Academic literature on the topic 'Bean Museum'
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Journal articles on the topic "Bean Museum"
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Horsley, G. H. R. "The Mysteries of Artemis Ephesia in Pisidia: a New Inscribed Relief." Anatolian Studies 42 (December 1992): 119–50. http://dx.doi.org/10.2307/3642955.
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Of the roughly 160 inscriptions currently held in the Archaeological Museum at Burdur, only a fraction has been published hitherto. The following articles have published monuments from the Museum:1. G. E. Bean, “Sculptured and inscribed stones at Burdur”, Belleten 18 (1954) 469–88 (Turkish version: 489–510); inscribed stones: nos. 3–5, 8, 9, 13, 14, 17–22 (SEG 14.797–809), of which nos. 8, 13, 19–22 seem no longer to be located in the Museum or the adjacent garden (it should be mentioned that Bean wrote before the Museum was formally established).2. Id., “Notes and inscriptions from Pisidia, I”, AS 9 (1959) 67–117; inscriptions from Burdur: nos. 1, 2, 3a, 3b, 4–9, 21, 87 (SEG 19.734–42, 753, 819), of which nos. 4 (at the Lycée in 1959) and 6 (at Aşkış in 1959) have not been located.3. Id., “Notes and inscriptions from Pisidia, II”, AS 10 (I960) 43–82, no. 135 (SEG 19.802). A photograph of this monument is included in the present article as Pl. XXXII (b); see further, pp. 126, 127, 131–32 below.4. S. Mitchell, “Requisitioned transport in the Roman Empire: a new inscription from Pisidia”, JRS 66 (1976) 106–31 (AE [1976] 653; SEG 26.1392); redated to early under Tiberius by E. A. Judge, “The regional kanon for requisitioned transport”, in G. H. R. Horsley, New Documents Illustrating Early Christianity, I. A Review of the Greek Inscriptions and Papyri published in 1976 (North Ryde, 1981) 36–45 no. 9 (SEG 31.1286); the date accepted with further refinement by Mitchell in Chiron 16 (1986) 25–27 (SEG 36.1208).
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Puchberger, Magdalena, and Nina Szogs. "Curating soya. Trying, testing and tasting (for) a sustainable museum." Nordisk Museologi 30, no. 3 (February 19, 2021): 45. http://dx.doi.org/10.5617/nm.8630.
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The Volkskundemuseum Vienna has been subject to large conceptual changes and now focuses on its social role and contribution to an inclusive and democratic society. The soya project came to the museum coincidentally when a hidden historical conjuncture was revealed and offered an intriguing way to include the topic of climate change into the museum’s agenda. The analogue and digital interactive formats in the soya project deal with the global contexts of climate change by analysing the social, economic and cultural role of the soya bean in our everyday lives. The authors present and discuss the inclusive museum approach, multisensory social programmes and the idea of a digital add-on exhibition on a small budget.
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Santos, Edmea, Frieda Marti, and Rosemary dos Santos. "O MUSEU COMO ESPAÇO MULTIRREFERENCIAL DE APRENDIZAGEM: RASTROS DE APRENDIZAGENS UBÍQUAS NA CIBERCULTURA." Revista Observatório 5, no. 1 (January 14, 2019): 182–201. http://dx.doi.org/10.20873/uft.2447-4266.2019v5n1p182.
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As novas relações que se estabelecem entre a técnica e a vida social geram novas formas de comunicação, de produção cultural e fenômenos sociotécnicos, desenvolvendo uma nova cultura contemporânea, a cibercultura. Diante desse novo contexto sociotécnico, os museus passaram a fazer uso das tecnologias digitais em rede e móveis, visando potencializar a experiência comunicacional e educacional de/com seus visitantes. Este artigo tem como objetivo discutir o espaço museal na cibercultura, apresentando-o como rede educativa e espaço multirreferencial de aprendizagem, e mostrar exemplos de usos das tecnologias digitais em rede por parte dos museus na contemporaneidade.
PALAVRAS-CHAVE: cibercultura; educação museal; aprendizagem ubíqua; ciberpesquisa-formação; espaços multirreferenciais;
ABSTRACT
The new relations established between technique and social life have generated new forms of communication, cultural production and sociotechnical phenomena, developing a new contemporary culture, cyberculture. Faced with this new sociotechnical context, museums began to make use of mobile and online digital technologies, aiming at enhancing the communicational and educational experiences of/with their visitors. This article aims to discuss the museum space in cyberculture, presenting it as an educational network and a multi-referential learning space, and to show examples of use of online digital technologies by museums in the contemporary world.
KEYWORDS: cyberculture; museum education; ubiquitous learning; cyber research-training; multi-referential spaces.
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Garduño, Ana. "Biografía de una institución cultural: el INBA de México. Red museal y praxis coleccionística." Revista Grafía- Cuaderno de trabajo de los profesores de la Facultad de Ciencias Humanas. Universidad Autónoma de Colombia 10, no. 1 (January 15, 2013): 9. http://dx.doi.org/10.26564/16926250.348.
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Resumen:A partir de la fundación del Instituto Nacional de Bellas Artes de México, 1946, inició el proceso de formación de un acervo artístico que ha devenido fuente constitutiva de patrimonio cultural. Más aún, la edificación de una red de museos estatales garantiza la conservación, investigación y difusión de la colección heredada. Además, se han instrumentado heterogéneas estrategias de fomento del acervo. La combinación de procedencias explica el carácter híbrido de las colecciones adscritas a los museos del INBA, además de sus diferencias causadas por las circunstancias específicas que dieron origen a cada recinto. Se reflexiona sobre una genealogía específica de red museal.Palabras clave: Red museal, patrimonio artístico, colecciones estatales, exposiciones oficiales, adjudicaciones interinstitucionales, adquisiciones, legados, donaciones********************************************************* Biography of a cultural institution: the NBA of Mexico. Museum netand collectible praxisAbstract:Since the foundation of the National Institute of Arts of Mexico, 1946, it began the formation process of cultural heritage which became source of cultural patrimony. Furthermore, the construction of state museums net guarantees the conservation, research and diffusion of the inherited collection. Also, some diverse practices of heritage encouragement tools have been implemented. The combinations of different origins is explained by the hybrid character of the collections registered to the museums of INBA (National Institute of Arts), as well as de differences caused by specific circumstances present in every area. A reflection about the specific genealogical museum net is done.Key words: Museum net, artistic patrimony, state collection, official exposition, interinstitutional awarding, acquisition, legacy, donations.**********************************************************Biografia de uma instituição cultural: o INBA de México. Rede de museus e práxis de coleçãoResumo: Com a fundação do Instituto Nacional de Bellas Artes de México, em 1946, tem início o processo de formação de um acervo artístico que tem se convertido em fonte constitutiva de patrimônio cultural. Mais ainda, a edificação de uma rede de museus estatais garante a conservação, pesquisa e difusão da coleção herdada. Alem disso, foram estabelecidas heterogêneas estratégias de fomento do acervo. A combinação de procedências explica o caráter híbrido das coleções pertencentes aos museus do INBA, assim como as diferenças causadas pelas circunstâncias específicas que deram origem a cada recinto. Reflete-se sobre uma genealogia específica da rede de museus.Palavras chave: Rede de museus, patrimônio artístico, coleções estatais exposições oficiais, adjudicações interinstitucionais, aquisições, legados, doações
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Hillström,, Magdalena. "Contested Boundaries: Nation, People and Cultural History Museums in Sweden and Norway 1862–1909." Culture Unbound 2, no. 5 (December 17, 2010): 583–607. http://dx.doi.org/10.3384/cu.2000.1525.10234583.
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It has become commonplace to assert that museums embody, perform and negotiate national identities. Many researches in museum history have stressed a close relationship between nation building and the origin and formation of the modern public museum. Museums, it is argued, contributes to the construction and representation of the ethnical and historical distinctiveness of the nation’s self’. This article explores the ambiguities of the concept when applied to the establishment of cultural history museums in Sweden and Norway during the latter half of the 19th century. It shows that the relation between nation building and early museum building in the Scandinavian context was more intricate than earlier has been assumed. Museum founders like Artur Hazelius, who opened the Scandinavian-Ethnographic Collection in 1873 (renamed Nordiska museet 1880), was deeply influenced by Scandinavianism, a strong cultural and political force during the 19th century. Union politics played an important role for museum politics, as did the transitions of the concepts of “ethnography” and “nation”. At the very end of the 19th century the original concept of “nation” meaning people and culture gradually was subordinated to the concept of “nation” as state and political territory. In early 20th century museum ideology cultural history museums were strongly connected with “nations” in the modern sense. Consequently, efforts to “nationalise” the folk-culture museum were made both in Norway and Sweden. A contributory force was, naturally, the dissolution of the Swedish-Norwegian union in 1905.
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Folga-Januszewska, Dorota. "HISTORY OF THE MUSEUM CONCEPT AND CONTEMPORARY CHALLENGES: INTRODUCTION INTO THE DEBATE ON THE NEW ICOM MUSEUM DEFINITION." Muzealnictwo 61 (April 17, 2020): 39–57. http://dx.doi.org/10.5604/01.3001.0014.1129.
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The topic discussed in the paper is the change and evolution the concept of museum (Greek: museion, Latin: musaeum) has been undergoing for over 2500 years, as well as many of its different meanings: from the definition of a spot in space, including a place of worship, up to the name of learning form, research and knowledge centre, collection of texts and poetry, music and theatre festival, synonyms of a dictionary and encyclopaedia, library and a secluded study spot, up to large institutions co-creating culture and educating socially. Once museums had become social institutions, the process of defining their organizational form and their mission limits began. The International Council of Museums (ICOM), as an organization grouping museum employees and museologists, namely both practitioners and theoreticians, ever since its establishment in 1946 has on a number of occasions initiated works on a shared definition of museum. The paper assembles all the ICOM-proposed definitions in 1946–2007 presented both in English and Polish. The latest proposal submitted at the Kyoto ICOM General Conference on 7 September 2019 (Annex 1), however, for the first time aroused a heated debate and was not finally voted on by the ICOM General Assembly; instead, the debate has continued on the proposed phrasing since. The historical overview of the museum concept and the history of the ICOM museum definition presented against the opinions of invited Polish museum professionals is the ‘record of time’, documenting the considerations on the role and tasks of museum in contemporary society.
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Vieira, Ana Carolina Maciel, Mariana Gonzalez Leandro Novaes, Juliana Da Silva Matos, Ana Carolina Gelmini Faria, Deusana Maria da Costa Machado, and Luiza Corral Martins de Oliveira Ponciano. "A contribuição dos museus para a institucionalização e difusão da paleontologia." Anuário do Instituto de Geociências 30, no. 1 (January 1, 2007): 158–67. http://dx.doi.org/10.11137/2007_1_158-167.
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Since the calls "cabinets of curiosities", the essence of natural history was consolidating itself with the birth of the museums and the development of the Museums of Natural History. This consolidation was reached through following activities: expeditions, field trips, collection classification works, catalogues of diffusion of scientific knowledge, educativ activities and expositions. The present paper intends to discuss the importance of the museal institutions for the studies of Paleontology; since the museums of Natural History had exerted a pioneering paper in the institutionalization of certain areas of knowledge, as Palaeontology, Anthropology and Experimental Physiology, in Brazil. The Paleontological studies in museums had collaborated in the specialization and modernization of the appearance of "new museum idea". As this new concept the museum is a space of diffusion of scientific knowledge, represented as an object that reflects the identity of the society without an obligator linking with physical constructions. However, the Brazilian museums have been sufficiently obsolete, with problems that involve acquisition and maintenance of collections to production of temporary or permanent exhibitions. When the Brazilian institutions of natural history are analyzed they are not organized on the new museum conception and the digital age as the North American and European ones. Despite the difficulties found by the Museums since its birth as Institution in the 18th century, the contemporary development of Museology and Palaeontology as Science had contributed for the consolidation and institutionalization of both, helping the diffusion of scientific knowledge.
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Getashvili, N. V. "Private Collections as the Core of Picasso Art Museums: The Problem of Selection and Exposition, Intentions and Reality." Art & Culture Studies, no. 2 (June 2021): 88–103. http://dx.doi.org/10.51678/2226-0072-2021-2-88-103.
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The article reviews the history of several Picasso public museums, which have been based around private art collections. It examines the personal motivations and social conditions that accompanied the conception and realization of the projects. The records of Museu Picasso in Barcelona contain evidence highlighting Picasso’s lasting close friendship with Jaume Sabartés, who donated his private collection to the museum. These documents reveal the dramatic context surrounding Picasso’s citizenship, his persona non grata status, as well as the latent Catalan opposition to state authority. In addition, the article utilizes the case of Picasso museums to highlight and discuss a series of problematic issues related to adapting the modernist artworks, which have been installed within historic buildings and cultural heritage sites.
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Burgess, Chris. "The Development of Labor History in UK Museums and the People's History Museum." International Labor and Working-Class History 76, no. 1 (2009): 26–35. http://dx.doi.org/10.1017/s0147547909990044.
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Labor history in UK museums is constantly in a state of change. A hundred-year-old tradition of displaying and interpreting the history of the common people has seen a shift from the folk life museum to a much more all-encompassing model. The academic trend for and acceptance of working-class history began this process, and museums followed, albeit at a much slower pace. Young curators actively involved in the History Workshop, Oral History, and Women's History movements brought their new philosophies into the museum sphere. This internally driven change in museums has been matched with demand for change from above. Museums have been given a central role in the current Labour government's wide-ranging strategies to promote an understanding of diversity, citizenship, cultural identity, and lifelong learning as part of a broader social inclusion policy. The zenith of this plan would be a museum devoted to British national history, though whether this will take place is yet to be seen. The transformation of the People's History Museum makes an interesting case study. The museum, originally an institution on the fringes of academic labor history and actively outside the museum community, is now at the forefront of labor history display, interpretation, textile conservation, and working-class historical research.
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Eler, Denise. "As práticas museológicas emergentes na Internet e as tecnologias que as viabilizam." Txt: Leituras Transdisciplinares de Telas e Textos 4, no. 8 (December 31, 2008): 18. http://dx.doi.org/10.17851/1809-8150.4.8.18-28.
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<p><strong>Resumo</strong>: Historicamente, os museus têm sido flexíveis na adoção de posturas e configurações favoráveis ao desenvolvimento social e humano, refletindo os contextos socioculturais em que estão inseridos. Este artigo lista e descreve algumas práticas museológicas emergentes, bem como as tecnologias que as viabilizam.</p><p><strong>Abstract</strong>: Historically, museums have been flexible in adopting practices and settings which are advantageous to social and human development. This article lists and describes both some emergent museum practices and the technologies that make them possible.</p><p><strong>Keywords</strong>: cyberculture; museums; Web 2.0; Semantic Web.</p>
Dissertations / Theses on the topic "Bean Museum"
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Syed, Amir. "Rethinking the Ben Ali diary : multiple contexts and Muslim slaves." Thesis, University of British Columbia, 2009. http://hdl.handle.net/2429/14720.
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This paper explores the reasons why Bilali Mohammed, a Muslim slave who lived on Sapelo Island produced his Arabic document, known as the Ben Mi diary. Although several scholars have studied the document, they have remained silent on why Bilali was
literate and why he produced this work. Since the Ben Au diary deals with Islamic ritual, this paper argues that in order to understand the text it must be intimately connected to Bilali’s life in West Africa, and, more specifically, to the spread of religious school during a period of Islamic revival in the eighteenth and nineteenth centuries. One of the central concerns of this paper is to raise questions about Muslim slave identity, resistance and literacy. It seeks to situate the discussion about the Ben Ali diary in the larger context of African American and American history. While the paper explores the literature on Muslim slaves, it also explores why the historical narratives that
scholars produce about America’s past silence Islam. Finally, it investigates issues around power and narrativity, and suggests that Islam has been present in the New World since the onset of European colonialism. Consequently, it argues that present-day discourse about the foreignness and “dangers” of Islam in the West, make little sense, and are only legitimized by a complete disregard of this Muslim past.
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Sawyers, Amanda G. "“I’ve Been Given the Wrong Mother:” Reconsidering Absent Mothers in Postmodern British Literature." Digital Commons @ East Tennessee State University, 2018. https://dc.etsu.edu/etd/3506.
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Nineteenth-century British authors, in particular, Charles Dickens, Charlotte Bronte, and Jane Austen, often turned to orphaned children as a means to drive the plot of their novels. While struggles such as displacement were often accurately depicted, the abovementioned authors and their contemporaries often glossed over or completely disregarded the trauma and psychological implications felt by these orphans. As psychology gained prominence as a discipline through the works of Sigmund Freud and others, modern British literature saw a shift in its consideration of orphans and, additionally, emotionally absent mothers. This thesis will examine three modern British novels; Ian McEwan’s Atonement, Kate Atkinson’s Behind the Scenes at the Museum, and Graham Swift’s Waterland with respect to their exploration of the psychological and possible traumatic impact of their protagonists lives in a variety of disrupted family dynamics.
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Franzén, Ida. "The spark has been lit : En diskursanalys av Islamiska Statens tidning Dabiq Magazine." Thesis, Linnéuniversitetet, Institutionen för kulturvetenskaper (KV), 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-40355.
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The aim of the study is to examine how religion legitimates outrages and it what ways we can regard religion as politics. The study uses the theory that Eickelman and Piscatori present in their book Muslim politics. They use the term ‘Muslim politics’ to describe the relation between Islam and politics. Eickelman and Piscatori divide Muslim politics in five elements that the essay uses to structure the analysis. By studying IS´s own published documents, two issues of the newspaper Dabiq Magazine, from a discourse analytical approach, this essay aims to consolidate the discourse behind the texts and find how the Muslim politics of IS is constructed. IS is an organization that has proclaimed a caliphate that includes Iraq and Syria. IS claims that the core of Islam has been lost and it needs to be rediscovered to avoid the punishment from Allah. IS claim to be the trustees of the will of Allah on earth and call on people to rally behind their interpretation of “true Islam”. The vision of IS is to re-establish a caliphate which is part of the ongoing objectification process.
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Yost, Jonathan David. "Fixing What Has Been Broken: The United States' Actions in the Aftermath of the Looting of the Iraq National Museum during the 2003 Invasion." W&M ScholarWorks, 2013. https://scholarworks.wm.edu/etd/1539626709.
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Kempff, Ackie. "«DES YEUX BAISSÉS AUX POINGS LEVÉS» : L'IMAGE DE LA FEMME MAGHRÉBINE DANS L'ŒUVRE DE TAHAR BEN JELLOUN. UNE ÉTUDE COMPARATIVE DE TROIS PROTAGONISTES FÉMININS." Thesis, Högskolan Dalarna, Franska, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:du-17082.
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L'étude du portrait de la femme maghrébine dans trois romans de Ben Jelloun révèle trois vies d'enfant, d'adolescente et de femme très différentes quant à la condition féminine. Il y a une émancipation progressive entre les portraits qui peut s'expliquer par le fait que les romans se déroulent dans des cultures et à des époques différentes, mais aussi par les intentions féministes de l'auteur.The study of the image of the Maghrebi woman in three novels of Ben Jelloun reveals three very different kinds of childhood, adolescence and adult lives. There is a progressive emancipation between the portraits, which is partly due to the differences in time and setting, but also to the feminist intentions of the author.
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Philippe, Julie. ""C'est bien comme cela que l'on s'imagine un beau monument de l'Orient" : Louis Delaporte et l'art khmer (1866-1924)." Thesis, Paris, Ecole nationale des chartes, 2015. http://www.theses.fr/2015ENCP0002/document.
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Louis Delaporte est un personnage méconnu de l’histoire de l’étude de l’art khmer en France. Il a cependant occupé, entre sa première mission aux ruines khmères, en 1873, et sa démission du Musée indochinois du Trocadéro, en 1924, une place centrale dans l’archéologie de l’Asie du Sud-Est. Cette thèse fournit un premier éclairage sur le travail entrepris par Delaporte pour faire connaître l’art khmer, et constituer une collection d’œuvres devant servir de base pour son étude. Des sources inédites (correspondance familiale, documents de travail conservés par la famille Delaporte et le musée Guimet) permettent de retracer le parcours professionnel de Louis Delaporte, de sa première visite sur le site d’Angkor, en 1866, au développement du Musée indochinois du Trocadéro, entre 1884 et 1924. Si la concentration du travail de Delaporte autour de l’art khmer est fortuite (sa première mission aux ruines khmères a ainsi été conçue comme l’étape initiale d’un voyage plus large d’exploration du Tonkin), il développe cependant dès son retour en France une stratégie réfléchie pour assurer aux œuvres rapportées de son séjour une place de choix sur la scène scientifique française. Grâce à la création d’un très vaste réseau, dans l’administration aussi bien que dans les milieux scientifiques, Louis Delaporte devient ainsi, dès les années 1880, un personnage incontournable dans l’étude des monuments khmers. Faute des connaissances nécessaires, il ne réussira cependant jamais à s’imposer comme le fer de lance de l’archéologie khmère, et se concentrera plutôt sur le développement d’une collection destinée à devenir, en France, indispensable à qui s’intéresse à l’archéologie khmèreLouis Delaporte is an underrated character in the history of the study of Khmer art in France. Between his first travel to the Khmer ruins, in 1873, and his resignation from the Musée indochinois du Trocadéro, in 1924, he held, however, a central position in the archeology of Southeast Asia. This thesis provides a first insight into the work undertaken by Delaporte to make Khmer art renowned, and provide a collection of art works meant to be the basis of its study. Unpublished sources (family letters, working papers kept by the Delaporte family and the musée Guimet) help relate Louis Delaporte’s career, from his first visit to Angkor, in 1866, to the development of the Musée indochinois du Trocadéro, between 1884 and 1924. If the focus of Delaporte’s work on Khmer art is born of fortuitous circumstances (his first travel to the Khmer ruins was designed to be the inital step of a broader exploration trip to Tonkin), he however developed a conscious strategy to ensure the works of art he brought back became prominent in French scientific circles. Thanks to the creation of a vast network, in the administration as well as in scientific circles, Louis Delaporte became, in the 1880s, a key character in the study of Khmer monuments. Due to his lack of knowledge, however, Delaporte never succeded in becoming the spearhead of Khmer archeology, and focused instead more on the development of a collection designed to become, in France, essential to whoever had an interest in Khmer archeology
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Šašinka, Jakub. "Ocelová konstrukce vojenského muzea." Master's thesis, Vysoké učení technické v Brně. Fakulta stavební, 2015. http://www.nusl.cz/ntk/nusl-227198.
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The diploma thesis describes the design and assessment of steel structure of the roofing of the military museum in Králíky. The supporting structure of hall is 40.00 meters span. The total layout are 55.93 x 72.04 m, building height 11.43 m, 16.11 m pylon height. Main construction material is steel, grade S355, secondary constructions are made from steel grade S235, rods are made from steel grade S460. I did optimization of steel structure and chose the best option. For this option I made detailed structural analysis. It is prepared by static analysis of the main load-bearing parts of the structure, including joints and details. The supporting structure of hall consists in the transverse direction from the curved spatial lattice structure made of steel circular tubes which hang on rods on a sloped pylon. Part of the report is open-air roofing.
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Jones, Jared. "Winging It: Human Flight in the Long Eighteenth Century." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1565963832584991.
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Daly, Marwa El. "Challenges and potentials of channeling local philanthropy towards development and aocial justice and the role of waqf (Islamic and Arab-civic endowments) in building community foundations." Doctoral thesis, Humboldt-Universität zu Berlin, Philosophische Fakultät III, 2012. http://dx.doi.org/10.18452/16511.
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Diese Arbeit bietet eine solide theoretische Grundlage zu Philanthropie und religiös motivierten Spendenaktivitäten und deren Einfluss auf Wohltätigkeitstrends, Entwicklungszusammenarbeit und einer auf dem Gedanken der sozialen Gerechtigkeit beruhenden Philanthropie. Untersucht werden dafür die Strukturen religiös motivierte Spenden, für die in der islamischen Tradition die Begriffe „zakat“, „Waqf“ oder im Plural auch „awqaf-“ oder „Sadaqa“ verwendet werden, der christliche Begriff dafür lautet „tithes“ oder „ushour“. Aufbauend auf diesem theoretischen Rahmenwerk analysiert die qualitative und quantitative Feldstudie auf nationaler Ebene, wie die ägyptische Öffentlichkeit Philanthropie, soziale Gerechtigkeit, Menschenrechte, Spenden, Freiwilligenarbeit und andere Konzepte des zivilgesellschaftlichen Engagements wahrnimmt. Um eine umfassende und repräsentative Datengrundlage zu erhalten, wurden 2000 Haushalte, 200 zivilgesellschaftliche Organisationen erfasst, sowie Spender, Empfänger, religiöse Wohltäter und andere Akteure interviewt. Die so gewonnen Erkenntnisse lassen aussagekräftige Aufschlüsse über philanthropische Trends zu. Erstmals wird so auch eine finanzielle Einschätzung und Bewertung der Aktivitäten im lokalen Wohltätigkeitsbereich möglich, die sich auf mehr als eine Billion US-Dollar beziffern lassen. Die Erhebung weist nach, dass gemessen an den Pro-Kopf-Aufwendungen die privaten Spendenaktivitäten weitaus wichtiger sind als auswärtige wirtschaftliche Hilfe für Ägypten. Das wiederum lässt Rückschlüsse zu, welche Bedeutung lokale Wohltätigkeit erlangen kann, wenn sie richtig gesteuert wird und nicht wie bislang oft im Teufelskreis von ad-hoc-Spenden oder Hilfen von Privatperson an Privatperson gefangen ist. Die Studie stellt außerdem eine Verbindung her zwischen lokalen Wohltätigkeits-Mechanismen, die meist auf religiösen und kulturellen Werten beruhen, und modernen Strukturen, wie etwa Gemeinde-Stiftungen oder Gemeinde-„waqf“, innerhalb derer die Spenden eine nachhaltige Veränderung bewirken können. Daher bietet diese Arbeit also eine umfassende wissenschaftliche Grundlage, die nicht nur ein besseres Verständnis, sondern auch den nachhaltiger Aus- und Aufbau lokaler Wohltätigkeitsstrukturen in Ägypten ermöglicht. Zentral ist dabei vor allem die Rolle lokaler, individueller Spenden, die beispielsweise für Stiftungen auf der Gemeindeebene eingesetzt, wesentlich zu einer nachhaltigen Entwicklung beitragen könnten – und das nicht nur in Ägypten, sondern in der gesamten arabischen Region. Als konkretes Ergebnis dieser Arbeit, wurde ein innovatives Modell entwickelt, dass neben den wissenschaftlichen Daten das Konzept der „waqf“ berücksichtigt. Der Wissenschaftlerin und einem engagierten Vorstand ist es auf dieser Grundlage gelungen, die Waqfeyat al Maadi Community Foundation (WMCF) zu gründen, die nicht nur ein Modell für eine Bürgerstiftung ist, sondern auch das tradierte Konzept der „waqf“ als praktikable und verbürgte Wohlstätigkeitsstruktur sinnvoll weiterentwickelt.This work provides a solid theoretical base on philanthropy, religious giving (Islamic zakat, ‘ushour, Waqf -plural: awqaf-, Sadaqa and Christian tithes or ‘ushour), and their implications on giving trends, development work, social justice philanthropy. The field study (quantitative and qualitative) that supports the theoretical framework reflects at a national level the Egyptian public’s perceptions on philanthropy, social justice, human rights, giving and volunteering and other concepts that determine the peoples’ civic engagement. The statistics cover 2000 households, 200 Civil Society Organizations distributed all over Egypt and interviews donors, recipients, religious people and other stakeholders. The numbers reflect philanthropic trends and for the first time provide a monetary estimate of local philanthropy of over USD 1 Billion annually. The survey proves that the per capita share of philanthropy outweighs the per capita share of foreign economic assistance to Egypt, which implies the significance of local giving if properly channeled, and not as it is actually consumed in the vicious circle of ad-hoc, person to person charity. In addition, the study relates local giving mechanisms derived from religion and culture to modern actual structures, like community foundations or community waqf that could bring about sustainable change in the communities. In sum, the work provides a comprehensive scientific base to help understand- and build on local philanthropy in Egypt. It explores the role that local individual giving could play in achieving sustainable development and building a new wave of community foundations not only in Egypt but in the Arab region at large. As a tangible result of this thesis, an innovative model that revives the concept of waqf and builds on the study’s results was created by the researcher and a dedicated board of trustees who succeeded in establishing Waqfeyat al Maadi Community Foundation (WMCF) that not only introduces the community foundation model to Egypt, but revives and modernizes the waqf as a practical authentic philanthropic structure.
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Lovell, Adam. "Glass bead deterioration of ethnographic objects : identification, prevention, and treatment /." 2006. http://library2.jfku.edu/Museum_Studies/Glass_Bead_Deterioration.pdf.
Full textBooks on the topic "Bean Museum"
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History of the life science museum movement at Brigham Young University: 1900-2008. [Provo, Utah]: Monte L. Bean Life Science Museum, Brigham Young University, 2008.
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Stefan, Rebsamen, Kläy Ernst J, and Bernisches Historisches Museum, eds. Historisches Museum Bern. Bern: Kümmerly + Frey, 1985.
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Ariese, Csilla, and Magdalena Wróblewska. Practicing Decoloniality in Museums. NL Amsterdam: Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789463726962.
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The cry for decolonization has echoed throughout the museum world. Although perhaps most audibly heard in the case of ethnographic museums, many different types of museums have felt the need to engage in decolonial practices. Amidst those who have argued that an institution as deeply colonial as the museum cannot truly be decolonized, museum staff and museologists have been approaching the issue from different angles to practice decoloniality in any way they can. This book collects a wide range of practices from museums whose audiences, often highly diverse, come together in sometimes contentious conversations about pasts and futures. Although there are no easy or uniform answers as to how best to deal with colonial pasts, this collection of practices functions as an accessible toolkit from which museum staff can choose in order to experiment with and implement methods according to their own needs and situations. The practices are divided thematically and include, among others, methods for decentering, improving transparency, and increasing inclusivity.
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Tavel, Hans Christoph von. Museum of Fine Arts, Berne. Geneva: Banque Paribas (Suisse) in cooperation with the Swiss Institut for Art Research, 1994.
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Esters, Museum Haus, and Kunsthalle Bern, eds. Harald Klingelhöller: Museum Haus Esters Krefeld : Kunsthalle Bern, 1988. Krefeld: Krefelder Kunstmuseen, 1988.
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Bern, Kunsthalle, ed. Maria Eichhorn: Das Geld der Kunsthalle Bern = Money at the Kunsthalle Bern. Bern: Kunsthalle, 2001.
Find full textBook chapters on the topic "Bean Museum"
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Menkveld-Gfeller, Ursula. "BERN: The Natural History Museum — An Institution of the Burgergemeinde of Bern." In Paleontological Collections of Germany, Austria and Switzerland, 57–68. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-77401-5_6.
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Chambers, Claire. "‘I haf been to Cambridge!’: Muslim Fictional Representations of Britain, 1855–1944." In Britain Through Muslim Eyes, 95–142. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137315311_4.
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Bakali, Naved. "How the Muslim ‘Other’ has been Conceptualized in the Quebec Context." In Islamophobia, 43–62. Rotterdam: SensePublishers, 2016. http://dx.doi.org/10.1007/978-94-6300-779-5_4.
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Köppchen, Anja. "Cube Design Museum—Empathic Co-design for Societal Impact." In Springer Series in Design and Innovation, 109–17. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-78733-2_11.
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AbstractCube design museum addresses current and future challenges within the broader context of an ageing and shrinking society, to improve the quality of life of people of all ages. The chapter presents the development of a tool, to stimulate and facilitate new, participatory ways of policymaking, to drive citizen engagement and bottom-up social innovation: the Co-Design Canvas. It has been co-designed and tested within the context of the village of Ransdaal in the Netherlands.
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Ho, Selina C. F. "Introduction." In Museum Processes in China. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2019. http://dx.doi.org/10.5117/9789463723527_ch01.
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The museum enterprise in China has long been seen as a state monopoly. This chapter finds that the contingent roles of the state and the market, the agencies of social and cultural actors in their signifying practices, as well as the notion of museum public, have been neglected in the existing analyses of museums in China. By drawing the constructive, multidimensional model, ‘museum circuit’, it argues that the study of China’s museums should incorporate reflection upon institutional-regulatory changes, processes of cultural production by networks of museum intermediaries, and processes of museum consumption as practices of appropriation, negotiation, or resistance. Based on the model, it suggests an empirical study of the art museal processes that have affected GPRD since the 1990s.
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Bearman, David. "Geo-Aware Digital Cultural Heritage." In Handbook of Research on Culturally-Aware Information Technology, 431–45. IGI Global, 2011. http://dx.doi.org/10.4018/978-1-61520-883-8.ch019.
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Museums face numerous challenges in the 21st century. Among these are a loss of cultural authority and the dispersion of collected objects through museums worldwide that makes it impossible for users to know where to search, or how to search, for items that might be of interest to them. The consequences are that museums and their holdings are less well known, and less understood, than they ought to be. An emerging technical infrastructure of “smart” objects and location-aware devices can play a role in enabling museums to succeed in these tasks. If the museum adds geographical coordinates to the description of the objects in its collections, people who are in the vicinity of those locations can be informed about the holdings of the (distant) museum, 24 hrs a day. These people include those from whose cultures the objects were once taken and people visiting as tourists; these two audiences are especially interested in understanding the museum’s collection, because it is relevant to them, literally ‘where they stand.’ Having access to the cultural objects that have been removed from their original contexts can reduce demands that they be repatriated, especially if the museum can engage locals to contribute their knowledge of the objects, and tourists to supply terms in their native language that would help their compatriots find the object. In this way, geo-aware objects could help museum fulfill numerous demands currently being made of them and usher in an extra-institutional dimension to cultural interpretation. This chapter examines the requirements for museum success in a geo-aware future.
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Jules-Rosette, Bennetta, and J. R. Osborn. "Reaching Out." In African Art Reframed, 94–120. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043277.003.0004.
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This chapter examines strategies of museum outreach and museum education in the public sphere. It contrasts the mythos and chronos of museum narratives through a content, architectural, and design analysis of the Smithsonian National Museum of African American History and Culture. Case studies of youth interactions explore the ways that museums extend their educational mission. The control that museums seek to establish within their exhibtionary complexes often moves out of their control when diverse publics are involved, and expanded audiences stake their own claims on the representation of heritage. This process has contrasting political implications for diverse populations. Curatorial narratives, the mythos of museum histories, catalogues, outreach programs, and various technological interventions have been deployed to address the communicative gaps between curators and their audiences.
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Jules-Rosette, Bennetta, and J. R. Osborn. "Personal Journeys and Reflections on African Art." In African Art Reframed, 279–92. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043277.003.0009.
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Museum visits are highly personal. In this chapter, the authors share their personal journeys of museum worlds in order to inspire readers to embark on their own explorations. There are many channels through which African art reaches the rest of the world, including museum imports, private markets, catalogues, book publications, and tourist photographs. All of these outlets contribute to personal discoveries of African art. The book began with a focus on official museums, but, as the sample grew, the researchers moved beyond the walls of museums into personal collections and outdoor venues of artistic performances and festivals. The chapter discusses the authors’ interdisciplinary conversations along the way and the researchers’ reflexivity at the surprise of discovering oneself as a museum subject.
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Davis, Peter. "The Bear in the Museum." In The Bear: Culture, Nature, Heritage, 107–18. Boydell & Brewer, 2019. http://dx.doi.org/10.2307/j.ctvktrz6r.16.
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Shaw, Ian. "10. Cultural heritage." In Ancient Egypt: A Very Short Introduction, 141–52. Oxford University Press, 2021. http://dx.doi.org/10.1093/actrade/9780198845461.003.0010.
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‘Cultural heritage’ discusses the impact of the events of the Arab Spring in 2011 on pharaonic cultural heritage. The first real indication of any threat to Egyptian heritage arrived on 28 January 2011, when protesters set fire to the headquarters of the ruling National Democratic Party in downtown Cairo, which was immediately next door to the Egyptian Museum. In addition to theft from museums or archaeological sites, there was also the phenomenon of ‘land-grabbing’ either for agriculture or building projects. There have been some very innovative approaches to cultural heritage management in Egypt, including the establishment of Egypt's new museums, such as regional museums and the Grand Egyptian Museum.
Conference papers on the topic "Bean Museum"
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Canbakal Ataoğlu, Nihan, Habibe Acar, and Aysel Yavuz. "Museum’s Open Space." In 3rd International Conference of Contemporary Affairs in Architecture and Urbanism – Full book proceedings of ICCAUA2020, 6-8 May 2020. Alanya Hamdullah Emin Paşa University, 2020. http://dx.doi.org/10.38027/n382020iccaua3163635.
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Museums are institutions that carry on the cultural and artistic treasures of societies to future generations. Economic social, cultural and philosophical thoughts in the world have changed the understanding of museology. At the beginning of the 20th century, modern architects brought new expansions to classical museum typology. In the 1970s, museums began to draw attention as the city's landmark and meeting points. Along with the museums, courtyards, squares and gardens, which are open spaces of museums, have also changed. By joining the city life, they became new social attraction centers. Museums and museum open space from Turkey and the world in the study areas, classified under the headings of traditional and contemporary, will be analyzed under the headings of form, style, material, elements of boundry, planting design, activities area, urban furniture, and function. In order to demonstrate the changing today’s museum’s open space; an analysis will be made using spatial experiences, observations, syntactic analysis technique. Study’s contribution to the literature will be determined by the design approaches of contemporary and traditional museum open spaces. As part of the museum identity and character, it will be pointed out that the open spaces of the museum are as important as the design of the museum buildings.
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Spadoni, Elena, Marina Carulli, and Monica Bordegoni. "Virtual Reality to Improve the User Experience of Traditional Museums." In ASME 2020 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. American Society of Mechanical Engineers, 2020. http://dx.doi.org/10.1115/detc2020-22413.
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Abstract Museums have been subjected to important changes in the approach they use to involve visitors. Among the other trends, storytelling and interactive exhibitions are two of the most used approaches used to make exhibitions more interesting for users. Virtual Reality and Augmented Reality methods can be effectively used in the context of a museum exhibition to support both storytelling and interaction. The primary objective of the use of these technologies is to make the visit of museums much more engaging, and suitable for different types of visitors. Among the several museums that are moving in this direction, there is the Museo Astronomico di Brera. The museum mainly consists of a corridor, hosting instruments used by astronomers, and the Cupola Schiaparelli, which is an observatory dome. The aim of the research presented in this paper is to develop an interactive Virtual Reality application to be used for improving the users’ experience of visits to the Museo Astronomico di Brera. Specifically, the paper presents a VR application to virtually visit the Dome. Preliminary tests have been carried out for evaluating the users’ sense of presence in the VR environment. An analysis of the collected data is presented in the paper.
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Borsotti, Marco. "From the invisible from the everyday, the unmentionable towards narrative strategies to explain, understand, remember. New Perspectives on Cultural Preservation." In Systems & Design: Beyond Processes and Thinking. Valencia: Universitat Politècnica València, 2016. http://dx.doi.org/10.4995/ifdp.2016.3211.
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This proposal takes into consideration three categories of unusual narrative, connected to human life - the invisible, the everyday and the unmentionable - often placed in the outer fringe of our attention or completely ignored. The invisible: that which inhabits our world and often influences our lives, even though escaping our awareness because active in dimensions that we cannot see or do not know to guess. The everyday: what accompanies us in every moment of our lives and that produces in us a habit that makes it obvious (and then again, but otherwise invisible). The unmentionable: what happened at some time and somewhere, and the memory of which, for convenience, hypocrisy or convenience, has been removed or put on the edge of our life (and therefore to the visible limits), These categories have been chosen because of paradigmatic of new experiences on Cultural Preservation. The comprehension of the fundamental value of intangible cultural heritage, which came less than ten years ago to be part of the definition of "museum" written by ICOM (International Council of Museums), indeed, has opened new perspectives in the field of curating and of exhibition design, often destabilizing and unexpectedly coincident. Therefore we needs updated languages, more interactive and interdisciplinary towards the construction of a real design of the intangible cultures, able to reflect (and make reflect) on at first sight marginal phenomena, preserving their value of social and historical testimony and making it comprehensible to an audience as broad as possible. The new methods of staging these tales turn the apparent immateriality of knowledge of their socio-cultural values into occasion of development solutions, in form of exhibition design products and related services. We will examine as case studies, among others: for the invisible - l’Amterdam Micropia Musem (ART+COM studios), the World Water Museum (Keti Haliori), the Water Museum (P-06 atelier); for the everyday - the Museum of Broken Relationships (Vištica and Grubišić), the Museum of Obsolete Objects (Jung von Matt), The Museum of Everyday Life (Tidens Samling) for the unmentionable - the Museo Laboratorio della Mente (Studio Azzurro), the Memoria y Tolerancia Museum (Arditti+RDT).DOI: http://dx.doi.org/10.4995/IFDP.2016.3211
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Willeart, Saskia. "Digitizing collections of musical instruments in Africa." In SOIMA 2015: Unlocking Sound and Image Heritage. International Centre for the Study of the Preservation and Restoration of Cultural Property, 2017. http://dx.doi.org/10.18146/soima2015.1.05.
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In 2013–2014 the Musical Instruments Museum (mim) in Brussels worked with Musée de la Musique (MMO) in Ouagadougou, Burkina Faso, and the Musée Panafricain de la Musique (MPM) in Brazzaville, the Republic of the Congo to build digital inventories of their musical instrument collections. The purpose of this digitization campaign has been to provide a more complete view of musical world heritage by incorporating not only African instruments but also the African terminology that describes these instruments, into international research databases. The cooperative digitization work has helped bring attention to valuable but not easily accessible collections. Both the musical patrimony held in African museums and the metadata they provide are proving to be valuable sources for understanding musical world heritage.
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Mezzino, Davide, and Francesca Valentina Luisa Lori. "THE DIGITAL TRANSFORMATION OF THE MUSEO EGIZIO." In ARQUEOLÓGICA 2.0 - 9th International Congress & 3rd GEORES - GEOmatics and pREServation. Editorial Universitat Politécnica de Valéncia: Editorial Universitat Politécnica de Valéncia, 2021. http://dx.doi.org/10.4995/arqueologica9.2021.12041.
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The project of digital transformation of Museo Egizio di Torino started in response to the rapid change of its structure and needs. The project is centred on the integration of heterogeneous information and data to implement collection management, conservation and research workflows. This paper presents the concept and design of a management system, called SiME (Sistema Museo Egizio) that the Museum conceived in collaboration with Politecnico di Milano. The project is intended not only as a mere acquisition of technological tools, but rather as the construction of an integrated system that facilitates dialogue and connections between all museum activities, from daily management to research, from the design of installations to the generation of multiple possible narratives. Considering the pace of technological innovation a solid methodological approach has been adopted in order to ensure the longevity of the designed solutions in a long-term perspective.
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Nastase, Mihai-Claudiu, Alexandru Mitru, and Loredana Andreea Paun (Parnic). "The Social and Economic Impact of COVID 19 Pandemic on Museums. Case Study: „Princely Court” National Museum Ensemble." In International Conference Innovative Business Management & Global Entrepreneurship. LUMEN Publishing, 2020. http://dx.doi.org/10.18662/lumproc/ibmage2020/25.
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The new coronavirus (Covid-19) is one of the main challenges world today has to address. With no large scale availability vaccine yet, and more or less experimental medical treatments for curing the disease, we can safely say that we are still far behind a solution to this problem. This new pandemic is considered the biggest threat to the global economy since the Second World War and there is no aspects of human life have not been affected it, spiritual ones included. Its high contagiousness, as well as novelty, raised all kind of challenges and one of the main ones was our manner to produce answers, in early stages at least, this creating problem on its own and of its design. As well as all the other institutions, theatres, cinemas, concert halls, spaces of socialization and in the same time places of wonder, knowledge and spiritual enrichment the museums were heavily affected by the pandemic crisis, especially those who’s collections are not, but in very small proportion available, to the public through virtual media. Such a case is „Princely Court„ National Museums Ensemble from Targoviste, Dambovita County, Romania. The present paper proposes an overview of the highlights in institution′s activity the past years in comparison with how the pandemic crisis affected its activity in the past months and what were the responses given to keep the museum in the eye of the public. It will also try to summarize how and to what extent the activity went back to „normal” after the emergency state earlier imposed was lifted and how the visitors responded to the new realities.
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Parkhomenko, Olga. "Checking library collection enables to analyze its composition as exemplified by the Pushkin State Museum of Fine Arts Research Library." In The Book. Culture. Education. Innovations. Russian National Public Library for Science and Technology, 2020. http://dx.doi.org/10.33186/978-5-85638-223-4-2020-186-189.
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The Library of the Pushkin State Museum of Fine Arts is rich in rare and unique publications, and those of memorial value. The collection checking envisages visual revision and analysis of every book, and during this process the specialists revealed a number of valuable publications for further research. Also all registered publication went through the stage of initial collection specification (e.g., Rumyantsev museum collection, collection of the New Western Arts Museum, memorial libraries, etc). Currently, this information has been being entered into the e-catalog. This will enable to verify special arrays within the Research Library’s collection and simplify investigations into historical and memorial book collections and individual valuable publications.
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Kovalchuk, T. A. "PROBLEMS OF FORMATION OF PROFESSIONAL COMPETENCES OF LIBRARY SPECIALISTS NECESSARY TO WORK WITH OBJECTS OF MUSEUM SIGNIFICANCE IN LIBRARIES." In БИБЛИОТЕКИ В ИНФОРМАЦИОННОМ ОБЩЕСТВЕ: СОХРАНЕНИЕ ТРАДИЦИЙ И РАЗВИТИЕ НОВЫХ ТЕХНОЛОГИЙ. ООО «Ковчег», 2020. http://dx.doi.org/10.47612/978-985-884-010-5-2020-268-277.
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The article outlines some problems of the formation of professional competencies of library specialists necessary for working with objects of museum significance in libraries. The analysed problems have been caused by absence in the curriculum for the specialty «1-23 01 11 Library and Information Activities (by specialties)» of disciplines directly aimed at the formation of the designated competencies. The article indicates the necessity of introduction into the educational process of an optional discipline «Organization and Technology of Work with Museum Collections of Libraries» at the Faculty of Information and Documentary Communications of the Educational Institution «Belarusian State University of Culture and Arts».
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Sampaio, Alcinia Zita. "The museum as an educational support in a Civil Engineering context." In Fourth International Conference on Higher Education Advances. Valencia: Universitat Politècnica València, 2018. http://dx.doi.org/10.4995/head18.2018.7442.
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A Museum, when inserted in a Technical University, is a privileged place for the preservation of the historical memory concerning the construction techniques evolution along ages. The construction industry have been evolved in teaching methods, in the use of specific equipment and applied technologies, and in the way of presenting and making drawing. The Museum presents a reminder of how the technology advanced to the current methodologies of work. The Museum of Civil Engineering of the Instituto Superior Técnico (IST) contains a significant collection of elements offered by teachers and entities which is in exhibition, in a proper room, inserted within the University space. Elements such as: a model of the Pombaline cage, illustrating the constructive technique anti-seismic applied after the earthquake of 1755 or the wooden models of roof framesare examples that are preserved and kept in adequate conditions, contributing to the dissemination of the technical heritage and to the memory and history of the Construction. In the context of the congress some elements used to support teaching and related with traditional building technologies are described in detail.
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Melchor, Jose Manuel, and Jose Madrid. "DOCUMENTACIÓN Y ANÁLISIS DE PIEZAS ARQUEOLÓGICAS DEL MUSEO DE BURRIANA MEDIANTE EL USO DE RX DIGITAL." In ARQUEOLÓGICA 2.0 - 8th International Congress on Archaeology, Computer Graphics, Cultural Heritage and Innovation. Valencia: Universitat Politècnica València, 2016. http://dx.doi.org/10.4995/arqueologica8.2016.2987.
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This paper is the result of the research conducted on more than 200 archaeological artefacts from the Museum of Burriana as a result of 6 years of scientific collaboration between the Museum and the Instituto Universitario para la Restauración del Patrimonio of the Universitat Politècnica de València. Digital X-rays Technology has been used on these artefacts. This technique has allowed achieving valuable information in different aspects of the artefacts: from its content (in the case of well-preserved specimens) to technical manufacturing, or analysis of evidence of previous restoration interventions. The application of Digital X-ray Technology has shown a number of important benefits; not only at the economic level and data manipulation, but also allowing as data collectors that can be further processed and thereby obtain outcome. These results can be used into different 2D or 3D formats.