Dissertations / Theses on the topic 'Cultural heritage and museology'

The purpose of this thesis is to study and analyse the Gorky Museum in Moscow, a house museum dedicated to the writer Maxim Gorky. The work explores the socio-political and cultural background for the museum, as well as what is conveyed there today, and how the museum approaches problems that house museums generally struggle with. The empirical part of the study is based on the fieldwork that the author conducted at the Gorky Museum during one month in the autumn of 2016, during which open and participant observation of the daily work at the museum was carried out. Attentive observations and systematic notes from guided tours constitute the basis for the description of the material and immaterial features of the museum. For the chapter on the historical and cultural context concerning the Gorky Museum, literary sources were used. The results of the study imply that there existed an authorised heritage discourse (AHD) in the Soviet Union that was directly governed by the authorities, that museums in the Soviet Union were politicised in a much more open manner than in the West, and that the young Soviet state needed to form a national identity for which Maxim Gorky and his literature came in handy. Further, they show that what is conveyed at the museum is something more than just Gorky himself, and that the complex relationship between Gorky and the house changes the impression that the visitors to the museum experience. Lastly, they demonstrate that the Gorky Museum is not exempt from dealing with questions regarding authenticity, representativeness, stereotypization and ”genius loci”, i. e. a sense of the lingering presence of the person commemorated. The conclusions to be drawn from this are that the complexity of the Gorky Museum lie in the fact that a collision between different values can be discerned at the museum, that a disharmony between Gorky and the house itself can be perceived, and that there exists more than one ”genius loci” at the Gorky House. This is a two-year master’s thesis in Museum and Cultural Heritage Studies.

Este estudo estabelece uma análise comparativa entre três museus com colecções etnográficas: dois museus no contexto internacional: o Museum of World Culture, em Gotemburgo, e o World Museum Liverpool, e, em Portugal, o Museu Nacional de Etnologia. Na era da globalização, o multiculturalismo e a preservação da diversidade cultural representam novos desafios para os museus, em particular para os etnográficos. Não se trata só de conhecer o “Outro”, que está no centro dos museus tradicionais, mas de uma nova perspectiva sobre a diversidade, que se desenvolve também nas nossas sociedades, com as comunidades de imigrantes, que implica que o “Outro” ou “Outros” passaram a fazer parte de “nós”. Diante da emergência de novos paradigmas, este estudo procura reflectir sobre os desafios contemporâneos de uma museologia mais representativa, inclusiva e participativa. Com base na investigação realizada, concluiu-se que, pese embora as diferenças de percurso e de contexto institucional e as diferentes circunstâncias nas quais se enquadram, os três museus reconhecem a alteração do seu papel em função das mudanças sociodemográficas das sociedades em que estão inseridos, todavia, as respostas são variáveis quanto à sua operacionalização nas práticas museológicas; ABSTRACT: This study establishes a comparative analysis between three museums with ethnographic collections: two of these museums are in the international museum scene (Museum of World Culture, in Gothenburg, and the World Museum Liverpool) and one museum in Lisbon, the National Museum of Ethnology. With globalization, multiculturalism and the preservation of cultural diversity represents new challenges for museums, especially ethnographic museums. It’s not just about knowing the “other”, which is at the center of traditional museums, it’s about a new perspective about diversity, which is being developed in our societies with the immigrant communities, meaning that the “other” is now part of “us”. Taking in consideration the emerging of new paradigms, this study reflects on the contemporary challenges of a more representative, inclusive and participatory museology. This research revealed that in spite of the differences between the case studies, the three museums recognized that their role is challenged by sociodemographic changes within the societies they operate, however different perspectives are developed.

Le 10 octobre 2007, le premier musée de l'immigration en France ouvre enfin ses portes après moult années de militantisme de la part des associations et des universitaires et une prise de conscience progressive des pouvoirs publics. Cette nouvelle institution, qui bénéficie du rare statut juridique de musée national, intitulée musée national de l'histoire et des cultures de l'immigration s'insère dans le cadre d'une structure organisationnelle qui dépasse le simple cadre du musée, la Cité nationale de l'histoire de l'immigration, un établissement pluridisciplinaire sous la quadriple tutelle des ministères de la Culture, de l'Education, de la Recherche et de l'Intégration. L'objet de notre thèse consiste à déterminer comment s'opère la construction médiatique des identités du musée national de l'histoire et des cultures de l'immigration. Cette analyse commence par une interrogation sur les outils conceptuels intéressants pour ce sujet. A partir du postulat d'aborder le musée comme espace de communication symbolique (Davallon, Schiele, Lamizet, Dufrêne, Regourd), elle envisage les préalables épistémologiques des sciences humaines et sociales, l'identité comme construit (Claude Lévi-Strauss) et l'identité narrative (Paul Ricoeur), les fondements en muséologie (les modèles muséologiques) et en médiation culturelle (les notions de dispositif de médiation et d'espace public). Notre analyse se poursuit par une étude de la superposition des médiations selon les différentes temporalités du musée, celle du musée imaginé (les récits de l'utopie au travers des documents préparatoires) et celle du musée réalisée (médiation architecturale, muséographique, du site), ce qui nous amène à une interrogation sur les conflits des médiations à l'œuvre au sein du musée tant du point de vue de la forme que du fond : récit colonial et récit républicain, récits historiques, artistiques et anthropologiques, récits historiques et mémoriels, récit d'unité de la nation et récit de diversité du patrimoine des migrants. Le constat d'une polyphonie énonciative et d'une pluralité d'identités du musée national de l'histoire et des cultures de l'immigration nous conduit à sont tour à une réflexion sur le discours républicain à l'épreuve des mémoires et à l'émergence d'un nouveau modèle muséal : voit-on se dessiner un musée de l'innovation sociale à partir de la structure musée/réseau ? Dans quelle mesure la réflexion sur la diversité culturelle et l'interculturalité qui traverse l'espace public contemporain affecte t-elle le musée à l'heure de la mondialisation ? Peut-on parler de l'émergence d'un prototype muséal hybride entre musée républicain et musée de voisinage, universalisme et communautarisme ?

A new cultural policy developed in Sweden in the 1960’s in order to renew the activities of mseums in a more socially relevant direction. The dissertation examines whether the museums adopted the new policy and to what extent the objectives were achieved. The thesis analyses three main areas: the new cultural policy and the attempts to implement it; activities in selected museums along with different intellectual trends that shaped their activities; and the debate between different “thought collectives” (L. Fleck) regarding museums’ missions and objectives as well as expectations within the museum sector. How did the various “actors” relate to the objectives of the new cultural policy? The thesis confirms the potential of the museums as generators for renewal and innovation in terms of democracy and development of the society. There was a clear shift in attitudes from values associated with the “Cultural heritage museum” towards the in this thesis introduced idea of the “Community museum”. The study shows how museums tried to introduce activities relating to current political and social issues, which supports the principal hypothesis in the study, that the museums became more socially relevant during the investigated period. However, during the 1980s, there could be seen a clear recurrence back to the idea of “Cultural heritage museum”. The movement in opposite directions illustrates the museums’ strong ties to the earlier traditional ”styles of thought” (Fleck) and their role as cultural guardians, which severely restricted their capacity for innovation and new ways of thinking. Nevertheless, the Swedish Exhibition Agency (Riksutställningar) performed a role as a searhead for the new cultural policy, corresponding with the heterodoxy and new style of thinking represented by the “Community museum”. A number of persons dominating the debate within the museum sector had a crucial importance in the shift towards the concept of “Community museums”. A revitalisation of the exhibitions, pedagogy and content was accomplished, often as a result of the Swedish Exhibition Agency’s efforts to develop the medium. During the period 1965–1990 Swedish museum exhibitions moved towards a temporary and more socially oriented content. According to Steven Conn’s principal thesis “Do museums still need objects?” the importance of objects gradually declined during the last century. In line with this development, the new Museum of Work had no objects/collections of its own. Furthermore, the arrival of new technology in the late 1980’s gave preconditions for reshaping knowledge and contributed to new attitudes towards communication. Museums were now seen as centres for social contact and communication. The role of museology as an academic discipline in the reprogramming of the museums towards a more socially oriented approach is another important issue. Museology has been criticized by those who – int the debate – questioned the entire idea of “Community museum”.

La ricerca affronta il tema del crescente spazio che la considerazione del patrimonio culturale immateriale ha acquisito nel panorama mondiale a partire dagli ultimi decenni, in particolare dal 2003, quando l’UNESCO ha stilato la Convenzione per la salvaguardia del patrimonio culturale immateriale. Oltre a ripercorrere le tappe storiche che nel XX secolo hanno condotto a tale risultato, esso traccia un ancora poco esplorato parallelismo - formale e teorico - tra l’evoluzione del concetto di patrimonio immateriale e lo sviluppo delle forme dell’arte contemporanea a partire dal secondo dopoguerra fino ad oggi. Tale tematica interessa anche il museo e una lettura della sua storia più recente mette in luce le conquiste e le difficoltà conseguenti l’accoglienza di manifestazioni immateriali all’interno delle collezioni. Tale aspetto viene avvicinato anche con gli strumenti dell’estetica fenomenologica, che contribuiscono a valutare possibili future azioni museologiche e museografiche nei confronti del patrimonio immateriale, nella direzione di un maggior rispetto della collezione e di un migliore coinvolgimento dei vari pubblici. Il contributo si sofferma altresì ad approfondire alcuni aspetti dell’architettura contemporanea, della didattica museale e dell’utilizzo delle nuove tecnologie in ambito museale valutandone utilizzi positivi o al contrario poco adeguati per una seria e fruttuosa valorizzazione del patrimonio immateriale.
This PhD dissertation deals with intangible cultural heritage and museums. An increasing interest in intangible heritage has been arising in the world in these last years, especially since 2003, when UNESCO drew up the Convention for the Safeguarding of Intangible Cultural Heritage. A detailed historical review shows the steps which brought to this attainment; a formal and theoretical parallelism between intangible heritage and contemporary art is outlined too. A study on the very recent history of museums allows to underline the difficulties museum encounters in collecting intangible heritage. It’s possible to think about new museological solutions thanks to the contribution of aesthetics: the thought of phenomenology helps in finding ways to respect the collection and to involve the publics. The dissertation also deals with the contemporary architecture of museums, with museum education and with the use of new technologies in museums: some uses are bad, others are good and useful for the communication of intangible cultural heritage.

La ricerca affronta il tema del crescente spazio che la considerazione del patrimonio culturale immateriale ha acquisito nel panorama mondiale a partire dagli ultimi decenni, in particolare dal 2003, quando l’UNESCO ha stilato la Convenzione per la salvaguardia del patrimonio culturale immateriale. Oltre a ripercorrere le tappe storiche che nel XX secolo hanno condotto a tale risultato, esso traccia un ancora poco esplorato parallelismo - formale e teorico - tra l’evoluzione del concetto di patrimonio immateriale e lo sviluppo delle forme dell’arte contemporanea a partire dal secondo dopoguerra fino ad oggi. Tale tematica interessa anche il museo e una lettura della sua storia più recente mette in luce le conquiste e le difficoltà conseguenti l’accoglienza di manifestazioni immateriali all’interno delle collezioni. Tale aspetto viene avvicinato anche con gli strumenti dell’estetica fenomenologica, che contribuiscono a valutare possibili future azioni museologiche e museografiche nei confronti del patrimonio immateriale, nella direzione di un maggior rispetto della collezione e di un migliore coinvolgimento dei vari pubblici. Il contributo si sofferma altresì ad approfondire alcuni aspetti dell’architettura contemporanea, della didattica museale e dell’utilizzo delle nuove tecnologie in ambito museale valutandone utilizzi positivi o al contrario poco adeguati per una seria e fruttuosa valorizzazione del patrimonio immateriale.
This PhD dissertation deals with intangible cultural heritage and museums. An increasing interest in intangible heritage has been arising in the world in these last years, especially since 2003, when UNESCO drew up the Convention for the Safeguarding of Intangible Cultural Heritage. A detailed historical review shows the steps which brought to this attainment; a formal and theoretical parallelism between intangible heritage and contemporary art is outlined too. A study on the very recent history of museums allows to underline the difficulties museum encounters in collecting intangible heritage. It’s possible to think about new museological solutions thanks to the contribution of aesthetics: the thought of phenomenology helps in finding ways to respect the collection and to involve the publics. The dissertation also deals with the contemporary architecture of museums, with museum education and with the use of new technologies in museums: some uses are bad, others are good and useful for the communication of intangible cultural heritage.

omando como referência fundamental o trabalho desenvolvido pela UNESCO em matéria de proteção do Património Cultural Imaterial (PCI), muito particularmente a Convenção para a Salvaguarda do Património Cultural Imaterial (2003), considerou-se oportuno refletir sobre as implicações que este enfoque traz para os museus. São indiscutíveis as repercussões que este instrumento trouxe para o reconhecimento da importância do PCI à escala internacional, motivando um crescendo de iniciativas em tomo da sua salvaguarda. São vários os agentes envolvidos na preservação deste património, no entanto o International Council of Museums (ICOM) reconhece um papel central aos museus nesta matéria. Mas para responder a este repto, os museus terão que repensar as suas estratégias de forma a relacionar-se mais com o PCI, contrariando uma longa tradição profundamente enraizada na cultura material. O presente estudo reflete sobre as possibilidades de actuação dos museus no sentido de dar resposta aos desafios da Convenção 2003, sendo certo que a partir das catividades dos museus é possível encontrar formas de estudar e de dar visibilidade a este património. Em função das especificidades de cada museu, podem ser encontradas estratégias de salvaguarda do PCI, entre as quais se pode incluir o inventário e a documentação (audiovisual, texto, áudio, imagem), a investigação, a divulgação através de exposições e publicações, difusão através da internet, educação não formal, entre outras actividades. Alguns museus começaram já a desenvolver abordagens integradas para a salvaguarda do PCI, cujos exemplos se apresentam. Este tema suscita vários desafios, implicando práticas museológicas inovadoras que possam reflectir o papel dos museus como promotores da diversidade e criatividade cultural. ABSTRACT: Recalling the UNESCO's work towards the protection of Intangible Cultural Heritage (ICH), in particular the Convention for the Safeguarding of the Intangible Cultural Heritage adopted in 2003, I took this opportunity to reflect upon the implications that this recognition brings to museums. The overwhelming success of this document has raised the importance of ICH at international level, motivating a growing number of initiatives towards its safeguard. Accordingly, to the 2003 Convention, there are many agents involved in the preservation of this heritage, yet the International Council of Museums (ICOM) recognizes a central role for museums. Nevertheless, to face this challenge, museums will have to rethink their relationship with ICH in opposition to their deep rooted tradition in material culture. The present study reflects upon the possibilities that museums have to answer the changeling 2003 Convention, recognizing that it’s possible through museum activities to find ways to study and give visibility to ICH. According to each museum specificities, it seems clear that strategies can be engaged in order to promote the safeguard of ICH, including inventory and documentation (audiovisual, audio, text and image), research, promotion through exhibitions, publications, dissemination trough internet and other means, informal education, among other activities. Many museums have already started exploring integrated approaches towards the safeguard of ICH and some of these examples are presented in this study. This theme is challenging, implying innovative museum practices which reflect on museums role towards the promotion of cultural diversity and creativity.

L’archivio d’arte contemporanea è un dispositivo culturale attivo volto a selezionare, catalogare, divulgare, esporre e promuovere la creatività artistica in divenire. Queste pratiche di salvaguardia e valorizzazione dei beni artistici sono attività necessarie per la gestione e l’elaborazione del patrimonio culturale, come anche per l’interpretazione del presente. La ricerca sul S.A.C.S., lo Sportello per l’Arte Contemporanea della Sicilia del Museo Riso di Palermo, nasce per valorizzare, attraverso l’approccio integrato della museologia e della fenomenologia dell’arte contemporanea, un giovane Archivio d’arte dedicato ai nuovi creativi siciliani. La tesi, strutturata in tre capitoli, comprende: l’analisi dei valori che caratterizzano la ricerca artistica contemporanea per la creazione del futuro patrimonio culturale, strettamente connessi all’istituzione museale, quale luogo ideale di validazione, promozione e patrimonializzazione dell’arte del presente; la storia del Museo Riso e dell’Archivio S.A.C.S.; lo studio comparativo dei più importanti archivi, forum e sportelli d’arte contemporanea nazionali e internazionali; la descrizione del lavoro di salvaguardia e valorizzazione dell’Archivio S.A.C.S., nonché una proposta museografica per realizzare uno specifico spazio espositivo S.A.C.S. secondo la formula allestitiva dell’Archive Room. Alla luce dell’esperienza acquisita durante la ricerca si è evinto che gli archivi d’arte contemporanea, per la loro saggezza profetica nel delineare già adesso i tratti del futuro patrimonio artistico-culturale, si confermano paradigmi critici imprescindibili di conoscenza, comunicazione, accreditamento e incentivazione della cultura visiva non ancora storicizzata. Atti a promuovere beni artistico-culturali, gli archivi d’arte contemporanea sono essi stessi beni culturali, i quali, a loro volta, necessitano di essere costantemente tutelati e valorizzati.
The contemporary art archive is an active cultural device geared to selecting, cataloguing, disclosing, exposing and promoting the artistic creativity in progress. These practices of preservation and enhancement of artistic heritage are necessary activities for the management and elaboration of cultural heritage, as well as for the interpretation of the present. The research on the S.A.C.S., the Sicilian Contemporary Art Front Office of the Riso Museum of Palermo, was created to promote, through the integrated approach of museology and phenomenology of contemporary art, a young art archive dedicated to new Sicilian creative artists. The thesis, structured in three chapters, includes: the analysis of the values that characterize contemporary artistic research for the creation of the future cultural heritage, closely related to the museum institution, as an ideal place of validation, promotion and patrimonialization of the art of the present; the history of Riso Museum and that of S.A.C.S. Archive; the comparative study of the most important national and international contemporary art archives, forums and front offices; the description of the work of safeguarding and enhancing of S.A.C.S. Archive, as well as a museographic proposal to create a S.A.C.S. specific exhibition space according to the exhibition formula of the Archive Room. In the light of the experience gained during the research it has been shown that contemporary art archives, for their prophetic wisdom in outlining already now the features of the future artistic-cultural heritage, confirm themselves as essential critical paradigms of knowledge, communication, accreditation and promotion of visual culture not yet historicized. Aimed at promoting artistic-cultural heritage, contemporary art archives are themselves cultural heritage, which, in turn, need to be constantly safeguarded and valorized.

Dès l'indépendance, l'Algérie traça une politique culturelle visant la prise en charge globale de son patrimoine culturel. L'état des lieux montra des conditions de développement culturel déplorables, héritées de l'époque coloniale. Une politique d'institutionnalisation des différents aspects du patrimoine national fut progressivement mise en œuvre, accompagnée d'un dispositif juridique important. Les débuts de l'archéologie algérienne se singularisent par des pratiques empiriques, eu égard aux carences en ressources humaines qualifiées, à l'absence de savoir-faire dans le domaine des métiers du patrimoine. Une attention particulière fut accordée à l'archéologie musulmane eu égard au retard accusé par rapport à l'époque antique. Cependant, des difficultés inhérentes aux approches et stratégies mises en œuvre (mode de gestion centralisée, carence en formation, insuffisance de moyens,...) ont contribué à maintenir le développement du secteur patrimonial à un cap qui n'eut pas l'ampleur souhaitée par les acteurs de la culture. Une étude de cas porte sur deux musées de sites, les musées archéologiques de Cherchel ; l'un est de conception et de création coloniale ; l'autre est de programmation algérienne. Cette étude de cas met en exergue les stratégies, les approches et les pratiques muséologiques algériennes
After the independence, Algeria developed a cultural policy for the overall management of its cultural heritage. An assessment of the former indicated deplorable cultural development conditions which were inherited from the colonial era. A policy of institutionalization of the different aspects of the national heritage was implemented gradually, accompanied by the implementation of important laws. The beginnings of Algerian archeology were characterized by empirical practices that typically arose from the lack of qualified human resources. A special attention was given to the Islamic archeology with regard to the significant delay that occurred in the ancient times. However, the difficulties inherent to the implementation of training, insufficient resources, etc...) have contributed to maintain the development of the heritage sector, unfortunately no to the desired extent. A case study that focuses on two the museums, the archeological museums of Cherchel ; the first site museum is of colonial design and creation and the second one is of an Algerian design. This case study highlights the strategies, approaches and practices of the Algerian museums

Depuis la fin des années 1980, les collaborations avec les communautés autochtones semblent s’accroître dans les musées canadiens. Un déplacement apparaît de la prise de parole en contexte de revendication au don de parole en contexte muséal. Après la remise en cause des musées ethnologiques, la prise en charge de la parole autochtone annonce le temps de la reconnaissance. Seulement, le mot reconnaissance est employé dans des contextes variés en muséologie. Ses occurrences indiquent plusieurs sens, dérivés de la volonté de redonner dignité et respect aux peuples autochtones et de produire des expositions qui présentent leur patrimoine d’origine à la lumière de leurs points de vue. Selon une approche communicationnelle, notre travail a porté sur les pratiques des musées qui consistent à donner la parole aux peuples autochtones et à l’exposer. Le travail a été centré sur la combinaison des points de vue autochtones avec ceux des concepteurs-muséographes. L’entreprise de la recherche a visé à cerner les opérations induites et générées par cette situation d’entrecroisements de points de vue, plus ou moins discordants, qui doivent, d’une manière ou d’une autre, s’unir dans un même espace communicationnel. Le système polyphonique de l’exposition est conceptualisé en trois moments de médiation : la prise en compte, la monstration et l’interprétation des points de vue autochtones. Ils correspondent aux intentions des concepteurs-muséographes et des expositions, puis à la manière dont elles sont interprétées par les visiteurs. Nous avons réalisé quatre enquêtes de terrain dans onze musées à travers le Canada : observation participante ; entretiens individuels auprès de professionnels des musées ; analyse de discours ; entretiens de groupes auprès de visiteurs autochtones et allochtones. Nous avons examiné les pratiques collaboratives et croisé ces quatre formes de discours des musées afin de mettre à l’épreuve le potentiel de reconnaissance des expositions qui tiennent compte des points de vue des représentants autochtones. Il résulte que la patrimonialisation est conçue en tant que processus de reconnaissance. De plus, l’intensification de la patrimonialisation des objets autochtones est synchronique de l’expansion coloniale. Néanmoins, l’analyse de la prise de distance du concepteur-muséographe vis-à-vis de son point de vue et de celui des autochtones rend compte des relations complexes entre le don de parole, l’autorité de discours et l’auctorialité. Malgré les divergences entre les intentions explicitées par les professionnels et leurs intentions implicites dans les expositions, les discours des visiteurs autochtones et allochtones traduisent un contrat de reconnaissance entre le musée et les visiteurs. Ainsi, le principe polyphonique et ses formes de reconnaissance sont mis en évidence dans les espaces de production et de réception des expositions produites en collaboration. Notre recherche révèle plusieurs modalités de reconnaissance manifestes dans la combinaison et l’entrecroisement des voix autochtones avec celles des praticiens. Cet essai d’interprétation met au jour des conflits d’ordre patrimonial et socio-historique qui engendrent des mécanismes de régulation par assimilation/accommodation. Il décrit deux logiques fondamentales relatives à l’identité et à la mémoire. De ces adaptations mises en œuvre par les musées ressort un phénomène permanent de reconnaissance amorcé depuis la colonisation des territoires autochtones. La recherche suggère finalement d’envisager le musée comme lieu de reconnaissance non seulement du patrimoine, mais aussi des publics et des peuples donateurs et donataires du patrimoine
Collaborations with aboriginal communities appear to be increasing in Canadian museums, with the communities shifting from speaking in a context of claiming theirrights to being given a voice in the museum context. In keeping with the questioning about ethnological museums, taking into account the voice of the aboriginal peoplesprefigures since the eighties the time for recognition. But the word recognition is used indiverse museum contexts.Based on a communicational approach, our research considers the links between thepolyphonic and recognition modalities of the exhibition media. We have attempted toidentify and understand the processes induced and generated by exhibitions’ interactionaland intertextual systems. The polyphonic system is conceptualized in three mediation moments in the production and reception spaces of the exhibition: acknowledgment, monstration, and interpretation of aboriginal points of view. They correspond to there cognition intentions of the exhibitions and designers-museographers, then visitors’recognition. We have conducted four field studies in eleven different Canadian museums : participant observation; one-on-one interviews with museum professionals; discourse analysis ; group interviews with native and non-native visitors. We have studied the collaborative practicesand these four types of museum discourses to demonstrate the recognition potential ofexhibitions dedicated to the aboriginals’ perspectives.Our research reveals several recognition modes manifest in the combination andinterlinking of aboriginals’ and practitioners’ voices; it identifies logic in the polysemy ofthe word recognition. This interpretation essay reveals patrimonial and socio-historical conflicts that generate regulation mechanisms through assimilation/accommodation. A permanent recognition phenomenon emerges from the adaptations implemented by themuseums since the beginning of aboriginal patrimonialization during the colonizationperiod. Our research proposes to apprehend the museum as a recognition place of heritage, but also of the general public and the peoples, whether donors or donees of that heritage

La plupart des analyses actuelles et averties de la notion de public s'intéressent à la diversité des modalités de construction de la catégorie désignée comme public. Elles tentent ainsi de s'écarter à la fois de la vision schématique d'un public assimilé à un groupe anomique et amorphe de récepteurs, et de celle de publics démultipliés à l'infini et jouissant d'une importante liberté. Aussi, ces recherches offrent un nouvel espace d'interrogations : entre structures et individualités, existe-il une (des) réalité(s) de la notion de public ? Et que recouvre(nt)-t-elle(s) ? Cette thèse traite de la question du public du patrimoine en envisageant la (les) forme(s) d'espace public que recouvre la maison de vacances de Marcel Proust : la Maison de Tante Léonie (Illiers-Combray, Eure et Loir). L'hypothèse qui sous-tend ce travail est l'existence d'un visiteur co-constructeur. Le patrimoine suscite une production de sens par une diversité d'acteurs (professionnels, pouvoirs publics, visiteurs, etc. ), ces significations contribuant, par adjonction et/ou conjonction, à façonner la symbolique du patrimoine. L'analyse des entretiens effectués auprès des visiteurs de trois sites (la Maison de tante Léonie, l'exposition Marcel Proust à la BnF en 1999 et le Musée Curie) a permis de mettre à l'épreuve cette hypothèse principale, en proposant une méthodologie originale combinant mondes de référence et critères de jugement. Des figures de visiteurs ont été dégagées et ne correspondent plus au public fort du schéma binaire proposé dans le cadre des recherches portant sur la télévision, et qui l'opposerait à un média fort. L'opposition fait place à une co-construction. En outre, les méandres des médiations (A. Hennion, 1993) mises en évidence, en faisant apparaître une forme de mutualité qui lie visiteurs, professionnels et objet patrimonial, font émerger des réalités de sujets et d'objets à la fois co-constructeurs et co-construits.

La tesi, sviluppata seguendo le linee di ricerca intraprese dalla Cattedra UNESCO dell’Università della Basilicata “Paesaggi culturali del Mediterraneo e comunità di saperi”, mira ad indagare il tema della “narrazione generativa del paesaggio” come strumento capace di incrementare la conoscenza del territorio e delle sue comunità, al fine di promuovere la valorizzazione del suo patrimonio culturale e lo sviluppo sostenibile del paesaggio e dei suoi abitanti. La ricerca è stato condotta attraverso un approccio multidisciplinare su tre linee di ricerca: il paesaggio, il linguaggio cinematografico, l’antropologia del mare. La prima parte del contributo propone una corposa analisi e riflessione sulla nozione di paesaggio, confrontandola con i principali riferimenti del dibattito antropologico contemporaneo. La seconda parte presenta la metodologia di ricerca utilizzata, con una condivisione del metodo di indagine sviluppato nell’ambito del Corso WUC- Workshop of UNESCO Chair, format proposto dalla Cattedra UNESCO dell’Università della Basilicata, che mira a sviluppare gli strumenti della narrazione audiovisiva, ed un’analisi della storia e dello sviluppo della visual anthropology, con un approfondimento su alcune esperienze recenti quali i lavori del SEL - Sensory Ethnography Lab dell'Università di Harvard, un centro interdisciplinare che realizza opere mediatiche antropologicamente informate che uniscono estetica ed etnografia. La terza parte presenta il lavoro etnografico sulla frazione di Torre Canne di Fasano: partendo dalla riflessione sulla dimensione culturale delle comunità marittime, l’esperienza di ricerca sul campo connette tali problematiche a quelle inerenti la forma della restituzione sensoriale e soggettiva dell’esperienza immersiva costituita dal percepire, guardare e vivere uno spazio marittimo come quello del borgo di Torre Canne. La quarta parte del lavoro illustra le conseguenze di questa indagine densa sul territorio, costituita dalla creazione, condivisa con la comunità, di uno spazio museale e memoriale all’interno delle stanze site nel faro che, in quanto elemento simbolo del paesaggio costiero della frazione, assume il ruolo di artefatto vivo, dinamico, in costante relazione con la comunità di pescatori, e che grazie ad esso rigenera la propria identità e il senso di appartenenza al territorio.
The dissertation, developed along the lines of research of UNESCO Chair in “Mediterranean Cultural Landscapes and Communities of Knowledge” of the University of Basilicata (UniBas), aims to investigate the “Landscape Generative Narrative” as a tool capable of increase knowledge of the territory and its communities, in order to promote the enhancement of its cultural heritage and the sustainable development of the landscape and its inhabitants. The study was conducted through a multidisciplinary approach on three lines of research: the landscape, the cinematographic language, the anthropology of the sea. The first part of the contribution proposes a reflective analysis on the notion of landscape, comparing it with the main references of the contemporary anthropological debate. The second part presents the research methodology used, with a sharing of the investigation method developed within the WUC Course - Workshop of UNESCO Chair, format proposed by the UNESCO Chair of the University of Basilicata, which aims to develop the tools of audiovisual narration , and an analysis of the history and development of visual anthropology, with an in-depth study of some recent experiences such as the works of the SEL - Sensory Ethnography Lab of Harvard University, an interdisciplinary centre that creates docu-films that combine aesthetics and ethnography. The third part presents the ethnographic work on the hamlet of Torre Canne: starting from the reflection on the cultural dimension of maritime communities, the fieldwork experience connects these aspects to those inherent in the form of the sensory and subjective restitution of the immersive experience constituted by perceiving, looking and living a maritime space like that of the village of Torre Canne. The fourth part of the work illustrates the consequences of this dense investigation on the territory, consisting in the creation of a museum and memorial space inside the rooms located in the lighthouse which, as a symbolic element of the coastal landscape of the hamlet, assumes the role of a living artefact , dynamic, in constant relationship with the fishing community, and which thanks to it regenerates its identity and the sense of belonging to the territory.

Cette thèse traite de l’exposition du patrimoine d’origine catholique dans l’Espagne contemporaine. Elle a pour ambition d’étudier et de circonscrire les différents modes d’exposition de ce patrimoine — musée public, collection privée, musée d’art religieux, musée de confrérie, exposition temporaire etc. — et leur histoire. Les objets d’origine catholique semblent être dans les pays de tradition latine à la racine de la conception de patrimoine culturel. Pourtant, en Espagne, leur intégration dans l’héritage culturel national ne s’est pas déroulé sans heurts. Il est alors question dans cette thèse de retracer les deux trajectoires parallèles de patrimonialisation et de muséification et d’étudier dans quelle mesure elles se nourrissent et contribuent à définir l’objet religieux en patrimoine culturel national. Il est ainsi question de revenir sur les conditions de création des institutions par leurs différents acteurs : les pouvoirs publics, le clergé, ou encore les associations religieuses de laïcs. Enfin, il est question de voir comment politiques culturelle, d’évangélisation et touristique s’entremêlent, dans un pays où aujourd’hui encore les célébrations religieuses rythment le temps. Cette thèse s’articule autour de trois périodes chronologiques qui permettent de retracer les évolutions majeures de ces projets : une première période caractérisée par la confrontation entre le clergé et une classe intellectuelle et politique, à l’origine d’une politique sécularisatrice ; les années 1939-1970, temps de l’alliance entre l’Église et le régime franquiste ; et enfin la période 1970-2007, pendant laquelle on assiste à une politique conjointe de mise en valeur culturelle et touristique
This thesis deals with the exhibition of catholic heritage in contemporary Spain. Its goal is to study and delineate the different ways in which this patrimony is exposed – public museum, private collections, religious art museums, guilds museums, temporary exhibition, etc. – and their history. Artifacts of catholic origin seem to be, in countries of Latin tradition, at the root of the conception of cultural heritage. Yet, in Spain, their integration into the national culturalheritage has not been entirely smooth. Therefore this thesis aims to chart the two parallel trajectories of patrimonialization and museumization and to study how they both take form and contribute to the definition of religious artifacts as part of the national cultural heritage. This thesis also tracks the conditions of creation of the institutions by their stakeholders: public authorities, clergy, as well as religious and secular associations. Finally, this thesis explores how cultural, evangelization and touristic policies intertwine in a country where religious celebrations still rhythm daily life. This study is based on three chronological periods to trace the main changes of these projects: the first period characterized by the confrontation between the clergy and the intellectual and political classes; the period between 1939 and 1970 when the Church and Franco’s regime allied; finally the period between 1970 and 2007 during which there is a joint policy to emphasize the cultural and touristic value of the religious heritage

The thesis presents a multidisciplinary analysis, both theoretical and practical, on the application of digital technologies to cultural heritage, in terms of study, preservation, valorization and dissemination, including, for this last aspect, a special focus on accessibility. Specific attention is given to the incredibly rich universitarian cultural heritage. The technical partnership with a digital industry permitted experimentation and implementation of a variety of different state of the art techniques, and even to develop specific purpose oriented solutions on a case by case basis. In the end a product is developed that integrates together digital techniques such as 3d reconstruction, 2d and 3d virtual restoration and digitization into a single platform that offers a possible unified model for the management, enhancement and communication of cultural heritage to the public.

La presente investigación arranca de una inquietud profesional y personal de la autora que, desde su profesión de guía de turismo y su formación en Humanidades, así como, por su etapa docente en el sector turístico, ha reconocido la carencia de un marco epistemológico y una falta de análisis de la actividad del guía de turismo en los espacios museográficos de la ciudad de Barcelona. Pocos son los autores que han hecho un estudio profundo sobre esta figura prestadora de un servicio turístico (Picazo, 2011; Blaya, 2004; Montaner, 99; Galí, 99), en consecuencia, la siguiente investigación constituye un análisis sobre la figura de un gestor turístico: el guía de turismo, de su actividad realizada en un marco concreto patrimonial como es el museo y del triángulo relacional existente entre museo –visita guiada – guía de turismo (en su rol de guía de museo). Para lograr los objetivos esta investigación se ha estructurado desde el ámbito del turismo, del patrimonio, y de la museografía, para intentar alcanzar una reflexión profunda, clara y definitoria de la figura del guía de turismo y de su actividad en el museo pasando por sus pilares del conocimiento tanto teórico como práctico, la relación directa con el visitante, los valores de la interpretación que realiza en las visitas guiadas (Picazo, 2011) y la relación con los gestores culturales que dirigen los museos a través de las visitas guiadas al público en general. Teniendo en cuenta que quedan fuera de este estudio las visitas pedagógicas y cualquier ámbito que no sea la ciudad de Barcelona. Para llevar a cabo esta investigación se han seguido tres grandes fases: La primera se basa en un análisis documental que fundamenta de manera científica una profesión que suele ser poco valorada e incluso olvidada por otros profesionales del sector turístico. Para ello se realizó un análisis sistemático de documentación científica de diversa índole (artículos, comunicaciones, revistas, entre otros) que versaban sobre el guía de turismo, las visitas guiadas en los museos y, la interpretación. La segunda se centra en el trabajo de campo desarrollado a través de cuatro instrumentos de investigación: un cuestionario a los guías de la ciudad de Barcelona, un cuestionario a los museos de la ciudad de Barcelona, un cuestionario a las Asociaciones Profesionales de Informadores Turísticos españolas (APIT) y dos entrevistas a directores gerentes del mundo del guía de turismo. Y, finalmente, la tercera consiste en el análisis de resultados y la obtención de conclusiones que permiten dar rigor, certeza y abrir nuevos campos investigadores.
This research stems from a professional and personal interest to the author, from her profession of tour guide and training in the humanities, as well as for their teaching stage in the tourism sector, has recognized the lack of an epistemological framework and lack of analysis of the activity guide at the museum spaces of the city of Barcelona. Few authors have analyzed thorough study of the tourist guide (Picazo, 2011; Blaya, 2004; Montaner, 99, Galí, 99), therefore, the following research is an analysis of it when is working in a museum. To achieve the objectives this research has been structured from the field of tourism, heritage and museology to try to achieve a deep, clear and defining reflection of the position of tour guide and its specific activity within the museum spaces and its pillars of theoretical and practical knowledge, the direct relationship with the visitor, the values of the interpretation made on guided tours (Picazo, 2011) and the relationship with cultural managers who run museums across guided visits to the general public, given that this research is outside the educational visits and any area other than the city of Barcelona. This research is based on three pillars. The first is a systematic analysis of scientific documentation based of various kinds (articles, papers, magazines, etc.) which dealt with the tour guide, guided tours in museums and interpretation heritage. The second focuses on fieldwork developed through four research instruments: a questionnaire to tourist guide of Barcelona, a questionnaire to the museums of Barcelona, a questionnaire to the Spanish APIT (Asociación Profesional de Informadores Turísticos) and two interviews with business managers of tourist guide. And finally, the third, it’s the analysis of the results and drawing conclusions which allow to rigor, certainty and open new research fields.

Nous partons d'un état des définitions de l'évaluation. Nous verrons comment certaines orientations initiales de l'évaluation mettent en lumière la relation entre cette démarche et la question de l'absence d'un espace critique. Nous aborderons ensuite la question du public des expositions comme élément d'un espace public naissant au XVIIIème siècle en France, puis le retrait de la capacité critique de ce public. La conception éducative des expositions au sein des musées, qui a bénéficié de cette perte de la fonction critique du public, nous amènera à la muséologie des sciences et des techniques et au cas particulier de la Cité des Sciences et de l'Industrie. Le parti-pris thématique, qui se rattache à l'émergence de la muséologie de points de vue, y a suscité la résurgence d'un " besoin du point de vue du public ", et l'essor des études de représentations. Nous abordons ensuite les implications de l'étude des représentations sociales en muséologie, en particulier la manière dont elles ont été adoptées en muséologie, avec des limitations importantes comme la réduction des représentations sociales à la sphère du savoir de sens commun par opposition au savoir du spécialiste. Nous proposons de substituer à la conception de l'entretien comme mode de recueil de données nécessaires à la caractérisation des représentations sociales, une conception de l'entretien comme situation de communication mettant en jeu des positions de parole, des compétences sociales, et des hypothèses qui relèvent de la pensée sociale en acte. Nous détaillons les quatre moments de l'interprétation dans le traitement des études préalables à la Cité des Sciences et de l'Industrie : - la constitution du corpus et l'engagement dans la durée ethnographique, étude après étude; - le passage des thèmes d'expositions qui constituent l'objet des études, aux thèmes des entretiens qui constituent l'objet des représentations sociales; - le statut de membre du public, et le statut de visiteur à travers les situations d'enquête; - les anticipations des modèles d'usage de l'exposition.

Dans cette thèse, j'ai montré les processus de négociation identitaire, les discours hégémoniques et les structures du sentiment qui opèrent au sein des expositions qui traitent le multiculturalisme et le métissage. J'ai étudié des expositions produites par des musées nationaux en France et aux États-Unis. Mes études de cas ont été développées au Musée National d'Art Mexicain de Chicago et au Musée du quai Branly à Paris entre 2006 et 2009. Mon analyse montre les processus qui interviennent dans la mise en scène d'un discours muséal complexe. L'étude place au centre de ses hypothèses trois dimensions initiales qui participent à la construction du sens dans les expositions : a) la production du sens, b) la circulation ou distribution du sens et c) la réalisation ou appropriation du sens. Dans la première partie de ma thèse, j'ai exploré les catégories de "sens et signification" à partir d'une approche philosophique. J'ai discuté la généalogie de ces notions avant de développer une approche culturaliste, notamment à partir de la théorie d'Antonio Gramsci, de Stuart Hall et de Raymond Williams, pour qui la signification n'est pas une donnée en soi mais une construction qui se développe à partir des luttes sociales, politiques et symboliques qui cherchent à contrôler les représentations et les croyances. Cette compréhension de la culture, en tant qu'espace de lutte d'interprétations, a ouvert la voie aux analyses de pouvoir et de discours au sein de l'univers muséal. J'ai développé les définitions de culture, occident, hégémonie, idéologies, intellectuelles et structures de sentiment afin de définir le cadre conceptuel qui sert de base théorique pour mes études de cas. Ensuite, j'ai présenté une étude minutieuse sur les origines et le développement des musées, du patrimoine et de la nation. Enfin, j'ai montré les débats contemporains en études culturelles des musées, les approches critiques et anthropologiques et l'importance de développer des études de cas concrètes à partir de cette discipline. La deuxième partie de la thèse présente la méthodologie employée ainsi que les études de cas. J'ai souligné l'importance de la transdisciplinarité comme méthode privilégiée pour l'analyse ainsi que les méthodologies employées pour l'étude des expositions : l'observation à l'intérieur et à l'extérieur du musée, la saisie des témoignages et des entretiens, l'usage des questionnaires et des formulaires. La sélection des musées et des expositions a été réalisée en fonction de la thématique des expositions et pas en fonction des collections ou des objets exposés. J'ai cherché à analyser des musées qui entretenaient un rapport hégémonique avec les sujets de l'exposition. Ceci afin de questionner les transferts culturels, les identités contemporaines en tension ou en conflit, et la cohabitation symbolique des sentiments d'appartenance. Aux États-Unis, j'ai analysé les expositions du Musée National d'Art Mexicain (NMMA) de Chicago. Les expositions étudiées furent : "La Mexicanidad" et "La présence de l'Afrique au Mexique". À Paris, j'ai analysé l'exposition Planète métisse produite par le Musée du quai Branly (MQB). Afin de comprendre la construction du sens des expositions, j'ai interrogé la communauté de production (directeurs, commissaires, comités et collectifs qui ont participé), la médiation et les messages à partir des artistes ou à partir de la propre mise en scène des objets d'exposition. Enfin, j'ai travaillé auprès d'une communauté d'interprètes afin de privilégier une analyse des discours en contexte et pas une méthode purement spéculative. Le résultat de mes analyses montre que les musées étudiés disposent des spécialistes qui légitiment scientifiquement la mise en scène discursive d'expositions, et que la fabrication ou production des sujets d'expositions est liée à des conjonctures politiques particulières. En effet, ces musées ont produit des expositions "engagées" en défendant une dimension culturelle et anthropologique. Avec ce geste, ils transformaient la muséographie classique de l'institution muséale. Par exemple, le NMMA de Chicago n'a pas seulement exposé des objets d'art. Il a sans nul doute proposé un discours de répercussion politique afin de démonter les frontières de race et d'ethnicité. À Paris, le MQB a exposé l'historicité du métissage planétaire. De cette manière, l'exposition interrogeait les discours sur l'identité nationale française, et contribuait au débat autour de la stigmatisation de la migration contemporaine. J'ai démontré, que la façon de sélectionner, d'identifier, de différencier, de hiérarchiser et d'exposer les objets, reflète des nouvelles pratiques culturelles, parfois innovatrices et même post-coloniales. Finalement, l'analyse sur le regard de la communauté des interprètes a fourni les résultats les plus originaux de ma recherche. J'ai montré que quand le visiteur parcourt l'exposition, il établit un accord plus ou moins harmonieux entre lui et le discours de l'institution. Si le visiteur "interroge" le sens de l'exposition, il le fait à partir des structures du sentiment qui dévoilent les identités ou liens d'appartenances des individus. En effet, dans mes études de cas, les expositions abordaient de manière explicite les problématiques concernant les différences culturelles et les identités. Cela amenait le visiteur à se situer à partir d'une circonstance individuelle précise, soit par rapport à sa nationalité, son origine, son genre ou son appartenance à une culture.

Background and rationale: Collecting is a basic human activity, a cultural phenomenon establishing cultural values, defining authenticity and creating new identities for collected objects and collectors. For more than a decade, I have studied cultural heritage collections from three key interwoven perspectives. These approaches are evident in the six publications selected for this submission: • Architectural and organisational perspective: at the Vatican Gallery (Innocenti 2001a), Uffizi (Innocenti 2003a) and Biblioteca Laurenziana (Innocenti 2002a) I investigated institutional collector and key stakeholder strategies for designing collection space and displays. I then applied this analysis to‘knowledge architecture’ for industrial design artefacts and processes (Innocenti 2004c). • Procedural and functional perspective: from Palladio drawings (Innocenti 2005a) to industrial design knowledge bases (Innocenti 2004a), I investigated how to digitize, archive, render and make accessible cultural heritage as an accurate iconic representation, interwoven with documentary and cultural contexts. The work further led me to study the authenticity of born-digital artworks (Innocenti 2012c). • Artefact perspective: I explored how artists and institutional collectors address the preservation of artworks, from the Renaissance desks of the Biblioteca Laurenziana (Innocenti 2002a) to digital artworks (Innocenti 2012c), and the historical and theoretical implications of their choices. In each of these areas, I contextualized the interrelations between cultural heritage discourse and the history of collecting cultural artefacts within given historical, social and cultural periods. My work began in Italy, where cultural heritage is deeply rooted and widespread, and moved on to encompass Europe and North America in tracing the evolution of cultural heritage collectors’ strategies. I adopted an interdisciplinary approach, engaging perspectives, methods and theoretical frameworks from art history, art theory, museography, museology, library and information science, information technology, social anthropology and engineering. Starting from this multi-focal vantage point my research has resulted in contributions to knowledge, methods and theory. These publications on one hand demonstrate the continuum of key issues in cultural heritage creation, preservation and access as manifested in the strategies of institutional collectors and artists. On the other hand, they highlight the new paradigms and transformations introduced by digital and communication technologies, the shaping of cultural heritage informatics to address these transformations and the theoretical and methodological implications underlying them. Through my scholarly research, I contributed to progressing the canonical historicisation of cultural heritage, museography and museology, and to exploring the new paradigms and transformations introduced by digital and communication technologies to the disruptive and exciting world of cultural heritage informatics. The portfolio: The portfolio is a selection from Perla Innocenti’s more than forty publications of research carried out since 2001 on cultural heritage and informatics with the Universitá degli Studi di Roma ‘La Sapienza’, Scuola Normale Superiore di Pisa, Istituto Nazionale di Archeologia e Storia dell’Arte in Rome, Pinacoteca Nazionale di Bologna, Italian Ministry of Cultural Heritage and Fondazione Andrea Palladio, Politecnico di Milano and EU-funded projects SHAMAN and MeLa. Six scientific publications are presented: two journal articles, a scholarly treatise, a published conference paper, key chapters from a monograph and one book chapter from an edited volume. The works have two key themes relevant to the critical analysis and understanding of heritage institutions’ evolution up to the digital age. The themes illustrate the contribution each publication has made to the literature and explain the relationship between the works submitted, including developments which have occurred between one piece and another. Theme I: Evolution of museography, museology and heritage studies Three publications are presented under this theme, each of these presenting the critical analysis of cultural heritage institutions and their artefacts within the historical evolution of museums and libraries. Publication I presents the critical analysis of the museographic principles applied by Luca Beltrami to the design of the Vatican Gallery, investigated and contextualised within its museographical and cultural history (Innocenti 2001a). Publication II presents the critical analysis and findings of the museological and museographical principles applied by Corrado Ricci to the Uffizi Gallery in the 19th Century, compared with the contemporary principles in the Uffizi applied by the former Superintendent and Italian Ministry Antonio Paolucci (Innocenti 2003a). Publication III presents the analysis and original findings of Michelangelo’s ergonomic design of the Biblioteca Laurenziana fittings, within the historical evolution of libraries (Innocenti 2002a). Theme II: Creating, managing, disseminating and preserving digital cultural heritage The publications presented in this theme relate to methodologies and processes characterising diverse typologies of analogue and digital cultural heritage and the emerging field of cultural informatics. Publication IV presents the novel methodological approach defined and applied within a relevant digitization project of Andrea Palladio manuscripts and maps (Innocenti 2005a). Publication V presents the outcomes of my investigation defining and implementing an online knowledge-based system supporting research and teaching of industrial design, which is formally considered part of Italian cultural heritage (Innocenti 2004a). Publication VI discusses the repositioning of traditional conservation concepts of historicity, authenticity and versioning in relation to born-digital artworks, based on findings from my research on preservation of computer-based artefacts by public collectors (Innocenti 2012a).

Authorised narratives of British popular music history have been deployed as representations of national identity by a range of institutions and individuals. The London 2012 Olympic Games opening ceremony, for example, presented a range of musical artists and songs that had been selected to represent aspects of British cultural identity to an international audience. The following year, a speech delivered by British Prime Minister David Cameron cited examples of British popular music in order to demonstrate British cultural successes in an international field. This thesis argues that authorised narratives such as these have failed to reflect the diversity of music cultures in the UK, drawing upon literature that highlights the concerns of ethnic minority groups who are frequently faced with exclusion from mainstream heritage narratives, and on a case study on British Bhangra music. British Bhangra is a musical genre closely associated with the BrAsian community, and in this thesis it is used to explore the relationship between popular music heritage and multiculturalism and address the following research questions: How have individuals involved with the British Bhangra music industry and audience groups responded to authorised narratives (Smith, 2006) of British popular music? How has British Bhangra been constructed as heritage – whether authorised, un-authorised or self-authorised – and where is this taking place and by whom? In order to address these questions, the thesis adopts two methodological approaches: qualitative research in the form of ethnographic fieldwork, and the analysis of particular musical works produced by British Bhangra artists and promoted as heritage – such as songs featuring in audience-constructed online charts attempting to define the ‘50 Best British Bhangra albums’. The ethnographic fieldwork was conducted in three areas in England: Bradford and Leeds in the North-East of England, Birmingham, and Tower Hamlets in East London, and enabled an exploration of British Bhangra heritage sites and practices in each location. Face-to-face and email interviews were also conducted with artists, music promoters and archivists involved with the British Bhangra music industry as well as with Bhangra audiences, and published interviews from print and online sources were consulted. This helped to examine British Bhangra heritage from the perspective of the artist, audience and music industry workers involved. At the same time specific British Bhangra songs were analysed in order to explore musical constructions of national identity and cultural memory and related concepts, such as ‘homeland’ or ‘authenticity’, both of which emerged as highly valued by British Bhangra audiences and artists. Attempts by artists and music journalists to construct a ‘canon’ of British Bhangra music frequently involve efforts to evaluate these musical works in terms of their perceived ability to express authenticity, or to evoke connections with a rural Punjab. The music is analysed in relation to such debates, and the way in which particular artists and songs have become enshrined within British Bhangra music heritage practices is explored.

I den här avhandlingen undersöks hur privilegierade representationer av femininitet och maskulinitet tar sig uttryck och konstrueras i samtida museipraktiker med fokus på Nordiska museet i Stockholm. Studien visar hur dessa musealt imaginära representationer samverkar med intersektionella aspekter som klass, etnicitet, nationalitet och sexualitet. Avhandlingen diskuterar också epistemologiska och ontologiska frågor om hur historiska narrativ skapas och hur museala artefakter kan förstås. Huvudargumentet är att de dominerande representationerna skapas med hjälp av en reducerad matris av stereotypa skript för kön, klass, etnicitet, nationalitet såväl som sexualitet, vilket kan ses som uttryck för en fallogocentrisk betydelseekonomi. Denna undersökning av samtida skript på Nordiska museet har använt teoretiska tankegångar och analytiska redskap från de överlappande kunskapsfälten sexual difference, queer- och sexualitetsforskning, genus/könsmaktforskning, kvinnohistorisk forskning, maskulinitetsforskning, postkolonial feministisk forskning, samt feminist studies of science and technology. Ett pluralistisk feministisk nomadologisk metateoretiskt ramverk har skapats för att analysera och försöka förstå det empiriska materialet utifrån de nämnda teorierna. Världen och däribland museernas verksamhet är så komplex och mångfasetterad att många olika genusteoretiska ingångar krävs för att kunna läsa och förstå olika gestaltningar. I avhandlingen ritas en översiktskarta över de fallogocentriska museala skripten upp bredvid vilken en partiellt situerad terrängkarta placeras som kastar ljus över det musealt imaginära.
This study investigates how privileged representations of femininity and masculinity are created in contemporary work at The Swedish National Museum of Cultural History, Nordiska museet, in Stockholm. The thesis shows how these representations closely intersect with the museal imaginaries of class, ethnicity, nationality and sexuality. The study gives rise to ontological questions of how historical narratives are produced and how museal artifacts are apprehended. The main argument is that the dominating representations are created through a reduced matrix of stereotyped scripts for gender, class, ethnicity, nationality and sexuality that can be understood as reflections of a phallogocentric order. This exploration of contemporary scripts at Nordiska museet is performed with analytic tools from the overlapping fields of sexual difference, queer and sexuality studies, gender studies, women’s studies, masculinity studies, post colonial feminist studies and feminist studies of science and technology. A pluralistic feministinformed nomadological metatheoretical frame is used as an umbrella to embrace these theoretical approaches. The complexity of the social world and of a museum demand different theories to be applied to different situations. A general map of the phallogocentric museal scripts is drawn, besides which a partial and locally accounted one is juxtaposed that gives shape to the museal imaginary.

This thesis researches into the heritage tourism characteristics on Gotland. Many destinations see a great potential to develop new tourism products around their heritage and thus meet a rising demand for enriching and unique visitor experiences. However, different considerations and stakeholders need to be taken into account to foster a sustainable development. The Swedish island of Gotland in the Baltic Sea has a long history as a tourism destination and is rich in heritage resources of diverse origin. A qualitative approach has been taken to study which traits characterise heritage related tourism to Gotland, and which potentials and challenges are seen by major stakeholders in the tourism and heritage development. One protruding result has been the strong connection between natural and cultural elements at the heritage sites as well as in tourism demand. Also the tourism strategy for Gotland strives for a further development of nature and culture as thematic tourism areas. Hence, a closer look has been taken into the relation of these two heritage elements. With help of the concept and methodology of heritagescapes two heritage sites have been analysed in a case study approach. The result shows that the integration of natural and cultural heritage to create cohesive and immersive visitor experiences at one site is challenging. However, taking both heritage elements into account can create synergies and they enhance how the respective other heritage element is experienced. This can broaden which visitor groups are attracted and in which season. Furthermore, the heritagescape approach gives practical management implications for the sites.

Digitale oder digitalisierte Tonaufnahmen sind zunehmend gefragte, wichtige Quellen für die Wissenschaft und als Dokumente des kulturellen Erbes auch für eine breite Öffentlichkeit von großem Interesse. Die Online-Bereitstellung frei zugänglicher Audiodokumente als Open Cultural Heritage erweist sich für Bibliotheken und Archive in der Praxis jedoch häufig als schwierig. Der Beitrag umreißt die besonderen Herausforderungen bei der Digitalisierung und Bereitstellung von Tondokumenten und skizziert – auch anhand von Praxisbeispielen – verschiedene Wege, auf denen Sammlungen den Anforderungen von Open Science gerecht werden können.
Digital or digitized sound recordings are increasingly demanded, and important sources for science. As documents of cultural heritage, they are also of great interest to the general public. However, providing freely accessible audio documents online as Open Cultural Heritage is often difficult for libraries and archives in practice. The article sketches the specific challenges of digitizing and publishing sound documents and outlines – also on the basis of practical examples – different ways in which collections can meet the requirements of open science.

All communities form attachments, both physical and metaphysical, and these define a community’s cultural identity. The social phenomenon that connects people and places is as significant as the material heritage; at times more significant. The dominant disourse of heritage has long focused on the preservation and conservation of material remains, and as a consequence it has drawn attention away from the social and cultural contexts which are important. Originating from a set of Western elitist ideas, the ideas of patrimoine and historic monument directed the heritage conservation of the early French in Angkor. Since the rediscovery of the Angkor temples in 1862, early French research was concentrated solely on Angkor’s monumental heritage. A systematic process of documentation, restoration and conservation was begun with the establishment of Conservation d’Angkor in Siem Reap in 1908. The interventions centred on the monuments paid very little attention to the social relevance to the small communities that lived in the region at the time. The local Khmer associations with Angkor Wat and some of the ruined temples through Animism and Buddhism went unnoticed and as a result there is a limited understanding of social values that may have previously existed. The political instability of the 1970s further contributed to this lacuna of knowledge. Authorised Heritage Discourse (after Smith 2006) is legitimised internationally through a series of recommendations, charters, conventions and documents; including the 1972 W orld Heritage Convention. The imposition of these hegemonic constructs of heritage exclude other notions of heritage, and the over-arching outstanding universal value negates the local social values, overshadows local communities and raises concerns about fundamental cultural rights. Angkor World Heritage Site (AWHS) was studied using case study methodology. Five study villages were chosen due to their proximity to signifi cant heritage features, and sixty-three villagers were inter! viewed u sing semi- structured in-depth interview methods, along with thirteen experts. The findings from the interviews clearly establish that the local Khmers are connected to the Angkorian landscape, amidst the heritage conundrums. The study has helped reveal the complexity that exists at Angkor, and the tenuousness of cultural connections that link the local villagers with the Angkorian temples and archaeological remains. These delicate connections, currently threatened by heritage management restrictions, development and tourism need to be nurtured and strengthened. They are important in the assertion of the local community’s cultural identity and an understanding of these connections will help facilitate a better management of the AWHS.

Many microorganisms, influenced by environmental conditions, are the main responsible for biological contamination in built heritage. Biocides based on chemical toxic compounds have been the most often used to mitigate this problem. Thus, it is of vital importance to develop proper remediation actions based on environmentally innocuous alternatives. Bacteria of the genera Bacillus are emerging as an optimistic alternative due to their capacity to produce secondary metabolites with antagonistic activities against many fungal pathogens. This work aimed to develop ground-breaking research in the area of cultural and built heritage rehabilitation, by the development of natural and green safe biocides for biodegradation/biodeterioration treatment of Cultural Heritage. A complementary methodology, including antifungal tests and molecular approaches was used, in combination with microscopic and analytical techniques to detect, characterise and study the efficiency of the biological active compounds produced by Bacillus sp. strains. Flow cytometry allowed a comprehensive study of the physiological mechanism behind the bioactive compounds production in order to understand and improve the strategic approaches for process optimisation and scale up production. Moreover, according to the results of the toxicological tests, these compounds have proven to be a real environmental safe and innocuous alternative to the chemical biocides commonly used during the conservative interventions. Thus, they have shown a great potential for their future application in cultural and built heritage rehabilitation; Novos Biocidas para o Património Cultural Resumo: Vários microrganismos influenciados pelas condições ambientais são os principais responsáveis pela contaminação biológica do património cultural edificado. Na tentativa de mitigação destes agentes, compostos geralmente tóxicos têm sido os mais utilizados. Assim, é de enorme importância desenvolver ações de remediação dirigidas aos agentes efetivamente biodeteriogénicos, baseados em alternativas inócuas para o meio ambiente. As bactérias do género Bacillus surgem, como uma viável alternativa devido à capacidade de produzir metabolitos secundários com atividade antagonista, contra diversos fungos. Este trabalho teve como objetivo desenvolver uma investigação inovadora que possa vir a ser útil na área de reabilitação do património cultural edificado, através da produção de novos biocidas naturais e mais ecológicos. Utilizou-se uma abordagem metodológica, que incluiu testes antifúngicos e abordagens moleculares, combinadas com técnicas microscópicas e analíticas, de forma a detetar, caracterizar e estudar a eficiência de compostos biologicamente ativos produzidos por estripes de Bacillus sp.. Foram ainda utilizados os mecanismos fisiológicos por detrás da produção destes compostos, de forma a perceber e melhorar as abordagens estratégicas no processo de otimização da produção. Em testes toxicológicos, compostos produzidos por estirpes de Bacillus sp. selecionados, provaram ser uma alternativa ecológica aos biocidas químicos, comumente utilizados em intervenções de conservação. Desta forma, estes demonstram um elevado potencial para futura utilização na reabilitação do património cultural edificado.

Doutoramento em Turismo
With this work we propose to analyze the perception of the concept of quality by managers of museums and archaeological sites. To this end, we chose to analyze some heritage areas open to the public and certified by HERITY - World Organisation for the Certification of Quality Management of Cultural Heritage, the only international certification of this kind which has been officially recognized by UNESCO and the World Tourism Organization. The application of the principles of quality and Total Quality Management to cultural heritage management is part of the efforts towards a continuous improvement of the cultural tourism offer and - in our opinion – towards an increasing capacity to promote intercultural dialogue between local population and visitors. In this context, we have therefore investigated the perception of quality within the context of cultural heritage management, and how the culture of quality can provide a greater involvement of local communities, contributing to the strengthening of authenticity and destination personality, as well as the promotion of intercultural dialogue between tourists and residents. To answer these questions, we have defined a theoretical model and subsequently carried out an empirical work at European level on the perception of quality by managers of cultural heritage sites, namely archaeological heritage. An in-depth comprehension of areas such as Archeology, Tourism and Quality Management, as well as its role within the broader context of sustainable regional development, are the basis of this work. The latter is intended, in turn, to be a vehicle of reflection within the creation of public policies on territorial management and tourism development. We thus undertook a research line which is still almost unexplored, that is, the analysis of quality principles within the cultural heritage management, their potential and the measurement of their actual impact on the territory, through an integrated approach, by considering in a specular, complex way the two main beneficiaries: residents and tourists.
Com o presente trabalho nos propomos de analisar a perceção do conceito de qualidade por parte dos gestores dos museus e sítios arqueológicos. Para tal, escolhemos analisar algumas áreas patrimoniais abertas ao publico e certificadas por HERITY - World Organisation for the Certification of Quality Management of Cultural Heritage, única certificação internacional deste género e cuja importância já foi oficialmente reconhecida pela UNESCO e pela Organização Mundial do Turismo. A aplicação dos princípios da qualidade e do Total Quality Management à gestão do património cultural se insere nos esforços para uma melhoria contínua da oferta cultural e turística e – no nosso entender – no aumento da capacidade de promover o diálogo intercultural entre população residente e visitantes. Nos questionamos portanto sobre a percepção do significado de Qualidade no âmbito da gestão do património cultural, e de que forma a cultura da qualidade pode proporcionar um maior envolvimento das comunidades locais, contribuindo assim para o reforço da autenticidade e do caracter do destino, bem como do diálogo intercultural entre turistas e residentes. Para responder a estas perguntas, procuramos definir um modelo teórico que, a seguir, confrontamos com os resultados de um trabalho empírico de âmbito europeu sobre a perceção da qualidade por parte dos gestores do património cultural, nomeadamente arqueológico. O estudo aprofundado do que é a Arqueologia, o Turismo e a Qualidade e a reflexão do papel destes três domínios no âmbito mais abrangente do desenvolvimento territorial sustentável representam a base deste trabalho, que se propõe por sua vez de ser um veículo de reflexão no âmbito da criação das políticas públicas de gestão do território e de desenvolvimento turístico. Empreendemos assim uma linha de investigação ainda pouco explorada, dedicada à analise dos princípios da qualidade no âmbito da gestão do património, às suas potencialidades e à medição dos seus efetivos impactos no território, através de uma abordagem integrada e considerando duma forma não convencional, mas sim especular e complexa os dois principais beneficiários: população residente e turistas.

Actuellement la plupart des restitutions en patrimoine historique décrivent les édifices patrimoniaux comme un ensemble d'entités statiques et inaltérables. Toutefois, les sites historiques peuvent avoir une histoire très complexe, parfois riche d'évolutions, parfois seulement partiellement connue grâce aux sources documentaires. Trois aspects importants conditionnent l'analyse et l'interprétation du patrimoine historique. Tout d'abord, les bâtiments peuvent subir des transformations importantes ou ils peuvent disparaître au fil du temps. Deuxièmement, l'incertitude est très fréquente en patrimoine historique sous diverses formes : parfois il est impossible de définir la datation, parfois la forme originelle du bâtiment ou sa position spatiale. Troisièmement, la documentation historique concernant les états passés est hétérogène, douteuse, incomplète, et parfois contradictoire. Cette thèse propose une approche intégrée de modélisation capable d'une part de structurer les entités morphologiques spatiales en fonction du temps, d'autre part de conserver l'historique des évolutions architecturales. De plus, des hypothèses multiples à propos des sites historiques devraient être prises en compte. Comme la géométrie n'est pas suffisante pour comprendre les transformations des sites historiques, une interface de visualisation basée sur des graphes est intégrée pour manipuler les géométries et pour comprendre les transformations des édifices et leurs relations.

Current treatments of cultural heritage as an object of moral concern (whether it be the heritage of mankind or of some particular group of people) have tended to treat it as a means to ensure human wellbeing: either as ‘cultural property’ or ‘cultural patrimony’, suggesting concomitant rights of possession and exclusion, or otherwise as something which, gaining its ethical significance from the roles it plays in people’s lives and the formation of their identities, is the beneficiary at most of indirect moral obligations. In contrast, I argue that cultural heritage, as something whose existence can go well or badly, can itself qualify as a moral patient towards which we may have obligations which need not be accounted for in terms of subsequent benefits to human beings. Drawing inspiration from environmental ethics and suggesting that heritage, like an ecosystem, is a complex network of interrelations which invites a holistic understanding, I develop a framework for thinking about cultural heritage which shows how such a thing can feature in our ethical reflections as intrinsically worthy of respect in spite of its most obvious differences from the ‘natural’ world: the very human origins of cultural heritage and its involvement with human life in all its forms. As part of the development of this framework I consider the epistemic difficulties which arise when for all our holistic sophistication we do find ourselves in the predicament of having to judge the moral worth of some item of heritage, possibly someone else’s heritage and possibly something which we find ourselves disposed to value more because of than despite any mysteries surrounding it. I conclude by offering some tentative illustrations of how such a framework might operate in the practical course of normative moral reasoning about what should be done with items of cultural heritage.

Digital technologies are becoming extremely important for web-based cultural heritage applications. This thesis presents novel digital technology solutions to 'access and interact' with digital heritage objects and collections. These innovative solutions utilize service orientation (web services), workflows, and social networking and Web 2.0 mashup technologies to innovate the creation, interpretation and use of collections dispersed in a global museumscape, where community participation is achieved through social networking. These solutions are embedded in a novel concept called Digital Library Services for Playing with Shared Heritage (DISPLAYS). DISPLAYS is concerned with creating tools and services to implement a digital library system, which allows the heritage community and museum professionals alike to create, interpret and use digital heritage content in visualization and interaction environments using web technologies based on social networking. In particular, this thesis presents a specific implementation of DISPLAYS called the Reanimating Cultural Heritage system, which is modelled on the five main functionalities or services defined in the DISPLAYS architecture, content creation, archival, exposition, presentation and interaction, for handling digital heritage objects. The main focus of this thesis is the design of the Reanimating Cultural Heritage system's social networking functionality that provides an innovative solution for integrating community access and interaction with the Sierra Leone digital heritage repository composed of collections from the British Museum, Glasgow Museums and Brighton Museum and Art Gallery. The novel use of Web 2.0 mashups in this digital heritage repository also allows the seamless integration of these museum collections to be merged with user or community generated content, while preserving the quality of museum collections data. Finally, this thesis tests and evaluates the usability of the Reanimating Cultural Heritage social networking system, in particular the suitability of the digital technology solution deployed. Testing is performed with a user group composed of several users, and the results obtained are presented.

This research investigation used digital photography in a hemispherical dome, enabling a set of 64 photographic images of an object to be captured in perfect pixel register, with each image illuminated from a different direction. This representation turns out to be much richer than a single 2D image, because it contains information at each point about both the 3D shape of the surface (gradient and local curvature) and the directionality of reflectance (gloss and specularity). Thereby it enables not only interactive visualisation through viewer software, giving the illusion of 3D, but also the reconstruction of an actual 3D surface and highly realistic rendering of a wide range of materials. The following seven outcomes of the research are claimed as novel and therefore as representing contributions to knowledge in the field:  A method for determining the geometry of an illumination dome;  An adaptive method for finding surface normals by bounded regression;  Generating 3D surfaces from photometric stereo;  Relationship between surface normals and specular angles;  Modelling surface specularity by a modified Lorentzian function;  Determining the optimal wavelengths of colour laser scanners;  Characterising colour devices by synthetic reflectance spectra.

This thesis uses the example of school departure rituals, such as the school ball and graduation ceremony, to examine how Intangible Cultural Heritage is represented in scholarly heritage literature. The study draws on interview data collected from secondary students in their final year of schooling to establish if there is a place in heritage literature and policy for Intangible Cultural Heritage performed in a Western context by young people.

Abstract In recent years, operators in the restoration sector are adding to their historical-artistic competences also scientific knowledge in order to find solutions more and more effective and respectful toward the cultural heritage, the operator and the environment. Among the different scientific branches, biotechnologies allow for an innovative and precise approach to the complexity of the problems that the restorer has to face in his own daily work. Biotechnology research in the field of cultural heritage develops in two directions: on the one hand focuses on the development of accurate diagnostic techniques, useful for the correct identification and characterization of alterations and biodeteriogens; on the other hand focuses on the development of innovative restoration methods, based on the employment of new products. The employment of biotechnologies in restoration of cultural heritage is the main topic of the present PhD doctoral thesis, which deals with both of the aforementioned sides. In Chapter 1 a review on the employment of biotechnologies in the field of cultural heritage is presented, considering both diagnostic techniques for characterization of biodeteriogens, and the use of microorganisms and enzymes for restoration. The first part of the thesis focuses on a microbial product, based on sulfate-reducing bacteria (SRB) belonging to D. vulgaris species, applied for the removal of sulfate crusts from artwork surfaces. In studies carried out in the last decades, this product has turned out to be very promising and favorable, compared to traditional restoration techniques, thanks to its capability of combining effectiveness to selectivity and safety for the restorer and the environment. Such a technology, original, innovative and sustainable, has been successfully experimented on important artworks. In Chapter 2 a review on the current knowledge of Desulfovibrio genus is presented, in particular concerning its physiology, biochemistry and biotechnological applications. Nevertheless, the D. vulgaris-based product presented four limitations: i) low production yields and inability of long-term conservation of D. vulgaris biomass; ii) lack of an appropriate method for monitoring of abundance and activity of the biomass; iii) time-consuming application technique; iv) application limited to stone surfaces. The overcoming of the above mentioned limitations has been the aim of the first part of the present work. A research work, structured in different phases, has been conducted for the optimization of the production process and the development of a method for the long-term conservation of the bacterial biomass (Chapter 3). Initially the laboratory protocol has been set up on small volumes at liter scale, in order to define the growth curve of the bacterium and evaluate its metabolic response to different substrates and growth conditions. subsequently the fermentative process has been transferred from the flask to 5 lt fermentor, optimizing the control of pH and H2S concentration. H2S is the main metabolic product in the fermentative process of SRB, its accumulation is toxic for bacteria, leading to unfavorable growth conditions. These improvements allowed a significant increase in biomass production, from a concentration of 1*108 cell/ml in 120h of fermentation in flask, to the concentration of 3*109 cell/ml in 72h of fermentation in bioreactor. For the long-term conservation of D. vulgaris biomass, freeze-drying has been carried out, testing the effectiveness of different cryoprotective agents. Among them, the best in terms of cell viability post-rehydration resulted to be lactose, which ensured the stability of the product for a minimum of 6 months. Chapter 4 deals with the development of new molecular approaches for monitoring of D. vulgaris biomass concentration and viability since traditionally employed methods, such as Most Probable Number (MPN) and microscope counting, resulted unsuitable. The research focused on the set up of a method applicable not only to liquid cultures, but also to cells embedded in the delivery system used for the applications of D. vulgaris cells on the surfaces during the biorestoration treatment. Among all the tested methods, the most effective and suitable resulted to be the spectrophotometric measurement of the fluorescence specifically emitted by the prosthetic group of bisulfite reductase, a key enzyme in dissimilatory sulfate reduction. The results showed that fluorescence emission is proportional to viable cells present in liquid culture as well as when embedded in the delivery system. Real-time PCR quantification of the SRB-specific dsr gene allowed to significantly quantify D. vulgaris cells in liquid culture, but when applied on cells embedded in the delivery system the detection limit (107 cell/ml) was too high to make this method efficient. The development of new methodologies for the application of D.vulgaris-based product, aimed at the reduction of time and number of required applications for the removal of sulfations, has been conducted on the funeral monument realized in memory of ‘Neera’, the poetess Anna Zuccari, located in the Cimitero Monumentale in Milan (Chapter 5). Besides biological treatment, two other methods have been tested: chemical treatment, based on the non-ionic detergent Tween 20 and a combined treatment, consisting in a chemical pre-treatment followed by the biological treatment. The combined method resulted to be effective in the removal of the black crust, without altering the underlying stone, obtaining a 70% reduction in cleaning time. Moreover, the combined method preserved all the advantages of the biocleaning approach: selectivity toward the alteration and respectfulness toward the original material. For the purpose of extending this biocleaning approach to substrates other than stone artworks, such as mural paintings, an experimentation has been carried out on two scenes belonging to the pictorial cycle decorating ‘Queen Teodolinda Chapel’ in Monza Cathedral (Chapter 6). The applicability test on surfaces characterised by fragility, such as pigmented surfaces, is of primary importance for the further development of this technology. The obtained results can be regarded very promising, in terms of sulfations removal and respectfulness towards such a delicate surface. However, this study has to be considered merely preliminary and incomplete, and further research must be conducted in order to verify the compatibility of the treatment with different kinds of materials, such as pigments. The last part of this thesis focuses on diagnostic methodologies for the identification and characterisation of biodeteriogens from two artworks. In the past, microorganisms responsible for deterioration of cultural assets were identified through conventional methods based on the cultivation of potential biodeteriogen microorganisms and their identification and phenotypic characterisation. Here molecular biology technologies independent from bacteria cultivation were employed, which complete and expand the information provided by the cultivation-dependent approach. These methodologies have been employed for the analysis of an acrylic monochrome painting on canvas realised by the artist E. Castellani (Chapter 7) and of a paper print realized in the 17th century, conserved in the Monastery of “S. Maria al Carrobiolo” in Monza (Chapter 8). The acrylic monochrome painting on canvas presented alterations characterised by yellow-earth/red point areas of different extensions, spread on the whole posterior surface. Molecular analyses on the total microbial community have been carried out through Denaturing Gradient Gel Electrophoresis (DGGE) method. Among the identified bacteria, the most abundant were Bacillus subtilis, Bacillus licheniformis and Deinococcus gobiensis; whereas among fungi, Leptosphaerulina and Penicillium genera. Culture-dependent techniques confirmed the dominance of bacteria belonging to Bacillus genus, whilst no fungal species has been isolated. However, presence of fungi was confirmed by microscope analysis, which allowed the visualization of fungal hyphae and spores in all the samples. Considering morphology and dimensions, these structures visualized by microscope were ascribable to mycelia and spores of fungi belonging to Penicillium genus, confirmed also by comparison with literature images. Afterwards the characterization of microbial community, the activity of four different biocides on the potential biodeteriogens was evaluated. Biotin N, Biotin R, New Des 50 and Amuchina (in single and mixed) were tested toward the single microbial isolates and the whole microbial community. According to the antibiogram test, the combination of Biotin R 4% in ethyl acetate + Biotin N 4% in white spirit resulted to be the most effective in terms of inhibiting activity, both on single strains and on the whole bacterial community. The paper print realized in the 17th century, conserved in the Monastery of “S. Maria al Carrobiolo” in Monza, presented whitenings and small dark spots, on the obverse and on the reverse side, respectively. In this case, a microbial investigation was executed through culture-dependent techniques for the isolation of bacteria and fungi, in order to characterize the possible deteriogens and determine their phylogenetic affiliation. The results demonstrated a negligible presence of bacteria. The most frequently cultured strains belonged to the Staphylococcus genus, which is associated to human skin, and to the Sphingomonas genus, which is an environmental bacterium, which have never been associated to biodeteriogen activity. As concerns fungi, the results showed a dominant presence of Neurospora pannonica, both on the obverse and on the reverse side of the print. In summary, the research emphasized the importance of biotechnologies in the field of cultural heritage. The optimization of D. vulgaris-based product, described in the first part of the work, has been successful, therefore this result underlines the importance of research for the improvements of biotechnological methodologies employed in restoration. The overall results suggest that further research is required for additional enhancement of this sulfates removal methodology and for the development of novel approaches, more and more effective and convenient, to be used in the field of cultural heritage.

Thesis (Ph.D.)--Indiana University, School of Health, Physical Education and Recreation, 2007.
Source: Dissertation Abstracts International, Volume: 68-07, Section: A, page: 3143. Adviser: Doug Knapp. Title from dissertation home page (viewed Apr. 14, 2008).

This thesis evaluates the Keklik Street and its Surrounding Conservation and Development Project with respect to sustainability principle of Cultural Heritage Management. The achievements and deficiencies of the Project will be discussed and a performance measurement of the physical, functional and organizational sustainability will be done. Finally, the thesis will emphasize the contribution of the sustainability principle of the management approach and its instruments to the heritage conservation process.

This thesis examines how cultural heritage policies are developed in New Zealand. Cultural heritage symbolises the development of a society, illustrating past events and changing customs and values. Because of its significance, the government has accepted responsibility for protecting cultural heritage, and has developed a number of institutions and a variety of policies to address this responsibility. It is important to understand how the goverment uses these mechanisms to protect cultural heritage, and the subsequent relationships that have developed between actors in the cultural heritage area. These will have an impact on the effectiveness of the policy which is developed. Cultural heritage is treasured by society for a number of reasons, but as social attitudes change, so does the treatment of cultural heritage. It is re-defined, re-interpreted and used to promote a sense of pride in the commmunity. This manipulation extends to policy making. Since the 1980s, the government has influenced, and been influenced by, two major social changes. There has been an introduction of free market principles such as rationalisation, competition and fiscal responsibility into the New Zealand economy and political structure. These principles have been applied to cultural heritage and consequently cultural heritage is treated as a commodity. As the result of changing attitudes towards the treatment of the Maori and Maori resources, there has been a movement towards implementing biculturalism. This has meant a re-evaluation of how Maori taonga is treated, particularly of the ways Maori cultural heritage has been used to promote a sense of New Zealandness. There are several major actors involved in cultural heritage policy making - government, policy units, cultural heritage organisations and local authorities. Central government is the dominant force in the political process, with control over the distribution of resources and the responsibilities assigned to other actors. Because the use of market principles and movement towards biculturalism have been embraced at the central government level, other actors in the policy making process are also expected to adopt them. Policy units develop options to fit with the government�s general economic and political agenda. The structures adopted for the public service are designed to encompass market principles, particularly the efficient use of resources and competitiveness. While cultural heritage organisations may influence the government�s agenda through lobbying and information-sharing, they are limited by issues such as funding and statutory requirements. Government has shifted many responsibilities to the regions, but while territorial authorities are influenced by the concerns of their communities, they are also subject to directions from the government. The process and structures which have been outlined do not contribute to an effective policy making system. The use of market principles to direct cultural heritage protection tends to encourage uneven and inconsistent policies, both at national and local levels. The range of cultural heritage definitions used by government agencies also promotes inconsistency. Cultural heritage is encompassed in a large number of government departments and ministries, which makes the co-ordination funding by meeting required �outputs� and the government�s requirement of fiscal responsibility. This is not appropriate language for cultural heritage, which should not have to be rationalised as an economic good. Although the government has devolved a number of responsibilities and territorial authorities have a variety of mechanisms available to protect cultural heritage, there is no nation-wide criteria for territorial involvement. Because of regional differences there is an uneven treatment of cultural heritage. Those policies developed by territorial authorities will also be influenced by the government�s economic direction. Organisations supported by the Dunedin City Council, for example, must also provide budgets and strategic plans which fit with Council�s fiscal objectives.

La scoperta di oggetti antichi solleva una serie di questioni quali la corretta determinazione del contesto storico-culturale, la provenienza ed il metodo di lavorazione, oltre alla scelta dei trattamenti e delle condizioni di restauro e conservazione. Vengono qui presentati risultati riguardo l’applicazione di tecnologie neutroniche nel campo dei beni culturali e promettenti prospettive future nel binomio scienza-tecnologia per lo studio di oggetti archeologici. Vengono discusse attività relative allo sviluppo di strumentazione ad hoc quali un sistema di posizionamento successivamente integrato nello strumento Prompt Gamma Activation Imaging/Neutron Tomography (PGAI/NT) e l’utilizzo del fotomoltiplicatore al silicio (SiPM) accoppiato con un cristallo scintillante YAP come rivelatore di neutroni e gamma al fine di ottenere un sistema di rivelazione di piccole dimensioni, compatto e a basso costo. Vengono poi presentati quattro risultati significativi riguardo l’utilizzo di tecniche neutroniche ‘standard’ su oggetti di reale interesse archeologico. Da ultimo, alcuni risultati preliminari riguardanti l’applicazione della nuova tecnica di Prompt Gamma Activation Imaging (PGAI) combinata con la Neutron Radiography (NR) su due preziosi pezzi, quali due teste in bronzo dorato provenienti dalle porte del Battistero di Firenze del Ghiberti, completeranno lo studio.
The discovery of ancient artefacts often raises a variety of questions such as the correct determination of its historical and cultural time-frame, the place and method of production, the choice of treatments and conditions for restoration and preservation. Research results about the application of neutron technology in the field of cultural heritage are presented together with promising perspectives for the future of science and technology within cultural heritage studies. Activities on neutron instrumentation such as sample positioning system for Prompt Gamma Activation Imaging/Neutron Tomography (PGAI/NT) instrument and the use of silicon-photomultiplier (SiPM) as neutrons and gammas detector coupled by YAP crystal to obtain small and compact, low cost, portable detector system, are discussed. The systematic assessment of neutron diffraction application to the study of archaeological objects is also carried out. Four significant results from the use of ‘standard’ techniques on real archaeological objects are reported. Finally, results about first preliminary measurement by the new Prompt Gamma Activation Imaging (PGAI) combined with Neutron Radiography (NR) on two precious gilded bronze heads from the monumental doors of the Florence Baptistery by Lorenzo Ghiberti will complete the study.

Metadata are fundamental for the indexing, browsing, and retrieval of cultural heritage resources in digital repositories. Since the manual control of metadata quality in digital repositories may not be feasible, especially when working with large collections, this Ph.D. thesis focuses specifically on the problem of automatic metadata quality assessment. Taking as the main reference the Metadata Quality Framework developed by Thomas Bruce and Diane Hilmann, we propose to evaluate metadata information according to three aspects. The first is metadata Completeness, approached as a statistical analysis. We compute the ratio of the filled elements with respect to the metadata schema taking into account its structure as well as the specific topic of a collection. The second is metadata Accuracy of the textual description of a given cultural heritage object, approached as a binary classification problem. We determine whether the field contains a high-quality or low-quality description, measured as the compliance of the textual content with the description rules from the guidelines used to implement metadata information. The last aspect concerns metadata Coherence, where we investigate the feasibility to use high-quality metadata at source while implementing metadata information. We assess the metadata Coherence of the subject element recommending the three most likely subjects of the resource analyzing the iconography of the resource. Applying this methodology to the Italian digital library ``Cultura Italia'', we noticed overall that it is indeed possible to automatically evaluate metadata quality. However, despite the promising results we obtained, to have a more detailed picture about automatic metadata quality evaluation, our methods should be also tested on a wider range of digital repositories.

Culturally contextualized, technology-based informal learning in settings such as museums, science centers, zoos, and aquariums is a sustainable method that facilitates a community's learning needs. However, the lack of research about where technology-based informal education and culture intersect presents an issue in having sound, evidence based information to use in further developing such opportunities. The purpose of this ethnographic study is to investigate processes in technology-based informal education and explore the cultural dimensions in which it takes place. This ethnographic research can provide better understanding into how and why to create technology-based informal learning opportunities. The cultural contexts that enable those processes are primarily social and relationship-based dimensions that allow for as many participants as possible contribute and be involved in creating unique learning opportunities. In regards to a technological platform, it is shown that social media is the most conducive technology in the informal learning process.

La question du statut des objets issus des sociétés extra-occidentales conservés dans les musées occidentaux restait posée, jusqu'à récemment, dans les termes du paradigme construit au cours du vingtième siècle opposant le statut ethnographique au statut esthétique, et à partir d'une conception intrinsèque du statut des objets. La controverse suscitée par l'annonce du projet du musée du quai Branly au sein des communautés anthropologique et muséale en témoigne. Cette recherche propose de renouveler l'approche du statut des objets extra-occidentaux en adoptant une conception extrinsèque du statut des objets. Elle repose sur deux analyses sémiotiques successives de l'exposition permanente du musée du quai Branly. La première vise à analyser séparément et exhaustivement les registres médiatiques de l'espace, scriptovisuel et audiovisuel qui composent, avec le registre des objets, l'exposition ; la seconde à analyser, au sein d'un corpus restreint d'unités d'exposition, l'interaction des registres, dans le but final d'identifier les processus interprétatifs producteurs du sens des objets. L'objectif de cette double analyse consiste à vérifier que l'exposition permanente du musée du quai Branly assigne le statut d'objet de patrimoine aux objets issus des sociétés extra-occidentales qu'il conserve.La première partie de la thèse est consacrée à restituer la construction de la question de recherche, qui porte surle caractère patrimonial du statut des objets de musée extra-occidentaux, et à rendre compte des moyens méthodologiques mis en oeuvre pour y répondre. La deuxième partie, consacrée aux résultats de l'analyse séparée des registres, confirme que les marqueurs nécessaires à l'assignation du statut patrimonial des objets extra-occidentaux, les mondes d'origines ailleurs et muséaux, sont bien certifiés dans l'exposition. Elle montre également la mobilisation particulière du registre de l'espace. L'ensemble incite à formuler l'hypothèse que l'espace ne constitue pas un interprétant des objets, que les mondes d'origine ailleurs et muséaux occupent une place secondaire dans l'assignation du statut des objets et, finalement, que les objets sont les principaux interprétants des objets. Enfin, la troisième partie permet de vérifier que la certification de l'appartenance des objets à leur double monde d'origine est bien réalisée par le traitement muséal, l'exposition assigne donc bien le statut de patrimoine aux objets exposés, mais elle montre aussi que les éléments de la certification apparaissent comme secondaires, tandis que la production du sens des objets par la relation entre les objets favorise l'assignation d'un autre statut de l'objet : le statut de curiosité. En s'appuyant sur la production de la signification des objets par le dispositif d'exposition pour le visiteur, cette recherche permet de penser, plus largement, la capacité de l'exposition à proposer un discours neutre qui modifie son opérativité, et qui permet à l'institution muséale de se placer dans une posture de délégation du sens produit par l'exposition.

Much recent debate surrounding the conservation of cultural built heritage (CBH) concerns its instrumental role in society. In Britain, the ascendance of openly contested identity politics and New Labour's orthodoxy of socially progressive reform draw attention to particular challenges facing heritage conservation activities in a pluralist, multicultural society. Here, it is argued, ethnic minorities face exclusion from state-defined heritages which they may not share. Yet despite its appropriation to pursue social objectives, the meaning of CBH, in terms of what it is and what it does at local community level, remains little understood. Accordingly, as heritage agencies strive to democratise their activities, the benefits of broadening access to national CBH, while taken as a matter of faith, remain untested and unexplored. This thesis tests the actuality and extent of post-modem notions of CBH in a culturally diverse local community setting. By building on a cross-disciplinary theoretical framework, and using qualitative methods within an in-depth spatially defined case study, the research explores how CBH is defined, given meaning and how and why it is contested. Perceptual dysfunction between producer aims and consumer requirements is identified through critically analysing efforts to re-evaluate and revise existing definitions of national CBH. The research challenges the sustainability of reform directives stemming from the heritage sector and government, which are shown as incompliant with the values and meanings placed on heritage by participants. Reformist intervention in heritage policy must therefore acknowledge and accept the reality that such moves also have the potential to generate new forms of exclusion. The thesis concludes that we should focus less on efforts to (re)define CBH in a way that neutralises difference and more on developing understandings of the processes through which people define their experiences of heritage in their own social contexts. The work provides a platform for critical discourse and reflection on heritage encompassing the key fields of identity, democracy and ownership of the past.

The Christian cultural heritage of north Africa is ancient and rich, but at risk after recent political events. Many Christian minority communities living in Islamic environments feel at risk of persecution. This is a topical and timely PhD. The Christian, Coptic heritage of Egypt remains poorly studied from the perspective of heritage management and is also at risk from a number of factors. Using first-hand study and analysis based upon original fieldwork, the thesis offers a state of the art assessment to risks facing Coptic monuments in Egypt today. It does this by situating Egyptian heritage policy within the English framework, and it establishes theoretical approaches to value, significance, meaning, and interpretation in Egyptian heritage within a wider global framework. It is based on the analysis of three markedly different Egyptian Christian Coptic sites, each with their own unique management issues and it offers a series of solutions and ideas to preserve, manage and interpret this unique material culture and to emphasise community solutions as being the most viable and sustainable approaches, whilst taking into account the varied levels of significance of these monuments.