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Journal articles on the topic 'Home exhibitions'
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TINGIR, Merve, and Serkan İLDEN. "EV MÜZECİLİĞİNDEN ÇEVRİMİÇİ SERGİLERE." Akademik Sanat Dergisi 2021, no. 12 (April 28, 2021): 12–22. http://dx.doi.org/10.34189/asd.2021.12.002.
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Raharjo, Timbul. "INDONESIAN CRAFT IN THE WORLD TRADE." Ars: Jurnal Seni Rupa dan Desain 21, no. 3 (September 1, 2018): 177–82. http://dx.doi.org/10.24821/ars.v21i3.2899.
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Some international craft exhibitions focus on home accessories, gifts, and furniture. The exhibition aim as craft product branding at the national and international market, for example 2016 JIFFINA exhibition. Indonesian craft commodity maintains market share in several export destination countries because Indonesian products offer special characteristics and moreover, Indonesian exporters are enthusiastic in promoting the products in international exhibitions. In Asia level, Canton Fair held in Guangzhou International Convention & Exhibition Center China is one of the biggest programs where a big number of buyers look for products they want to purchase. In Asia, exhibition series peak in Guangzhou in March and in Shanghai in October. These exhibitions are visited by importers from Europe, America, Africa, The Middle East, Australia, etc. They come to buy Asian furniture. Some exhibitions in several countries are intentionally organized within a short time in sequence to grab buyers coming to South East Asian area. It is when the commission products from Indonesian producers, in form of retails or projects. Indonesian stakeholders respond this opportunity by organizing two big exhibitions, namely Indonesia International Furniture Expo (IFEX) in Jakarta and Jogja International Furniture and Craft Fair (JIFFINA) in Yogyakarta
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Tali, Margaret. "The Son’s Coming Home: Narrative Economies of Joseph Beuys’ Art." Culture Unbound 10, no. 2 (August 15, 2018): 281–300. http://dx.doi.org/10.3384/cu.2000.1525.20180815.
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This article deals with the narration of Joseph Beuys’ art in Germany. My focus is set on the ways that particular curatorial strategies have been applied to Beuys’ artistic practice in the Hamburger Bahnhof in Berlin. I contextualize the readings in the interests of different stakeholders involved in the rescaling of the artist’s heritage. Beuys’ framing in the two recent retrospective exhibitions in Berlin and Düsseldorf and the regular display of his works in the Hamburger Bahnhof leads me to argue that private collectors have become closely involved in the process of curating in novel ways, which in turn requires a new critical reading of exhibition practices. Narrative economy is a concept proposed for understanding these interests and their articulations in exhibition curation.
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HELLAND, JANICE. "Rural Women and Urban Extravagance in Late Nineteenth-Century Britain." Rural History 13, no. 2 (October 2002): 179–97. http://dx.doi.org/10.1017/s0956793302000109.
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This essay discusses two exhibitions that romanticised the rural Celtic fringes of Britain for consumption in London, the ‘metropolis of the world’. Alice Hart's reconstructed Donegal Village at the Irish Exhibition (1888), organised under the auspices of the Donegal Industrial Fund, assuaged the reality of poverty in the Congested Districts; the Duchess of Sutherland's faux Highland cottage at the Victorian Era Exhibition (1897), organised by Scottish Home Industries, suggested hunting, fishing and scenic views rather than land reform and emigration. While the differences between the organisations inform the parts they played in exhibitions, they clearly and precisely converge in one respect: both advertised, glorified and sold the rural when existence in Donegal and in the Highlands was financially precarious and disappearing. They also share another characteristic: the female patrons, their associations and the female workers have ironically disappeared from historical writings while still visible are the colonised representations of exhibitions in which they participated. This essay seeks to recollect the historical moment at which the two associations flourished, examine how each group performed its self-appointed task and analyse their places as urban enthusiasts of the rural experience.
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Karm, Svetlana, and Art Leete. "Uurali kaja Eesti Rahva Muuseumis." Eesti Rahva Muuseumi aastaraamat, no. 61 (October 11, 2018): 14–43. http://dx.doi.org/10.33302/ermar-2018-001.
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The Echo of the Urals exhibition at the Estonian National Museum Our objective was to analyse the process of preparing the Echo of the Urals permanent exhibition we produced for the Estonian National Museum. We focused on the historical background of the exhibition and the methodological and ideological positions that the exhibition committee relied on. In this article, we dealt with how the concept for the exhibition developed and the principles for the technical solutions used at the exhibition. We also tried to analyse the retrospective views taken by the exhibition’s content and design committees regarding their work. Many previous Finno-Ugric permanent exhibitions at the Estonian National Museum had focused on presenting folk art, and this aspiration was reflected even in the titles of the exhibitions. Moreover, the Finno-Ugric scholars at the National Museum also tried to use the exhibitions to gain an overview of the existing materials at the museum concerning a specific ethnic group. Such exhibitions also focused on the Finno-Ugric people and so as representative a set of artefacts as possible was placed on display, systematised in the spirit of scientific objectivity. From the second half of the 1990s on, the museum’s researchers started producing exhibitions on more experimental themes as well, testing the suitability of various ideas for an ethnographic exhibit. Some ideas are exciting on paper while artefacts can fail to express more abstract qualities. Our permanent exhibition was based on the historical legacy, and we tried to find a simple, relevant starting idea for the exhibition that made full use of the museum’s collections. After discussions, we chose Echo of the Urals as the title of the exhibition. In doing so, we tried to refer in a lyrical vein to the idea of an original home for the Finno-Ugrians and allow different peoples to be introduced in a single framework. The idea of linguistic kinship may be easy to understand for scholars and many Finno-Ugrians, but we also thought about visitors who did not know anything about the topic. We devoted the main part of the exhibit to the ethnographic representation of gender roles, trying to get viewers to think about everyday gender roles and cultural differences. We hoped that presenting the cultural roles of males and females would be a simple starting idea that would also be of interest to many. The exhibition design had to be state-of-the-art, a finely tuned machine, at the same time creating emotionally gripping, seemingly semi-natural ethnographic attractions. As a result of our research, we found that although we tried to create an emotionally captivating and conceptually balanced exhibition, we were criticised in the critical reception for allegedly haphazard choices (the gender theme was criticised) and having a romantic aim to find beauty (to the detriment of reflecting the situation faced by indigenous cultures today). Our analysis of the making of our ethnographic exhibition with ambitious and seemingly conflicting or even simultaneously unattainable goals is limited by the lack of a bystander’s perspective and the lack of temporal distance between the completion of the exhibition and the our meta-research. Our main conclusion regarding the process of creating the exhibition consists of thorough conceptualisation intertwined with intuitive aesthetic and intellectual prediction.
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Cubitt, Geoffrey. "Bringing it Home: Making Local Meaning in 2007 Bicentenary Exhibitions." Slavery & Abolition 30, no. 2 (June 2009): 259–75. http://dx.doi.org/10.1080/01440390902818971.
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Pivovar, Efim I., and Elena A. Kosovan. "Documentary On-Line Exhibitions of the Central State Archives of Ukraine as a Way to Commemorate the Great Patriotic War of 1941–45." Herald of an archivist, no. 1 (2021): 118–29. http://dx.doi.org/10.28995/2073-0101-2021-1-118-129.
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The article deals with virtual exhibition activities of the central state archival institutions of Ukraine associated with the anniversary of the Great Patriotic War of 1941–45. The authors acknowledge that archives are an important institute of memory for Ukraine, and therefore they attempt to assess the impact of the official Ukrainian historical and political policy on the exhibition activities in the central state archives, using on-line exhibitions dedicated to the anniversary of the Victory of 1945 as an example. The Great Patriotic War is one of the most contradictory elements of the Ukrainian national historical narrative and one of the most conflictogenic elements in the Ukrainian historical policy (in the so called “wars of memory”), hence the choice of the topic. The authors have studied the webpages of the archives’ official sites, their structure, design, and content. They focused on the digests of on-line exhibitions, i.e. texts located on the home page of the archive, which reveal theme, concept, purpose, and objectives of the exhibition. The authors have tried to identify the patterns in using the concepts of the 1941–45 events, assuming that vocabulary and definitions contain most important information on the influence of the official historical and political policy on the work of archival institutions. The authors have also studied the thematic design of on-line exhibitions, in particular, the military symbols used in web design. The research has showed that the concept of the Great Patriotic War was persistently changed to the concept of World War II in all five exhibitions, although some sections of the exhibitions featured both. The article notes that design of at least two exhibitions used the European symbol for victory over Nazism: red poppy instead of red carnation and St. George’s ribbon usually used in the USSR. Use of the poppy image and substitution of concept of the Great Patriotic War with non-synonymous concept of the World War II is a shining example of the influence of Ukrainian state historical and political policy on the work of archives. The researchers argue that it is impossible to deny the significant influence of the controversial official Ukrainian historical and political narrative on the nature of the expositions. However, in general, the exhibitions are characterised by moderate political engagement, demonstrating a certain scientific independence of the Ukrainian state archives.
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Trivedi, Lisa N. "Visually Mapping the “Nation”: Swadeshi Politics in Nationalist India, 1920–1930." Journal of Asian Studies 62, no. 1 (February 2003): 11–41. http://dx.doi.org/10.2307/3096134.
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In the early years of mass nationalism in colonial South Asia, Mohandas Gandhi inaugurated a swadeshi (indigenous goods) movement, which aimed to achieve swaraj, or “home rule,” by establishing India's economic self-sufficiency from Britain. Invoking an earlier movement of the same name, Gandhi created a new form of swadeshi politics that encouraged the production and exclusive consumption of hand-spun, hand-woven cloth called khadi. The campaign to popularize this movement took many forms, including the organization of exhibitions that demonstrated cloth production and sold khadi goods. On the occasion of one such exhibition in 1927, Gandhi explained the significance of exhibitions for the movement:[The exhibition] is designed to be really a study for those who want to understand what this khadi movement stands for, and what it has been able to do. It is not a mere ocular demonstration to be dismissed out of our minds immediately. … It is not a cinema. It is actually a nursery where a student, a lover of humanity, a lover of his own country may come and see things for himself.(“The Exhibition,” Young India, 14 July 1927)
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Floré, Fredie. "Lessons in modern living: home design exhibitions in Belgium 1945–1958." Journal of Architecture 9, no. 4 (December 2004): 445–62. http://dx.doi.org/10.1080/1360236042000320314.
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McGowan, Abigail. "Domestic Modern: Redecorating Homes in Bombay in the 1930s." Journal of the Society of Architectural Historians 75, no. 4 (December 1, 2016): 424–46. http://dx.doi.org/10.1525/jsah.2016.75.4.424.
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In the 1930s, upper-class residents of Bombay were bombarded with ideas and products intended to make their homes modern. Showrooms, exhibitions, advertisements, and design books all addressed a consuming public newly interested in “the art and comfort of the home.” As Abigail McGowan demonstrates in Domestic Modern: Redecorating Homes in Bombay in the 1930s, attempts to remake Indian homes were hardly new; from the late nineteenth century on, sanitary reformers, girls’ educators, and urban planners introduced new principles of home management and hygiene into domestic space. In 1930s Bombay, attention shifted from household practices to style—a distinctively modern look expressed through new architectural spaces and the latest consumer goods. Recent scholarship has explored new building styles and practices in interwar India; McGowan argues that new kinds of furnishings and decor were equally important in defining what “the modern” meant in the city in this period.
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Nelund, Sidsel. "Doing Home Works: extended exhibitions, ethnographic tools, and the role of the researcher." Critical Arts 27, no. 6 (November 2013): 753–67. http://dx.doi.org/10.1080/02560046.2013.867595.
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Cooper, Emmanuel. "The People’s Art." Art Libraries Journal 12, no. 4 (1987): 44–48. http://dx.doi.org/10.1017/s0307472200005411.
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‘The People’s Art’ is a project, originally titled ‘Visual Arts and the Working Class’ and funded by the Calouste Gulbenkian Foundation, which aims to locate and document visual art produced by working class people in Britain since 1750 and especially from 1870 to the present. A lot of material, including work from the home and the workplace, ranging from paintings and photography to decorative and domestic arts of all kinds, has been located in museums (often in storerooms) and in private collections. An exhibition and an illustrated publication are planned. ‘The People’s Art’ demonstrates that the making of art can have a role in people’s lives which is too often overlooked, neglected, or denied, and which is not adequately represented in publications, exhibitions, museums, or libraries.
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Helland, Janice. "“Good Work and Clever Design”: Early Exhibitions of the Home Arts and Industries Association." Journal of Modern Craft 5, no. 3 (November 2012): 275–93. http://dx.doi.org/10.2752/174967812x13511744764444.
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Uhlar, Antoinette. "Arthouse: multimedia centre for the arts." Art Libraries Journal 25, no. 3 (2000): 11–15. http://dx.doi.org/10.1017/s0307472200011706.
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Arthouse, the multimedia centre for the arts, is one of the most eye-catching buildings in Dublin’s Temple Bar area. A cultural centre using the latest in communications technology and software, it is the home of the Bureau of Arts Information which among other things has developed Artifact, a visual database of contemporary artists throughout Ireland. This will be available on-line this year. The centre also holds regular exhibitions and multimedia events, and is contributing to making the work of Irish artists better known at home and abroad.
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Schaab, Gertrud, Christian Stern, Jan Jedersberger, and Agageldi Samedov. "Developing Interactive Map Apps for an Exhibition on the Topic ‘Fremdsein’: a Joint Endeavour by Students and Lecturers." Proceedings of the ICA 2 (July 10, 2019): 1–8. http://dx.doi.org/10.5194/ica-proc-2-113-2019.
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<p><strong>Abstract.</strong> The Faculty of Information Management and Media (IMM) at Karlsruhe University of Applied Sciences received funding for a project called ‘Fremdsein 4.0’. It targeted experiences about educational migration through applying various media means. Two interdisciplinary workshops were conducted focussing on the German words ‘Fremdsein’ and ‘Heimat’ as main topics, which relate to feelings of “foreignness” or of being at home. Among other results, two Web map apps that help to reflect on the two terms were conceptualized and evolved over time to become part of an exhibition towards the end of the project. The paper starts with describing the various contexts in which the map apps are placed: maps used in exhibitions, a reflection on ‘Fremdsein’, interdisciplinary learning and conceptualizing, and finally Web mapping and personalized maps. Next, the process of the map app development is covered, which led to two robust browser-based offline apps named ‘Ideal Home Finder’ and ‘Emotional Foreignness Ranking’. The former app, based on the research of Hofstede et al., makes use of empirically derived dimensions on cultural differences. By answering six questions, the user can find out in which countries he/she might feel at home. The latter app, which more directly resulted from workshop outcomes and personal experiences of the participants, allows to come up with rankings of emotional “foreignness” for five previously selected countries. We discuss and conclude with reflections on the two workshops, the developed apps and the exhibition.</p>
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Ittu, Gudrun-Liane. "Siebenbürgisch-deutsche Künstlerinnen vom Ende des 19. und Anfang des 20. Jahrhunderts." Studia Universitatis Babeș-Bolyai Historia Artium 65, no. 1 (December 31, 2020): 127–55. http://dx.doi.org/10.24193/subbhistart.2020.07.
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"Transylvanian German women artists from the end of the 19th and beginning of the 20th century. The paper is aiming at analyzing the life and art of a group of six German women artists from Transylvania, the first ones who studied abroad, real forerunners for the next generation of female plastic artists. Emancipated ladies, determined to become artists and earn their own money, the gifted women studied in Budapest, Vienna, Munich or Paris. Only Molly Marlin did not come back home, while the others had a prodigious artistic and pedagogical activity, being present at the annual exhibitions, together with well-known male colleagues. Keywords: art academies, women artists, painters, graphic artists, art teachers, exhibitions, Sibiu, Betty Schuller, Hermine Hufnagel, Molly Marlin Horn, Anna Dörschlag, Lotte Goldschmidt, Mathilde Berner Roth "
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Kannike, Anu, and Ester Bardone. "Köögiruum ja köögikraam Eesti muuseumide tõlgenduses." Eesti Rahva Muuseumi aastaraamat, no. 60 (October 12, 2017): 34–60. http://dx.doi.org/10.33302/ermar-2017-002.
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Kitchen space and kitchen equipment as interpreted by Estonian museums Recent exhibitions focusing on kitchen spaces – “Köök” (Kitchen) at the Hiiumaa Museum (September 2015 to September 2016), “Köök. Muutuv ruum, disain ja tarbekunst Eestis” (The Kitchen. Changing space, design and applied art in Estonia) at the Estonian Museum of Applied Art and Design (February to May 2016) and “Süüa me teeme” (We Make Food) at the Estonian National Museum (opened in October 2016) – are noteworthy signs of food culture-related themes rearing their head on our museum landscape. Besides these exhibitions, in May 2015, the Seto farm and Peipsi Old Believer’s House opened as new attractions at the Open Air Museum, displaying kitchens from south-eastern and eastern Estonia. Compared to living rooms, kitchens and kitchen activities have not been documented very much at museums and the amount of extant pictures and drawings is also modest. Historical kitchen milieus have for the most part vanished without a trace. Estonian museums’ archives also contain few photos of kitchens or people working in kitchens, or of everyday foods, as they were not considered worthy of research or documentation. The article examines comparatively how the museums were able to overcome these challenges and offer new approaches to kitchens and kitchen culture. The analysis focuses on aspects related to material culture and museum studies: how the material nature of kitchens and kitchen activities were presented and how objects were interpreted and displayed. The research is based on museum visits, interviews with curators and information about exhibitions in museum publications and in the media. The new directions in material culture and museum studies have changed our understanding of museum artefacts, highlighting ways of connecting with them directly – physically and emotionally. Items are conceptualized not only as bearers of meaning or interpretation but also as experiential objects. Kitchens are analysed more and more as a space where domestic practices shape complicated kitchen ecologies that become interlaced with sets of things, perceptions and skills – a kind of integrative field. At the Estonian museums’ exhibitions, kitchens were interpreted as lived and living spaces, in which objects, ideas and practices intermingle. The development of the historical environment was clearly delineated but it was not chronological reconstructions that claimed the most prominent role; rather, the dynamics of kitchen spaces were shown through the changes in the objects and practices. All of the exhibits brought out the social life of the items, albeit from a different aspect. While the Museum of Applied Art and Design and the Estonian Open Air Museum focused more on the general and typical aspects, the Hiiumaa Museum and the National Museum focused on biographical perspective – individual choices and subjective experiences. The sensory aspects of materiality were more prominent in these exhibitions and expositions than in previous exhibitions that focused on material culture of Estonian museums, as they used different activities to engage with visitors. At the Open Air Museum, they become living places through food preparation events or other living history techniques. The Hiiumaa Museum emphasized the kitchen-related practices through personal stories of “mistresses of the house” as well as the changes over time in the form of objects with similar functions. At the Museum of Applied Art and Design, design practices or ideal practices were front and centre, even as the meanings associated with the objects tended to remain concealed. The National Museum enabled visitors to look into professional and home kitchens, see food being prepared and purchased through videos and photos and intermediated the past’s everyday actions, by showing biographical objects and stories. The kitchen as an exhibition topic allowed the museums to experiment new ways of interpreting and presenting this domestic space. The Hiiumaa Museum offered the most integral experience in this regard, where the visitor could enter kitchens connected to one another, touch and sense their materiality in a direct and intimate manner. The Open Air Museum’s kitchens with a human face along with the women busy at work there foster a home-like impression. The Applied Art and Design Museum and the National Museum used the language of art and audiovisual materials to convey culinary ideals and realities; the National Museum did more to get visitors to participate in critical thinking and contextualization of exhibits. Topics such as the extent to which dialogue, polyphony and gender themes were used to represent material culture in the museum context came to the fore more clearly than in the past. Although every exhibition had its own profile, together they produced a cumulative effect, stressing, through domestic materiality, the uniqueness of history of Estonian kitchens on one hand, and on the other hand, the dilemmas of modernday consumer culture. All of the kitchen exhibitions were successful among the visitors, but problems also emerged in connection with the collection and display of material culture in museums. The dearth of depositories, disproportionate representation of items in collections and gaps in background information point to the need to organize collection and acquisition efforts and exhibition strategies in a more carefully thought out manner and in closer cooperation between museums.
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Chambers, Deborah. "Designing early television for the ideal home: The roles of industrial designers and exhibitions, 1930s–50s." Journal of Popular Television 7, no. 2 (June 1, 2019): 145–59. http://dx.doi.org/10.1386/jptv.7.2.145_1.
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Kummerfeld, Rebecca. "Ethel A. Stephens’ “at home”: art education for girls and women." History of Education Review 44, no. 2 (October 5, 2015): 203–18. http://dx.doi.org/10.1108/her-04-2013-0013.
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Purpose – The purpose of this paper is to explore the professional biography of Ethel A. Stephens, examining her career as an artist and a teacher in Sydney between 1890 and 1920. Accounts of (both male and female) artists in this period often dismiss their teaching as just a means to pay the bills. This paper focuses attention on Stephens’ teaching and considers how this, combined with her artistic practice, influenced her students. Design/methodology/approach – Using a fragmentary record of a successful female artist and teacher, this paper considers the role of art education and a career in the arts for respectable middle-class women. Findings – Stephens’ actions and experiences show the ways she negotiated between the public and private sphere. Close examination of her “at home” exhibitions demonstrates one way in which these worlds came together as sites, enabling her to identify as an artist, a teacher and as a respectable middle-class woman. Originality/value – This paper offers insight into the ways women negotiated the Sydney art scene and found opportunities for art education outside of the established modes.
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Neuburger, Mary. "Fair Encounters: Bulgaria and the “West” at International Exhibitions from Plovdiv to St. Louis." Slavic Review 69, no. 3 (2010): 547–70. http://dx.doi.org/10.1017/s0037677900012146.
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By the late nineteenth century, world's fairs had captured the imagination of Bulgarian political and intellectual elites. Bulgarians were not only enthusiastic pilgrims to the major world's fairs in the west, but by 1892 they had staged their own international trade exhibition in Plovdiv. Here, as elsewhere, the fair phenomenon was an arena for broadcasting messages of national prowess and progress, as well as a context for the performance and contestation of national identity. But for Bulgarians the fair phenomenon at home and abroad was also part of a highly contested process of negotiating its unique place between east and west, politically, economically, and culturally. The tensions and dilemmas that characterized the Plovdiv fair experience were also palpable in Bulgarian participation in fairs abroad, such as the Chicago World's Fair in 1893 and the St. Louis Fair of 1904, where both the nation and the west were yet again reimagined.
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Pasternak, Gil, and Marta Ziętkiewicz. "Making a Home in Poland: Photographic Education and Practices in the Landkentnish Movement." IMAGES 12, no. 1 (October 24, 2019): 151–79. http://dx.doi.org/10.1163/18718000-12340104.
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Abstract This article studies the photographic methods that the Poland-based Landkentnish (Yiddish for “knowing the land”) movement employed in the interwar period to promote Jewish culture and Poland as a home for the Jewish people. The movement wished to increase the exposure of Polish Jews to Poland’s diverse landscapes in order to strengthen their connection to the Polish land. It also aspired to create archives of local Jewish cultural heritage to attest to the long history of Polish Jewry and to the contributions that Jews had made to Polish society. After tracing the movement’s origins, the article explores the concentrated efforts that it made to provide its members with photographic knowledge and education. Analyzing the photographic sources and resources that the movement created, the exhibitions that it put on display, and its employment of snapshots, the article demonstrates how photography assisted the movement in realizing its key aims and objectives.
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Vikström, Sofia, Per-Olof Sandman, Ewa Stenwall, Anne-Marie Boström, Lotta Saarnio, Kristina Kindblom, David Edvardsson, and Lena Borell. "A model for implementing guidelines for person-centered care in a nursing home setting." International Psychogeriatrics 27, no. 1 (August 19, 2014): 49–59. http://dx.doi.org/10.1017/s1041610214001598.
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ABSTRACTBackground:Systematic evaluations of knowledge translation interventions in nursing homes to improve practice are scarce. There is also a lack of studies focusing on creating sustainable evidence-based practice in the setting of residential dementia care.Methods:The aim of this paper is to describe a model for implementing national evidence-based guidelines for care of persons with dementia in nursing homes. The secondary aim is to outline the nursing home staff experiences during the first year of the implementation process. The intervention had a participatory action research approach. This included educational activities such as: (i) thematic seminars introducing national guidelines for dementia care, (ii) regular unit-based seminars; and (iii) later dissemination of information in reflective seminars and several days of poster-exhibitions. Areas of practice development were selected on each of the 24 units, based on unit-specific needs, and a quality improvement strategy was applied and evaluated. Each unit met ten times during a period of eight months. Data for this study were extracted from the reflective seminars and poster presentations, analyzed using a qualitative content analysis.Results:Findings showed that implementation of guidelines were perceived by staff as beneficial for both staff and the residents. However, barriers to identification of relevant sources of evidence and barriers to sustainable implementation were experienced.Conclusions:One of our assumptions was that dementia nursing homes can benefit from becoming knowledge driven, with care practices founded in evidence-based sources. Our findings show that to be partly true, even though most staff units found their efforts to pursue and utilize knowledge adversely impacted by time-logistics and practical workload challenges.
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Chai, Xin Jun, Chun Feng He, Jie Wen Yu, Yan Sheng Gao, and Chen Xi Rao. "Unconfined Compression Strength of Tianluoshan Relic Soils Solidified by Methyl Acrylic Acid Resin." Advanced Materials Research 594-597 (November 2012): 343–46. http://dx.doi.org/10.4028/www.scientific.net/amr.594-597.343.
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The consolidation and conservation of earthen sites is one of the difficult problems at home and abroad. Tianluoshan relic sites is a typical earthen sites located at humid circumstances. For public exhibitions and research purposes, a few chemical grouts were recommended for solidification and conservation of the excavated historical heritage sites. In this paper, the potential application of methyl acrylic acid resin for strengthening Tianluoshan relic soils were evaluated by a series of unconfined compression tests considering the influence of curing condition, curing time, and water content. The results showed that methyl acrylic acid resin can effectively improve the strength of Tianluoshan relic soils.
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Kannike, Anu, and Ester Bardone. "Kitchen as a material and lived space." Ethnologia Fennica 44 (December 31, 2017): 5–22. http://dx.doi.org/10.23991/ef.v44i0.59702.
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Kitchen has been one of the most intensively lived spaces at home, yet, its furnishings have often vanished, especially in the 20th-21st centuries. Cooking tools and utensils have been part of museum displays dedicated to historical food culture but the complex materiality of the kitchen related to multiple practices going beyond food production and consumption has rarely attracted curatorial interest. This article examines comparatively how Estonian museums represent and interpret the materiality of kitchens and kitchen culture. Relying on ethnographic sources the analysis considers the aspects related to material culture as well as museum studies: how kitchen materiality and kitchen practices were represented according to curatorial concepts and how kitchen related objects were interpreted and displayed. The primary materials for the study come from four permanent and temporary exhibitions from 2015‒2016 explicitly dedicated to kitchens and cooking. Exhibiting the lived dimension of kitchens was a challenge for all museums, requiring special participatory actions for collecting stories and things. In all cases, the social life of things was evoked, either sheding light on the general and typical of particular periods, or emphasizing the individual choices and subjective experiences through the biographical approach.
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Chunikhin, Kirill. "At Home among Strangers: U.S. Artists, the Soviet Union, and the Myth of Rockwell Kent during the Cold War." Journal of Cold War Studies 21, no. 4 (October 2019): 175–207. http://dx.doi.org/10.1162/jcws_a_00910.
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After World War II, Soviet institutions organized many exhibitions of the American artist Rockwell Kent that bypassed the U.S. government. Promotion of Kent's work in the USSR was an exclusively Soviet enterprise. This article sheds new light on the Soviet approach to the representation of U.S. visual art during the Cold War. Drawing on U.S. and Russian archives, the article provides a comprehensive analysis of the political and aesthetic factors that resulted in Kent's immense popularity in the Soviet Union. Contextualizing the Soviet representation of Kent within relevant Cold War contexts, the article shows that his art occupied a specific symbolic position in Soviet culture. Soviet propaganda reconceptualized his biography and established the “Myth of Rockwell Kent”—a myth that helped to legitimate Soviet ideology and anti-American propaganda.
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Brenni, Paolo. "Prizes, Medals and Honourable Mentions." Nuncius 34, no. 2 (June 12, 2019): 392–420. http://dx.doi.org/10.1163/18253911-03402010.
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Abstract Ever since antiquity, medals that were often also remarkable works of art were used to mark the achievements and testify to the glory of a person or his bravery on the battlefield, or to celebrate or commemorate a particular event. Sovereigns and nobles wore medals as symbols of their power, wealth and achievements or distributed them as exceptional gifts in order to maintain or garner support. In the 19th century the use of medals increased dramatically. In fact, with the machine age a new class of heroes was born. These were the engineers, the technicians and the manufacturers who were industrializing the Western world. And these pioneers of technological progress became the new recipients of a tide of medals, diplomas and awards which were primarily distributed at the national, international and universal exhibitions and fairs which abounded during the last decades of the 19th and the first decades of the 20th centuries. This essay will focus on instrument makers, whose activities bridged science and industry. Their products represented the high technology of their day in the sector of precision instruments, and the most outstanding ones, judged to be deserving of an award, were selected following examination by a jury composed of specialists. But what were the criteria adopted by the jurors? Did political considerations influence their judgments? What were the importance and the significance of these awards? Did they have an impact on the instrument maker’s trade or were they just attractive souvenirs to be taken home from the exhibitions? Based on an analysis of many documents (reports, lists of medallists, catalogues, specialized articles, etc.) relating to industrial exhibitions held in Europe and the United States during the 19th century, the present essay provides an answer to these questions.
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Sparkes, Brian A. "II Freestanding Sculpture." New Surveys in the Classics 40 (2010): 24–50. http://dx.doi.org/10.1017/s0017383510000719.
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In 2003, the 150th anniversary of the birth of Adolf Furtwängler was celebrated with an exhibition in his home town of Freiburg, accompanied by a memorial volume and an international symposium. His influence on Greek sculptural studies through emphasis on the search for individual craftsmen via Roman copies continues, particularly in Germany and the USA. The mystery of the ‘whodunit’ is still strong, and the cult of the creative artist is too deeply ingrained in our own thinking to be totally jettisoned for other, more impersonal considerations. There is such an innate desire to link a work of art to a name that, over the years, there has been a tendency to concentrate on the few names that have been vouchsafed to us from classical texts and the random discovery of inscriptions carrying the names of sculptors (the earliest dating from c.600 BC). Recent major exhibitions have centred round the sculptors Polykleitos, Praxiteles, and Lysippos, and there are studies that have highlighted the conjectural personalities of these and other named artists. Pollitt has declared his allegiance to this traditional approach:Those who believe that ancient Greek art, like that of all other places and times, was the result of the insights, instincts, taste and choices of individual artists and not the product of impersonal, mechanical, evolutionary forces have good reason for wanting to carry on the tradition of Furtwängler.
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Scheel-Ybert, Rita. "The Past, Present, and Future of Archaeology of the Museu Nacional: A Brief Introduction / Passado, presente e futuro da arqueologia no Museu Nacional: Uma breve introdução." Latin American Antiquity 31, no. 2 (June 2020): 242–46. http://dx.doi.org/10.1017/laq.2020.40.
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Throughout its 200 years, the Museu Nacional (National Museum) in Rio de Janeiro has been the principal museum of natural history in Brazil. It certainly has been among the most important research institutions in the Americas. Many of the greatest national and international scholars worked in or visited its collections, exhibitions, and laboratories. Botanists, zoologists, ecologists, geologists, paleontologists, anthropologists, archaeologists, and so many other scientists frequented the research facilities of the São Cristóvão Palace, its hallways, internal gardens, associated buildings, and park. They established friendships, scientific partnerships, and antagonisms, engaging in intense and productive exchanges that advanced science in each discipline yet with a multidisciplinary spirit. This thriving space, which we all always referred to as “our home,” was utterly destroyed by the tragedy of September 2018, when we watched in astonishment as the fire consumed our lives.
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WATT, KATHLEEN. "‘Making drain tiles a “home manufacture”’: Agricultural Consumers and the Social Construction of Clayworking Technology in the 1840s." Rural History 13, no. 1 (April 2002): 39–60. http://dx.doi.org/10.1017/s0956793302000237.
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During the nineteenth century newly invented clayworking machinery offered potential solutions to production problems in the British brickmaking industry. Three different mechanical brickmaking processes were available, but a combination of design imperfections and restrictions imposed by the excise duties on bricks discouraged their adoption in ordinary brickyards for many decades. This posed a serious dilemma for machine inventors. Without an opportunity to test machinery in brickmaking situations, they were unable to correct defects and produce implements that were clearly superior to hand brickmaking methods. For as long as brickmakers rejected mechanisation, the technical development of machinery was effectively halted. A breakthrough occurred in the 1840s when a lucrative new market emerged for machines capable of manufacturing large quantities of drainage pipes and tiles in rural locations. The exhibitions and implement trials at meetings of the Royal Agricultural Society of England were a decisive factor in the continuing technical development of clayworking machinery. Agricultural consumers, through debate, evaluation and negotiation with machine makers, ultimately determined the success of one mechanical clayworking process over others, and established the direction of future technological change in the brickmaking industry.
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Korpysz, Ewa. "MUSEUM CURATOR BY VOCATION. CANON MIROSŁAW NOWAK PHD (1961–2021): DIRECTOR OF THE WARSAW ARCHDIOCESE MUSEUM." Muzealnictwo 62 (August 6, 2021): 173–78. http://dx.doi.org/10.5604/01.3001.0015.0682.
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Having fought a long and tough battle against COVID-19, on 11 April 2021, Mirosław Nowak PhD, a theologian, art historian, museum curator, Archdiocese Conservator, and the Director of the Warsaw Archdiocese Museum, passed away. In 1982–1987, Fr. Mirosław studied art history at the History Department of the University of Warsaw, at the same time studying philosophy and theology at the Higher Metropolitan Seminary in Warsaw. Having taken holy orders in 1990, throughout his life he was able to successfully harmonize his ministry with the profession of an art historian. With his research focused on Baroque art, in 2006, he defended his doctoral dissertation on the Chapel of Blessed Ceslaus in the Wrocław church of the Dominicans. Fr. Mirosław Nowak performed many Diocese-wide functions, with 2013 being for him breakthrough: it was then that he became Director of the Warsaw Archdiocese Museum. Under him, the Museum was moved to a new extensive home in the centre of Warsaw’s Old Town; he mounted a permanent exhibition, and created an energetic cultural centre of high impact. At the Museum, he organized lectures, shows, authors’ presentations, concerts, and conferences. Fr. Nowak established contacts with other museums in Poland and abroad; he organized around 40 temporary exhibitions, among which the biggest and most interesting was that dedicated to the Silesian master of the Baroque Michael Willmann, The Warsaw Archdiocese Museum will painfully miss a good human and an excellent director.
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Foster, Paul. "Goring Revisited: George Bell, The Artist Hans Feibusch, and Art in Church." Ecclesiastical Law Journal 6, no. 28 (January 2001): 36–46. http://dx.doi.org/10.1017/s0956618x00004257.
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There is adventure about—both at home and abroad. More especially, events are taking place in respect to the place of visual art in the witness of the Church that a generation ago, or even less, would have been laughed out of court: for the counsel of this committee or that, whether at parish vestry or cathedral chapter, would have looked askance at what, today, seems to be accepted almost on the nod. Examples of what is occurring, and especially in cathedrals up and down the country, are easy to cite. One need think only of recent exhibitions at Salisbury; the use of video (Bill Viola'sThe Messenger)at Durham; the appointment of an artist in residence at Gloucester;Sculpture for Winchester, the 1998 exhibition arranged in part across the Inner Close of the cathedral; an exhibition in November 1999 of Sussex artists in the North Transept at Chichester, conducted with a view to raising funds for the continuing restoration of the cathedral; Anthony Green'sResurrection, An Act of Faithat Christ Church, Oxford; or the planned (at the moment of writing) millennial exhibition,Stations, the New Sacred Art, to be held in 2000 both at the cathedral in Bury St Edmunds and at twelve associated parishes. Varied as these examples are, they all share a very distinct characteristic—the temporary nature of the arrangements, for which no formal permission or approval was legally required from any supererogatory body or bodies. Reasons for this development are complex, and the outcomes— which frequently create controversy—are often fiercely debated. What has received less attention, however, is the foundation of the present relationship between art and the Church, a relationship that can be seen to stretch back to a judgment made by George Bell, then Bishop of Chichester, in his own consistory court in 1954, concerning a design for a mural by Hans Feibusch in the parish church at Goring-by-Sea.
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Sussman, Herbert. "INTRODUCTION." Victorian Literature and Culture 33, no. 1 (March 2005): 313. http://dx.doi.org/10.1017/s1060150305210860.
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WITH THESE ESSAYS, Victorian Literature and Culture begins a regular feature, “Victorians Live,” whose subject is how the Victorians still “live,” how they remain “live,” lively, alive. The focus is the intersection of the world of Victorian scholarship that the readers of VLC inhabit, with the larger world of representation. For, quite remarkably, in our globalized time, the Victorians remain “in”–from museum blockbusters to specialized exhibitions, from home decoration to popular fiction and graphic novels, from Masterpiece Theatre to Hollywood retellings of canonical novels. Rather than assuming an abyss between serious academic pursuits and the unserious non-academic world, Victorians Live seeks to chart the complex and ongoing dynamic wherein academic reinterpretations of the past, albeit in unexpected ways and with considerable time lags, shape the popular vision of the nineteenth century, and conversely, how contemporary social concerns as well as market demands on publishers and museums shape scholarship.
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Dianina, Katia. "Passage to Europe: Dostoevskii in the St. Petersburg Arcade." Slavic Review 62, no. 2 (2003): 237–57. http://dx.doi.org/10.2307/3185576.
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The St. Petersburg Passage—a shopping arcade and recreation complex, comprising restaurants, exhibitions, amateur theater, and the Literary Fund—was a remarkable center of public life in imperial Russia. Contemporary journalists wrote incessantly about the Passage, celebrating the various forms of popular entertainment that it offered. In his strange unfinished story “The Crocodile,” which also takes place in the Russian arcade, Fedor Dostoevskii parodies this trivial discourse of the daily press. Urban spectacles and their refraction in the mass-circulation media are the main targets of his caricature of westernized popular culture in Russia. The writer's response to Russian modernity, as it was taking shape in the age of the Great Reforms, is expressly negative. Dostoevskii believed that in a decade defined by the rise of civic consciousness, the Russian press should address vital social concerns at home instead of celebrating ephemeral cultural imports, such as the arcade and the newspaper feuilleton.
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Bradburne, James M. "Dinosaurs and white elephants: the science center in the twenty-first century." Public Understanding of Science 7, no. 3 (July 1998): 237–53. http://dx.doi.org/10.1088/0963-6625/7/3/003.
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This paper argues that science centers are expensive to create as capital projects, expensive to maintain with professional staff, and, given the high costs of exhibit development, expensive to change. Lacking a fixed collection of unique artifacts with which to attract visitors, the science center is at risk when it cannot change quickly enough to meet the demands of its users. In the past, temporary exhibitions have been used as a means of creating more frequent change. Now, however, given the exponential increase of the availability of new electronic media, coupled with their massive interconnection via the Internet, informal learning can be had at home and in other sites, rendering the science center unwieldy, expensive, irrelevant, and obsolete. Threats to the science center cannot be lightly shrugged off, and a real transformation of the institution is required. The paper concludes that the science center, as an institution and as a building project, is doomed to extinction as a consequence of two factors—ecology and economy. It argues for the need to develop a new kind of institution of informal learning in its place.
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Fakhrurizae, Okta. "MEMAKSIMALKAN SASARAN HUMAS DI LEMBAGA PENDIDIKAN." Jurnal Penelitian Agama 20, no. 2 (November 12, 2019): 337–49. http://dx.doi.org/10.24090/jpa.v20i2.2019.pp337-349.
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Management of institutional relations with the community is the process of managing communication from planning activities to controlling the process and the results of its activities. Community involvement in the field of education is an effort to empower the community in the development of the field of education which means to involve the community in planning, implementation and supervision of education. The vision of public relations in educational institutions to create a good image for educational institutions. The target of public relations in educational institutions is seen from the target as an object and a goal of the public relations. Targets as an objects are internal objects including students, teachers, and education personnel, while external objects include student guardians, the community, and mass media. Without assistance from the community, an educational institution cannot function properly and without a good program the educational institution will fail to achieve its goals. To maximize the goals of public relations, it is necessary to have techniques in dealing with the community including: 1) Home visits, 2) open houses, 3) school exhibitions, 4) school magazines.
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Melot, Michel. "Les bibliotheques d’art en France et les nouvelles technologies de l’image." Art Libraries Journal 15, no. 2 (1990): 15–18. http://dx.doi.org/10.1017/s0307472200006702.
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In an age in which so much information is communicated through images, libraries can no longer exclude the ‘new technology of the image’. It is essential for libraries to respond to the challenge of the media, and to recognise, for example, the importance of television, which has a very visible and vital presence in the Bibliothèque publique d’information at the Pompidou Centre in Paris. Ever since the invention of photography, France has been the home of a lively tradition of active, innovative interest in photography. This is reflected in the existence of the Centre national de la photographies and the Ecole nationale de la photographie, in collections and exhibitions of photographs, and recently in the use made of videodiscs, by both museums and libraries, as a means of storing images and making them accessible. Telecommunications offer the prospect of online access to a network linking image collections together as a single visual resource. The most serious obstacles to be overcome are neither technological nor financial: the legal question of copyright has to be addressed, while the muted interest of historians does not as yet represent an overwhelming demand for such a service, and much may depend on librarians to stimulate the enthusiasm of potential users.
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Musthofa, Tulus, Nurul Huda, Fahmi Gunawan, and Abd Rauf Bin Hasan. "Ruhaniyatu al-Khat al-Qur’ani li al-Khatati Saiful ‘Adnan." Jurnal Al-Bayan: Jurnal Jurusan Pendidikan Bahasa Arab 12, no. 1 (May 31, 2020): 165–90. http://dx.doi.org/10.24042/albayan.v12i1.5275.
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The art of calligraphy painting by Syaiful Adnan and its beauty are interesting to study due to their distinctive characteristics. Adnan’s script or type of writing differs from the standard style of script from the Middle East. In his hand, creative processes and various dynamics of aesthetic aspects tend to glide calmly. Syaiful Adnan has had solo and collective exhibitions at home and abroad which present the holy verses of the Qur'an as well as hadith and Mahfudzot or words of wisdom as central themes. This research uses archival research method to study various references and documentation as well as direct interviews. Data is analysed inductively by organizing it, describing it into units, synthesizing, composing into patterns, choosing what is important and what will be studied, and present it in this article. The study discovered that spiritual aspects found in Syaiful Adnan’s calligraphy painting is a form of representation of monotheism and dhikr. The oneness of Allah can easily be understood through a series of verses of the Qur'an that contain all the greatness, majesty and omnipotence of the Almighty. From here we can see that the works of Syaiful Adnan were made a communication medium for the audience's awareness and Syaiful Adnan's own self. Furthermore, Syaiful's calligraphy is also a form of visual dhikr, reading and realizing continuously about the verses of God.
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Asminar, Asminar, Ayu Alda Vera, and Asnawati Is. "STRATEGI PENGEMBANGAN KERIPIK JAMUR TIRAM PUTIH DI KECAMATAN RIMBO BUJANG KABUPATEN TEBO (Studi Kasus Home Industry Fiisa Group)." JAS (Jurnal Agri Sains) 4, no. 2 (December 26, 2020): 92. http://dx.doi.org/10.36355/jas.v4i2.420.
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ABSTRAK Jamur tiram putih merupakan salah satu jenis jamur yang banyak dikonsumsi oleh masyarakat. Penelitian ini dilaksanakan pada 10 Desember 2018 sampai 10 Januari 2019 dengan tujuan untuk mengetahui faktor internal dan eksternal dalam mengembangkan usaha keripik jamur tiram putih serta mengetahui strategi pengembangan keripik jamur tiram putih di Desa Rimbo Mulyo Kecamatan Rimbo Bujang Kabupaten Tebo. Metode penelitian yang digunakan adalah metode survey, yaitu pada Home Industry Keripik Jamur Tiram Putih Fiisa Group di Desa Rimbo Mulyo Kecamatan Rimbo Bujang Kabupaten Tebo. Penelitian ini menggunakan Analisis SWOT.Hasil penelitian menunjukkan bahwa Faktor internal (kekuatan dan kelemahan) yang dimiliki oleh Home Industry Keripik Jamur Tiram Putih Fiisa Group di Desa Rimbo Mulyo Kecamatan Rimbo Bujang Kabupaten Tebo adalah kekuatan berupa sumber modal sendiri, tenaga kerja sangat mudah ditemukan dan modal awal terjangkau dan kelemahannya berupa tidak adanya investasi dari pihak lain, produksi tidak menentu, dan oembukuan dilakukan setiap tahun. Sedangkan faktor eksternal adalah peluang berupa bahan baku yang tersedia, belum adanya pesaing dari produk yang sama, keiutsertaan dalam pameran dan ancamannya berupa pesaing dari produk lain, kurangnya kegiatan promosi/iklan, kurangnya mesin/alat yang digunakan, dan image jamur tiram putih yang masih asing. Strategi pengembangan pada Home Industry Keripik Jamur Tiram Putih Fiisa Group adalah Peningkatan modal dengan cara penambahan investasi atau pinjaman dari pihak lain, memperluas daerah pemasaran, pelatihan manajemen kepada pemilik usaha yang dilakukan secara berkelanjutan agar usaha berkembang, memanfaatkan modal yang ada untuk menambah produksi untuk menguasai pasar ketika belum adanya pesaing dari produk yang sama, menciptakan varian rasa baru keripik jamur tiram putih, memperluas pangsa pasar, mempertahankan kualitas produk, meningkatkan iklan/promosi, mengadakan kerjasama dengan pedagang lain dalam hingga luar wilayah, pengoptimalan penggunaan mesin/alat teknologi.Kata Kunci : Analisis SWOT, Home Industry, Keripik Jamur Tiram Putih. ABSTRACT White oyster mushroom is a type of mushroom that is widely consumed by the public. This research was conducted on December 10, 2018 to January 10, 2019 with the aim of knowing internal and external factors in developing white oyster mushroom chips business and knowing the development strategy of white oyster mushroom chips in Rimbo Mulyo Village, Rimbo Bujang District, Tebo Regency. The research method used is a survey method, namely the Home Industry Fiisa Group White Oyster Mushroom Chips in Rimbo Mulyo Village, Rimbo Bujang District, Tebo Regency. This study uses a SWOT analysis. The results showed that the internal factors (strengths and weaknesses) possessed by the Fiisa Group's White Oyster Mushroom Chips Home Industry in Rimbo Mulyo Village, Rimbo Bujang District, Tebo Regency are strengths in the form of their own source of capital, labor is very easy to find and affordable initial capital and weaknesses are there is no investment from other parties, production is uncertain, and bookkeeping is carried out annually. While external factors are opportunities in the form of available raw materials, the absence of competitors from the same product, participation in exhibitions and threats in the form of competitors from other products, lack of promotional / advertising activities, lack of machines / tools used, and the image of white oyster mushrooms that are still foreign. The development strategy for the Fiisa Group's White Oyster Mushroom Chips Home Industry is increasing capital by increasing investment or loans from other parties, expanding the marketing area, training management for business owners that are carried out in a sustainable manner so that businesses develop, utilizing existing capital to increase production to control market when there are no competitors of the same product, creating new flavors of white oyster mushroom chips, expanding market share, maintaining product quality, increasing advertising / promotion, establishing cooperation with other traders within and outside the region, optimizing the use of technology machines / tools. Keywords: SWOT analysis, Home Industry, White Oyster Mushroom Chips
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Gredka-Ligarska, Iwona. "DISCLOSURE OBLIGATION AND THE DUTY TO TIMELY NOTIFY THE INSURER OF AN ACCIDENT UNDER INSURANCE CONTRACTS RELATING TO CULTURAL OBJECTS." Roczniki Administracji i Prawa 2, no. XX (June 30, 2020): 303–18. http://dx.doi.org/10.5604/01.3001.0014.1798.
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This study is devoted to the disclosure obligation and the duty to timely notify the insurer of an accident under insurance contracts relating to cultural objects. The examined problem is presented from theoretical and practical perspective. The analysis is based on the example of insurance contracts relating to exhibits belonging to museums and lent for temporary exhibitions, both home and abroad. The choice of that type of contract was not random because in museum practice such agreements are often concluded and they are vital for museums’ financial interests. It is also explained that an insurance contract covering lent exhibits most frequently takes the form of an insurance contract for account of another entity. The legal construction of such contracts is outlined, and it is explained how to avoid complications which the construction implies in practice. The article discusses legal aspects of risk declaration, notification of changes to the risk and the duty to timely notify the insurer of an accident. It also includes practical recommendations on optimal implementation of such duties by museums, i.e. in a manner protecting the museums’ financial interest. In summary, the author postulates to amend Art. 818 § 3 of the Civil Code, which, in its current version, uses the term, “accordingly” in reference to the reduction of benefit. The term is imprecise and gives rise to interpretative problems as well as serious complications in application of the provision of Art. 818 § 3 of the Civil Code in practice.
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Dosiak, M. M., and J. P. Wozniak. "Observation of the effectiveness of a comprehensive and systematic treatment and rehabilitation in the social house. A case report." European Psychiatry 26, S2 (March 2011): 1372. http://dx.doi.org/10.1016/s0924-9338(11)73077-2.
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IntroductionThe authors present a comprehensive-efficacy of pharmacotherapy and rehabilitation in the social house for people with mental health disorders carried out systematically for many years in the 40 year old patient.ObjectivesPatient 40 years old, male, secondary education, imposed a total inability to work. The first episode of the disease was in his 25 years, a syndrome of depression in a moderate degree, the next episode of schizophrenia-catatonic. In the therapy was used first generation antipsychotics, despite regular medication had not obtained complete remission and frequent exacerbations were the cause of several subsequent hospitalizations. During the last hospitalization in 1997, recognizing the diagnosis was verified with paranoid schizophrenia. After discharge, the patient in accordance with the recommendation began rehabilitation in the social house for people with mental health disorders, which still continue. Because of side effects after the previously used antipsychotic drugs second-generation - ziprasidone was incorporated in 2005. The use of this drug caused a significant decrease in body weight, increased social activity (a return to artistic activities - painting), improving the quality of life. Due to persistent chronic anxiety has been further adjustment of treatment in 2008 included amisulpride and valproate.ConclusionsThe treatment used a comprehensive, full remission of symptoms generation, and a significant reduction in negative symptoms. Currently, the patient actively participates in all activities organized in the environmental treatment of self-help home, living independently in daily activities, carry out the artistic passion of winning prizes at exhibitions and presentations of work.
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Flaherty, George F. "Responsive Eyes." Journal of the Society of Architectural Historians 73, no. 3 (September 1, 2014): 372–97. http://dx.doi.org/10.1525/jsah.2014.73.3.372.
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Responsive Eyes: Urban Logistics and Kinetic Environments for the 1968 Mexico City Olympics looks closely at a series of temporary designed environments created for the organizing committee of the 1968 Mexico City Olympics. Integrating architecture, visual communication, and mass media, the design team created kinetic environments, or spaces that estranged user-beholders’ visual and spatial perceptions, inviting immersion and interaction to produce a holistic image of a thoroughly modern, socially integrated Mexico at a time when this view of Mexico was not necessarily held by audiences at home or abroad. The team’s design choices demonstrated cosmopolitan awareness of global aesthetics and discursive currents, including optical and kinetic art as well as recent advances in scientific investigation that inspired new modes of urban vision and engagement, part of an international renewal of modernist techniques and aspirations. These environments also responded to more local concerns, including Mexico City’s ongoing capitalist urbanization and reticulation of the modernist architect’s professional and social purchase in Mexico in light of increasing globalization. By situating the Olympic environments within the larger context of exhibitions of kinetic art and art happenings from the period, George F. Flaherty highlights the possibilities and limits of transformation envisaged by Mexico 68’s kinetic environments, arguing that their design provides a window through which to assess Mexican architects’ claim to act as expert mediators between the city and state, architecture and art, and Mexico and the wider world.
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Ahmad, Shamim. "Public Attitude towards Water and Water Reuse." Water Science and Technology 23, no. 10-12 (May 1, 1991): 2165–70. http://dx.doi.org/10.2166/wst.1991.0674.
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This study presents the results of a survey regarding public perception and attitude towards water and water reuse in Doha located in the arabian gulf. The water supply is very generous but is corrosive due to which it often acquires a red colour. Invariably home filters are used in the kitchen and washer to get rid of the colour and taste in water. People are aware of the high cost of water production and supply in such an arid region but they did not respond positively towards sharing the cost of improvement in the water supply in spite of the fact that they pay very little for receiving more than adequate water supply. The community in general is not well informed about the water conservation measures and the water reuse. People seemed to be prejudiced against water reuse. A large percentage of respondents did not favour water reuse in lawns and gardens, car washing, toilet flushing, industries and farming. There is a need for better channel of communication between the water departments and the community for implementing water conservation measures and expanding the water use by organizing “water weeks” regularly, which should include exhibitions, lectures, film shows, distribution of relevant literature and poster displays, emphasizing the methods of conservation to be used and the action taken by the department in this regard, the treated water quality and the water reuse practices in Doha and elsewhere. For the present water reuse should be limited to landscaping along the roads and irrigation of farms for growing animal fodder.
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Nenadic, Stana, and Sally Tuckett. "Artisans and Aristocrats in Nineteenth-Century Scotland." Scottish Historical Review 95, no. 2 (October 2016): 203–29. http://dx.doi.org/10.3366/shr.2016.0296.
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This article considers relationships between artisans and aristocrats on estates and elsewhere in Scotland during the long nineteenth century. It argues that the Scottish aristocracy, and women in particular, were distinctly preoccupied with the craft economy through schemes to promote employment but also due to attachments to ‘romanticised’ local and Celtic identities. Building in part on government initiatives and aristocratic office-holding as public officials and presidents of learned societies, but also sustained through personal interest and emotional investments, the craft economy and individual entrepreneurs were supported and encouraged. Patronage of and participation in public exhibitions of craftwork forms one strand of discussion and the role of hand-made objects in public gift-giving forms another. Tourism, which estates encouraged, sustained many areas of craft production with south-west Scotland and the highland counties providing examples. Widows who ran estates were involved in the development of artisan skills among local women, a convention that was further developed at the end of the century by the Home Industries movement, but also supported male artisans. Aristocrats, men and women, commonly engaged in craft practice as a form of escapist leisure that connected them to the land, to a sense of the past and to a small group of easily identified and sympathetic workers living on their estates. Artisans and workshop owners, particularly in rural areas, engage creatively in a patronage regime where elites held the upper hand and the impact on the craft economy of aristocratic support in its various forms was meaningful.
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Reynolds, Jessica. "What is ‘minimal’ anyway? John Pawson: Plain Space at the Design Museum and About a Minute at the Gopher Hole." Architectural Research Quarterly 15, no. 2 (June 2011): 100–103. http://dx.doi.org/10.1017/s1359135511000522.
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Architecture shows and biennales have proliferated in the last decade, accompanied by new courses and publications on architectural curation. The curation of an exhibition can be as complex and political as the realisation of a work of architecture. It can be presented as an effective vehicle for critical discourse, challenging the traditional definition of architectural practice as the design, procurement and construction of a building. In response, existing architecture exhibition spaces are adapting and new galleries are opening, reconceptualising modes of display. This review considers two contrasting architecture exhibitions on show in London at the turn of 2011, each with different agendas, ambitions and audiences.
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Cull, Nicholas J. "Overture to an Alliance: British Propaganda at the New York World's Fair, 1939–1940." Journal of British Studies 36, no. 3 (July 1997): 325–54. http://dx.doi.org/10.1086/386139.
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On April 30, 1939, President Franklin Roosevelt proclaimed the New York World's Fair open. Moments later a flood of eager humanity surged onto the one-and-a-quarter thousand acre former municipal dump in Flushing Meadow, Queens, now home to what the New York Herald Tribune termed “the mightiest exposition ever conceived and built by man.” While Europe shivered on the brink of a war, the United States focused its attention on the distinctive silhouette of a seven hundred foot spire and a globe two hundred feet wide: the “Trilon” and the “Perisphere,” centerpieces and emblems of the New York World's Fair. The fair stretched around their base in a teeming sprawl of concrete and electric lights. Its precincts embraced all manner of amusements, including a vast funfair with such thematic attractions as a Cuban village, an African jungle, and a Merrie England area. While most of the visitors seemed intent on enjoying themselves, the fair was intended by its organizers to serve a serious educative purpose. Its theme was “building the world of tomorrow,” with two-thirds of the fair ground given over to exhibitions by corporations, U.S. federal agencies, and foreign governments. The fair's corporate exhibitors vied with each other for the most spectacular vision of what this world might be. General Motors offered the “Futurama” exhibit designed by Norman Bel Geddes, in which 28,000 visitors a day traveled on a conveyor belt ride through a projection of the American landscape forward twenty-five years, to a Utopia liberated by the automobile. In a similar vein, inside the Perisphere visitors could view a diorama of a future metropolis, “Democracity.” But popular acclaim lay elsewhere.
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Olizko, Olena. "THE ROLE OF EDUCATIONAL SOCIETIES IN THE DEVELOPMENT OF EDUCATION IN ELISAVETGRAD REGION: SECOND HALF OF XIX–EARLY XX CENTURY." PEDAGOGY AND EDUCATION MANAGEMENT REVIEW, no. 1 (October 21, 2020): 13–20. http://dx.doi.org/10.36690/2733-2039-2020-1-13.
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The article reveals the role of educational societies of Yelisavetgrad region in the development of education in the region in the second half of the XIX – early XX century. The purpose of the article is to reveal the role of educational societies of Yelisavetgrad region in the development of education in the region in the second half of the XIX – early XX century. The publication uses a historical-retrospective method, which allows for a retrospective analysis of the history of educational societies of Yelisavetgrad region in the period under study and highlight their contribution to the development of education in the region. It was found that a significant contribution to the development of educational processes in the Yelisavetgrad region in this period was made by educational societies opened on the initiative of progressive public figures of the city. Among the greatest achievements of Yelisavetgrad charity in providing various segments of the population with both basic and special knowledge is the rich and diverse activity of the Yelisavetgrad Society for Literacy and Crafts, which on a charitable basis carried out large-scale educational, pedagogical and educational work: progressive literature, conducted significant educational and organizational and advocacy work among the population and students of educational institutions, organized theater performances, concerts, art exhibitions. Through the efforts of the society, a home for young homeless children, the first kindergartens, a free public library-reading room and a public library were opened in the city. Active educational and propaganda activities of the members of the society played a leading role in the spread of education among various segments of the population, contributed to the development of schooling in the region. N. Braker, P. Ryabkov, M. Fedorovsky, V. Khartsiev and others made a significant contribution to reviving the work of the society.
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Hsiao, Victor, Sunya Chen, and Mellissa Withers. "Keeping at-risk youth at the center: lessons learned from a community-based participatory research Photovoice project in Taiwan." Journal of Health and Caring Sciences 2, no. 2 (December 18, 2020): 167–79. http://dx.doi.org/10.37719/jhcs.2020.v2i2.rna003.
Full textAbstract:
Youth in the foster care and juvenile justice systems have numerous unmet health needs and long-term negative health outcomes. Photovoice is a qualitative research method in which participants produce photographs and narratives to communicate their perspectives. While Photovoice has been used in various contexts relating to at-risk youth, no known study has been conducted among youth in the foster care or juvenile justice systems. However, numerous challenges exist for the inclusion of at-risk youth in research. Thirteen youth from a group home in Taiwan for teenage boys in the foster care and juvenile justice systems participated in this yearlong study which utilized a strengths-based approach to examine resiliency, their needs, and sources of support. After receiving in-depth training, participants spent three months taking photos and writing accompanying narratives relating to the research questions. Then, via facilitated individual and group discussions, participants selected photo-narrative pairings relating to five key themes, which were then used in exhibitions for local stakeholders. This article describes nine key lessons learned to keep at-risk youth at the center of future similar research studies through protecting, representing, and empowering them: 1) consider ethical challenges, 2) identify community partners, 3) develop mutual trust with participants, 4) use symbolism, 5) have a strengths-based approach, 6) allow participants to direct the process, 7) maximize time to develop participants’ introspective skills, 8) disseminate study results widely, and 9) include participant empowerment as a key objective. Conducting research with at-risk youth is challenging but vital to identifying ways society can best support them. Photovoice remains a meaningful way for marginalized communities to articulate their needs and share their experiences and perspectives. Recognizing and addressing logistical and ethical challenges early can ultimately lead to more impactful studies for at-risk youth both individually and systemically.
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RYDELL, ROBERT W. "THE PROXIMITY OF THE PAST: EUGENICS IN AMERICAN CULTURE." Modern Intellectual History 7, no. 3 (September 30, 2010): 667–78. http://dx.doi.org/10.1017/s1479244310000296.
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In 1935, as the Nazis’ state-of-the art eugenics exhibition from the Deutsches Hygiene Museum was concluding its American tour, a decision had to be made about whether to return the displays to Germany or to house them in an American museum. After the American Academy of Medicine decided against the display because of its political implications, the director of the Buffalo Museum of Science, Carlos Cummings, himself a physician, offered his institution as the exhibition's permanent home. “What is the astounding eugenics program upon which Chancellor Hitler has launched the German people?” Cummings wondered aloud. “As a matter of public interest, without endorsement,” he added, “the Museum will display in the Central Hall throughout this final quarter of 1935, a set of fifty-one posters and charts . . . which gives Americans a graphic explanation of Germany's campaign to rear in posterity ‘a new race nobility.’” Seven years later, with war raging, the museum received permission from the company that had insured the exhibition, to dismantle it from its permanent home in the museum's Hall of Heredity. An exhibition about eugenics, Nazi eugenics no less, that had been enthusiastically received as it had traveled the United States in the mid-1930s, had seemingly fallen victim to the war against eugenics launched by cultural anthropologists and geneticists. In light of the broad scholarship on eugenics, this certainly would be a plausible reading of the deinstallation of the Nazi eugenics exhibition. But the three books under review here suggest a more complex reading, one that suggests that eugenics and racism, considered as ideological systems, were less easily dislodged from American culture than from Buffalo's Museum of Science.
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Juhászová, Tereza. "The Troubled Pasts of Hungarian and German Minorities in Slovakia and Their Representation in Museums." Journal of Nationalism, Memory & Language Politics 12, no. 1 (July 30, 2018): 52–71. http://dx.doi.org/10.2478/jnmlp-2018-0002.
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Abstract In the 20th century, the two world wars reshaped the map of Central Europe as well as the status of Central Europe’s diverse societies. In my article, I focus on the Hungarian and German minorities in Slovakia and the representation of their problematic historical past in contemporary Slovak museums. More specifically, I zoom in on the exhibition Exchanged Homes displayed in Bratislava, which aims to commemorate the fate of Hungarians, Germans, and Slovaks, all of whom were affected by the population transfers after World War II. Based on the concept of memorial museums theorized by Paul Williams, I aim to show how the different exhibitions engage with the traumatic past of forceful resettlement. By offering multifaceted memories of a troubled past, these exhibitions avoid categorizing “victims” and “perpetrators” along national or ethnic lines. My paper thus analyzes the concepts and components of the exhibitions—the context of the postwar events, oral history interviews, and objects of everyday use that should bring the visitor closer to the experience of the people who were forced to leave. I argue that exhibitions of this sort have the ability to challenge the dominant historical narrative focusing on a national “Slovak” history and help the process of reconciliation between the Slovak majority society, and the Hungarian and German minorities.
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Smith, Martin H., Woutrina A. Smith, and Cheryl L. Meehan. "4-H youth advance biosecurity at home and in their communities." California Agriculture 75, no. 1 (March 2021): 33–39. http://dx.doi.org/10.3733/ca.2021a0007.
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Youth participants in 4-H animal science projects are involved extensively with raising and exhibiting agricultural animals, often on backyard farms (Smith and Meehan 2012). Since backyard farms can serve as sources and vectors of pathogens (FAO 1999; WHO 2011), it is critical that 4-H youth take an active role in preventing the introduction and spread of economically important animal diseases. Fifteen 4-H youth from two counties in California participated in the 4-H Bio-Security Proficiencies Program, a long-term community and citizen science project focused on animal and zoonotic disease risk education and mitigation. Then, in the role of community science experts, they acted upon the risk assessments and mitigation plans they had developed to improve biosecurity practices and reduce the likelihood of disease spread on their home premises and at their local county fair. They also extended their knowledge to the broader livestock exhibition community through outreach videos.