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1
Smith, Craig S. "James E. Talmage and the 1895 Deseret Museum Expedition to Southern Utah." Utah Historical Quarterly 84, no. 2 (April 1, 2016): 136–51. http://dx.doi.org/10.5406/utahhistquar.84.2.0136.
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Boyd, Robert. "Spotlight on Museums: High Desert Museum." Oregon Historical Quarterly 104, no. 3 (2003): 433–35. http://dx.doi.org/10.1353/ohq.2003.0048.
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Dujsebayeva, T. N. "About the desert lidless skink Ablepharus deserti in Kazakhstan and parapatry of A. deserti and Asymblepharus alaicus (Reptilia: Scincidae)." Proceedings of the Zoological Institute RAS 319, no. 2 (June 25, 2015): 282–303. http://dx.doi.org/10.31610/trudyzin/2015.319.2.282.
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A retrospective analysis of the data on distribution of the Desert Lidless Skink, Ablepharus deserti Strauch, 1876 in Kazakhstan is undertaken. Based on new species records and museum collection revision a view on Ablepharus deserti distribution in the republic is markedly expended. The perspectives in the study of territorial and ecological interrelations of Ablepharus deserti and Asymblepharus alaicus in the mountain foothills of Western and Northern Tien-Shan are outlined.
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Iacob, Madalina. "Le musée de niche. Nouvel exploit dans la muséographie." Swedish Journal of Romanian Studies 4, no. 1 (May 13, 2021): 160–72. http://dx.doi.org/10.35824/sjrs.v4i1.22109.
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In all the complexity of the museum study, there is a slight border that deserves all the attention of the researchers: the one of the niche museums. This work starts from the idea according to which the museum becomes a symbol of cultural practice in the contemporary era. In addition to the successful museums that are being built and built in the city, there is a new tendency to transform some spaces into small museums. These, in full process of heritage building, can highlight a series of features and characteristics of a society. The research of the niche museum starts from Ulf Hannerz, who says in his study that anthropology must renew its limits, it must take into account urban life. Researchers should not focus only on rural areas, in small, homogeneous communities, especially as they are outside Western societies Urban anthropology must be based on a range of social and cultural phenomena that will rarely be found in rural areas and which must be analyzed in the light of the diversity of human societies in general, says Ulf Hannerz, like the diversity of museums. From the chocolate museum, the lace museum, the cake museum, the cheese museum or the flower museum, all these culturally-rendered spaces are meant to anonymously remove some objects or crafts that are characteristic of a particular group and which subsequently become part of the immaterial cultural heritage. The Dictionary of Ethnology and Anthropology defines the study of anthropology regarding museography as a necessity inherent in the advancement of ethnography. Researchers such as Robert Park, Ulf Hannerz, Clifford Geertz, André Malraux or Chiara Bortolotto have studied the relationship of the museum with the city, thus implicitly with society. The conclusions they draw have the following aspect in common: the museum has the intrinsic ability to model and structure the immediate society.
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Dziuban, Roman. "Moving of the сollections of the Lubomirsky museum in 1940." Proceedings of Vasyl Stefanyk National Scientific Library of Ukraine in Lviv, no. 13(29) (2021): 264–91. http://dx.doi.org/10.37222/2524-0315-2021-13(29)-16.
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Relevance and purpose. The purpose of the article is to include in the scientific circulation a collection of newly discovered acts and lists of individual collections of the Lubomirsky Museum, which since May 1940 have been submitted to the Lviv Museum Institutions. We believe that these documents deserve further scrutiny and will help identify individual exhibits in the collections of Lviv (and not only Lviv) museums, as well as help locate exhibits that are now considered lost. Research methodology. In order to achieve this, a descriptive method is generally employed. The historical source method and the comparative method were partly used. Historical principles are also especially emphasized. Keywords: Prince Lubomirsky Museum, Ossolineum, Lviv State Museum of History, Regional Art Gallery, Lviv State Art Gallery, Lviv Museum of Art Crafts, Lviv State Ethnographic Museum, collections, exhibits, archeological finds, archeological sites, paintings, carvings, orders, cameos, medallions, watches, furniture, collection weapons.
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Pulh, Mathilde, Rémi Mencarelli, and Damien Chaney. "The consequences of the heritage experience in brand museums on the consumer–brand relationship." European Journal of Marketing 53, no. 10 (October 7, 2019): 2193–212. http://dx.doi.org/10.1108/ejm-03-2017-0233.
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Purpose This paper aims to investigate the consequences of the heritage experience in brand museums on the consumer–brand relationship. By highlighting its heritage within a museum, the brand proposes a specific experience that deserves attention because it is based on memory and communal identity, thus creating or strengthening a relationship with consumers. Design/methodology/approach Ethnographic case studies were conducted through direct observation and extensive interviews with 72 visitors at two brand museums, the Fallot Mustard Mill and the House of the Laughing Cow. Findings The results highlight the emergence/strengthening of the relationship between consumers and the brand through the development of intimacy with the brand and the emergence of supportive behaviors toward the brand in the form of commercial support, ambassadorship and volunteering. Research limitations/implications By characterizing and articulating the different relational consequences of visiting a brand museum, this research contributes to the literature dedicated to heritage experiences in consumption contexts and to the literature dedicated to consumer–brand relationships in servicescapes. Practical implications The study shows the necessity of grounding “heritage” in the physical setting of the brand museum to create a meaningful experience for visitors and, in turn, a deep relationship. Managers should treat brand museums as a relational tool in the marketing strategy of the brand and approach them from the perspective of long-term profitability. Originality/value While the literature has examined the spectacular and esthetic experiences brand museums offer, this study is the first to characterize the heritage experience and to document its consequences in terms of the consumer–brand relationship.
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Rozghon, O. "Virtual version of the museum as a means of introducing digital technologies." Law and innovative society, no. 2 (13) (December 26, 2019): 20–26. http://dx.doi.org/10.37772/2309-9275-2019-2(13)-3.
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Problem setting. The issue of legal regulation of the digitization of museums is currently relevant and deserves special attention, since digital transformation at an effective level is necessary for both rare objects (museum cultural values) and modern ones. Creating a modern digital space for museum cultural values will be appropriate for: both visitors, owners and authors of museum cultural values, and outside investors and the museum. The purpose. Analysis of the “virtual version of the museum” category as a means of introducing digital technologies and defining its features, mechanism for realization and protection of digital works rights, which are in the repository of the museum site. Analysis of recent research and publications. At the scientific level, scientists, such as A. G. Vasnev, A. V. Goloviznin, S. G. Dolgov, T. V. Dudenko, V. F. Zverhovskaya, I. E. Martynenko, V. Yu. Stepanov, B. M. Odaynyk, but were considered exclusively within the framework of the legal regulation of the circulation of cultural values. The issues of digitization of museums dealt with such scientists as M. A. Belyaeva, T. A. Ladygina, N. V. Klementyevа, K. D. Savitskaya, but more from the point of view of general issues, without affecting the features of the virtual version of the museums. Article’s main body. Virtual excursion is the result of creative activity, presented in electronic (digital) form, by means of spherical or cylindrical panoramas, based on the interactive interaction of the user (visitor) with the virtual environment through a computer program for visual demonstration of digital works that are to be expressed electronically (digitally) and located on the museum’s website. Digitization of museum cultural values is one of the most promising areas in the field of introduction of high technologies and automation for museum cultural values. “Digitalization” should provide every citizen with equal access to cultural information and knowledge services provided through digital technologies. The implementation of this principle is possible when implementing a virtual version of the museum. The author defines the essence of the category “virtual version of the museum” and reveals its features. The article states that when visiting a virtual tour, the visitor can receive the following electronic services in the field of culture and the arts (paid / free), in particular, 1) view the virtual panorama by going to different halls of the museum, 2) explore museum exhibits that are museum cultural values, 3) get information about museum cultural values and more. Conclusions. According to the results of research, the expediency of positioning the museum in the Web space is established and the necessity of introducing a virtual version of the museum as a means of introduction of digital technologies is substantiated. The author found that if the museum site has a repository of digital photographs, which are viewed through virtual tours, access to such a site or content must be based on the copyright and copyright of the digital author himself.
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Priagana, Mochammad Rashad Putra, Elizabeth Susanti, and Miki Tjandra. "PROMOTION DESIGN OF INDONESIAN BATIK MUSEUM FOR YOUNG GENERATIONS THROUGH INSTAGRAM." Serat Rupa Journal of Design 6, no. 2 (July 29, 2022): 204–19. http://dx.doi.org/10.28932/srjd.v6i2.4619.
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Batik is a traditional Indonesian fabric with a blend of art and technology that has been recorded by UNESCO as one of the intangible world heritages. The Indonesian Batik Museum was established by the government to preserve, provide insight, and understanding of Nusantara batik to the public. To keep up with the times, museums are currently more focused on the visitor experience and not just as a repository of collections. However, at this time, there is still a lack of public interest in visiting and a lack of promotion on Museum Batik Indonesia’s social media. Hopefully, after visiting Museum Batik Indonesia, the mindset of visitors about Indonesian batik will change. The purpose of this promotional design is to increase the interest of the younger generation in visiting the Museum Batik Indonesia. Batik is Indonesia’s proud asset and deserves to be preserved, so it is necessary to introduce the history, meaning and various types of batik to the younger generation. Museum Batik Indonesia is a facility that can include education about Indonesian batik. The promotion design of Museum Batik Indonesia is using the AIDA (Awareness, Interest, Desire, Action) marketing strategy on Instagram. The design of this promotion includes various information about Museum Batik Indonesia and knowledge about batik in general, which is expected to increase the interest of the younger generation to wear, understand and love Indonesian batik.
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Luke, Timothy W. "The Arizona-Sonora Desert Museum." Organization & Environment 10, no. 2 (June 1997): 148–63. http://dx.doi.org/10.1177/0921810697102003.
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Ratkevich, Ron. "The Arizona-Sonora Desert Museum." Rocks & Minerals 70, no. 1 (February 1995): 26–29. http://dx.doi.org/10.1080/00357529.1995.9926594.
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Alpers, DL, G. Gaikhorst, C. Lambert, T. Fletcher, and P. B. S. Spencer. "An extension to the known range of the desert mouse Pseudomys desertor south into the Great Victoria Desert, Western Australia." Australian Mammalogy 25, no. 1 (2003): 95. http://dx.doi.org/10.1071/am03095.
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THE desert mouse Pseudomys desertor is a medium sized rodent (15 – 30 g) which has a widespread distribution throughout the arid zone of Australia (Menkhorst and Knight 2001). It is considered locally abundant in habitats containing samphire, sedge, nitrebush or mature spinifex grasslands. A tolerance to disturbed habitat (from mining or grazing) has also been noted (Read et al. 1999). The distribution of the species once extended from the Murray-Darling through the Flinders Ranges to the Gibson and Great Sandy Deserts, to the west coast and onto Bernier Island (Read et al. 1999; Menkhorst and Knight 2001). Since European colonisation there has been a contraction of the species’ range to the central deserts (Kerle 1995; Read et al. 1999). In Western Australia, the most southerly historical or contemporary record, is from the Wanjarri Nature Reserve (near Mount Keith), 370 km north of Kalgoorlie (D. Pearson pers. comm.; Western Australian Museum fauna database: http://203.30.234.168/). Recently, however, a suspected P. desertor was caught north-west of Queen Victoria Springs (QVS) in the Great Victoria Desert (GPS 30o 03’ 56’’S; 122o 55’ 28’’E), approximately 350 km to the south-east of its most southern known locality. The specimen had the distinctive buff-orange eye ring, size and general features of P. desertor described in Kerle (1995) and Menkhorst and Knight (2001). Prior to release of the specimen, an ear biopsy was obtained for DNA investigation and genomic DNA was extracted from the biopsy via a variation on the salting out procedure of Miller et al. (1988).
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Ghosh, Maitrayee. "ATALM annual conference on Indigenous Archives, Libraries, and Museums." Library Hi Tech News 32, no. 4 (June 1, 2015): 14–16. http://dx.doi.org/10.1108/lhtn-04-2015-0025.
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Purpose – This paper aims to summarize the Association of Tribal Archives, Libraries and Museum’s (ATALM) 7th annual conference events and focus on best practices in indigenous archives, libraries and museums. The city Palm Springs, California, played host to an “eventful” ATALM 2014 international conference which featured diverse range of activities, namely, poem reading from personal collection, melodious flute playing by native players, an open house and cultural evening at a tribal museum, etc. The conference brought together 520 registered delegates from the USA, Canada and Mexico. Design/methodology/approach – This report is an outline of selected ATALM 2014 conference events in Palm Springs based on the theme “Indigenous Archives, Libraries and Museums”. It summarizes selective events, namely, onsite workshops and poster session. Findings – The conference focused on indigenous culture, as the participants discussed challenges and opportunities in sustaining cultural sovereignty of native nations. The hands-on or interactive labs/workshops were centered on the activities and needs of tribal archives, especially on preservation of cultural heritage. As a Fulbright scholar, the author was interested to know about American tribal history, indigenous culture, native archives and libraries, and excited to see the country’s desert scenery. Additionally, ATALM scholarship/financial support encouraged the author to attend the conference, and finally, the heat of the desert which accentuated the beauty of Palm Springs makes a complete experience. Originality/value – The ATALM conferences are the important conference because of the participation of large number of tribal libraries and cultural heritage keeping organizations serving indigenous population. The ATALM 2014 covered areas like successful collaborations between tribal and non-tribal organizations, and building strategic networks among outside and within the communities.
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Gardner, George S. "Exhibiting the environment: Oregon's High Desert Museum." Museum International 48, no. 2 (June 1996): 23–26. http://dx.doi.org/10.1111/j.1468-0033.1996.tb01298.x.
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Golat, Rafał. "THE PROBLEMS OF MINORITIES IN MUSEUMS’ ACTIVITIES (LEGAL ASPECTS)." Muzealnictwo 58, no. 1 (March 17, 2017): 19–23. http://dx.doi.org/10.5604/01.3001.0009.7637.
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Within the scope of their activity, some museums deal with the protection and dissemination of the cultural heritages of various minority groups. These include both museums which focus their attention on minority problems as such (e.g. museums run by minority churches or denominations), and those museums which deal with such issues to a greater or lesser extent because of their statutory objectives related to the cultural heritage of particular minorities (e.g. ethnographic museums). The provisions of the Act on museums do not include clear regulations with regard to the subject of minorities. Therefore, the provisions are construed with respect to other norms, relevant to the minorities’ activities. From among those provisions, these that deserve particular attention are, above all, provisions specifying the activities of NGOs, including associations and foundations, under which they frequently operate. Secondly, of importance are acts which specifically regulate the basis for how given minorities operate, i.e. especially the Act on national and ethnic minorities and on regional languages, the Act concerning the guarantees of conscience and religion, as well as those acts which determine the State’s approach towards particular churches and denominations. Formally, the extent to which a museum engages in a significant activity regarding a given minority is determined by the basic acts issued by the its administrator, which serve as the basis for its operation. Those include statutes (in the case of museums which are legal persons) or regulations (in the case of other museums). When a museum’s statute provides for such minority activity, its administrator is obliged to provide funding for it, regardless of additional financial support, in particular that coming from grants, and above all the one stipulated in the article 18 of the Act on national and ethnic minorities and on regional languages.
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Hagen, Randall H., and David A. Palzkill. "ASEXUAL PROPAGATION OF `DESERT MUSEUM' HYBRID PALO VERDE AND MESQUITE SPECIES UNDER INTERMITTENT MIST." HortScience 25, no. 9 (September 1990): 1103G—1103. http://dx.doi.org/10.21273/hortsci.25.9.1103.
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The `Desert Museum' hybrid between the Blue, Foothills, and Mexican palo verdes has been well received by the public. However, it has remained unavailable due to difficulties in asexual propagation. Studies were conducted on effects of IBA cone. (0 to 10,000 ppm), cutting position along the stem, size of cutting, season, and temperature of the medium. For `Desert Museum', basal cuttings of slightly hardened new stem growth rooted much better than apical cuttings. Best rooting for apical cuttings was 79% using IBA from 2,500-5,000 ppm. Basal cuttings averaged 95% rooting and showed no response to IBA. Rooting of cuttings taken in September declined to 10% for apical and 2170 for basal cuttings averaged over all IBA levels. Six other species or hybrids of Cercidium and Parkinsonia and five of Prosopis were also rooted.
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Hagen, Randall H., and David A. Palzkill. "ASEXUAL PROPAGATION OF `DESERT MUSEUM' HYBRID PALO VERDE AND MESQUITE SPECIES UNDER INTERMITTENT MIST." HortScience 25, no. 9 (September 1990): 1103g—1103. http://dx.doi.org/10.21273/hortsci.25.9.1103g.
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The `Desert Museum' hybrid between the Blue, Foothills, and Mexican palo verdes has been well received by the public. However, it has remained unavailable due to difficulties in asexual propagation. Studies were conducted on effects of IBA cone. (0 to 10,000 ppm), cutting position along the stem, size of cutting, season, and temperature of the medium.For `Desert Museum', basal cuttings of slightly hardened new stem growth rooted much better than apical cuttings. Best rooting for apical cuttings was 79% using IBA from 2,500-5,000 ppm. Basal cuttings averaged 95% rooting and showed no response to IBA. Rooting of cuttings taken in September declined to 10% for apical and 2170 for basal cuttings averaged over all IBA levels. Six other species or hybrids of Cercidium and Parkinsonia and five of Prosopis were also rooted.
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С.С., Акимов,. "Image and Sense: the exhibition of the 17th century Dutch paintings from Russian collections in the Serpukhov Historical and Art Museum." Iskusstvo Evrazii [The Art of Eurasia], no. 4(27) (December 29, 2022): 258–69. http://dx.doi.org/10.46748/arteuras.2022.04.020.
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В статье рецензируется выставка голландской живописи XVII в. из музеев и частных собраний России, состоявшаяся в ноябре 2021 – апреле 2022 г. в Серпуховском историко-художественном музее. В ней кроме Серпуховского музея приняли участие музеи Москвы, Поволжья, Курска, Рязани, Краснодара, а также московские коллекционеры. Собрание супругов В. и К. Мауергауз отличается целенаправленным интересом к голландской и фламандской живописи. Куратором выступил выдающийся знаток искусства Нидерландов конца XVI – XVII века В.А. Садков (ГМИИ им. А.С. Пушкина). Были представлены произведения как выдающихся (Я. ван Гойен, Я. ван Рейсдаль, А. ван Остаде, О. Марсеус ван Схрик), так и многих менее известных, но заслуживающих внимания специалистов и публики, мастеров. По разнообразию и высокому художественному качеству экспонатов, отражающих широту жанровой системы голландского искусства, по научной концепции, возможности сопоставления произведений друг с другом, это было значимое для отечественной нидерландистики событие, открывающее дальнейшие перспективы межмузейного сотрудничества в деле изучения и популяризации хранящегося в России наследия голландских мастеров. The study of the 17th century Dutch art has a 150-year history in Russia and remains an actively developing field of modern Russian art-historical science. This is largely predetermined by the abundance and variety of collections of Dutch art in Russian museums, including regional museums. At the present time the main achievements are associated with the development of the genre-thematic approach to the heritage of Dutch school, attribution researches and exhibition practice, in which interaction between museums and cooperation with collectors play a very important role. The article is a review on the exhibition of the 17th century Dutch painting from Russian museums and private collections in the Serpukhov historical and art museum, November 2021 – April 2022. The art museums of Serpukhov, Moscow, Volga region, Kursk, Ryazan, Krasnodar and some collectors took part in the exhibition. The curator was Prof. Vadim Sadkov, a great specialist in history of Netherlandish art of the late 16th and 17th centuries. There were demonstrated work of well-known masters as Jan van Goyen, Jacob van Ruysdael, Adriaen van Ostade, Otto Marseus van Schrieck and many paintings by lesser known authors, which deserve the attention of specialists and the public. In terms of the variety and high artistic quality of the exhibits, reflecting the breadth of the genre system of Dutch art, the scientific conception, the possibility of comparing works with each other it was the significant event in Russian art-historical science and museum practice, which opens up further prospects for cooperation between museums in the study and popularization of the heritage of Dutch masters stored in our country.
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Lovich, Jeffrey E., George Jefferson, Robert Reynolds, Peter A. Scott, H. Bradley Shaffer, Shellie Puffer, Sarah Greely, et al. "Western pond turtles in the Mojave Desert? A review of their past, present, and possible future." Vertebrate Zoology 71 (May 25, 2021): 317–34. http://dx.doi.org/10.3897/vz.71.e63987.
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The western pond turtle (WPT) was formerly considered a single species (Actinemys or Emys marmorata) that ranged from southern British Columbia, Canada to Baja California, México. More recently it was divided into a northern and a southern species. WPTs are found primarily in streams that drain into the Pacific Ocean, although scattered populations exist in endorheic drainages of the Great Basin and Mojave deserts. Populations in the Mojave Desert were long thought to be restricted to the Mojave River, but recently another population was documented in Piute Ponds, a terminal wetland complex associated with Amargosa Creek on Edwards Air Force Base. WPT fossils in the Mojave Desert are known from the Miocene to the Pleistocene. Recently, Pleistocene fossils have been found as far into the desert as Salt Springs, just south of Death Valley. The oldest fossil records suggest that WPTs were present in wetlands and drainages of the geological feature known as the Mojave block prior to the uplift of the Sierra Nevada Range about 8 Ma and prior to the ~ 3 Ma uplift of the Transverse Ranges. Archaeological records document use of turtles by Native Americans for food and cultural purposes 1,000 or more years ago at the Cronese Lakes on the lower Mojave River and Oro Grande on the upper river. The first modern publication documenting their presence in the Mojave River was 1861. Museum specimens were collected as early as 1937. These fossil and early literature records support the indigenous status of WPTs to the Mojave River. However, mtDNA-based genetic evidence shows that Mojave River turtles share an identical haplotype with turtles on the California coast. Limited nuclear data show some minor differences. Overdraft of water from the Mojave River for municipal and agricultural uses, urban development, and saltcedar expansion are threats to the continued survival of WPTs in the Mojave River.
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Vernes, Karl, Sandy Ingleby, and Mark D. B. Eldridge. "An overlooked, early record of the desert rat-kangaroo (Caloprymnus campestris) from Lake Killalpaninna, South Australia." Australian Mammalogy 42, no. 2 (2020): 223. http://dx.doi.org/10.1071/am18043.
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The desert rat-kangaroo (Caloprymnus campestris) is known from specimens collected at just a few localities in north-eastern South Australia. We examined a C. campestris skin (M21674) in the collection of the Australian Museum, that was collected by Henry James Hillier at Lake Killalpaninna in South Australia between 1902 and 1905. This is a new locality for C. campestris, and the most southerly recorded. Furthermore, it precedes Hedley Herbert Finlayson’s rediscovery of the desert rat-kangaroo in 1931 by more than 25 years.
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Alminas, Ona S. V., James R. Heffelfinger, Mark J. Statham, and Emily K. Latch. "Phylogeography of Cedros and Tiburón Island Mule Deer in North America’s Desert Southwest." Journal of Heredity 112, no. 3 (March 23, 2021): 260–75. http://dx.doi.org/10.1093/jhered/esab013.
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Abstract Though mule deer (Odocoileus hemionus) persist in robust populations throughout most of their North American distribution, habitat loss, unregulated hunting, and other factors have reduced their historical range in México. Two of the 6 putative subspecies inhabiting México’s deserts and Baja California peninsula are of conservation concern, occupying islands in the Pacific Ocean (Odocoileus hemionus cerrosensis on Cedros Island: endangered) and Sea of Cortés (Odocoileus hemionus sheldoni on Tiburón Island: threatened). Focusing on the desert southwest (n = 448), we sampled Tiburón (n = 22) and Cedros (n = 15) Island mule deer using contemporary samples and natural history museum specimens to complete a phylogeographic evaluation of the species complex, and assess the phylogeography of these insular subspecies. Both insular subspecies formed endemic haplotype lineages, consistent with island biogeographic theory. Bayesian skyline plots were consistent with Holocene demographic expansion. Cedros Island deer were genetically most similar to adjacent mainland Baja California deer, but exhibited a suite of unique haplotypes and reduced genetic variation. Tiburón Island deer haplotypes unexpectedly nested within a mainland lineage found in distant New Mexico, rather than the adjacent mainland Sonoran lineage. Such findings suggest the importance of postglacial climate fluctuations and biotic community turnover in the phylogeographic history of mule deer in the desert southwest. Our genetic data corroborates cultural, archaeological, and phenotypic evidence supporting Cedros and Tiburón deer endemicity and subspecies status. Reduced genetic variation, divergence from mainland populations, and demographic trends on both islands indicate that conservation, monitoring, and management are critical to ensure persistence of these endemic insular subspecies.
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Lilyquist, Christine. "Twelve Carnarvon Writing Boards and their Provenances." Journal of Egyptian Archaeology 105, no. 2 (December 2019): 157–75. http://dx.doi.org/10.1177/0307513319896277.
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Research for the final report of a large Middle Kingdom tomb dug jointly by the fifth Earl of Carnarvon and The Metropolitan Museum of Art provides provenance information for 12 writing boards from Carnarvon tombs on the West Bank at Luxor. Through disparate records at the Griffith Institute Oxford, Egyptian Museum Cairo, and The Metropolitan Museum of Art New York, the tablets can now be assigned to a small area below or adjacent to Hatshepsut’s valley temple. The results put the texts into a broader cultural context at the same time that the study illustrates the fragility of information from excavations that deserve to be accurately and widely known.
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Krol, Alexei Alexandrovich, and Mikhail Nikolaevitch Kandinov. "Building materials in the medieval architecture of the archaeological site of Deraheyb (Sudan)." Moscow University Anthropology Bulletin (Vestnik Moskovskogo Universiteta. Seria XXIII. Antropologia), no. 3 (September 14, 2021): 109–19. http://dx.doi.org/10.32521/2074-8132.2021.3.109-119.
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The material for the article was samples of light gray rock with lighter and darker inclusions taken during the study of architectural structures of the archaeological site Deraheib (Sudan), which has been investigated since 2017 by the Nubian Archaeological and Anthropological Mission of the Research Institute and Museum of Anthropology of the Lomonosov Moscow State University (NAAM). This rock was used for making floor in Building 3 (Mosque) and as a bonding material in the walls of the Northern Fortress. Decorative architectural elements carved from the same rock were found during the study of the interior rooms of the Northern Fortress. Samples of this rock were taken into Russia by agreement with the National Corporation for Antiquities and Museums (NCAM) of the Republic of Sudan. The prepared thin sections were examined at the Research Institute and the Museum of Anthropology of the Lomonosov Moscow State University. Results. The analysis of thin sections showed that highly altered volcanic-metamorphic rocks, metamorphosed tuffs of acidic or alkaline composition, widespread in this region of Sudan, served as the material for pouring floors and for the making of a binder in the architectural structures of Deraheib, as well as for decorative architectural elements. Discussion. The conducted research indicates that the architects who erected buildings in Deraheib in the medieval period used locally available material, since it was very difficult to deliver building materials from the Nile Valley, taken into account the location of the monument almost in the center of the Nubian Desert. The tuff deposits at the site allowed the architects to build durable structures using local materials. The results of the study will allow to elaborate more accurate recommendations for the restoration of medieval architectural monuments of Deraheib.
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Friend, Rebecca, and Monica Eileen Patterson. "Echoes of Experience: Encountering Children and Childhood in the Canadian History Hall." Jeunesse: Young People, Texts, Cultures 13, no. 2 (March 1, 2022): 10–37. http://dx.doi.org/10.3138/jeunesse.13.2.10.
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How are children remembered in public memory? Within most history museums, children are superficially represented in well-worn, overly simplistic tropes overwritten by adult nostalgia, romanticism, and sentimentalism. Rarely are the details of their lives—not to mention their ideas or perspectives—engaged in a substantive and nuanced way. This representation is especially true for racialized children and those from other historically marginalized groups. Children are often presented as examples of a generic type (“ten-year-old boy”), and overwhelmingly as historical victims. But curating traces of children’s material and immaterial culture can offer insight into young people’s understandings of cultural, political, and social matters—unique and valuable perspectives that deserve closer attention. This article explores the dominant narratives used to represent children as historical actors in the recently revamped Canadian History Hall at the Canadian Museum of History. Focusing on the possibilities and challenges of presenting children’s perspectives, experiences, and voices, we take the new Canadian History Hall as a case study, and analyze both the narrative form and content of the many representations of children and childhood found in its three galleries.
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Ramirez, Loretta. "David Lamelas’s The Desert People: An Odyssey for Authentic Representation." Contemporaneity: Historical Presence in Visual Culture 5 (November 30, 2016): 136–43. http://dx.doi.org/10.5195/contemp.2016.176.
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In The Desert People (1974) by Argentine artist David Lamelas, screened at the UCLA Hammer Museum (January-June 2016), five travelers contribute to an ethnographic documentary about the southeastern Arizonan Papago tribe. However, the travelers’ untimely doom triggers a paradox—their screened interviews could not have been filmed prior to their demise. This paradox prompts audiences to reevaluate the film’s authenticity in the representation of the Papago’s reality. The verdict may be that depiction of human relations in visual culture is inadequate. Yet, might fragmented truths that function to keep alive a dying society still be worthy alternatives to the total disappearance of a Native American culture? The Desert People explores this question.
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Kaczmarczyk, Martyna, and Kinga Palus. "Adaptation and Revitalization of Industrial Facilities Interiors on an Example of a Building of ‘The Old Power Plant Białystok’." IOP Conference Series: Materials Science and Engineering 1203, no. 2 (November 1, 2021): 022128. http://dx.doi.org/10.1088/1757-899x/1203/2/022128.
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Abstract The topic discussed in the article concerns adaptation of the interior of the Old Power Plant Bialystok building to a museum space related to transport. The justification for taking up the topic is paying attention to the unique aesthetic values of post-production elements of interior infrastructure with a view to giving them a new architectural spirit. The idea behind this issue concerns the possibility of constructing a coherent composition, showing contrasting aspects: historical and modern, relating to both museum facilities and exhibits on display. The aim is therefore to show the creation of a new public space that is an interesting alternative to classic museums. Numerous functional and spatial changes, created during many years of exploitation, lead to a kind of chaos inside buildings, which was observed on the example of the interior in question. In the era of globalization, industrial development and as a result of urban processes, the buildings that used to be centers of economic development, today have been absorbed and surrounded by urban fabric. Deserted and devoid of its original function, they deteriorate, giving the image of breaking the emotional ties with the achievements, which were a priority for our ancestors. Attention should be paid to losing the authenticity of building interiors and extracting the essence of industrial beauty, which should be emphasized in accordance with the implementation concept. Cultural heritage has not only a material but also a sentimental dimension. Creative activities within the historic structure should be carried out with full respect for the existing structure, taking into account the overriding issue, that each interference affects the original form in the existing spatial arrangement.
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Wulandari, Anak Agung Ayu. "Dasar-Dasar Perencanaan Interior Museum." Humaniora 5, no. 1 (April 1, 2014): 246. http://dx.doi.org/10.21512/humaniora.v5i1.3016.
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Old, haunted, dark and poorly maintained are the impressions of Indonesian museums. Unlike foreign museums which are always crowded with visitors, Indonesian museums are always quiet and deserted. The biggest challenge for museums today is recognise that museums are for people and that their future depends on developing themselves to meet the needs of the people. Thus, Indonesian museums need to develop and apply mass communication model combined with the interpersonal communication model where in this type of communication visitors are allowed to participate in the exhibition and become part of the exhibition since this is what nowadays visitors desired to do. With a better planned exhibition interior design, following the basic design principles such as transforming space with harmony, creating room atmosfer, pacing and circulation, suitable lighting design and display as well as using appropriate presetantion technique combined with technology and multimedia, an exhibition will become a more interactive and attractive that will meet visitor’s expectation
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Cravinho, Graça. "Roman Engraved Gems in the National Archaeological Museum in Lisbon." Studies in Ancient Art and Civilisation 21 (July 27, 2018): 173–245. http://dx.doi.org/10.12797/saac.21.2017.21.09.
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The article presents the collection of Roman engraved gems in the National Museum of Archaeology, in Lisbon. Although a small cabinet, it contains a wide variety of themes and motifs. Among the intaglios, the nicolos deserve to be especially highlighted for their quantity when compared with the others, thus strenghtening the evidence for the existence of a regional quartz industry in the city of Ammaia, which particularly specialized in the manufacture of nicolo gemstones. The themes match those existing throughout the Empire, but some items deserve special attention: Eros removing a thorn from a lion’s paw (no. 3); three Satyrs performing a sacrifice (no. 1); the wounded warrior (no. 31); the ‘prodigy scene’ (no. 36); Faustulus, the Capitoline Wolf and the twins (no. 37); a possible portrait of Cleopatra (no. 42); the Jewish symbols (no. 70) and the magical amulet (no. 72).
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Colodner, Debra, Kim Franklin, Craig Ivanyi, John F. Wiens, and Stéphane Poulin. "Why Partner with a Zoo or Garden? Selected Lessons from Seventy Years of Regional Conservation Partnerships at the Arizona-Sonora Desert Museum." Journal of Zoological and Botanical Gardens 3, no. 4 (December 19, 2022): 725–37. http://dx.doi.org/10.3390/jzbg3040054.
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Zoos and botanical gardens (ZBGs) play a variety of roles in regional conservation partnerships, including their most common role as the ex situ managers of rare plant and animal populations. Using case studies from a 70-year history of conservation work at the Arizona-Sonora Desert Museum in Tucson, Arizona, USA, this paper illustrates these roles and the characteristics of ZBGs that make them versatile and effective regional conservation partners. ZBGs commonly play the role of conservation advocates, as discussed in the context of the establishment of protected islands in the Gulf of California. ZBGs also conduct field research, including the collection of long-term datasets, as exemplified by the establishment of the Ironwood Forest National Monument and a 40-year Sonoran Desert phenology database. ZBGs can be effective conveners of communities and conservation partners in regional-scale efforts, such as the Sonoran Desert Conservation Plan and Cooperative Weed Management Areas. The paper also explores the challenges faced by ZBGs in sustaining their conservation work.
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Thayer, David W., Ronald P. Ratkevich, and Stan E. Krzyzanowski. "A New Dinosaur for the Arizona-Sonora Desert Museum Tucson, Arizona." Rocks & Minerals 71, no. 1 (January 1996): 34–38. http://dx.doi.org/10.1080/00357529.1996.11761534.
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Browne, Kim Victoria, and Tumendelger Dashdorj. "Mongolia’s Fossilised Heritage." Inner Asia 24, no. 1 (April 12, 2022): 131–61. http://dx.doi.org/10.1163/22105018-02302020.
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Abstract It has been almost 100 years since the pioneering expedition of the American Museum of Natural History (New York) to the Gobi Desert led by Roy Chapman Andrews in 1922. Therefore, it is an opportune time to examine the contribution Andrews made to palaeontology in central Asia and to consider the question of education and repatriation in the context of the protection of Mongolia’s fossilised heritage. Furthermore, this paper investigates the threat to Mongolia’s rare and exceptional cultural heritage posed by modern-day fossil poachers along with domestic efforts to combat the illicit fossil trade in central Asia. This paper concludes with an examination of the repatriation from the United States of Tarbosaurus bataar and the establishment of the Central Museum of Mongolian Dinosaurs dedicated to repatriated dinosaur specimens.
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Brumana, Raffaella, Daniela Oreni, Sara Caspani, and Mattia Previtali. "Virtual museums and built environment: narratives and immersive experience via multi-temporal geodata hub." Virtual Archaeology Review 9, no. 19 (July 20, 2018): 34. http://dx.doi.org/10.4995/var.2018.9918.
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<p>Our built environment is nowadays considered as a dynamic complex, stretching and transforming across space and time, with the interaction of human, social and economic dimensions. It needs to be safeguarded as living places for the future taking into account such complexity. The general aim of this work is to contribute to the comprehension of landscape values, enhancing participation processes by tourists and local communities, considering the built environment as a system: the sum of natural transformation, ancient artefacts stratification and human activities, partially covering the tangible traces, and functioning as a vehicle for the comprehension of intangible values. Multi-temporal, multi-scale and geospatial datasets can play an important role in such knowledge transfer processes by means of narratives and immersive experiences in a multimedia museum approach. In particular, the cartographic heritage, in the form of metric and non-metric maps, can be progressively used as a source of information for innovative narratives. Virtual Museums (VMs)are additional "channels" to disseminate content and to provide knowledge about cultural heritage; they have emerged from the crossbreeding process between museums and digital technologies. Investigating how digital storytelling may support communication and understanding of complex systems, such as the built environment and landscape, it is relevant because cultural awareness may foster the sense of belonging and identity construction of which Europe is thirsty, contributing to the safeguarding of fragile sites. The paper provides useful information for museums that would like to follow this pathway. It retraces the main steps of storytelling production and presents interesting examples of immersive narrative models based on geospatial data and a virtual hub, helping people to retrieve and access information and to recognize places of memory mostly unknown. Moreover, it offers an evaluation of existing tools that can be adopted for this purpose. Eventually, by virtue of the research carried out for the case study of the Virtual Museum of Como Lake Landscape, the paper aims at ascertaining which kind of stories and experiences can be designed, the potential of these tools and possible weaknesses or constraints that deserve future researches.</p><p><strong>Highlights:</strong></p><ul><li><p>Investigation of a narrative approach to develop a theoretical model of virtual museums that can support communication and understanding of built environment and landscape.</p></li><li><p>Integration of multi-temporal, multi-scale cartography and geospatial datasets, as a narrative base and information to facilitate the landscape values comprehension by non-expert users.</p></li><li><p>Use of low-cost techniques (panoramic photos, 360° videos, 3D models) to design immersive experiences that can increase the interest of people in discovering the built environment.</p></li></ul>
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Meicun, Lin. "A new Kharoṣṭhī wooden tablet from China." Bulletin of the School of Oriental and African Studies 53, no. 2 (June 1990): 283–91. http://dx.doi.org/10.1017/s0041977x00026082.
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Many Kharoṣṭhī documents have been unearthed from the buried cities in the shifting sands of the Taklamakan Desert in the last thirty years. I went to the south of the Desert and conducted an archaeological survey along the Silk Road in the summer of 1986. A Kharoṣṭhī wooden tablet happened to be on display in the Khotan Museum when I visited there, but no serial number had been given to the new document. It was allegedly collected by Mr. Li Xuehua, an officer of the Min Feng county, when he explored the way to the Niya site for the shooting of a television programme on the Silk Road in 1981. However, he did not leave any further information on the exact place where the tablet was found in the vast area of Niya.
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Murphy, Nicholas P., Michelle T. Guzik, Steven J. B. Cooper, and Andrew D. Austin. "Desert spring refugia: museums of diversity or evolutionary cradles?" Zoologica Scripta 44, no. 6 (August 3, 2015): 693–701. http://dx.doi.org/10.1111/zsc.12129.
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Pieprzak, Katarzyna. "Art in the Streets: Modern Art, Museum Practice and the Urban Environment in Contemporary Morocco." Review of Middle East Studies 42, no. 1-2 (2008): 48–54. http://dx.doi.org/10.1017/s0026318400051518.
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Every summer, cultural festivals take place all over Morocco, and streets in towns and cities become animated scenes for the articulation of Moroccan contemporary culture. So animated, heterogeneous and pluralistic has this festival scene become that the semiofficial newspaper for the Islamist PJD party has called these street festivals “vectors of decadence” and performing-artist union officials have declared that they feel threatened by the “foreign invasion” of internationally-based diaspora groups. Recently, in a critique of these attitudes, the magazine Telquel reported that they are “sick of the wet-rags of the festival season” that deny “millions of happy festival-goers the occasional…free oasis in the grand cultural desert of Morocco.” Describing the street as an oasis of culture vis-à-vis the desert landscape of Moroccan cultural institutions is not a new trope. In this paper I explore how Moroccan artists have engaged with the potential, promise and problems of art in the street when gallery spaces and museums fail to integrate modern art into a wider Moroccan cultural landscape.
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Tostões, Ana. "Towards a fresh reading of MoMo historiography." An Eastern Europe Vision, no. 59 (2018): 2–3. http://dx.doi.org/10.52200/59.a.vhvqpxas.
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While visiting the MAO (Museum of Architecture and Design) in Ljubljana one can appreciate the architectural power of Stanko Kristl’s work. The impressive buildings of this Slovenian architect revealed through the exhibition "Humanity and Space", illuminate the beauty of the museum space with some astonishing works and show why Eastern Europe deserves to be included in the historiography of the Modern Movement, to clearly demonstrate the contribution of Iron Curtain countries to the modern avant-garde. As Matevz Celik recognizes, “through his architecture he worked to provide responses to the needs of the people — for whom it was intended. This basic premise served as a guiding principle in experiments and his search for spatial and social innovation in architecture."
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Boyd, Robert. "Sin in the Sagebrush: Creating an Exhibit for the High Desert Museum." Oregon Historical Quarterly 112, no. 4 (2011): 486–506. http://dx.doi.org/10.1353/ohq.2011.0020.
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Robert Boyd. "Sin in the Sagebrush: Creating an Exhibit for the High Desert Museum." Oregon Historical Quarterly 112, no. 4 (2011): 486. http://dx.doi.org/10.5403/oregonhistq.112.4.0486.
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AALBU, ROLF L., and CHRISTOPHER C. WIRTH. "The Status of Triorophus punctatus LeConte (Coleoptera: Tenebrionidae: Pimeliinae: Edrotini)." Zootaxa 4604, no. 1 (May 13, 2019): 198. http://dx.doi.org/10.11646/zootaxa.4604.1.11.
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While working on a revision of Triorophus LeConte, 1851 we examined type material for the genus. One species, Triorophus punctatus LeConte, 1851 (Figs. 1a–1e), was described from a dead, partial specimen (Type 4475, Museum of Comparative Zoology, Harvard University) collected at “Vallecitas,” California in October or November of 1850 (LeConte, 1851). The locality likely refers to Vallecito, a contemporary United States Army depot and stage station (Roberts, 1988) located on the western edge of the Colorado Desert in eastern San Diego County (32.9755°, -116.35°).
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Wei, Tong Hua, Shi Tang, and Wei Zhu. "Research of Green Reconstruction of Hangzhou Arts & Crafts Museum." Advanced Materials Research 598 (November 2012): 106–9. http://dx.doi.org/10.4028/www.scientific.net/amr.598.106.
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Based on the characteristics of the deserted plants of refining and looming workshops in Hangzhou Honglei Silk Mill, the green low-carbon reconstruction targeting industrial remains along The Grand Canal is carried out from five aspects including land saving, water saving, energy saving, material saving and interior environmental quality control, under the guidance of the technical strategy called Evaluation Standard for Green Buildings. With the help of the integration of several appropriate technologies, the goal of the green reconstruction is accomplished, with no increasing costs.
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Soloshenko, V. "Looting of Cultural Property in Europe for the Fuhrer – Museum in Linz." Problems of World History, no. 13 (March 18, 2021): 190–202. http://dx.doi.org/10.46869/2707-6776-2021-13-9.
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The article analyzes the activities of the Nazi “Special Mission Linz”, its organization and preparations for the opening of the Fuhrer-Museum in Linz. By A. Hitler’s design, Berlin was supposed to become a kind of Rome, and Linz – to become the European capital of world art. Although this museum was never established, its creation project and precious collections, most of which were seized from Jewish families, deserve a great deal of attention, and the connected with it secrets continue to be a concern of mankind. The crucial role in the selection and formation of the creating museum's expositions was played by its leaders. They took charge of future museum and selected for it the most precious items of the looted collections of Europe, coordinating the process of museum’s filling with Hitler.
The author finds out that the Fuhrer-Museum in Linz expositions consisted mainly of art collections of Jews. The main criterion for the selection of valuable pieces of art for the museum was its belonging to the European high art.
The article analyzes the components of the “mission’s” activities, outlines the routes of the artworks, which got into the museum collections in different ways. Besides, significant attention is paid in the article to the key figures: architects whose projects were approved by the Fuhrer, leaders of the museum in Linz – art historians and other executors who were directly involved in organizing and conducting of a large-scale looting of cultural property in Europe. The author notes that the purpose of the “Special Mission Linz”, was, inter alia, to find artworks created by masters of “Aryan” birth. The study emphasizes that such kind of museum establishment was an attempt to prove the greatness and steadfastness of the German Reich. It is noted in the article that Hitler was planning to build cultural centers in Königsberg and Drontheim (Norway) during the war. The Fuhrer wanted to establish a museum with cultural property from Eastern Europe in Königsberg, and the artworks of German authors were supposed to decorate the exposition of the newly created museum in Drontheim – the northernmost center of the future Great Empire. The fact that the Fuhrer-Museum in Linz was never built does not give any grounds to reject the facts of systematic looting and confiscation of cultural property that were conducting during many years of Nazi rule.
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Golikov, Kirill, Ekaterina LAPTEVA, and A. SOCHIVKO. "LIVE PLANTS AS AN ADDITIONAL BOTANICAL COMPONENTOF THE THEMATIC EXPOSITION IN THE EARTH SCIENCE MUSEUM AT MOSCOW STATE UNIVERSITY." LIFE OF THE EARTH 42, no. 4 (November 25, 2020): 478–84. http://dx.doi.org/10.29003/m1777.0514-7468.2020_42_4/478-484.
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The article discusses the use of live plants as the botanical exposition component supplement of the “Natural areas” (hall № 17 “Natural zonality and its components” and № 20 “Desert, subtropical, tropical countries, high-altitude zone”) and “Physico-georaphic regions” (hall № 24 “Continents and parts of the world”) departments in order to visualize information presented in the Earth Science Museum. Demonstration of plants originating from different regions of the world representing different life forms and being structural components of various plant communities allows to visually characterizing thematic aspects of an exposition. That in turn reveal such principles of systematic nature organization as ecobiomorphic and phytocenotic.
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Sytin, A. K., and B. K. Gannibal. "Memories by Leonid Rodin about Alexei Iljinski." Vegetation of Russia, no. 35 (2019): 103–10. http://dx.doi.org/10.31111/vegrus/2019.35.103.
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The publication of memoirs essay by Prof. Leonid Rodin — outstanding geobotanist and desert researcher — is devoted to some biography aspects of his teacher, Prof. Alexey Iljinski. Rodin’s aim was to restore scientific activities rightful place of Alexey Iljinski in history of the Department of Geobotany of the Komarov Botanical Institute. Of particular importance is the description of the humanitarian mission of both botanists to Berlin on the eve of the surrender of Nazi Germany. A meeting with the director of the Botanical Garden and the Museum (Berlin-Dahlem), Prof. Ludwig Diels in May 1945, is described.
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Dmytrenko, Nataliia. "ICONOGRAPHY OF "THE LAST SUPPER" AND ITS ORIGINS IN THE MONUMENTS OF THE EARLY CHRISTIAN ERA." Research and methodological works of the National Academy of Visual Arts and Architecture, no. 28 (December 15, 2019): 98–108. http://dx.doi.org/10.33838/naoma.28.2019.98-108.
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The article deals with the works of monumental painting, decorative and applied art and art of the book miniature of the early Christian era with the first images that refer to the prototypes of the "Last Supper". The research of iconography and the origins of the plot, namely, the influence of Roman art on the formation of iconography and artistic works of Christian art at its earliest stages of creation is the main line of the article. The main problems of identification of the plot, its symbols and use in various art forms are highlighted.In the study of the iconography of the plot "The Last Supper", the main difficulties arise with the origin of the plot, and therefore, with the use of evangelical or synoptic sources for its interpretation by masters who created these works of art. Times of dating, works of the early Christian era over time transformed even more and changed in the context of the development of iconography with its artistic peculiarities. The placement of Christ's disciples during the conduct of the sacrament, their posture, clothing, symbolism and details of the conditional interior, which accompany each work deserve detailed examination, art-study analysis and scientific explanation.In the study of the Byzantine book miniature of the early Christian era, it appears necessary to determine which part of the text from the Holy Scripture is illustrated alongside the image of the "Last Supper" and which additional miniatures accompany it. Also, special attention deserves exceptional and rare in the number of works of decorative and applied arts, in which the plot was embodied. In addition, to consider the origin and development of the iconography of the "Last Supper", it appears necessary to analyse and distinguish the differences in the iconography of works.The material of the article is illustrated by the works of the monumental art of the Roman catacombs and exhibits from the collection of the Louvre Museum, the State Historical Museum in Moscow, the Archbishopric Treasury of the Rossano Cathedral and the miniatures of the Cambridge Library of the Corpus Christi College.
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Schall, Arthur, Valentina A. Tesky, Ann-Katrin Adams, and Johannes Pantel. "Art museum-based intervention to promote emotional well-being and improve quality of life in people with dementia: The ARTEMIS project." Dementia 17, no. 6 (September 15, 2017): 728–43. http://dx.doi.org/10.1177/1471301217730451.
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ARTEMIS (ART Encounters: Museum Intervention Study) is an art-based intervention designed especially for people with dementia and their care partners that involves a combination of museum visits and artistic activity. This paper reports the results of a randomized wait-list controlled study on the influence of the ARTEMIS intervention on the emotional state, well-being, and quality of life of dementia patients. People with mild-to-moderate dementia (n = 44) and their care partners (n = 44) visited the Frankfurt Städel Museum once a week on six pre-arranged occasions. The intervention consisted of six different guided art tours (60 minutes), followed by art-making in the studio (60 minutes). Independent museum visits served as a control condition. A mixed-methods design was used to assess several outcomes including cognitive status, emotional well-being, self-rated aspects of quality of life, and subjective evaluations by informal caregivers. In a pre-post-assessment, we found significant improvements in participants’ self-rated quality of life (t = −3.15, p < .05). In a situational assessment of emotional well-being immediately before and after each of the museum sessions, we were able to demonstrate statistically significant positive changes with medium effect sizes (dcorr = .74–.77). Furthermore, the total Neuropsychiatric Inventory score as well as the affective (depressed mood and anxiety) and apathy subscales were significantly lower after the ARTEMIS intervention (tNPI total = 2.43; tNPI affective = 2.24; tNPI apathy = 2.52; p < .05). The results show that art museum-based art interventions are able to improve the subjective well-being, mood, and quality of life in people with dementia. This promising psychosocial approach deserves further attention in future studies and consideration in community-based dementia care programs.
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Radoň, Miroslav, and Dalibor Velebil. "Ludwig Mayer, a prominent collector of minerals and his collection in the National Museum in Prague." Journal of the National Museum (Prague), Natural History Series 187, no. 1 (2018): 65–84. http://dx.doi.org/10.2478/jnmpnhs-2018-0004.
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Ludwig Mayer (*1879, †?) was an significant collector of minerals from Bílina near Teplice. He personally searched minerals in terrain. He also purchased large amount of minerals from dealers or exchanged with other collectors. He deserved a number of interesting or completely new mineralogical findings, which were enriching the overall knowledge of mineralogical conditions of the Bohemian Central Highlands. Many of his findings were published by profesor Josef Emanuel Hibsch (*1852, †1940), the greatest expert on geological conditions of the Bohemian Central Highlands. From 1939 to 1945 Mayer was the manager of geological collections of the museum in Teplice. A total of 596 pieces of minerals from the Mayer’s collection came to the systematic part of the mineralogical collection of the National Museum in Prague. The core of this amount consists of documentary valuable minerals from several important mineralogical sites of the Central Bohemian Highlands, such as Dolní Zálezly, Církvice, Mariánská Rock in Ústí nad Labem, Radejčín and new site Chudoslavice with yellow crystals of chabazite, discovered by Mayer. A total of 54 samples of minerals from the Mayer collection were selected for the newly prepared permanent exhibition of minerals of the National Museum in Prague.
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Jablonski, Daniel, Addison Wynn, Rafaqat Masroor, Theodore Papenfuss, Spartak N. Litvinchuk, and Glib Mazepa. "The genus Pelophylax (Amphibia, Ranidae) in Pakistan: museum collections and possible distribution." Herpetozoa 34 (July 27, 2021): 141–47. http://dx.doi.org/10.3897/herpetozoa.34.e64955.
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We provide the first comprehensive data on the questionable distribution of the genus Pelophylax and the family Ranidae from Pakistan. Based on a literature review and two specimens of the genus from Tasp, Panjgur District in Pakistani Balochistan (USNM 26194–95), stored in the Smithsonian National Museum of Natural History, Washington, DC, USA, we discuss the possible occurrence and affiliation of these frogs in the context of Central Asia. Our comparison shows that the nearest records of Pelophylax in relation to the Tasp specimens are reported from more than 280 km (air-line) away in Iran and Afghanistan, which are currently separated by hot and mostly desert environments. We suggest that possible surviving populations of this genus may still be present in Balochistan (Rakhshan River) or Khyber Pakhtunkhwa (Kabul River) Provinces of Pakistan. This would, however, need further field investigations.
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Burbidge, A. A., K. A. Johnson, P. J. Fuller, and R. I. Southgate. "Aboriginal knowledge of the mammals of the central deserts of Australia." Wildlife Research 15, no. 1 (1988): 9. http://dx.doi.org/10.1071/wr9880009.
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More than one-third of the terrestrial mammal species of the central deserts of Australia have vanished in the past 50 years. Few of these have been the subject of even preliminary scientific study, and data as basic as geographic range and preferred habitat are lacking for many species. Aborigines, many of whom lived traditionally in the central deserts until recently, still retain a profound knowledge of the mammals, but this knowledge, too, is fast disappearing. Aboriginal people living in communities scattered through and around the edges of the 1645 000 km2 of the study area, comprising the Great Sandy, Little Sandy, Tanami, Gibson and Great Victoria Deserts and the Central Ranges district, were shown museum skins and asked to provide information about local names, current and past status, and aspects of biology and ecology. Most species, including some thought to have become extinct early this century, persisted in the deserts until 30–50 years ago. New data are presented on former distribution and on the biology and ecology of many species. The mammal fauna of the central deserts was richer and more widespread than generally believed, but the area has suffered a massive and sudden loss of species, probably unparalleled in extent elsewhere in Australia.
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LAVIGNE, ROBERT J., and D. STEVE DENNIS. "A checklist of the Robber Flies (Insecta: Diptera: Asilidae) of Wyoming, USA." Zootaxa 4238, no. 3 (March 5, 2017): 335. http://dx.doi.org/10.11646/zootaxa.4238.3.2.
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A checklist of 158 species of Wyoming robber flies (Insecta: Diptera: Asilidae) is presented for the first time based on personal collecting, literature review, museum specimens, and online databases. In Wyoming, asilid habitats range from arid desert environments to mountainous pine-douglas fir forests. According to the latest classification system of Dikow (2009), these include 54 species of Asilinae, 24 species of Brachyrhopalinae, 10 species of Dasypogoninae, 3 species of Dioctriinae, 23 species of Laphriinae, 8 species of Leptogastrinae, 24 species of Stenopogoninae, 8 species of Stichopogoninae, 1 species of Trigonomiminae, and 3 species of Willistonininae. Thirty-one of these species have not been previously recorded as occurring in Wyoming.
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Barros, Rodrigo Lopes de. "Havana: a cidade como catástrofe em Antonio José Ponte." Alea : Estudos Neolatinos 12, no. 2 (December 2010): 257–68. http://dx.doi.org/10.1590/s1517-106x2010000200006.
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Ortiz viu a aceleração do tempo em Cuba. A museificação (Agamben) tornou-se, porém, a ordem do dia na Havana pós-revolucionária. Para Ponte, caminhar pelas ruas de Havana é fazer uma viagem no tempo. Ela não é apenas um museu, mas um museu em ruínas. Havana é uma cidade bombardeada por um bombardeio que nunca ocorreu. Assim, a vida é levada ao subterrâneo. Tuguria, a cidade submersa, está, contudo, em total sincronia com o deserto que toma a paisagem.
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Russell, Lynette. "Review of Colliding Worlds: First Contact in the Western Desert 1932–1984, Melbourne Museum." History Australia 4, no. 1 (January 2007): 22.1–22.2. http://dx.doi.org/10.2104/ha070022.
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