Artusi, M. Joly, D. Pitzalis, G. Lucet, and A. Ribes (Editors) Digital preservation workflows for museum imaging environments Michael Ashley1 1 Cultural Heritage Imaging, San Francisco, California, USA From: Principles and Practices of Robust, Photography-based Digital Imaging Techniques for Museums. Contributors: Mark Mudge, Carla Schroer, Graeme Earl, Kirk Martinez, Hembo Pagi, Corey Toler-Franklin, Szymon Rusinkiewicz, Gianpaolo Palma, Melvin Wachowiak, Michael Ashley, Neffra Matthews, Tommy Noble, Matteo Dellepiane. Edited by Mark Mudge and Carla Schroer, Cultural Heritage Imaging. The 11th International Symposium on Virtual Reality, Archaeology and Cultural Heritage VAST (2010) A. Artusi, M. Joly, D. Pitzalis, G. Lucet, and A. Ribes (Editors) This is a pre-print copy of a paper that is currently under review. Please respect the intellectual property of the authors and the efforts of the publishers and reviewers until its publication. If you find any errors that need modification please contact the author at [email protected]. Meanwhile this pdf is distributed to interested readers under a Creative Commons 3.0 license. M. Ashley / Digital Preservation Workflows For Museum Imaging Environments Digital preservation workflows for museum imaging environments Michael Ashley1 1 Cultural Heritage Imaging, San Francisco, California, USA Abstract We discuss and demonstrate practical digital preservation frameworks that protect images throughout the entire production life-cycle. Using off the shelf and open source software coupled with a basic understanding of metadata, it is possible to produce and manage high value digital representations of physical objects that are born archive- ready and long-term sustainable. -
Introducticn Tc Ccnservoticn
introducticntc ccnservoticn UNITED NATTONSEDUCATIONA],, SCIEIilIIFTC AND CULTIJRALOROANIZATTOII AN INIRODUCTION TO CONSERYATIOI{ OF CULTURAT PROPMTY by Berr:ar"d M. Feilden Director of the Internatlonal Centre for the Preservatlon and Restoratlon of Cultural Property, Rome Aprll, L979 (cc-ig/ws/ttt+) - CONTENTS Page Preface 2 Acknowledgements Introduction 3 Chapter* I Introductory Concepts 6 Chapter II Cultural Property - Agents of Deterioration and Loss . 11 Chapter III The Principles of Conservation 21 Chapter IV The Conservation of Movable Property - Museums and Conservation . 29 Chapter V The Conservation of Historic Buildings and Urban Conservation 36 Conclusions ............... kk Appendix 1 Component Materials of Cultural Property . kj Appendix 2 Access of Water 53 Appendix 3 Intergovernmental and Non-Governmental International Agencies for Conservation 55 Appendix k The Conservator/Restorer: A Definition of the Profession .................. 6? Glossary 71 Selected Bibliography , 71*. AUTHOR'S PREFACE Some may say that the attempt to Introduce the whole subject of Conservation of Cultural Propety Is too ambitious, but actually someone has to undertake this task and it fell to my lot as Director of the International Centre for the Study of the Preservation and Restoration of Cxiltural Property (ICCROM). An introduction to conservation such as this has difficulties in striking the right balance between all the disciplines involved. The writer is an architect and, therefore, a generalist having contact with both the arts and sciences. In such a rapidly developing field as conservation no written statement can be regarded as definite. This booklet should only be taken as a basis for further discussions. ACKNOWLEDGEMENTS In writing anything with such a wide scope as this booklet, any author needs help and constructive comments. -
Archeological Ethics and Cultural Property: the Debate of Conservationist Vs. Repatriationist and Perceptivity from Philosophical Perspectives
CTE Centrum för tillämpad etik Linköpings Universitet Archeological ethics and cultural property: the debate of conservationist vs. repatriationist and perceptivity from philosophical perspectives - SHAIFUL IDZWAN SHAHIDAN - Master’s Thesis in Applied Ethics Centre for Applied Ethics Linköpings universitet Presented June 2006 Supervisor: Prof. Göran Collste, Linköpings universitet 1 Table of contents Chapter 1: Introduction 1.1 Ethics and archaeology............................................................................................. 4 1.2 The ‘archeology’ of archeology: brief history on cultural property......................... 6 1.3 Who is an “archaeologist”? ...................................................................................... 8 1.4 The political context in archaeology.......................................................................... 9 1.5 The exploitation and misinformation of archaeology .............................................. 12 1.5.1 Nationalism................................................................................................ 13 1.5.2 Ethnocentrism............................................................................................. 14 1.6 Aims and analytical questions ……………………................................................... 16 Chapter 2: Cultural property and the case of Elgin Marbles 2.1 Lord Elgin’s Marbles: the case …………………………………………………….. 17 2.2 The question of acquisition from legal perspectives ……………………………….. 18 2.3 On cultural property ……………………………………………………………….. -
Interpreting Cultural Artifacts
INTERNATIONAL CONFERENCE ON ENGINEERING DESIGN, ICED’07 28 - 31 AUGUST 2007, CITE DES SCIENCES ET DE L'INDUSTRIE, PARIS, FRANCE INTERPRETING CULTURAL ARTIFACTS Xiangyang Xin1, Jonathan Cagan2 and Craig M. Vogel3 1School of Design, the Hong Kong Polytechnic University 2Department of Mechanic Engineering, Carnegie Mellon University 3College of DAAP, University of Cincinnati ABSTRACT Interpreting Cultural Artifacts explores qualitative methods and tools for analyzing traditional Chinese artifacts and the complex cultural background behind them. The goal is to develop structuralized and systematic methods for understanding traditional artifacts, which may become inspirations for contemporary product designs. ICA, Interpreting Cultural Artifacts, interprets artifacts at three levels: surface level of evident features, immediate reasoning, and the deep cultural influential factors. SETIG (social, economic, technological, ideological and geographical) factors analyze the broader cultural contexts of cultural artifacts. Impact Analysis explores how different factors relate to each other, and affect the design and development of artifacts. Finally, Visual Language and Shape Grammar are existing methods borrowed for visual and formal language studies of artifacts. Key Words: Cultural Artifacts, ICA: Interpreting Cultural Artifacts, SETIG Factors, Impact Analysis 1 INTRODUCTION Recently, many Chinese and people outside of China have found a common interest of using Chinese traditions as inspiration for innovation. The goal is to develop products -
Protection of Cultural Property Under International Humanitarian Law: Some Emerging Trends
Protection Of Cultural Property Under International Humanitarian Law: Some Emerging Trends P. ISHWARA BHAT[*] 1. INTRODUCTION Cultures use properties as the media of expression[1] and blossom them into proud cultural property of the community. The creative human genius, in the process, flowers into arts, architecture, sculpture, monument, painting, literature and other innumerable forms of aesthetic manifestations. Transcending the geopolitical boundaries, they constitute cultural heritage of the mankind irrespective of the point whether they are products of individual talent or of group effort.[2] From the perspective of specific culture, the cultural property that it produces is an overt mark of its identity,[3] a repository of cultural and traditional informations,[4] and an essential thing for cultural group’s self understanding.[5] Being visible symbols of culture and creativity,[6] great pieces of art are irreplaceable things,[7] as they attempt to grasp eternity by their beauty and grace. It is the mankind’s sad experience that armed conflicts result in intentional or unintentional devastation of cultural property. While earlier wars witnessed deliberate destruction of enemy’s cultural property as a measure of annihilation of enemy’s power,[8] modern armed conflicts with their more destructive mechanisms inflict extensive loss to cultural property. Such destructions and their cultural function, offend inter-generation equity, and impoverish the world’s intellectual and artistic attainment. The anger that suppression of culture breeds