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1
He, Wanrong, Mitchell L. Gordon, Lindsay Popowski, and Michael S. Bernstein. "Cura: Curation at Social Media Scale." Proceedings of the ACM on Human-Computer Interaction 7, CSCW2 (September 28, 2023): 1–33. http://dx.doi.org/10.1145/3610186.
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How can online communities execute a focused vision for their space? Curation offers one approach, where community leaders manually select content to share with the community. Curation enables leaders to shape a space that matches their taste, norms, and values, but the practice is often intractable at social media scale: curators cannot realistically sift through hundreds or thousands of submissions daily. In this paper, we contribute algorithmic and interface foundations enabling curation at scale, and manifest these foundations in a system called Cura. Our approach draws on the observation that, while curators' attention is limited, other community members' upvotes are plentiful and informative of curators' likely opinions. We thus contribute a transformer-based curation model that predicts whether each curator will upvote a post based on previous community upvotes. Cura applies this curation model to create a feed of content that it predicts the curator would want in the community. Evaluations demonstrate that the curation model accurately estimates opinions of diverse curators, that changing curators for a community results in clearly recognizable shifts in the community's content, and that, consequently, curation can reduce anti-social behavior by half without extra moderation effort. By sampling different types of curators, Cura lowers the threshold to genres of curated social media ranging from editorial groups to stakeholder roundtables to democracies.
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Yuhelson, Yuhelson, and Muhamad Adystia Sunggara. "The Curator Responsibility of the Loss of Wealth Bankrupt Limited Company." Proceeding of Community Development 2 (February 21, 2019): 37. http://dx.doi.org/10.30874/comdev.2018.74.
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Curators can be personally liable if they make a mistake or negligence outside the provisions of the Bankruptcy Act and PKPU which causes losses to bankrupt assets. If the curator has carried out his duties in accordance with the provisions of the Bankruptcy Act and PKPU, then if a loss arises from bankruptcy, he does not have to be personally liable and the loss will be charged to the bankrupt assets. In connection with the personal responsibility of the curator, in addition to being able to be held accountable civilly it is possible for the curator's actions to be held criminally accountable. In addition, administrative sanctions can also be imposed on the curator. It should be borne in mind that as long as the curator carries out his duties and authorities in accordance with the provisions of the Bankruptcy and PKPU Law, he should not be sued either civilly, criminally or subject to administrative sanctions even if his actions cause losses to bankrupt assets.
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Tahlina, Yuliia S., and Oleksandra S. Kutenko. "THE ROLE OF THE PRINCIPLE OF CURATION IN THE CONTEMPORARY CULTURE." Journal of V. N. Karazin Kharkiv National University, Series "The Theory of Culture and Philosophy of Science", no. 63 (May 31, 2021): 68–76. http://dx.doi.org/10.26565/2306-6687-2021-63-08.
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The article analyzes phenomenon of the «principle of curation» in historical and philosophical development. In the modern world, overloaded with large volumes of information, it is not just access to information that becomes important, but the ability to navigate it. Problems of critical reflection, choice, interpretation in the information space are gaining in importance. That is exactly why the use of the principle of curation is proposed to implement these processes. The authors consider history of the emergence of the concepts of «curator» and «curatorship», delineation of the features of curatorial principle and differences in meanings and understanding of the principle of curation. Having considered the history of transformation of these concepts, having analyzed their use in various fields, the authors come to the conclusion that semantic component of the curator changes over time. If initial connotations were limited to the view of the curator as a guardian and caretaker of collections, then in the modern sense curator him/herself is a creative subject. Therefore, the interpretation of works of art essentially depends on the creative activity of the curator and the space that he creates for presentation. Modern practice of curation should be considered as a newly formed field of activity, which is fundamentally different from the forms that preceded it. In the 21st century, the principle of curation is becoming a universal and necessary method of presenting selected and orderly information, which aims to solve the problem. Curators are the ones who work with this flow of information in the era of information overload: they process it, systematize, organize, conceptualize and present it to the public, thus becoming liquidators of the problem of information overload. The article puts forward a hypothesis for further philosophical reflection: the curatorial principle is a necessary component for organizing the presentation space of a cultural archive.
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Anam, Khoirul, Lono P. Simatupang, and Suwarno Wisetrotomo. "Different Types of Curators Based on Field of Work and Responsibilities in OHD Museum." Lekesan: Interdisciplinary Journal of Asia Pacific Arts 5, no. 2 (October 28, 2022): 72–81. http://dx.doi.org/10.31091/lekesan.v5i2.1821.
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The development of curatorial work practices will be very important for the development of museums, arts, and culture. However, it is undeniable that studies and understanding of the development of curatorial work practices are still not optimal in Indonesia. Awareness of the realm and responsibility of the curator is also sometimes poorly understood by the public and the practitioners of curatorial work practices themselves. This vacancy becomes an obstacle in the development of the profession of independent curator and museum curator. Where the curator profession is no longer seen only as a museum guard or seen only as a writer in an exhibition. The discourse in this study will raise the question of how curatorial work practices at OHD Museum are based on the field of work and responsibilities, which we can see from the different types of curators in an art museum. This study focuses on explaining and understanding the definition of curator and the types of the curator in the development of curatorial studies in an art museum. The results of this study indicate that from the division of In-House Curators and Guest Curators at the OHD Museum, they are distinguished by their field of work and responsibilities. The In-House Curators has responsibilities, among others; acquisition, deaccession, borrowing, conservation, restoration, documentation, and research, where related to the field of collection. Then, look at the Guest Curator with responsibilities, among others; creating a curatorial concept for an exhibition, selecting the collections and artists involved, producing a narrative document (curatorial text), and designing an exhibition.
5
Wyse Jackson, P. N. "Silver Pages: 25 years of the Newsletter of the Geological Curators' Group and The Geological Curator." Geological Curator 7, no. 3 (June 2000): 95–99. http://dx.doi.org/10.55468/gc436.
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Soon after its inception in 1974 the Geological Curator's Group established the publication Newsletter of the Geological Curators' Group. In the following years it has undergone several changes not only in style, but also most notably in name to The Geological Curator. This reflected an evolution of an original newsletter-style into a journal-style publication. In 1980 the newsletter Coprolite was first published. The publications of the Geological Curators' Group have aided the development of professionalisation amongst geological curators.
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Dupuis, Chris. "Dance curation as choreographic practice." Dance Articulated 6, no. 1 (June 24, 2020): 89–110. http://dx.doi.org/10.5324/da.v6i1.3640.
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Dance curators (or programmers, as they are often called) have a significant impact on the dance field throughtheir selection processes: elevating certain works, practices, and artists, while effectively excluding others. Through this, they have a considerable hand in shaping what kinds of dance pieces a local audience has access to,effectively writing dance history over time. But their working processes remain poorly understood, and there have been limited attempts to theorize their practice. This article begins with an exploration of the etymology of the term curator and the historical emergence of the curator in both the fine arts and dance. It then goes on to examine the role of the curator as mediator in two common models for dance presentation (the festival and the theater season) and explores two alternative curatorial models (the focus program at Brussels venue Beursschouwburg and the uncurated model of Amsterdam festival Come Together). Finally, it explores the practice of dance curation as a form of choreography itself. It concludes that contextualizing dance curation asa form of choreography could be an effective starting point for theorizing the practice, hopefully paving the way for further study.
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Meehitiya, Luanne. "Be A Curator: Developing a new Geological Curators' Group activity to engage the public with geological curation." Geological Curator 10, no. 6 (December 2016): 259–61. http://dx.doi.org/10.55468/gc17.
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A new outreach activity developed by the author for GCG is briefly described. The Be A Curator activity is aimed at use in FossilFestivals and similar events, and for loan by curators for local use. The activity is based around a range of labels on a magnetic board and introduces people to the idea of curation.
8
Cachia, Amanda. "Reflections on Access: Disability in Curatorial Practice." Canadian Journal of Disability Studies 8, no. 1 (February 21, 2019): 98–117. http://dx.doi.org/10.15353/cjds.v8i1.472.
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Access is a vital tool to deploy within a critical disability curatorial practice and can embody both conceptual and physical possibilities, whereby the very idea of access can be discovered in an artist’s work, and, at the same time, be productively curated into both gallery spaces and the exhibition of the artwork. This essay reflects on the author’s critical disability curatorial practice with the exhibitions Marking Blind (2015) and Sweet Gongs Vibrating (2016). Through the curation of works by Raphaëlle de Groot and Carmen Papalia, and through the artist curator relationship between the artists and the curator, the author of this paper, both exhibitions incorporated access in order to benefit the artists, the artworks, as well as diverse audiences. This paper argues that through the guidance of the curator, access can be incorporated into the exhibition in highly imaginative and artistic ways.
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Nenastina, T., K. Berezhna, and S. Bugaevskyi. "Curator's work during the adaptation period of students at the Kharkiv National Automobile and Road University." New Collegium 1, no. 110 (March 28, 2023): 59–64. http://dx.doi.org/10.30837/nc.2023.1-2.59.
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Due to the transition to the new generation of educational standards and the increase in hours for independent work, there is a need to train a creative, active person who can independently choose his own life path. The educational process in the life of the university is planned and organized along with studies and scientific activities. The curator of the academic group is usually assigned an experimental teacher, since this position includes responsible and thorough work, which should take into account the profile of training of specialists and the specifics of the faculty. Students' problems related to the educational process at the university, interpersonal conflicts and relations in the group, and the question of the student group participation in the public and cultural mass activities of the university are resolved by the curator. The effectiveness of the educational work of the curator of the academic group is largely determined by its planning. Based on the analysis of theoretical studies and the experience of modern pedagogues-practitioners, the roles and functions of the curator in working with the group are defined, the curator's duties are described, and an approximate plan for the work of curators in universities is proposed. The views on the organization of educational work in higher education are presented. The creation of new mechanisms related to the selectivity of some disciplines makes it necessary to carry out additional explanatory and advisory work of curators regarding the formation of individual study plans for applicants. It is shown that the curator uses various forms of educational work in his activities, which contribute to the formation of the personality of the future specialist as a patriot citizen, who cares about the fate of the Ukrainian state, law, and order, education, and culture.
10
Li, Yuanyuan. "The Role Positioning and Survival Status of “Contractor” Style Curators in Contemporary China." International Education Forum 2, no. 11 (December 23, 2024): 17–22. https://doi.org/10.26689/ief.v2i11.9118.
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In the context of the thriving development of contemporary art, the curators’ authority in exhibitions is increasingly strengthened, leading to a growing demand for professionals in art curation. The number of curators continues to rise, and their status and role within the art ecosystem are widely acknowledged. However, the working environment and conditions for contemporary art curators in China are not optimistic. Their development has not been as ideal as expected, with both subjective and objective issues and contradictions present. In light of the various problems and contradictions facing the curator community in China, it is essential to conduct an in-depth analysis of these issues to gain a clear understanding of the art curation industry and to truly respect the work of art curators.
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Simanjuntak, Ranto Parulian. "CURATORS ARE VULNERABLE TO BE CRIMINALIZED AND CRIMINATED IN BANKRUPTCY AND PKPU PROCESSES." Global Legal Review 3, no. 2 (October 31, 2023): 141. http://dx.doi.org/10.19166/glr.v3i2.7424.
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<p>The Curator is one of the important organs in the debt settlement process between debtors and their creditors through bankruptcy law instruments. Based on Law Number 37 of 2004 concerning Bankruptcy and Postponement of Debt Payment Obligations (PKPU), the Curator is given broad and broad duties and powers in managing and settling the assets of a bankrupt debtor. Because since being declared bankrupt by the court, the debtor has lost his right to manage his business and assets. The duties and authorities to administer the business and assets of the bankrupt debtor rest in the hands of the Curator, who works under the supervision of the Supervisory Judge. In carrying out its duties and authorities, the Curator must adhere to the provisions of the Law and the Professional Code of Ethics, namely being independent, having no conflict of interest and not handling more than 3 (three) Bankruptcy and PKPU cases. If in carrying out its duties and authorities it causes damage to the bankrupt assets, then the Curator must be legally responsible. That means, the Curator does not have the right of immunity or impunity in carrying out his duties and authorities to manage and settle bankruptcy assets in accordance with the provisions of the law. The Curator is not a public official. The Curator may be punished if his actions and decisions in administering and settling the bankrupt assets cause harm to the bankrupt assets. However, Law Number 37 of 2004 concerning Bankruptcy and PKPU does not include criteria for criminal acts and criminal sanctions for Curators. Because of this, Curators are vulnerable to being criminalized and punished.</p><p>The Curator is one of the important organs in the debt settlement process between debtors and their creditors through bankruptcy law instruments. Based on Law Number 37 of 2004 concerning Bankruptcy and Postponement of Debt Payment Obligations (PKPU), the Curator is given broad and broad duties and powers in managing and settling the assets of a bankrupt debtor. Because since being declared bankrupt by the court, the debtor has lost his right to manage his business and assets. The duties and authorities to administer the business and assets of the bankrupt debtor rest in the hands of the Curator, who works under the supervision of the Supervisory Judge. In carrying out its duties and authorities, the Curator must adhere to the provisions of the Law and the Professional Code of Ethics, namely being independent, having no conflict of interest and not handling more than 3 (three) Bankruptcy and PKPU cases. If in carrying out its duties and authorities it causes damage to the bankrupt assets, then the Curator must be legally responsible. That means, the Curator does not have the right of immunity or impunity in carrying out his duties and authorities to manage and settle bankruptcy assets in accordance with the provisions of the law. The Curator is not a public official. The Curator may be punished if his actions and decisions in administering and settling the bankrupt assets cause harm to the bankrupt assets. However, Law Number 37 of 2004 concerning Bankruptcy and PKPU does not include criteria for criminal acts and criminal sanctions for Curators. Because of this, Curators are vulnerable to being criminalized and punished.</p><p><strong><br /></strong></p>
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Irwansyah, Dedi, Joni Emirzon, and Putu Samawati. "Curator's Immunity Right Against Civil Claims In The Management Of Bankruptcy Boedel." Dialogia Iuridica 17, no. 1 (April 30, 2025): 041–60. https://doi.org/10.28932/di.v17i1.10080.
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The uncertainty of legal protection for curators in executing the settlement of bankrupt estates, who often face civil lawsuits. Although curators perform their duties based on court orders, they are not equipped with adequate immunity rights like other legal professions, such as advocates and notaries. The right to immunity is a freedom and or immunity of the curator profession from all lawsuits in carrying out the administration of bankruptcy assets as long as it is carried out in good faith. The lack of immunity for the curator has the effect of disrupting the task of administering the bankruptcy estate. This study aims to analyze the regulations regarding immunity rights for legal professions in Indonesia and the implementation of curatorial immunity in facing civil lawsuits. The research employs a normative juridical method with a legislative and analytical approach. The findings of this research indicate that, despite the crucial role curators play in the bankruptcy process, there is no explicit regulation providing immunity rights against civil lawsuits. There is a need for revisions to the applicable laws so that the immunity rights of curators can be clearly and comprehensively regulated, thereby providing legal certainty, utility, and justice for curators in carrying out the settlement of bankrupt estates. The findings offered are to revise the Bankruptcy Law to add a regulation on Curator immunity, or make a special regulation on the Curator Profession by including the Right to Immunity, or establish a joint ethics board as a performance supervisor by the curator.
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Torrens, Hugh S., and John A. Cooper. "George Fleming Richardson (1796-1848) - man of letters, lecturer and geological curator." Geological Curator 4, no. 5 (February 1986): 249–72. http://dx.doi.org/10.55468/gc791.
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Seeing the familiar poem The Nautilus and the Ammonite featured in a recent issue of the Geological Curator (Delair 1984) reawakened an idea which has Iain dormant for some time: that we should start a series on forgotten or neglected curators. In my view the single most important cause of the widespread neglect which geological and other natural science collections have suffered in Britain over the years can be put down to a lack of caring curators. Sometimes there was a lack of curators, othertimes they didn't care! The history of curation seems to be an even more neglected subject than the history of collections - a point I tried to make at the Ashmolean Tercentenary Symposium in Oxford in 1983 (Torrens 1985b). So while we try to document the collections perhaps we should also stop to consider the curators who *made it all possible*. This point was made specifically by Edwards (1984) about one of the most remarkable of such curators, ex-railway clerk Thomas Sheppard (1876-1945), the Curator of Hull Museums from 1900 to 1941. What has all this to do with the poem The Nautilus and the Ammonite? Simply that it is not by Ernest Westlake, and was neither written in the 1880s nor hitherto unpublished as claimed by Delair (1984). Instead it is by one of the earliest forgotten curators - George Fleming Richardson (1796-1848).
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Sidorova, Tatiana V., Bayan T. Tsydypov, and Yulia V. Shibanova. "Personal and Professional Position of the Student Group Curator." Siberian Pedagogical Journal, no. 3 (July 3, 2023): 80–89. http://dx.doi.org/10.15293/1813-4718.2303.08.
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The article discusses the concept of the personal and professional position of curators working in the system of secondary vocational education. The mentoring work of a curator requires from the teacher not only psychological and pedagogical knowledge, but also high intellectual, moral-volitional and moral qualities. The authors conducted a research among the curators of the College of the Buryat State University named after D. Banzarov to identify their personal and professional position, to determine its productivity. Analysis of the results showed that the pedagogical position of the curator depends primarily on internal causes rather than on external circumstances. The purpose of this article is to identify the personal and professional position of the curators of the BSU College, determination of its productivity. The main methods of this research are the analysis of scientific literature on the topic, regulatory documentation related to the activities of the curator; empirical methods: questioning and interviewing curators of the Buryat State University college, processing the results. In conclusion, it is concluded that a modern curator must have a number of personal qualities that contribute to an effective educational process and the formation of a student’s personality. As the research showed, the development of a productive personal and professional position of curators can contribute to the improvement of educational activities in the system of secondary vocational education.
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Dekker, Annet, and Gaia Tedone. "Networked Co-Curation: An Exploration of the Socio-Technical Specificities of Online Curation." Arts 8, no. 3 (July 8, 2019): 86. http://dx.doi.org/10.3390/arts8030086.
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Online curation is shaped and defined not merely by its content, but just as much by the nature of the structure and the systems that are used by curators and artists. It could be argued that this applies to any medium, but as this essay will show, the Web profoundly influences the role of the curator in new ways. In this paper we show how curation on the Web is not merely concerned with presenting art, but that curation functions within a wider ecology of social and technical power relations. This shift is characterized by a collision of different interests driven by economic, cultural, and socio-political agendas, and can be framed as a new space of performativity: signaling a move from curating a set of objects to a conceptual and operational process that puts different constellations of human and machinic agents, objects and practices into relation with one another. This means that a curator needs to take into account a complex interrelated network of dependencies and contexts that are often invisible or incomprehensible to most people. In such a scenario online curation becomes ‘networked co-curation’ and shifts the attention from what is produced to how it is performed under the socio-technical conditions and relations that characterize the current state of the Web.
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Richards, Greg. "The curatorial turn in tourism and hospitality." International Journal of Contemporary Hospitality Management 36, no. 13 (February 9, 2024): 19–37. http://dx.doi.org/10.1108/ijchm-06-2023-0905.
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Purpose This study, a conceptual paper, analyses the growth of curation in tourism and hospitality and the curator role in selecting and framing products and experiences. It considers the growth of expert, algorithmic, social and co-creative curation modes and their effects. Design/methodology/approach Narrative and integrative reviews of literature on curation and tourism and hospitality are used to develop a typology of curation and identify different curation modes. Findings Curational techniques are increasingly used to organise experience supply and distribution in mainstream fields, including media, retailing and fashion. In tourism and hospitality, curated tourism, curated hospitality brands and food offerings and place curation by destination marketing organisations are growing. Curation is undertaken by experts, algorithms and social groups and involves many of destination-related actors, producing a trend towards “hybrid curation” of places. Research limitations/implications Research is needed on different forms of curation, their differential effects and the power roles of different curational modes. Practical implications Curation is a widespread intermediary function in tourism and hospitality, supporting better consumer choice. New curators influence experience supply and the distribution of consumer attention, shaping markets and co-creative activities. Increased curatorial activity should stimulate aesthetic and stylistic innovation and provide the basis for storytelling and narrative in tourism and hospitality. Originality/value This is the first study of curational strategies in tourism and hospitality, providing a definition and typology of curation, and linking micro and macro levels of analysis. It suggests the growth of choice-based logic alongside service-dominant logic in tourism and hospitality.
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Felicia, Situmorang, Haryanto Imam, and Sakti Muthia. "Legal Certainty of Payment of Receivers' Fees in the Event That Bankruptcy is canceled by the Court." International Journal of Social Science and Human Research 07, no. 07 (July 16, 2024): 5202–12. https://doi.org/10.5281/zenodo.12747694.
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This research examines the implementation of payment of curatorial services in the event of annulment by the Court of the Supreme Court Decision. This study also describes the legal certainty of payment of curatorial fees from the side of the curator, debtor and creditor. Normative research is research that refers to legal norms contained in legislation and court decisions. The author uses the 1945 Constitution, Law of the Republic of Indonesia Number 37 of 2004 concerning Bankruptcy and Suspension of Debt Payment Obligations, Regulation of the Minister of Law and Human Rights of the Republic of Indonesia Number 18 of 2021 concerning Guidelines for Fees for Curator and Management Services. The results of this study are that the payment of curatorial services in the event that it is canceled by the Court on the Supreme Court Decision has been regulated in the Applicable Laws that regarding curatorial fees has been regulated in Law No. 37 of 2004 concerning Bankruptcy and Suspension of Debt Payment Obligations and in Regulation of the Minister of Law and Human Rights of the Republic of Indonesia Number 18 of 2021 concerning Guidelines for Service Fees for Curators and Suspension of Debt Payment Obligations as a technical regulation governing curatorial fees. In practice, it is the Panel of Judges that determines the amount of the curator's fee after the application for the determination of the curator's fee is submitted by the Curator to the Court.
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Yuliyanto Waisapi, Jefri. "The Role of Curators and Liquidators In Solving Problems Insolvent Limited Liability Company." Eduvest - Journal of Universal Studies 3, no. 2 (February 20, 2023): 477–90. http://dx.doi.org/10.59188/eduvest.v3i2.760.
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This study aims to review and analyze the role of curators in insolvency in limited liability companies, as well to review and analyze the role of liquidators in the settlement of assets bankrupt limited liability companies. By using normative legal research methods, which use secondary data based on primary legal sources, secondary legal materials and tertiary legal materials, data collection through literature studies or document studies, as well qualitative analysis. The results showed that the curator's decision in bankruptcy in limited liability company begins in the process of managing and settling bankruptcy assets, starting from the stage management, appointment and appointment qualified curators, settlement bankruptcy assets by the curator, so that from the date bankruptcy statement decision, all executors of the management and settlement of bankruptcy assets are handed over to the curator. After Limited Liability is declared bankrupt, the task of the curator in clearing the assets in Limited Liability is to block assets of a Limited Liability Company. That the role of the liquidator in the settlement assets of a bankrupt limited liability company is that the liquidator has a position in the settlement of the assets of the dissolved company, so that it has the rights, obligations and responsibilities of the liquidator in the settlement of the assets the dissolved limited liability company, the liquidator has responsibility if the liquidation has not ended. The liquidator has a great responsibility from the time dissolution Limited Liability Company to Limited Liability Company legal entity status Limited Liability Company ends
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Oliveira, Alcinete Maquine Carvalho, Ana Isabel Sousa Rosa, and Rosangela da Silva Gomes. "O contributo do profissional da informação na curadoria digital." Prisma.com 45 (2021): 74–83. http://dx.doi.org/10.21747/16463153/45a6.
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The information professional is gaining more and more space in the current information society. Information and communication technologies appear to facilitate the performance of work in the digital environment. With the increasing amount of information, either digitized or born digital, the care of digital objects has become urgent. Digital curation appears as an alternative in the care of digital objects, ensuring that they have a longer life and can be used. It is believed that activities related to digital curation have required constant updates and other competencies for the information professional. Therefore, we intend to know: what are the information professional's practices that contribute to digital curatorship? General Objective: To identify which types of information professionals perform activities related to digital curatorship. Specific objectives: to highlight the literatures that deal with the information professional in digital curatorship; to verify the necessary competences for the information professional to act as digital curator; to specify the similar and different aspects in the typologies of the information professional. Results: Most digital curators are librarian, archivist or museologist professionals, with master's degrees in the areas of librarianship, records management, archivists or in information science. Few specialize or have master's degrees in digital curation or data curation. Some of the activities that the digital curator performs include the following services: creating metadata; accessing, collecting and manipulating content; discarding; maintaining resources; developing policies and managing data plans and procedures for digital content. Conclusion: Digital curation is important to ensure the long life and integrity of the digital object, so organizations adapt to their reality, life cycle models to work with these digital objects. The specialized training for digital curators is directly linked to the areas of Librarianship and Information Science. This research highlights the type of information professional: the librarian, who most performs activities related to digital curation.
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Wijayanta, Tata, Sheva Trisanda Adistia, Rado F. Leonardus, and B. E. Hermawan. "Evaluation Study of the Chancery Court (Balai Harta Peninggalan) as a Bankruptcy Curator." Pandecta Research Law Journal 18, no. 2 (December 25, 2023): 300–324. http://dx.doi.org/10.15294/pandecta.v18i2.47655.
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Article 15 of Law Number 34 of 2004 concerning Bankruptcy and Suspension of Obligations for Payment of Debt (UUK PKPU) states that in a bankruptcy declaration decision, a Curator and a Supervisory Judge must be appointed from the Commercial Court judges. The curator has the authority to manage and receive bankruptcy assets. The curators referred to under Article 70 paragraph (1) of the PKPU UUK are the Trustees' Office (BHP) and the Individual Curator (Curator). The results of previous research conducted by Pandu Yudha Pratama (2016) and Sheva Trisanda Adistia and Tata Wijayanta (2023) show that BHP is not widely appointed as administrator and receiver of bankruptcy assets in bankruptcy decisions handed down by commercial courts. This paper seeks to identify and evaluate the duties and powers of BHP as bankruptcy curator. This research is normative legal research, and the type of research is library research. The type of data used is secondary data obtained from literature studies. Methods and tools for collecting research data, namely document studies for secondary data. The data obtained will be analyzed using qualitative methods and presented descriptively. The results of the study show that the appointment of BHP as bankruptcy curator is much less than that of Curator. Optimization that can be done by BHP is to improve the quality of Human Resources and resolve the obstacles experienced in carrying out their duties as bankruptcy curator.
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Jeon, Jeong Ok, Juju Masunah, and Zakarias S. Soeteja. "Enhancing Curatorial Competencies : A New Media Art Curator Incubation Model in Indonesia." Jurnal Kependidikan: Jurnal Hasil Penelitian dan Kajian Kepustakaan di Bidang Pendidikan, Pengajaran dan Pembelajaran 10, no. 3 (September 18, 2024): 1231. http://dx.doi.org/10.33394/jk.v10i3.12713.
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This research aims to develop an incubation model to improve curator’s competencies on new media art curatorial practice. The incubation model contains a series of learning modules by which Indonesian young curators acquire theoretical knowledge and practical skills to develop and execute a new media art curatorial project. This research used a qualitative approach with a method of design-based research. The research process includes analysis, design, implementation, and evaluation. After analysing the mentees’ curatorial competencies, incubation model was designed based on four steps of curation: (1) Concept Development, (2) Artwork Selection, (3) Exhibition Design, and (4) Exhibition Communication. The research participants include 8 mentors, 9 mentees, and 3 facilitators for June mentorship, and 3 mentors, 2 curators, 4 artists, and 4 organizers for November exhibition. Data were collected through participatory observation, document studies, and personal reflection, which were interpreted through content analysis method. The result of the research is that implementing the four steps of curation in the new media art curator incubation model led to an improvement in 10 curatorial competencies for two mentees, and mostly 8 curatorial competencies for seven mentees. However, the limitation of this research is that ARCOLABS, the incubator, provided different levels of management to its mentees. Therefore, the research recommends that ARCOLABS should ensure fair treatment to all mentees to properly evaluate the improvement of curatorial competencies. For future research, the new media art curator incubation model should be redesigned and appropriately implemented to meet the required curatorial competencies.
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Tryandari, Maya. "Legal Protection for Bankruptcy Curators in the Resolution of Bankruptcy Cases." Journal of Law and Legal Reform 2, no. 3 (July 31, 2021): 421–38. http://dx.doi.org/10.15294/jllr.v2i2.46621.
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Bankruptcy is a general confiscation of the assets of a bankrupt debtor who is no longer able to pay his debts and is deemed unfit to run his business, then the management and settlement of his assets are carried out by the bankruptcy curator under the supervision of the court supervisory judge. The research method used is using sociological juridical method by analyzing various legal regulations as well as examine behaviors and direct relationships based on an understanding of the law in terms of social phenomena. The focus of this research is limited to the responsibility of the Curator in resolving bankruptcy cases and the protection of the bankruptcy curator in resolving bankruptcy cases. In the field of curator, there is very little supervision. regarding the supervision carried out by the supervisory judge but the supervisory judge does not supervise the performance of the curator in the field but only supervises based on work reports and complaints by one of the parties concerned in bankruptcy cases. more supervision and consists of 3 elements related to bankruptcy, namely the courts, associations and curator education. Legal protection for bankruptcy curators is very much needed because protection is very much needed in a profession, especially the curator profession which leads to the extension of the court in resolving bankruptcy.
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Saija, Ronald. "Perspektif Sanksi Pidana Kurator Menurut Hukum Kepailitan." PAMALI: Pattimura Magister Law Review 1, no. 1 (February 24, 2021): 1. http://dx.doi.org/10.47268/pamali.v1i1.480.
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Introduction: Some bankruptcy cases eventually evolve into criminal matters when a bankruptcy curator who is responsible in handling and administering bankruptcy case is positioned as defendant charged for conducting criminal acts.Purposes of the Research: The purpose of writing is to find out and analyze the perspective of curator criminal sanctions according to bankruptcy law.Methods of the Research: Normative juridical research, namely an approach based on legal materials by examining concepts, legal principles and legislation related to this research.Results of the Research: Criminal sanctions for non-independent curators aimed at preventing the curator from committing criminal acts in the course of the execution of the duty and maintenance tasks. Here, the role of criminal law is as a guardian of the norms that exist in the Law on Bankruptcy related to the duties and responsibilities of the curator. In order for a curator or committee before declaring his willingness to accept the duties and responsibilities of the consequences of the bankruptcy verdict or the postponement of the debt obligation obligation (PKPU) really ensure that he will not commit a disgraceful act of.
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Aprita, Serlika. "WEWENANG DAN TANGGUNG JAWAB HUKUM KURATOR ATAS KESALAHAN ATAU KELALAIANNYA MENGAKIBATKAN KERUGIAN BAGI DEBITOR DALAM PROSES HUKUM PENGURUSAN DAN PEMBERESAN HARTA PAILIT." Solusi 17, no. 2 (May 1, 2019): 154–74. http://dx.doi.org/10.36546/solusi.v17i2.173.
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ABSTRACT
 In general, the monetary crisis that hit a country gave an unfavorable influence on the economic life of the country concerned and caused great difficulties in the business community to continue its activities. The ability of the business world to develop its business is very disturbed, even to maintain the continuity of its business activities is also not easy. It was decided that a debtor becomes a bankrupt debtor by the Commercial Court, it will cause legal consequences for the debtor and his assets. In connection with the loss of the right to control and manage the assets of the debtor, the curator has the authority to administer and deposit bankrupt assets. However, in its implementation, the curator has done a lot of mistakes and negligence in carrying out his duties, as found in various case examples, so the debtor must be responsible for errors and omissions. The existence of legal ratios as well as the form and mechanism of curatory legal responsibility has been regulated in Law Number 37 of 2004 based on the theory of legal responsibility and legal protection theory and the opinions of bankruptcy law experts are the main basis for curators to be responsible for their errors or omissions. It is expected that the curator in carrying out his duties to manage and deposit bankrupt debtors' assets can maximally increase the value of bankrupt assets in the interest of creditors.
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Kiselev, Nikolai N. "Educational Potential of Curatorship in a Pedagogical University." Journal of Pedagogical Innovations, no. 3 (October 16, 2022): 25–33. http://dx.doi.org/10.15293/1812-9463.2203.03.
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The purpose of the article is to analyze the educational potential of curatorship in a pedagogical university, and to determine the educational resources of the main activities of student groups’ curators. As a result of the theoretical analysis of curatorship as a subject of the educational space of a pedagogical university, various educational possibilities of the curatorʼs position are determined; the pool of roles and qualities in which the curator acts are analyzed. The article also presents the results of a broad study at Novosibirsk State Pedagogical University of the qualitative characteristics of curatorship in general, including its educational potential. The students and curators of academic groups’ relationship, the differences in the positions of an instructor curator and an undergraduate curator, the curator’s educating influence on various aspects of student life were investigated. In addition, the article presents an analysis of the regulations on curatorial activities in various universities in Russia, and the most common curator’s responsibilities are identified.
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Astiti, Sriti Hesti. "PERTANGGUNGJAWABAN PIDANA KURATOR BERDASARKAN PRINSIP INDEPENDENSI MENURUT HUKUM KEPAILITAN." Yuridika 31, no. 3 (August 24, 2017): 441. http://dx.doi.org/10.20473/ydk.v31i3.4794.
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This article aimed to criticize the juridical basis of scope of crime mentioned on Law Number 37 of 2004, focuses on criminal responsibility of a curator based on independence principle of bankruptcy law. Essentially, bankruptcy is a part of civil law. However, some bankruptcy cases eventually evolve into criminal matters when a bankruptcy curator who is responsible in handling and administering bankruptcy case is positioned as defendant charged for conducting criminal acts. As stated on Article 234 Verse 2 of Law Number 37 of 2004, a curator who is proven not independent during bankruptcy court may be charged with criminal law. Criminal sanctions for non-independent curators aimed at preventing the curator from committing criminal acts in the course of the execution of the duty and maintenance tasks. Here, the role of criminal law is as a guardian of the norms that exist in the Law on Bankruptcy related to the duties and responsibilities of the curator. In order for a curator or committee before declaring his willingness to accept the duties and responsibilities of the consequences of the bankruptcy verdict or the postponement of the debt obligation obligation (PKPU) really ensure that he will not commit a disgraceful act of.
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Heppell, Michael. "Two Curators, a Classification of Borneo Swords and Some Swords in the Sarawak Museum Collection." Sarawak Museum Journal LXVIII, no. 89 (December 1, 2011): 1–40. http://dx.doi.org/10.61507/smj22-2011-v1t4-01.
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The Sarawak Museum collection o Dayak swords is central to the accepted classification of Borneo swords. Information in the Museum enabled two Museum curators, Robert Walter Campell Shelford and Edward H. Banks to write articles on the classification of swords in use in Sarawak. Shelford, an entomologist by training and interest, became Curator of the Sarawak Museum at the young age of 25 in 1897. His choice as curator might well have been influenced by the Second Rajah, Charles Brooke’s regard for the work of the great biologist and evolutionist Alfred Russell Wallace who had done his pioneering research in Sarawak in the period 1854 to 1856. Shelford held the post of curator until 1905, when he returned to England to take up a position as an assistant curator at the Oxford University Museum of Natural History, housed in the same general building as the Pitt Rivers Museum.
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Thompson, Santi, and Michele Reilly. "“Everyone’s a Curator”: Identifying the Everyday Curator." International Journal of the Image 10, no. 2 (2019): 25–38. http://dx.doi.org/10.18848/2154-8560/cgp/v10i02/25-38.
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Sukardi, Didi. "THE LEGAL RESPONSIBILITY OF DEBTOR TO PAYMENT CURATORS IN BANKRUPTCY SITUATION." Jurnal Pembaharuan Hukum 8, no. 2 (July 1, 2021): 142. http://dx.doi.org/10.26532/jph.v8i2.15905.
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The Law on Bankruptcy and the Obligation to Postpone Debt Payment does not explicitly stipulate that the obligation to pay the Curator's fee is borne by the Applicant, the Debtor or the Applicant and the Debtor jointly. The obligation to pay the curator fee is imposed through the determination of the Court of Judges who decides the bankruptcy case on the Curator's Application based on the details submitted by the Curator after hearing the considerations of the Supervisory Judge. The approach method used is a normative juridical approach the curator fees. according to Act No. 37 of 2004 concerning Bankruptcy and the Obligation to Postpone Debt Payment is not absolute, because the obligation to pay the Curator's fee can be imposed on the Applicant for the Declaration of Bankruptcy, the Bankrupt Debtor, or on the Petitioner for the Declaration of Bankruptcy and the Debtor for Bankruptcy jointly through the Determination of the Panel of Judges who decides the Bankruptcy Application.
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Noviriska and Dwi Atmoko. "The Role of Curators in Bankruptcy Legal Issues Between Debtors and Creditors in Postponement of Debt Payment Obligations (PKPU)." KRTHA BHAYANGKARA 18, no. 3 (December 30, 2024): 765–85. https://doi.org/10.31599/krtha.v18i3.3477.
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In accordance with article 37 of 2004 concerning bankruptcy and suspension of debt payment obligations (PKPU) Bankruptcy article 1 which explains that a creditor is a person who has receivables due to an agreement or law that can be collected in court. A debtor is a person who has debts due to an agreement or law whose payment can be collected in court. A bankrupt debtor is a debtor who has been declared bankrupt by a court decision. The Curator is the Estate Office or an individual appointed by the Court to manage and settle the assets of the Bankrupt Debtor under the supervision of the Supervisory Judge in accordance with this Law. Debt is an obligation that is stated or can be stated in an amount of money either in Indonesian currency or foreign currency, either directly or which will arise in the future or contingently, which arises due to an agreement or law and which must be fulfilled by the Debtor and if not fulfilled gives the Creditor the right to obtain fulfillment from the Debtor's assets. In the event of bankruptcy, the curator has full authority after the bankruptcy decision is issued by the Judge. The curator's responsibilities are divided into 2 (two), namely the responsibility as a curator in his capacity as a curator, and the responsibility of the curator in his capacity not as a curator. The role of the curator in postponing debt payment obligations is to manage and distribute the debtor's assets to creditors in accordance with the regulations and priorities stipulated in the Bankruptcy Law. The curator also ensures that payments are made fairly and in accordance with the law. The duties and roles of the curator in the bankruptcy process are 1) Managing the debtor's assets after the debtor no longer has the authority to manage the assets. 2) Managing and settling the bankruptcy estate from the date the bankruptcy decision was pronounced. 3) Revealing bank secrets to obtain complete information regarding the debtor's assets. 4) Carrying out execution of all debtor assets that are outside the jurisdiction of Indonesia In carrying out his duties, the curator will be supervised by a supervising judge. The supervising judge is tasked with supervising the authority and implementation of the curator's duties so that he always carries out his authority and duties within the specified limits.
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Vlieghere, Dieter De. "Alfred H. Barr, MoMA, and the Entrance and Exit of Outsider Art (1936‐1943)." Journal of Curatorial Studies 10, no. 1 (April 1, 2021): 2–25. http://dx.doi.org/10.1386/jcs_00029_1.
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Fantastic Art, Dada, Surrealism (1936), curated by Alfred H. Barr at the Museum of Modern Art (MoMA), New York, was the first major exhibition of outsider art at the epicentre of the art world. The entrance of outsider art in the art museum coincided with the changing role of the curator: from a custodian of fine arts to an exhibition author with creative agency. The disconnection of outsider art from canonized art history and the peculiar appearance of the works and their makers inspired new curatorial narrations and settings. Barr’s inclusive vision of modern art and curation was, however, strongly criticized, and a few years later that vision was replaced by a hierarchical one demanding the exclusion of outsider art from the art museum. The developments at MoMA between 1936 and 1943 exemplify how outsider art served as a catalyst for the curatorial turn in which the division between the roles of curator and artist began to shift.
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Abdul Jalal, Ahmad Farid, and Rahimin Affandi Abdul Rahim. "PEMAKAIAN TEORI KEMASYARAKATAN IBN KHALDUN DALAM MEMPERKAYA KONSEPSI KURATOR MUSEUM ISLAM." TEMALI : Jurnal Pembangunan Sosial 2, no. 2 (July 3, 2019): 311–53. http://dx.doi.org/10.15575/jt.v2i2.4925.
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This article discusses the importance of museum curators for developing civilization. The magnitude of the concept of the museum curator can be derived from the theory of Ibn Khaldun. With literature review, this study found that the theory of Sociology-History theory proposed by Ibn Khaldun could be utilized for the profession of the museum's curator. It's not just about improving the curators in their day-to-day tasks, but also empowering them to make them more critical in handling issues. The application of Ibn Khaldun's theory may be an alternative to the rise of the Malay knowledge system as a nation that must have been excluded from colonialism, including in geopolitical and science (epistemology).
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Bradshaw, Elaine Beckley, and Stephen C. Wagner. "A Common Ground: Communication and Alliance between Cataloguer and Curator for Improved Access to Rare Books and Special Collections." College & Research Libraries 61, no. 6 (November 1, 2000): 525–34. http://dx.doi.org/10.5860/crl.61.6.525.
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Rare book catalogers and special collections curators can benefit greatly from cooperating on matters concerning cataloging policy and practice. This alliance is necessary for providing full access to special collections in a rapidly changing library environment. The authors examine rare book cataloging from the perspectives of cataloger and curator; discuss the areas where a cataloger–curator alliance can affect cataloging, as well as relevant factors over which the two have little control; and promote a concept of customized cataloging for special collections materials.
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Al Faridzi, Evans. "Tanggung Jawab Kurator Keperdataan Pegawai Negeri Sipil dalam Pengurusan dan Pemberesan Harta Pailit." Jurist-Diction 5, no. 6 (November 30, 2022): 2173–92. http://dx.doi.org/10.20473/jd.v5i6.40122.
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AbstractBankruptcy is one of the instruments in overcoming a situation where the payment of an obligation does not run smoothly. Creditors or even debtors themselves can submit bankruptcy applications to the competent Commercial Court to examine whether they meet the requirements for determining bankruptcy status. If it meets the requirements and no objections are raised by the parties, the curator will proceed with the process of managing and clearing the bankruptcy estate. The curators are divided into state curators, namely Balai Harta Peninggalan (BHP) and private curators. In carrying out its duties as a curator, BHP shall be borne by the Civil Curator Functional Officer. The purpose of this study is to determine the location of the responsibility for the management and settlement of bankruptcy assets carried out by BHP and what sanctions can be imposed if an error occurs. Keywords: Bankruptcy; Curator; Government Employees. AbstrakKepailitan merupakan salah satu instrumen dalam mengatasi terjadinya suatu keadaan pembayaran atas kewajiban yang tidak berjalan dengan lancar. Kreditor atau bahkan debitor sendiri dapat mengajukan permohonan pailit kepada Pengadilan Niaga yang berwenang untuk diperiksa apakah sudah memenuhi persyaratan ditetapkannya status pailit. Jika memenuhi persyaratan dan tidak diajukannya keberatan oleh pihak-pihak maka dilanjutkan dengan proses pengurusan dan pemberesan harta pailit oleh kurator. Kurator terbagi menjadi kurator negeri yaitu Balai Harta Peninggalan (BHP) dan kurator swasta. BHP dalam melaksanakan tugasnya sebagai kurator dibebankan kepada Pejabat Fungsional Kurator Keperdataan. Tujuan penelitian ini untuk mengetahui letak tanggung jawab pengurusan dan pemberesan harta pailit yang dilakukan oleh BHP dan apa saja sanksi yang dapat dikenakan jika terjadi kesalahan. Kata Kunci: Kepailitan; Kurator; Pegawai Negeri Sipil.
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Jaka, E. Sembodo, B. Setiawan Erwin, and Baiza ZKA. "A Framework for Classifying Indonesian News Curator in Twitter." TELKOMNIKA Telecommunication, Computing, Electronics and Control 15, no. 1 (March 1, 2017): 357–64. https://doi.org/10.12928/TELKOMNIKA.v15i1.4557.
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News curators in twitter are a user, which is interested in following, spreading, giving feedback of recent popular articles. There are two kinds of this user, news curator as human user and news aggregator as bot user. In prior works about news curator, the classification system built using followers, URL, mention and re-tweet feature. However, there are limited prior works for classifying Indonesian News Curator in twitter and still hard for labeling data involve just two features: followers and URL. In this paper, we proposed a framework for classifying Indonesian news curator in twitter using Naïve Bayes Classifier (NBC) and added features such as location, bio profile, and common tweet. Another purpose for analyzing the influential features of certain class, so it’s make easier for labeling data of this role in the future. Examination result using percentage split as evaluating system produced 87% accuracy. The most influential features for news curator are followers, bio profile, mention and re-tweet. For news aggregator class are followers, location, and URL. The rest just common tweet feature for not both class. We implemented Feature Subset Selection (FSS) for increasing system performance and avoiding the over fitting data, it has produced 92.90% accuracy.
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Moore, Thomas R., Pascal Gielen, and Rebecca Diependaele. "Fair Games—Curating New Music." Journal of Musicology 41, no. 4 (2024): 476–93. http://dx.doi.org/10.1525/jm.2024.41.4.476.
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The authors of “Defragmentation: Curating Contemporary Music,” a special issue of the Darmstädter Beiträge zur Neuen Musik published in 2019, considered all aspects of any given artistic event as fair game for curation. They suggested that not only could the choice of pieces, soloists, conductors, and ensembles be (re)tooled (including even site-specific aspects), but the roles of the musicians and audience and even value regimes could be instrumentalized to accord with the artistic demands of the curator. In her introduction to the special issue, Dorothee Richter argued that curation should be a “practice that is deeply involved in the politics of display, politics of site, politics of transfer and translation, and regimes of visibility.” If we understand politics with Jacques Rancière as “giving form to the social,” then Richter suggests that every thinkable manner in which people relate can, and should, be weighed when programming a concert. Curators need to reflect and act upon the way relationships in our world are displayed, the interplay involved on site, the participation or lack thereof of an audience, the participants’ ability to understand, enjoy, and be entertained, and even the audience’s and presenter’s perceived positions in society and how they play out in concert. Writing as a performer-researcher, a cultural-sociologist, and a musicologist, and drawing on previous research in the visual arts, we discuss the impact of the curator within the European new music world. We question the curator’s central role and probe shifts in power relations between festival directors, receptive venues, and performing ensembles. In our view, the rise of the curator in the new music world leads us in at least two distinct directions. First, as in the visual arts world, the individual curator may assume the role of the new protagonist, displacing the performing artists from their throne. When this occurs, curating takes place in a game of mutual competition, distinction, and exploitation, in which illustration of an abstract idea or concept prevails over musical experience. Alternatively, curating may become a collective affair and responsibility along the lines of commoning principles, in which curating returns to its etymological roots as a form of caring for each other and for both the tradition and the future of music.
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Hudimov, Pavlo, and Serhii Rudenko. "Conceptualization of Pavlo Hudimov's Curatorial Methods (Professional and Academic Interview)." Bulletin of Kyiv National University of Culture and Arts. Series in Museology and Monumental Studies 2, no. 1 (June 26, 2019): 37–49. https://doi.org/10.31866/2617-7943.2.1.2019.172517.
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Purpose of the article. To find the most effective methods of curatorship, based on P. Hudimov’s (famous Ukrainian curator) experience. Methodology. Conceptualization of experience, skeptical empiricism, scientific criticism are used. Scientific novelty. This research is the first attempt at a scientific conceptualization of a professional interview. It is shown that the essence of curatorial practice is not visualization of popular narratives, but in specific research work that creates new meanings. According to P. Hudimov, curatorial practice can be considered as "thinking design". Conclusions. As a result of the study, it was established that curatorial work, including museum, is a creative process, far from patterns and routine. Curatorship excludes routine, templates, imitation. So, it’s hard to speak about curatorship robust models, that can use by different curators. Even if borrowed models were succeed. Curatorship approaches are ties close with the person of curator. That’s why, models of curatorship are not in competition, in which the best one survive and worse – eliminate. Each approach of curatorship is curator’s self-expression. Despite this, P. Hudimov identifies the most common curatorial methods, among which he especially emphasizes the productivity of denial. This brings the curatorial methodology closer to the scientific one, which is based on a refutation. In addition, Hudimov emphasizes the benefit of intentional stress for both the methods themselves and curatorial representations. The stress method also brings curation to science closer together, since the refutation is closely related to criticism and testing. The method of negation proposed by Hudimov, more broadly, the method of "trial and error" is integral not only for curatorial practices, but also for science, art and empiricism in general. P. Gudimov considers it necessary for the curator to overcome patterns (template-realm of social consciousness). For that, in his opinion, the synthesis method is optimal, which consists in combining phenomena, artifacts, and ideas that are not at first glance. The most innovative method Gudimov calls the research approach in the work of the curator. In this regard, further investigation shall be directed on the scientific aspect of curatorial practice.
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Nikishova, A. V., E. V. Kryvonosova, and S. M. Rybakova. "CURATOR PARTICIPATION IN A STUDENT GROUP FORMATION." Vestnik Orenburgskogo gosudarstvennogo universiteta 230 (2021): 39–45. http://dx.doi.org/10.25198/1814-6457-230-39.
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The existence of the supervising institution for many decades does not solve the problem of defining the functions of the student group supervisor, his role in the formation of the team, it remains very urgent. We have investigated the activities of a curator in higher education institutions. In the course of practical research, we found that it is significant to use in the curator's work such key positions as adaptation technologies, reducing the level of anxiety, minimizing material and housing difficulties, and time management. A survey of curators working in student groups of the first and second years revealed a number of problems: 1) the student group is still a completely immature collective, which complicates effective interaction; 2) most freshmen are not ready for new challenges, the requirements of a new schedule, and, ultimately, they find themselves in a situation of overload, which often leads to stressful situations; 3) some students have to experience pressure from parents or teachers in an effort to get good grades, to earn authority in a new student group. A survey of first and second year students showed the shortcomings of the educational process, such as incomplete awareness of students about their rights, responsibilities and opportunities provided by the new student status; the wish of freshmen to receive timely qualified assistance from a curator in their studies and resolving conflict situations, in adaptation, monitoring progress and attendance, communication with parents; insufficient implementation of the organizational function of the curator. The conducted research work gives grounds to conclude that the task of creating a team based on a student group can be solved with the successful implementation of the activities of the institution of supervision as a pedagogical system. The most productive for the learning process consequence of solving the indicated problem is an increase in the degree of trust at the level “curator — student” and, of course, directly in the student environment, which, in turn, leads to an increase in motivation for the learning process and, as a result, a decrease in indicators. for unsuccessful and expelled students.
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Ketut Eka Patni, Ni, and I. Wayan Wiryawan. "LEGAL PROTECTION OF THE AUTHORITY OF THE CURATOR IN THE MANAGEMENT AND SETTLEMENT OF BANKRUPT ASSETS." SIBATIK JOURNAL: Jurnal Ilmiah Bidang Sosial, Ekonomi, Budaya, Teknologi, dan Pendidikan 2, no. 6 (May 31, 2023): 1715–28. http://dx.doi.org/10.54443/sibatik.v2i6.926.
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This writing aims to determine the legal protection for the curator in exercising the authority to manage and settle bankrupt assets as well as the duties and authority of the curator in managing and controlling the bankrupt debtor's assets. This paper uses the normative juridical law research method by conducting a study and analysing laws and regulations related to the problem under study so that the results of the research above in the provisions of Law Number 37 of 2004 concerning Bankruptcy and Suspension of Obligations for Payment of Debt do not guarantee legal protection for curators in carrying out their duties of managing and dealing with bankruptcy assets. Article 50 of the Criminal Code provides protection for curators who carry out their duties based on statutory regulations.
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KIM, Minjeong, and Sunah KIM. "A Narrative Inquiry on the Cultural Enjoyment of Curator : Focused on Pierre Bourdieu’s Cultural Capital Theory." Society for Art Education of Korea 92 (December 1, 2024): 1–25. https://doi.org/10.25297/aer.2024.92.1.
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This study focused on curator, judged that it was necessary as a qualitative study because there was a lack of research on curators, who are professionals in the museum. Therefore, the study was started from the perspective of reflective thinking to explore the meaning of cultural enjoyment of curators. In this study, preliminary research and in-depth interviews were conducted with two curators with more than 10 years of practical experience in museums and art galleries. The stories of the study participants were divided into temporal, spatial, and personal/social dimensions, and through interviews, the meanings of 'the past when cultural enjoyment began', 'the elements necessary for cultural enjoyment', 'the driving force to actively enjoy cultural', and 'the experience of applying cultural enjoyment to museum education' could be derived. The narrative derived through these research results was interpreted focusing on Pierre Bourdieu's theory of cultural capital. Through this, it is hoped that the curator will be used as a material to help understand the human resources.
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Kartoningrat, Raden Besse, and Edi Krisharyanto. "Principles of Statutory Duty and Fiduciary Duty in The Responsibility of The Bankruptcy Curator." Media Iuris 6, no. 2 (June 20, 2023): 205–30. http://dx.doi.org/10.20473/mi.v6i2.37738.
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AbstractThe curator is a subject of Bankruptcy Law who has complete authority and responsibility for managing and resolving the bankruptcy estate. Curators are required to have integrity and are prohibited from having conflicts of interest with their duties and authorities. The issue raised in this study is the application of the principles of statutory duty and fiduciary duty in the responsibility of the bankruptcy curator. This study aims to identify, understand, and analyze bankruptcy law regarding the curator’s responsibility based on the principles of statutory duty and fiduciary duty. This study employed a normative method by examining the consideration materials to conclude. The results of the analysis in this study indicate that in carrying out the duties of managing and settling, the curator must comply with the principles of statutory duty and fiduciary duty as regulated in Law Number 37 of 2004 on Bankruptcy and Postponement of Debt Payment Obligations and the code of ethics of the curator profession. The curator’s actions that can harm the parties, whether creditors or bankrupt debtors, can be personally accounted for outside the bankruptcy estate by imposing civil, criminal, or administrative sanctions. Keywords: Halal Tourist; Additional Service; Local Economy.
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Reidla, Jana. "Who Is Leading the Project? A Comparative Study of Exhibition Production Practices at National Museums in Finland and the Baltic States." Museum and Society 18, no. 4 (October 30, 2020): 368–85. http://dx.doi.org/10.29311/mas.v18i4.3456.
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This paper presents research into exhibition-production practices at five national museums of four Baltic Sea region countries. The focus is the changes wrought by the expansion of exhibition teams, and how researchers in the curatorial role perceive their position, especially in relation to designers and project leaders. The analysis of semi-structured interviews with museum professionals showed exhibition production at museums comprise two models: A) curator-driven, and B) manager-driven. In Model A, the curator’s knowledge of museum collections is dominant. The curator creates the concept, and subsequently leads the exhibition project. The curator is the decision maker. In Model B, the field of communication is dominant. Managers are in charge of the design concept and fulfilling the exhibition. Managers are the decision makers. Curators feel their credibility as experts suffers and their competencies are underexploited, as they no longer have either authorship or leadership responsibilities.
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Radley, J. D. "Reply to Donovan et al., Comment on 'Bioerosion, preparation and curation'." Geological Curator 8, no. 4 (December 2005): 179–80. http://dx.doi.org/10.55468/gc359.
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I welcome Stephen Donovan, Caroline Hensley and David Lewis's positive response to a note recent published in The Geological Curator (Radley & Twitchett 2004), reinforcing the case for the preservation and curation of trace fossils as repositories of palaeobiological and palaeoenvironmental information. With reference to the perceived subservience of bioerosion traces to the body fossils on which they are commonly preserved; this would be hard to deny for their status, often unrecognised, amongst many collections. Hopefully this correspondence, and a forthcoming thematic set of papers in The Geological Curator concerning curation of trace fossils, will go some way to furthering their cause within museums.
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Thomas, Lynne M. "The Embedded Curator: Reexamining the Documentation Strategy of Archival Acquisitions in a Web 2.0 Environment." RBM: A Journal of Rare Books, Manuscripts, and Cultural Heritage 13, no. 1 (March 1, 2012): 38–48. http://dx.doi.org/10.5860/rbm.13.1.368.
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An embedded curator uses his or her physical and virtual presence within a selected community to document that community while simultaneously serving as a resource to it. While the “embedded curator” term may be relatively new to the profession, the practices that inform its implementation are not. Collection development for special collections, particularly for archival materials, has a robust history of debate about the best methods for encouraging and managing gifts.1 Embedded curators require a pragmatic and flexible written collection development policy that values occasional serendipitous acquisitions, as well as a strategic plan to build ongoing collections that focus on . . .
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Lawton, Pamela Harris. "Curate, curate | curator, curator: Curatorial practice in art education." Visual Inquiry 6, no. 1 (March 1, 2017): 95–105. http://dx.doi.org/10.1386/vi.6.1.95_1.
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Lai, Mankit. "Curating pandemic contingencies: Remote collaboration and display reconfiguration in practice." Journal of Contemporary Chinese Art 8, no. 2 (November 1, 2021): 313–37. http://dx.doi.org/10.1386/jcca_00049_1.
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Amid the restrictions on travelling and gathering imposed during the COVID-19 pandemic, exhibitions with international collaborations in Hong Kong experimented with curating across borders and time. This article examines recent curatorial practices in Hong Kong’s art institutions, particularly relating to site-specific installations and performances that had to cope with the artist’s physical absence and institutional restrictions. Two site-specific art commissions ‐ Shirley Tse’s Negotiated Differences (2020), installed at the M+ Pavilion, and Eisa Jocson’s Zoo (2020), performed at Tai Kwun Contemporary ‐ serve as cases in point illustrating how curatorial practices enabled remote collaboration and display reconfiguration to address authorial absence and institutional interventions during the installation and exhibition phases due to the pandemic. The former case study decentralized the authorial control of artistic criticality from the artist to a collective curation and installation process, while the latter evolved in accordance with protean institutional and social contexts by actively changing the display during the exhibition. Despite the pandemic-imposed separation and restrictions, these two case studies shed light on how curators collaborated with artists and participants across distance and time, actively and flexibly forging responsive and relevant connections between site-specific artworks and the immediate present. Their curatorial practices ‐ as artistic mediation ‐ complicated the conceptual framework of artworks and exhibitions through co-curation and co-production with artists, thus lending a collaborative dimension to the model of exhibition-making and the role of the curator as the ‘curator-as-artist’.
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Rickards, R. B. "A Century of Graptolite Research in Cambridge." Geological Curator 7, no. 2 (November 1999): 71–76. http://dx.doi.org/10.55468/gc433.
Full textAbstract:
Graptolite research in Cambridge was dominated during the first half of the 20th Century by two people: Gertrude Elles and Oliver Bulman. They had quite different approaches to research, and to curation of collections. Elles' research was primarily field-based and her curatorial procedures a curator's headache; Bulman's work was primarily laboratory based and palaeobiological. The present author overlapped with and succeeded Bulman, and his curatorial biases led to his succeeding A. G. Brighton as Curator of the Sedgwick Museum. The nature of these changes through the century and the contribution to graptolite research on a wider scale are analysed.
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Ruswati, Ruswati. "Eksistensi Sita Umum Kepailitan Terhadap Sita Pidana Dalam Pemberesan Harta Pailit." Khatulistiwa: Jurnal Pendidikan dan Sosial Humaniora 2, no. 1 (May 26, 2022): 26–36. http://dx.doi.org/10.55606/khatulistiwa.v2i1.407.
Full textAbstract:
This journal was created to examine the implementation of the authority of curators and investigators on general confiscation of bankruptcy against criminal confiscations in the settlement of bankrupt assets and their legal certainty. The method used in this research is normative juridical research. The results of the study show that the curator and investigator in carrying out their authority are both based on the laws and regulations, but in practice there is a dispute over the authority attribution between the curator and the investigator regarding confiscation, as referred to in Article 31 paragraph (2) of Law Number 37 year 2004 concerning Bankruptcy and Postponement of Obligations for Payment of Debt with Article 39 paragraph (2) of the Criminal Procedure Code. So that the judge's decision aims to provide legal certainty for the litigants, namely between the curator and investigators and/or the prosecutor's office regarding disputes over authority regarding confiscation, namely between general confiscation and criminal confiscation. 
 
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Abdul, Aziz. "Pengecualian Rahasia Bank Bagi Kurator Melalui Putusan Pengadilan Niaga Berdasarkan Undang-Undang Nomor 4 Tahun 2023." Madani: Jurnal Ilmiah Multidisiplin 1, no. 7 (August 10, 2023): 337–48. https://doi.org/10.5281/zenodo.8231589.
Full textAbstract:
<em>Bankruptcy is a situation where a debtor is unable to pay their debts to their creditors. If a debtor is declared bankrupt by a court, the administration of the bankrupt assets will be carried out by a curator. The purpose of bankruptcy is to pay the rights of creditors in a certain order. However, the task of the curator is not always easy because there are several obstacles such as uncooperative debtors or conflicting laws and regulations, such as bank secrecy regulated in the Banking Law and the Bankruptcy and PKPU Law. As an example, in Ryan Gunawan Lubis' thesis titled "Juridical Review of Curator's Duties in Handling Bankruptcy and Bank Secrecy," there is a case where a bank refused a request from the curator who had obtained a final and binding decision from the Commercial Court to maintain the confidentiality of its customers. However, with the enactment of the P2SK Law, based on Article 40A paragraph (1) letter c and Article 43A of the P2SK Law, curators are now considered part of the authorized parties to exempt bank secrecy based on a final and binding decision from the commercial court. Therefore, the law can provide protection for creditors to obtain their debts from the debtor.</em>
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Hansungule-Nefale, Zita M., and Morgan R. Courtenay. "The expanding role of the curator ad litem i n protecting children's rights in South Africa." De Jure 56, no. 1 (February 7, 2023): 525–42. http://dx.doi.org/10.17159/2225-7160/2023/v56a32.
Full textAbstract:
The appointment of the curator ad litem during litigation in which children's interests are concerned has, over the years, played a critical role in advancing the child's right to be heard and participate in matters affecting them for the advancement of their best interests. Prof Boezaart's seminal article on the role of the curator ad litem and children's access to the courts set out a comprehensive review of the origins, duties and role of the curator. Litigation and resultant court pronouncements subsequent to the article have continued to affirm the importance of the curator's role in matters dealing with the care of children; delictual matters in which children have legitimate financial claims; and acquisition of parental rights and responsibilities of the unborn child. The courts have affirmed the fact that the curator must only be appointed when their presence is necessary and not duplicate the functions of attorneys representing parents or caregivers of the children or the parents or caregivers themselves. The curator represents and protects the interests of the children concerned, prevents conflict with the interests of the parents, guardian or caregiver or represents the child when such parent, guardian or caregiver is unwilling to act in the interests of the child. The courts have held that in highly contested matters, the curator must, as an officer of the court, keep an open mind, remain neutral, and be open to all arguments in the interests of the children concerned. They must not allow themselves to be distracted by contentious issues in litigation and must honour their obligation to provide insight into the wishes and views of children and to apply their legal knowledge to the child's perspective. The curator has also played a critical role in protecting the interest of the unborn child by conducting an objective investigation and ensuring that their interests are fully before the court.