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Journal articles on the topic 'Independent curator'
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1
Astiti, Sriti Hesti. "PERTANGGUNGJAWABAN PIDANA KURATOR BERDASARKAN PRINSIP INDEPENDENSI MENURUT HUKUM KEPAILITAN." Yuridika 31, no. 3 (2017): 441. http://dx.doi.org/10.20473/ydk.v31i3.4794.
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This article aimed to criticize the juridical basis of scope of crime mentioned on Law Number 37 of 2004, focuses on criminal responsibility of a curator based on independence principle of bankruptcy law. Essentially, bankruptcy is a part of civil law. However, some bankruptcy cases eventually evolve into criminal matters when a bankruptcy curator who is responsible in handling and administering bankruptcy case is positioned as defendant charged for conducting criminal acts. As stated on Article 234 Verse 2 of Law Number 37 of 2004, a curator who is proven not independent during bankruptcy court may be charged with criminal law. Criminal sanctions for non-independent curators aimed at preventing the curator from committing criminal acts in the course of the execution of the duty and maintenance tasks. Here, the role of criminal law is as a guardian of the norms that exist in the Law on Bankruptcy related to the duties and responsibilities of the curator. In order for a curator or committee before declaring his willingness to accept the duties and responsibilities of the consequences of the bankruptcy verdict or the postponement of the debt obligation obligation (PKPU) really ensure that he will not commit a disgraceful act of.
2
Anam, Khoirul, Lono P. Simatupang, and Suwarno Wisetrotomo. "Different Types of Curators Based on Field of Work and Responsibilities in OHD Museum." Lekesan: Interdisciplinary Journal of Asia Pacific Arts 5, no. 2 (2022): 72–81. http://dx.doi.org/10.31091/lekesan.v5i2.1821.
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The development of curatorial work practices will be very important for the development of museums, arts, and culture. However, it is undeniable that studies and understanding of the development of curatorial work practices are still not optimal in Indonesia. Awareness of the realm and responsibility of the curator is also sometimes poorly understood by the public and the practitioners of curatorial work practices themselves. This vacancy becomes an obstacle in the development of the profession of independent curator and museum curator. Where the curator profession is no longer seen only as a museum guard or seen only as a writer in an exhibition. The discourse in this study will raise the question of how curatorial work practices at OHD Museum are based on the field of work and responsibilities, which we can see from the different types of curators in an art museum. This study focuses on explaining and understanding the definition of curator and the types of the curator in the development of curatorial studies in an art museum. The results of this study indicate that from the division of In-House Curators and Guest Curators at the OHD Museum, they are distinguished by their field of work and responsibilities. The In-House Curators has responsibilities, among others; acquisition, deaccession, borrowing, conservation, restoration, documentation, and research, where related to the field of collection. Then, look at the Guest Curator with responsibilities, among others; creating a curatorial concept for an exhibition, selecting the collections and artists involved, producing a narrative document (curatorial text), and designing an exhibition.
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Nenastina, T., K. Berezhna, and S. Bugaevskyi. "Curator's work during the adaptation period of students at the Kharkiv National Automobile and Road University." New Collegium 1, no. 110 (2023): 59–64. http://dx.doi.org/10.30837/nc.2023.1-2.59.
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Due to the transition to the new generation of educational standards and the increase in hours for independent work, there is a need to train a creative, active person who can independently choose his own life path. The educational process in the life of the university is planned and organized along with studies and scientific activities. The curator of the academic group is usually assigned an experimental teacher, since this position includes responsible and thorough work, which should take into account the profile of training of specialists and the specifics of the faculty. Students' problems related to the educational process at the university, interpersonal conflicts and relations in the group, and the question of the student group participation in the public and cultural mass activities of the university are resolved by the curator. The effectiveness of the educational work of the curator of the academic group is largely determined by its planning. Based on the analysis of theoretical studies and the experience of modern pedagogues-practitioners, the roles and functions of the curator in working with the group are defined, the curator's duties are described, and an approximate plan for the work of curators in universities is proposed. The views on the organization of educational work in higher education are presented. The creation of new mechanisms related to the selectivity of some disciplines makes it necessary to carry out additional explanatory and advisory work of curators regarding the formation of individual study plans for applicants. It is shown that the curator uses various forms of educational work in his activities, which contribute to the formation of the personality of the future specialist as a patriot citizen, who cares about the fate of the Ukrainian state, law, and order, education, and culture.
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Simanjuntak, Ranto Parulian. "CURATORS ARE VULNERABLE TO BE CRIMINALIZED AND CRIMINATED IN BANKRUPTCY AND PKPU PROCESSES." Global Legal Review 3, no. 2 (2023): 141. http://dx.doi.org/10.19166/glr.v3i2.7424.
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<p>The Curator is one of the important organs in the debt settlement process between debtors and their creditors through bankruptcy law instruments. Based on Law Number 37 of 2004 concerning Bankruptcy and Postponement of Debt Payment Obligations (PKPU), the Curator is given broad and broad duties and powers in managing and settling the assets of a bankrupt debtor. Because since being declared bankrupt by the court, the debtor has lost his right to manage his business and assets. The duties and authorities to administer the business and assets of the bankrupt debtor rest in the hands of the Curator, who works under the supervision of the Supervisory Judge. In carrying out its duties and authorities, the Curator must adhere to the provisions of the Law and the Professional Code of Ethics, namely being independent, having no conflict of interest and not handling more than 3 (three) Bankruptcy and PKPU cases. If in carrying out its duties and authorities it causes damage to the bankrupt assets, then the Curator must be legally responsible. That means, the Curator does not have the right of immunity or impunity in carrying out his duties and authorities to manage and settle bankruptcy assets in accordance with the provisions of the law. The Curator is not a public official. The Curator may be punished if his actions and decisions in administering and settling the bankrupt assets cause harm to the bankrupt assets. However, Law Number 37 of 2004 concerning Bankruptcy and PKPU does not include criteria for criminal acts and criminal sanctions for Curators. Because of this, Curators are vulnerable to being criminalized and punished.</p><p>The Curator is one of the important organs in the debt settlement process between debtors and their creditors through bankruptcy law instruments. Based on Law Number 37 of 2004 concerning Bankruptcy and Postponement of Debt Payment Obligations (PKPU), the Curator is given broad and broad duties and powers in managing and settling the assets of a bankrupt debtor. Because since being declared bankrupt by the court, the debtor has lost his right to manage his business and assets. The duties and authorities to administer the business and assets of the bankrupt debtor rest in the hands of the Curator, who works under the supervision of the Supervisory Judge. In carrying out its duties and authorities, the Curator must adhere to the provisions of the Law and the Professional Code of Ethics, namely being independent, having no conflict of interest and not handling more than 3 (three) Bankruptcy and PKPU cases. If in carrying out its duties and authorities it causes damage to the bankrupt assets, then the Curator must be legally responsible. That means, the Curator does not have the right of immunity or impunity in carrying out his duties and authorities to manage and settle bankruptcy assets in accordance with the provisions of the law. The Curator is not a public official. The Curator may be punished if his actions and decisions in administering and settling the bankrupt assets cause harm to the bankrupt assets. However, Law Number 37 of 2004 concerning Bankruptcy and PKPU does not include criteria for criminal acts and criminal sanctions for Curators. Because of this, Curators are vulnerable to being criminalized and punished.</p><p><strong><br /></strong></p>
5
Saija, Ronald. "Perspektif Sanksi Pidana Kurator Menurut Hukum Kepailitan." PAMALI: Pattimura Magister Law Review 1, no. 1 (2021): 1. http://dx.doi.org/10.47268/pamali.v1i1.480.
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Introduction: Some bankruptcy cases eventually evolve into criminal matters when a bankruptcy curator who is responsible in handling and administering bankruptcy case is positioned as defendant charged for conducting criminal acts.Purposes of the Research: The purpose of writing is to find out and analyze the perspective of curator criminal sanctions according to bankruptcy law.Methods of the Research: Normative juridical research, namely an approach based on legal materials by examining concepts, legal principles and legislation related to this research.Results of the Research: Criminal sanctions for non-independent curators aimed at preventing the curator from committing criminal acts in the course of the execution of the duty and maintenance tasks. Here, the role of criminal law is as a guardian of the norms that exist in the Law on Bankruptcy related to the duties and responsibilities of the curator. In order for a curator or committee before declaring his willingness to accept the duties and responsibilities of the consequences of the bankruptcy verdict or the postponement of the debt obligation obligation (PKPU) really ensure that he will not commit a disgraceful act of.
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Sunaryo, Sunaryo, and Dina Haryati Sukardi. "Tanggung Jawab Kurator Dalam Perkara Kepailitan Berdasarkan Prinsip Independensi." Justicia Sains: Jurnal Ilmu Hukum 8, no. 1 (2023): 42–53. http://dx.doi.org/10.24967/jcs.v8i1.2309.
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The curator must be independent and not have a conflict of interest because the curator has such great authority over bankruptcy assets. The research used in this research is normative legal research. This is because researchers use library materials as data to analyze cases in the preparation of this study. provisions regarding the principle of independence are emphasized in the Code of Ethics of the Indonesian Curator and Administrator Association (AKPI) which states that in every appointment received, members of the Indonesian Curator and Administrator Association (hereinafter referred to as "members") must be independent and free from anyone's influence. Independence in bankruptcy law can be interpreted that the curator may not and cannot be intervened by anything, either by debtors, creditors, or other individuals within the bankruptcy institution or outside the bankruptcy institution. Independent also reflects the integrity of a curator which contains values including having a noble character, being trustworthy in carrying out his position, being able to act wisely and prudently in dealing with a plural reality between the interests of debtors and creditors, being consistent between his words and the responsibilities he carries, obeying the values and Norms, both written and unwritten, and no less important, are always oriented to the best interests of the bankruptcy estate.
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Astiti, Sriti Hesti. "PERTANGGUNGJAWABAN PIDANA KURATOR BERDASARKAN PRINSIP INDEPENDENSI MENURUT HUKUM KEPAILITAN." Jurnal Hukum dan Peradilan 5, no. 2 (2018): 277. http://dx.doi.org/10.25216/jhp.5.2.2016.277-298.
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This article aimed to criticize the juridical basis of the scope of crime mentioned on Law Number 37 of 2004, focuses on the criminal responsibility of a Curator based on independence principle of Bankruptcy Law. Essentially, bankruptcy is a part of Civil Law. However, some bankruptcy cases eventually evolve into criminal matters when a Bankruptcy Curator who is responsible for handling and administering bankruptcy case is positioned as Defendant charged with conducting criminal acts. As stated in Article 234 verse (2) of Law Number 37 of 2004, a Curator who is proven not independent during bankruptcy court may be charged with Criminal Law.Keywords: Curator, Bankruptcy, Principle of Independency, Criminal Responsibility
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Kozlova, Anna. "EXPERIENCE IN ORGANIZING THE WORK OF A CURATOR OF A STUDY GROUP OF AN EDUCATIONAL ORGANIZATION OF HIGHER EDUCATION OF THE FEDERAL PENITENTIARY SERVICE." Man: crime and punishment 32, no. 2 (2024): 296–304. http://dx.doi.org/10.33463/2687-1238.2024.32(1-4).2.296-304.
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The article describes the experience of organizing the work of the curator of the training group of the Academy of the Federal Penitentiary Service of Russia. Its relevance lies in the fact that currently the training of qualified, independent, spiritually developed, proactive, highly moral cadets is the main task facing educational institutions of higher education of the Federal Penitentiary Service. One of the tools for the implementation of this task is the organization of high-quality educational work with cadets with the involvement of a curator. The article highlights the basic principles of the organization of the work of the curator of the study group: complexity, consistency, humanism, purposefulness, self-actualization, consistency, social responsibility. The organization and main directions of curatorial work with cadets are considered. In conclusion, the obtained results of the curator's work with the assigned group are described, and appropriate conclusions are drawn.
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Barkovskaya, Nina. "“KRAPIVA” (NETTLE) JOURNAL: AN INDEPENDENT CREATIVE COMMUNITY OF NOVICE AUTHORS." Children's Readings: Studies in Children's Literature 23 (2023): 137–51. http://dx.doi.org/10.31860/2304-5817-2023-23-1-137-151.
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The characteristic of the children’s literary and journalistic periodical “Krapiva” (Nettle) is offered. The journal has been published in Yekaterinburg since 2017 at the Sverdlovsk Regional Library for Children and Youth named after Vladislav P. Krapivin, curated by the young playwright Anna Baturina. The periodicity of issues is once a year; to date, six issues of the journal have been published. The editorial board consists of children, they also select texts for publication, prepare the original layout of the issue and its design (drawings, photographs). An analysis of editorial statements in the journal and interviews with the curator allow us to conclude that the publication is unique: the authors are absolutely free in their work; the tactic and position of the curators are extremely democratic. From the very beginning, “Krapiva” (Nettle) declared itself not only as a journal, but, above all, as a platform for weekly communication, discussion of the problems that concern today’s teenagers. At community meetings, new works of participants are discussed, meetings with writers are held, questions of the theory and poetics of literature are studied. The choice of the name (apart from the reference to Krapivin, whose name the library bears) is motivated by the desire of aspiring authors to share traumatic experiences like stinging nettles. The epigraph to the magazine is the words of one of the participants: “Nettle is the pain of childhood”. The article characterizes the headings of the journal, identifies the dominant themes, and makes observations on the genre composition of the published works.
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Rubantseva, Elizaveta V., and Loup Hoffmann. "The curator in the art world and in the museum: History, theories and current issues." Issues of Museology 11, no. 2 (2020): 168–82. http://dx.doi.org/10.21638/11701/spbu27.2020.203.
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The article analyzes the current state of curatorship and curating from a historical, theoretical and practical perspective. The aim is to understand the origin and the nature of the justified critique facing the profession nowadays from art institutions, artists, as well as from curators themselves, while exploring the challenges faced. The key historical developments of the profession are retraced, which nonetheless always had, to a certain extent, to come to terms with the main stakeholders of the industry: the artist, exhibiting institutions and the public. The profession’s interwoven position is further studied through a variety of positive and normative accounts from curators as well as from academia. These accounts make it possible to evaluate a profession whose complexity is reflected in its various practices, functions and officiating venues. Based on the historical and theoretical analysis, the authors explore the current position of the curator in the art field, as well as problems and criticism faced. Among them, significant attention in the article is paid to the ethical problems arising from the cooperation of curators with artists, institutions and the public, as well as to the alarming convergence of the functions of independent and museum curator and to the partially negative impact of working conditions on the quality of work of these professionals. The authors come to the conclusion that curatorship, because of its specific emergence in the world of art, faces new challenges that cannot be fully resolved because they are unavoidably placed between stakeholders sharing mostly antagonistic values.
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Felando, Cynthia. "A conversation with queer film hero Jenni Olson." Short Film Studies 14, no. 2 (2024): 95–114. https://doi.org/10.1386/sfs_00115_7.
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This article features an interview with the incomparable, award-winning Jenni Olson, whose career as a filmmaker of both shorts and feature-length films, archivist, writer, historian and curator is a testament to her enduring commitment to independent queer film culture and audiences.
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Faccion, Debora. "Review – New Media Caucus Showcase A perspective on consciousness within digital practices." Media-N 15, no. 2 (2019): 20–26. http://dx.doi.org/10.21900/j.median.v15i2.207.
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Presentations by the following NMC members:
 
 Sophia Brueckner, Assistant Professor, University of Michigan
 Martin Calvino, Artist-in-residence at Rutgers University
 Zach Duer, Assistant Professor, Creative Technologies, Virginia Tech
 Carter Eggleston, MFA candidate in Creative Technologies, Virginia Tech
 Elizabeth Flyntz, Artist, Writer, and curator
 Jeffrey Gangwisch, strikeWare co-founder and Adjunct Professor, Anne Arundel Community College
 Chelsea Heikes, candidate at European Graduate School
 Laura Hyunjhee Kim, Ph.D. candidate, University of Colorado Boulder
 George Legrady, Distinguished Professor of Interactive Media and director of Experimental Visualization Lab, UC Santa Barbara
 Maya Livio, Ph.D Candidate, University of Colorado Boulder, Curator of Media Archaeology Lab, Curator of MediaLive at BMoCA
 Eric Souther, Associate Professor of New Media, Indiana University South Bend
 Deirtra Thompson, Independent artist, practitioner, and researcher
 Masha Vlasova, Lecturer and Lead Faculty, University of North Texas
 Michelle Hernandez, MFA alumna, Hunter College, CUNY
 Dominika Ksel, Adjunct Assistant Professor of New Media, Baruch College, CUNY.
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Sahrul, Ibnu Ibrahim, Tofik Yanuar Candra, and Roni Pandiangan. "PERTANGGUNG JAWABAN PIDANA KURATOR PELAKU PENGGUNAAN SURAT PALSU DALAM PENGURUSAN HARTA PAILIT." SENTRI: Jurnal Riset Ilmiah 3, no. 5 (2024): 2381–89. http://dx.doi.org/10.55681/sentri.v3i5.2750.
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An analysis of the criminal liability of curators involved in the use of forged letters in the management of bankruptcy property highlights the legal responsibility that must be borne by them for such actions. Focusing on criminal and civil legal aspects, this analysis aims to establish justice, maintain transparency, and protect the interests of all parties involved in bankruptcy proceedings. By establishing appropriate legal consequences, this analysis also plays a role in providing a deterrent effect as well as preventing the recurrence of similar violations in the future, thus maintaining the integrity of the bankruptcy law system.Top of Form The method used in this study is normative juridical legal research, conducted by examining library materials or secondary data only, supported by interviews. The approaches in this study include the legislative approach, the conceptual approach, the analytical approach, and the case approach. The sources of legal material in this study are primary, secondary, and tertiary legal sources, with the collection technique involving the identification and inventory of positive legal rules, examination of library materials, and analysis of legal material sources through systematic and analogous legal interpretation. The result of this study is that criminal acts by the curator in the management of bankruptcy property must pay attention to two functions of criminal law: as law enforcement and Norm enforcement. The curator must be independent and comply with the requirements of legal regulations; otherwise, it can be replaced by a supervisory judge. They must also uphold the principles of honesty and openness. Criminal liability curators who use fake letters emphasize the importance of ethics and professionalism, and can lead to legal consequences both criminal and civil if there is abuse of authority.
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Schtein, Sergey Yu. "ONTHOLOGY OF CURATING." Articult, no. 4 (2020): 6–36. http://dx.doi.org/10.28995/2227-6165-2020-4-6-36.
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The article is devoted to theoretical modeling of the ontology of curating of exhibition projects. At the same time, curating is considered in two complementary "projections": as a function in the conditions of exhibition activity and as an independent activity. The meaningful “frame” for expressing the desired ontology is the methodical presentation of activity. The methodological basis for theoretical modeling is the activity approach, the genetically constructive approach, the ontologization method and the constant method. In addition to the conditional norm of the curator's activity, the main possible options for going beyond it are separately considered, which in this construction is expressed through opposition to the curator of the art manager's figure. In this regard, the ontological functions of the art manager as a stable subject of the mechanism of system exhibition activity are described.
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Oertel, Kristen T., Renee Harvey, and Diana Folsom. "From Parchment to Podcast: The Collaborative Process of Building and Unlocking an Archive." Anglia 138, no. 3 (2020): 468–93. http://dx.doi.org/10.1515/ang-2020-0039.
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AbstractThis project began with a deceptively simple question: “Were there runaway slaves in Indian Territory in the 1830 s and 40s?” The answer was complicated and relied upon the combined expertise of historians, archivists, curators, and collectors. This article describes how collaborative research, performed at the Helmerich Center for American Research at the Gilcrease Museum in Tulsa, Oklahoma, uncovered a long-neglected piece of history in Indian Territory. The collections, which contain diverse sources such as manuscripts written on parchment, archaeological artefacts, original art, and more recently, digitised documents, images, and videos, shape the way scholars answer their questions. Although scholarly research may appear to be an independent endeavour – the professor mining sources at a desk or writing alone on a computer – the reality, especially in the twenty-first century, is much different. What shows up on the page and, now, what results in a podcast, is rooted in a shared journey, beginning with an archivist or curator collecting and cataloguing materials and ending in cyberspace.
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Freeman, Na’ama. "Printed Textiles from Kinngait Studios." Public 32, no. 63 (2021): 122–25. http://dx.doi.org/10.1386/public_00063_4.
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Printed Textiles from Kinngait Studios, curated by Roxane Shaughnessy of the Textile Museum of Canada in consultation with independent curator Nakasuq Alariaq, examines the legacy of newly-discovered textile prints from Kinngait Studios and their contribution to art history on both national and global scales. The exhibition shares and preserves a little-known history, drawing connections to contemporary Inuit artistic production and centers Inuit voices in telling this story. At its core, Printed Textiles fromKinngait Studios highlights the powerful way in which visual language can inspire intergenerational connections and jump-start new conversations between artists, community members, and the public at large. This review was prepared in partial completion of a masters-level course, and as such, the author did not have the capacity to consult with members of Kinngait community. In future writings, the author hopes to consult and collaborate alongside community members.
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Burkhanova-Khabadze, Sasha. "Curatorial Ethics and Indeterminacy of Practice." Philosophies 5, no. 3 (2020): 23. http://dx.doi.org/10.3390/philosophies5030023.
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This article defines “curatorial ethics” as a notion that has to be configured and constantly revisited by an independent curator throughout her practice. By inquiring into the personal motives, biases and drives, she would establish her own ethical position, convert it into a professional ethic and apply it to judge her own professional performance and her colleagues. Such perspective opposes the traditional understanding a professional ethic as a set of unitary guidelines to be passed to specialists (i.e., via education or early career). The notion of curatorial responsibility is redefined accordingly, and with conceptual inspiration from Gilles Deleuze and Karen Barad’s concepts of “becoming” (Deleuze) and “intra-action” (Barad). A curator is addressed as accountable for configuring her practice in response to agendas and actions of other parties involved in the art project. That is, for facilitating the co-constitution of individual subject positions and practices via opening up herself to the terrors and potentials of unprecedented self-transformation.
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Karina, Sarkissova. "Interconnectedness: Entangled curation and dance in unsettled landscapes: An interview with DACE." Maska 37, no. 3 (2022): 87–94. http://dx.doi.org/10.1386/maska_00132_1.
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DACE is a platform for curatorial and choreographic explorations on dance and choreography in a more-than-human world, founded by Rickard Borgström and Rebecca Chentinell. Central to the duo is how the body functions as an interface towards the surroundings. Consequently, they collaborate with artists engaged in the rapid environmental, technological and political changes, exploring a multitude of bodily approaches in questioning how these affect our actions, thinking and artistic practices. DACE traces new bodily sensitivities and interconnections between human, technology and nature in a more-than-human environment. DACE seeks new aesthetic paradigms in the shifting nature of ecological systems in the geological era of human-made nature. Since 2019, DACE has created gatherings, symposiums, developed as well as presented exhibitions and art works in different media and contexts. The works are exploring ecological and technological planes in theatres and galleries, an exploration of what post-human dance can be in a postanthropocentric worldview. The questions are posed by curator and choreographer Karina Sarkissova in a meeting of three independent dance curators based in Sweden and Finland.
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Michael, Danny. "Report: The 2022 Kurt Swanson Bucholz Arsenals of History Symposium." Armax: The Journal of Contemporary Arms VIII, no. 2 (2023): 99–102. http://dx.doi.org/10.52357/armax86854.
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The Cody Firearms Museum reinstated the in-person version of Arsenals of History this year, with around 40 people from around the world joining the CFM in Cody from 6–8 October. The conference again brought together a wide range of participants, but focused on museum professionals and academics (including independent scholars) conducting research that examines arms history. In this short report, CFM Curator Danny Michael recalls some of the presentations, discussions, and key findings of the 2022 symposium.
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Antimys, Olha, Uliana Dutchak, and Vasyl Miskiv. "The role of a curator and educational work in a medical university during martial law." Bulletin of Luhansk Taras Shevchenko National University, no. 1 (360) (2024): 9–15. http://dx.doi.org/10.12958/2227-2844-2024-1(360)-9-15.
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War, martial law are terrible realities of our present. Ukraine has been at war since 2014, but a full-scale invasion in February 2022 is an ordeal that has affected all Ukrainians, young and old. The horrors of war and higher and medical education did not escape. First-year students especially face difficulties. They need to adapt to new conditions, to each other, to different teachers and requirements. In addition, studying at a medical university has its own characteristics: a higher level of knowledge requirements, independent training and independent work. Therefore, almost all firstyear students need a transition period. Therefore, in the work with first-year students, the role of a curator, a mentor, perhaps a forced psychologist, who will meet them from the first days, help them orient themselves and calm down, comes to the fore. The curator must build his work on the basis of an individual approach to each student, on the knowledge of his interests, inclinations, lifestyle, and state of health; to conduct work on the formation of the asset of the academic group. The process of education at the university is carried out through the educational process (during classroom classes, lectures, practice) and extracurricular work (in free time from educational classes). An important factor in the educational work of medical students, especially in modern realities, is the problem of moral education of young people, involvement in a healthy lifestyle and volunteer activities, which allows developing and consolidating such necessary qualities as a doctor, such as kindness, mercy, compassion, the ability to communicate with people.
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Djenno, Mireille. "Scaffolding the collection manager-instructor relationship: Partnerships for primary source instruction." College & Research Libraries News 80, no. 1 (2019): 18. http://dx.doi.org/10.5860/crln.80.1.18.
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Whereas the literature on incorporating primary sources into undergraduate education is large and growing, a sustained discussion of the relationship between the collection manager—be it librarian, archivist, or curator—and the course instructor is conspicuously absent. Unlike secondary source material, which can generally be accessed independent of collection managers (or any other gatekeepers), primary source material is often mediated, making it almost impossible for course instructors wishing to use these sources to bypass collection or repository personnel. The partnership between them is therefore vital.
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Hall, E. T. "The Courtrai chest from New College, Oxford, re-examined." Antiquity 61, no. 231 (1987): 104–7. http://dx.doi.org/10.1017/s0003598x00072628.
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The first and obvious strength of AMS and other small-sample radiocarbon techniques is in the tiny quantities of material they destroy, opening the way for 14C determinations on little and precious objects – fabric and pictures, for examples – from which no curator will sacrifice a large chunk. In this case, the object is a more substantial thing, but the point still applies; and the size of its timbers has made possible a completely independent and confirming date by dendrochronology.This paper follows the normal ANTIQUITY convention of b.p. for uncalibrated dates.
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Soares, Luiz Carlos. "John Theophilus Desaguliers: A Newtonian between patronage and market relations." Circumscribere: International Journal for the History of Science 18 (December 18, 2016): 12. http://dx.doi.org/10.23925/issn.1980-7651.v18p12-31.
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The dissemination of the mechanical and Newtonian experimental philosophy in 18th-century England arose fascination in relation to the possible application of this new knowledge to the needs of productive life and the general welfare of the population. The activity of many independent and/or itinerant lecturers proved to be fundamental to spread the Newtonian philosophy and allow for the emergence of an ideal of applied science. In the present paper I discuss the intellectual trajectory of John Theophilus Desaguliers (1683-1744), who was the curator, or ‘official experimenter’, of the Royal Society of London and became a pioneer in the spreading of Newtonianism, as well as one of the most important and most respected independent lecturers on mechanical and experimental philosophy in the first half of the 18th century.
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Lee, Soo-jin, and Kwang-yun Wohn. "The Media-Art Exhibition TenYearsAfter_v4.0_OuterSpace." Leonardo 41, no. 5 (2008): 454–59. http://dx.doi.org/10.1162/leon.2008.41.5.454.
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TenYearsAfter is an annual media art exhibition based in Korea, begun in 2003, organized by Kwang-yun Wohn and curator Mira Kim to facilitate collaboration among engineers, scientists, artists and designers. Unlike other major media-art exhibitions, TenYearsAfter has included artworks by mainstream media artists, independent experiments, and products and research results by artists and non-artists alike. The fourth exhibition in this series, TenYearsAfter_v4.0_OuterSpace, organized by the authors, was held in 2006. This article elaborates on the process of organizing this event and contemplates the implications of annual media art events in the Korean media art context.
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Pantouvaki, Sofia. "Extreme Costume: A conversation with Simona Rybáková." Studies in Costume & Performance 4, no. 1 (2019): 85–108. http://dx.doi.org/10.1386/scp.4.1.85_1.
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This contribution is developed from a series of discussions with Simona Rybáková, Czech costume designer and curator of the Extreme Costume exhibition that was presented at the Prague Quadrennial in 2011 (PQ11). Following an overview on the presence of costume at recent editions of the Prague Quadrennial, this text focuses on the Extreme Costume exhibition, which showcased cutting edge costume practice in a full-scale independent display, for the first time shown separately from the PQ11 general performance design exhibition. The discussion provides a critical reflection on the curatorial process for the Extreme Costume exhibition and illuminates the curator’s enquiry and her intentions behind specific choices. It includes a review of the audience’s response and, most importantly, concludes with Rybáková’s insights on her personal ‘emancipation’ from her long-lasting professional role as costume designer to the role of costume curator working with her colleagues’ practice for the purposes of this exhibition. Given the limited documentation available about Extreme Costume, the aim of this contribution is dual: to provide a resource on the scope and reach of this significant event; and to offer materials to costume research for further discussion related to exhibiting costume beyond the context of its original performance.
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Cakl, Ondřej. "Molding the Signifier by Ivor Diosi: An All-too-Human Victor." Leonardo 50, no. 1 (2017): 82–83. http://dx.doi.org/10.1162/leon_a_01356.
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In this curatorial consideration, the author reveals factors that most essentially influenced the decision to present Ivor Diosi’s artwork Molding the Signifier, as part of the Trust Me, I’m an Artist EU project event in Prague (16–19 November 2015). It questions the notion of AI as it currently exists, suggesting that the ideas of “artificial,” “independent” or “higher” intelligence and existence are all too human (and from that point of view therefore dangerous). As curator of the event, the author argues that Molding the Signifier, although it does not confront existing legislation, does question the ethical core of the essential latent purposes of biotechnologies as a means of human creativity.
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Kostina, Anastasia. "“Documentary Filmmaking Is an Absolute Delight”." Film Quarterly 77, no. 3 (2024): 79–85. http://dx.doi.org/10.1525/fq.2024.77.3.79.
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Vitaly Mansky is an internationally recognized documentary filmmaker whose writings, films, and programming practice have actively shaped the Russian documentary scene since the early 1990s. As a filmmaker, he has directed over thirty documentary productions that impress in their thematic scope and stylistic diversity. As the president of the ArtDocFest film festival, Mansky gave hundreds of independent filmmakers an opportunity to reach a broader audience. As a public figure, he has been vigorously promoting documentary cinema in his speeches and writing. In this interview with Film Quarterly, Mansky speaks about his path to documentary filmmaking, thoughts on documentary film form, the past and the future of Russian documentary cinema, his work as a curator and programmer, and his most recent documentary The Eastern Front (2023).
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Fulton, Christopher. "José Luis Cuevas and the ‘New’ Latin American Artist." Anales del Instituto de Investigaciones Estéticas 34, no. 101 (2012): 139. http://dx.doi.org/10.22201/iie.18703062e.2012.101.2431.
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José Luis Cuevas emerged in the mid-1950s as an independent artist who refused to subordinate his art to imposed standards and expectations. In his conflict with the artistic establishment he was defended by prominent critics and other artists of like mind and received crucial support from foreign sources, including the critic Marta Traba and curator José Gómez Sicre. He was heralded as an exemplar of the liberal spirit in Latin American art, and his frequent travels and personal associations placed him on an international stage. The present study of Cuevas’s activities from the mid-fifties through the early sixties considers him as a paradigmatic case of the “new” Latin American artist and as an agent in the process of dissolving barriers between the national artistic cultures of the region.
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Rocha, Prado Laura. "A Set of Simple Tools For Assembling, Annotating, Versioning and Publishing Taxonomies." Biodiversity Information Science and Standards 5 (September 16, 2021): e75344. https://doi.org/10.3897/biss.5.75344.
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Biodiversity data publishers rely on virtually assembled taxonomic hierarchies to structure their data, with operational units involving scientific names, nomenclatural acts and taxonomic trees. The main goal for the majority of biodiversity aggregators, databases, and software developed specifically for managing scientific names, biological samples and other occurrences has been to establish a single, unified biological classification, to serve as their structural "taxonomic backbone." Resources to produce and publish biological classifications digitally are thus, typically restricted to those generating unified taxonomic backbones, leaving individual researchers and decentralized communities with few options to assemble, visualize, version and disseminate multiple taxonomies online.To aid the creation of a culture of assembling, annotating, versioning, and publishing taxonomies online, and to help users interested in taxonomic classifications that lack digital communities, the development of a set of modular and independent tools is proposed, based on the following complementary features:A web application to serve as the taxonomy curator (referred to as the Curator)A web application to serve as the optional taxonomic database and information provider (referred to as the Aggregator)These tools are being designed and built following modern software development standards, in a modular architecture consisting of front-end clients, databases, and back-end applications, with the provision for a public Application Programming Interface (API) that will make data available for any interested parties and can be potentially integrated into large-scale projects like the Global Biodiversity Information Facility (GBIF), Integrated Digitized Biocollections (iDigBio), Symbiota (Gries et al. 2014), and Plazi (Agosti and Egloff 2009).Curator toolThe Curator tool will be a publicly accessible front-end web application, with which users can assemble, curate, and export taxonomies. The primary focus is to support the user-preferred taxonomy generation, with manual inputs and optional annotations of the resulting product. Users can pick between three modes of taxonomy assembly:manual mode with assisted taxon search,automated generation from an online source, andautomated generation from a file upload. Taxonomies can be edited and annotated as necessary. Once a user is satisfied with their taxonomy, they can save it in one or all of the available formats for exporting and external usage (common formats include, among others, JSON (JavaScript Object Notation), CSV (comma-separated values), and XML). Logged in users can also opt to save the taxonomy in the Aggregator database, which will make the taxonomy publicly available. Ideally, all fields in the Curator forms should correspond to terms included in the Darwin Core standard (Wieczorek et al. 2012) or Plazi's TaxonX schema (Agosti and Egloff 2009) (for hierarchies available in published treatments).Aggregator toolThe Aggregator tool will communicate with the database and will provide users with a number of functionalities, such as:Store and publish versioned taxonomies generated with the CuratorAPI endpoints for automation (JSON/XML formats/CSV download)Optional unique identifier/DOI generation for published taxonomiesSearch engine with user-friendly interface as well as API endpoint for querying the databaseThe possibility of making taxonomies available as an API endpoint, as well as exporting taxonomies in different formats, will ensure that this tool behaves as a taxonomic source that can be used by virtually any interested party or application. The tools are being modelled as a decentralized community resource that can be used for any or all taxonomic groups and, as such, its scale and impact will be driven by bottom-up community use. The goal is not to provide extensive coverage of all biological organisms, but rather to provide an open digital toolkit and space for biodiversity researchers and projects that lack access to open, structured, online taxonomic publication venues and dedicated tools.Practical examples of usage for these tools include:A user generates multiple taxonomic concepts for organisms they are studying, which can then be queried and analyzed by scripts that make taxonomic alignments to compare different scientific hypotheses throughout time;An institution wants to publish a regional Symbiota portal to manage specimens in a particular collection, so they establish an annotated working taxonomic backbone with the Curator that Symbiota will then be able to ingest before samples can be imported into the portal;A researcher wants to export a biodiversity portal taxonomy at a given moment and wants to annotate and publish this version in an upcoming paper to establish scientific baselines for proper taxonomic communication.
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Kappanyos, András. "Three Glorious Resumptions: Kassák’s Road to Becoming a Master." Theatron 15, no. 4 (2021): 121–25. http://dx.doi.org/10.55502/the.2021.4.121.
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Although the Hungarian Avant-garde produced several outstanding and internationally renowned creative minds, its defining figure is undoubtedly Lajos Kassák, poet, novelist, editor, critic, curator, typographer, painter, but first and foremost tireless and incorruptible organizer. His unprecedented career is more than just an amusing story: it also exemplifies the changes of the times that made it possible for a very sharp and very stubborn young man to accomplish this journey from apprentice of a locksmith in a small rural town to respected member of the community of progressive European artists. The presentation examines the major stages of this journey in the socio-cultural context and in the intellectual-spiritual development of Kassák. It focuses on the turning points when his surprisingly independent thinking allowed such insights and decisions that heavily influenced the destiny of Central-European Avant-garde, and still affect our ideas on the ultimate aim of art.
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Карпова, Г. В. "The role of the curator in the process of adaptation of first-year students at the university." Bulletin of Pedagogical Sciences, no. 4 (May 13, 2024): 143–49. http://dx.doi.org/10.62257/2687-1661-2024-4-143-149.
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цель исследования – выявить наиболее сложные для студентов временные промежутки и аспекты обучения на первом курсе, а также роль куратора в процессе адаптации. Автором выделены наиболее сложные моменты в процессе адаптации обучающихся в ВУЗе: при ознакомлении с учебным расписанием, правилами и распорядком в учебном процессе, помощью в формировании навыков самостоятельной работы; налаживании контакта при знакомстве со студентами группы; проведении досуга, самоутверждении, образовании, учебно-профессиональной деятельности, работе, формировании активной гражданской позиции. Научная новизна состоит в эмпирическом анализе научных источников по данной теме, аккаунтов и сообществ в социальных сетях, видео и постов в виртуальной среде; проведении анкетирования с последующей обработкой результатов молодых людей в возрасте от 17-ти до 20-ти лет, кураторских часов, посвященных обсуждению обозначенной темы адаптации первокурсников. the purpose of the study is to identify the most difficult time periods and aspects of first–year education for students, as well as the role of the curator in the adaptation process. The author highlights the most difficult moments in the process of adaptation of students at the university: when familiarizing with the academic schedule, rules and regulations in the educational process, assistance in developing independent work skills; establishing contact when meeting students of the group; leisure activities, self-affirmation, education, educational and professional activities, work, formation of an active civic position. The scientific novelty consists in an empirical analysis of scientific sources on this topic, accounts and communities on social networks, videos and posts in a virtual environment; conducting a questionnaire with subsequent processing of the results of young people aged 17 to 20 years, curatorial hours devoted to discussing the designated topic of adaptation of first-year students.
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Pollen, Annebella. "“Indignities Imposed by Arbitrary Adult Rule?” Children’s Dress (and Undress) in Progressive Schools in Interwar England." Jeunesse: Young People, Texts, Cultures 15, no. 2 (2023): 183–204. http://dx.doi.org/10.3138/jeunesse-2023-0032.
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Independent schools describing themselves as “progressive,” “modern,” or “advanced” flourished in interwar England. At the same time, new ideas were emerging among intellectuals about the social and psychological value (or otherwise) of clothing (and its lack). Progressives’ experiments in living and loving, eating and dressing, intersected with the choices they made for educating their children. Radical utopian child-centred establishments integrated health cures and vegetarian diets, for example, alongside new curriculum approaches that included nude practices of “sun and air bathing.” This article examines attitudes to children’s dress and undress by interwar progressive educators alongside arguments of contemporaneous health campaigners, sexologists, fashion writers, and nudists, who were often one and the same. In radical educational and health literatures, children were discussed and photographically depicted as “natural nudists” or, as curator and dress historian James Laver put it, “the best advocates of the modern movement.” Drawing on primary research in pedagogic literature and nudist publications, as well as histories and theories of fashion, nudism, education, sexology, and visual culture, this article argues that utopian interwar English independent education used nudity to demonstrate its most radical agendas and to perform its progressiveness via the bodies of children (un)dressed in an alternative school uniform.
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Jupp, Simon, James Malone, Tony Burdett, et al. "The cellular microscopy phenotype ontology." Journal of Biomedical Semantics 7, no. 1 (2016): 28. https://doi.org/10.1186/s13326-016-0074-0.
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<strong>Background: </strong>Phenotypic data derived from high content screening is currently annotated using free-text, thus preventing the integration of independent datasets, including those generated in different biological domains, such as cell lines, mouse and human tissues.<strong>Description: </strong>We present the Cellular Microscopy Phenotype Ontology (CMPO), a species neutral ontology for describing phenotypic observations relating to the whole cell, cellular components, cellular processes and cell populations. CMPO is compatible with related ontology efforts, allowing for future cross-species integration of phenotypic data. CMPO was developed following a curator-driven approach where phenotype data were annotated by expert biologists following the Entity-Quality (EQ) pattern. These EQs were subsequently transformed into new CMPO terms following an established post composition process.<strong>Conclusion: </strong>CMPO is currently being utilized to annotate phenotypes associated with high content screening datasets stored in several image repositories including the Image Data Repository (IDR), MitoSys project database and the Cellular Phenotype Database to facilitate data browsing and discoverability.
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Bjerke, Rune, and Nicholas Ind. "The influence of aesthetic investments on employees." EuroMed Journal of Business 10, no. 2 (2015): 214–33. http://dx.doi.org/10.1108/emjb-09-2014-0029.
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Purpose – The purpose of this paper is to explore new constructs related to organizations, art and physical environment. Further, an intention was to explain and discuss whether investments in the physical environment in the form of art, design and architecture do have an effect on employees. Design/methodology/approach – To conclude whether aesthetics had an impact on employees in terms of job satisfaction, motivation and their self-perception of their own ability to provide customer service, the authors undertook a quantitative study of 222 employees in seven companies. The authors subsequently commenced five in-depth, semi-structured interviews with four accessible corporate art buyers and one curator to identify the main motivations for purchasing art and placing it in the work place. Findings – With regard to perceptions of art, design and architecture, the physical environment is perceived as a whole and seems to play a significant role in organizational life for employees in companies that have invested in art. The research implies, however, that the companies that invested in art, design and architecture, despite the positive influence on employees’ self-perceived service ability, did not accumulate benefits on service ability relative to employees in companies without art. Practical implications – Managers should cautiously reflect on their motivations for investing in art, design and architecture. Useful motivations might include projecting a desired external image or decoration or expressing connection to a community. Investing in art, design and architecture independent of what the organization is trying to do strategically will create cosmetic solutions that lack any wider purpose. Originality/value – Despite increased corporate interest in aesthetics, little research has been done to determine the effect on employees. The research shortage may be due to the challenge of understanding the meaning of the visible expressions. This paper is a contribution to strengthen the knowledge of the impact of workspace aesthetics on employees (the authors subsequently undertook five in-depth, semi-structured interviews with four accessible corporate art buyers at Storebrand (insurance and banking corporation), Telenor (mobile operator), Hydro (aluminium company), Nordic Choice Hotels and one curator).
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Ji, Tianxi, Erman Ayday, Emre Yilmaz, and Pan Li. "Privacy-Preserving Fingerprinting Against Collusion and Correlation Threats in Genomic Data." Proceedings on Privacy Enhancing Technologies 2024, no. 3 (2024): 659–73. http://dx.doi.org/10.56553/popets-2024-0098.
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Sharing genomic databases is critical to the collaborative research in computational biology. A shared database is more informative than specific genome-wide association studies (GWAS) statistics as it enables do-it-yourself calculations. Genomic databases involve intellectual efforts from the curator and sensitive information of participants, thus in the course of data sharing, the curator (database owner) should be able to prevent unauthorized redistributions and protect genomic data privacy. As it becomes increasingly common for a single database be shared with multiple recipients, the shared genomic database should also be robust against collusion attack, where multiple malicious recipients combine their individual copies to forge a pirated one with the hope that none of them can be traced back. The strong correlation among genomic entries also make the shared database vulnerable to attacks that leverage the public correlation models. In this paper, we assess the robustness of shared genomic database under both collusion and correlation threats. To this end, we first develop a novel genomic database fingerprinting scheme, called Gen-Scope. It achieves both copyright protection (by enabling traceability) and privacy preservation (via local differential privacy) for the shared genomic databases. To defend against collusion attacks, we augment Gen-Scope with a powerful traitor tracing technique, i.e., the Tardos codes. Via experiments using a real-world genomic database, we show that Gen-Scope achieves strong fingerprint robustness, e.g., the fingerprint cannot be compromised even if the attacker changes 45% of the entries in its received fingerprinted copy and colluders will be detected with high probability. Additionally, Gen-Scope outperforms the considered baseline methods. Under the same privacy and copyright guarantees, the accuracy of the fingerprinted genomic database obtained by Gen-Scope is around 10% higher than that achieved by the baseline, and in terms of preservations of GWAS statistics, the consistency of variant-phenotype associations can be about 20% higher. Notably, we also empirically show that Gen-Scope can identify at least one of the colluders even if malicious receipts collude after independent correlation attacks.
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Loma, Svetlana. "Two epigraphic-historical notes." Starinar, no. 58 (2008): 189–96. http://dx.doi.org/10.2298/sta0858189l.
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Recently a monograph appeared dealing with Roman epigraphical monuments from the West-Serbian town of Cacak and its neighbourhood (S. Ferjancic / G. Jeremic / A. Gojgic, Roman Epigraphic Monuments from Cacak and its Vicinity Cacak 2008, Engl. Summary pp. 103-107). Authored by one specialist in Roman history and epigraphy and two archaeologists, the book is rather thin and does not provide much new data, apart from the identification of the equestrian officer Tiberius Claudius Gallus with Severus' senator - which was taken from my PhD thesis without citing it - and from two inscriptions, ? 20 and ? 21, forming the subject of the present paper. Published here for the first time, they both contain important information which the co-authors failed to notice. The consuls of 227 A.D. in an inscription from Cacak The ? 21 (fig. 1) was found in the site of Gradina on the mountain Jelica, S. of Cacak. It is engraved on a whitish limestone monument, apparently an ara, the middle and lower parts of which are preserved after it has been reshaped to be used as building material. The four-line inscription was read by the editors as follows: [- - -] Aur(elius) F[- - - v(otum)] l(ibens) p(osuit) Mal+[- - -]et Al[- - - co(n)s(ulibus)] Idibus [- - -]. Unable to identify the pair of consuls mentioned in lines two and three, the authors interpret the inscription as a funerary one: [- - -]Aur(elius or -elio) F[- - - vix(it) ann(is)] L P. Mal+[- - -]et Al[- - - f(ecerunt) ? die ?] Idibus [- - -]. In fact, they misread the final cluster of the line two, by having mistaken for L the long right serif of M (in ligature with A) together with a trace of a subsequent letter, which proves to be an X. The alignment of the letters at the beginning of the lines suggests that the left side of the inscription is entirely preserved. The inscription reads as folows: ] \ Aur(elius) F+[ -] \ l(ibens) p(osuit) Max[imo] \ et Al[bino co(n)s(ulibus)] \ Idibus [ -]. M. Laelius Maximus Aemilianus (PIR2 L56) - probably son of Marcus Laelius Maximus (PIR2 L55), one of the leading senators under Septimius Severus - and M. Nummius Senecio Albinus (PIR2 N235) were the eponymous consuls of 227. The pair is attested in several inscriptions, e.g. CIL VIII 18831 from Numidia which resembles this one in recording the exact date: Bacaci Aug(usto) \ sac(rum) \ Albino et Ma\ximo co(n)s(ulibus) \ Kal(endis) Mai(is) [3] Si\ttius Novellus \ et Q. Galerius Mu\stianus magg(istri) \ [Thib(ilitanorum?)]. Here Albinus' name precedes that of Maximus, which is usually the case. Nevertheless, a parallel with Maximus named before Albinus is provided by an inscription from Dacia (ILD 774, near Cluj): Deae Ne\mesi sac\rum Aur(elius) Ru[f]inus \ be(ne)f(iciarius) co(n)s(ularis) \ leg(ionis) XIII Gem(inae) \ Sever(ianae) v(otum) l(ibens) p(osuit) Maximo et Albi\[no] co(n)s(ulibus). Consequently, ? 21 is a votive inscription, largely restorable and precisely datable. The Collegium curatorum of the Cohors II Delmatarum in an inscription from Cacak Forty years ago within the Ascension Church yard in Cacak the lower part of a Roman limestone monument has been accidentally unearthed, bearing an inscription, three last lines of which are partially preserved (? 20 of the catalogue, (fig. 2), wherein only the mention of a cohort was recognized by the editors, who read: ]\[- - -]ALB[- - -| -]GIATI +[- - -|- - -co]h(ortis) eiusde(m) [- - -|- - - The elegant, shaded letters are lined up one below the other, which suggests that the text was arranged following the principle of centering. Above the L in the first line there is a trace of an O or a Q, unnoticed by the editors. So, there are 4 lines partially preserved. The space left between the lines 2 and 3 being larger than that between 1-2 and 3-4 respectively, the two last lines seem to constitute a separate entry. The genitive case cohortis eiusdem implies a preceding designation of the dedicant(s), and what we have before is a nominative plural ending in ?giati followed by a word of which only the first letter, C or O, is still discernible. As the most probable, if not the only possible, we propose the following restoration of the last two lines (fig. 8): [colle]giati c[urat(ores)]|[co]h(ortis) eiusde[m] possibly with a p(osuerunt) or d(edicaverunt) in the end. Despite its fragmentariness, the present inscription bears an important testimony to the existence, within the Roman army, of professional associations (collegia militaria) independent of regular military structures. The evidence for them is based solely on epigraphic sources; some hundred inscriptions contradict the paragraph of the Digesta (47.22) forbidding the soldiers to organize corporate associations in the camps. The cohort in question is doubtless the cohors II Aurelia Delmatarum milliaria equitata, which is known to have been stationed permanently, from the seventies of the second century A.D. to the fifties of the third century, in the eastern part of Dalmatia around the modern city of Cacak. It was a mixed infantry and cavalry unit, and the rank of curator (curator equitum singularium, curator alae, curator cohortis) is attested exclusively in the mounted units of the Roman army. It was higher than the simple eques; in the auxiliary troops, the curators may have been charged with special tactical or economic-administrative tasks. The lower officers (principales) and the soldiers with special tasks were allowed to form private associations fostering loyalty to the Emperor. All Roman collegia including the military ones, had their religious purpose and their official meeting room (schola) was also a sanctuary of their patron deity. It might be a part of the headquarters building, as in the case of the Castra Nova equitum singularium in Rome, where, beneath the Basilica of St John Lateran an Ionic capitel was uncovered with inscription on it dated with AD 197 recording the dedication of the schola curatorum to Minerva Augusta (AE 1935 156 = AE 1968, 8b).
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Kielak, Dorota. "O kulturotwórczej roli muzeum w projekcie Mieczysława Tretera." Idea. Studia nad strukturą i rozwojem pojęć filozoficznych 30, no. 1 (2018): 161–74. http://dx.doi.org/10.15290/idea.2018.30.1.12.
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The article addresses the problem of the culture-creating role of museums designed by Mieczysław Treter in the first years of the Second Polish Republic – an art historian from Lviv, the curator of the Museum of the Lubomirski family name in Lviv and the director of the State Art Collection in Warsaw. The publicist of this author is a testimony of how in the first years after Poland regained independence, attempts were made to develop a new way of thinking about the culture-forming function, status and formula of Polish museums, adequate to the changed realities of life in a free state. It formulated the postulate of treating museums as an institution of Polish cultural policy, an institution supporting the rebuilding of an independent state and its status on the international arena. In the perspective of the perceived role of museum outlets, the way of thinking about culture understood as a constant update of historical values was revealed at the same time. The museum discourse of Treter also revealed the shortcomings of extra-banking thinking about culture, which on the threshold of independence – on the one hand – was to be harnessed in state-building processes, and on the other – to realize values developed in the years of national captivity.
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Cooper, Endymion, Greg Whitbread, and Anne Fuchs. "Building the Australian National Species List." Biodiversity Information Science and Standards 7 (September 1, 2023): e111986. https://doi.org/10.3897/biss.7.111986.
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The Australian National Species List (AuNSL) is a unified, nationally accepted, taxonomy for the native and naturalised biota of Australia. It is derived from a set of taxon-focussed resources including the Australian Plant Name Index and Australian Plant Census, the Australian Faunal Directory, and similar lists of fungi, lichens and bryophytes. These resources share a common infrastructure, contribute to the single national taxonomy (AuNSL), but retain their independent curation practices and online presentation. The AuNSL is now the core national infrastructure providing names and taxonomy for significant biodiversity data infrastructures including the Atlas of Living Australia, the Terrestrial Ecosystem Research Network, the Biodiversity Data Repository, and the Species Profile and Threats Database.As the go-to resource for names and taxonomy for Australia's unique biodiversity, the AuNSL must be constantly updated to reflect taxonomic and nomenclatural change. For some taxonomic groups, the AuNSL is substantially complete, and the incorporation of new taxa and other novelties occurs with little time lag. For other taxonomic groups the data are patchy and updates sporadic. Like similar projects, the AuNSL would benefit from improvements to taxonomic data publishing and sharing. Such improvements have the potential to enable automated, real-time ingestion for new taxonomic and nomenclatural data, allowing curator time to be re-directed to backfilling the historical data from a dispersed and complex literature. Ideally, the AuNSL will be able to benefit from advances in automated approaches to processing the historical data, including via the sharing of standardised representations of such data.Here we outline the AuNSL data model, editor functionality, and describe our approach to sharing our data via existing and emerging standards such as Darwin Core and Taxon Concept Schema (TCS2). We then describe what we, as consumers of taxonomic data from published works, really need from publishers of new, and reprocessed historical data. In brief, we need structured taxonomic data conforming to an adequate standard.
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Alqasab, Mariam, Suzanne M. Embury, and Sandra De F. Mendes Sampaio. "Amplifying Data Curation Efforts to Improve the Quality of Life Science Data." International Journal of Digital Curation 12, no. 1 (2017): 1–12. http://dx.doi.org/10.2218/ijdc.v12i1.495.
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In the era of data science, datasets are shared widely and used for many purposes unforeseen by the original creators of the data. In this context, defects in datasets can have far reaching consequences, spreading from dataset to dataset, and affecting the consumers of data in ways that are hard to predict or quantify. Some form of waste is often the result. For example, scientists using defective data to propose hypotheses for experimentation may waste their limited wet lab resources chasing the wrong experimental targets. Scarce drug trial resources may be used to test drugs that actually have little chance of giving a cure. Because of the potential real world costs, database owners care about providing high quality data. Automated curation tools can be used to an extent to discover and correct some forms of defect. However, in some areas human curation, performed by highly-trained domain experts, is needed to ensure that the data represents our current interpretation of reality accurately. Human curators are expensive, and there is far more curation work to be done than there are curators available to perform it. Tools and techniques are needed to enable the full value to be obtained from the curation effort currently available. In this paper,we explore one possible approach to maximising the value obtained from human curators, by automatically extracting information about data defects and corrections from the work that the curators do. This information is packaged in a source independent form, to allow it to be used by the owners of other databases (for which human curation effort is not available or is insufficient). This amplifies the efforts of the human curators, allowing their work to be applied to other sources, without requiring any additional effort or change in their processes or tool sets. We show that this approach can discover significant numbers of defects, which can also be found in other sources.
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Goodfellow, Paul. "The Distributed Authorship of Art in the Age of AI." Arts 13, no. 5 (2024): 149. http://dx.doi.org/10.3390/arts13050149.
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The distribution of authorship in the age of machine learning or artificial intelligence (AI) suggests a taxonomic system that places art objects along a spectrum in terms of authorship: from pure human creation, which draws directly from the interior world of affect, emotions and ideas, through to co-evolved works created with tools and collective production and finally to works that are largely devoid of human involvement. Human and machine production can be distinguished in terms of motivation, with human production being driven by consciousness and the processing of subjective experience and machinic production being driven by algorithms and the processing of data. However, the expansion of AI entangles the artist in ever more complex webs of production and dissemination, whereby the boundaries between the work of the artist and the work of the networked technologies are increasingly distributed and obscured. From this perspective, AI-generated works are not solely the products of an independent machinic agency but operate in the middle of the spectrum of authorship between human and machine, as they are the consequences of a highly distributed model of production that sit across the algorithms and the underlying information systems and data that support them and the artists who both contribute and extract value. This highly distributed state further transforms the role of the artist from the creator of objects containing aesthetic and conceptual potential to the translator and curator of such objects.
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Posadskov, A. L. "Political Activities of Major-General P. F. Ryabikov in Japan and China, 1920—1922." Nauchnyi dialog 13, no. 1 (2024): 485–506. http://dx.doi.org/10.24224/2227-1295-2024-13-1-485-506.
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The historical-biographical sketch explores several episodes in the life and activities of a prominent Russian military leader, one of the founders of the intelligence service in the pre-revolutionary Russian army, Major General P. F. Ryabikov (1875-1932). Serving in the White Movement as the 2nd Chief of Staff Quartermaster of A. V. Kolchak’s staff, General P. F. Ryabikov acquired competencies as a curator of military propaganda and organizer of periodical publications, which he later successfully utilized as a leader in these areas of military-political activity within the White emigration in Japan and China. From July 1920 to September 1921, P. F. Ryabikov served in the mission of the Commander-in-Chief of all armed forces of the Russian Far Eastern Territory, Ataman G. M. Semenov, in Yokohama, where he was involved in establishing a network of correspondent-informants for this mission in European countries and the United States, receiving reports and messages about the state of these countries, as well as informing representatives of foreign states in line with the ideology of the Semenovites and publishing anti-Bolshevik literature. In October 1921, at the request of Ataman G. M. Semenov, P. F. Ryabikov transferred his activities to Shanghai, where he continued his assigned work with agent-informants and cooperation in the Russian emigrant press. Having no material and organizational support from G. M. Semenov, Ryabikov severed ties with him in February 1922 and embarked on a path of independent political and journalistic activities.
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Nori, Gauri. "The rise of experimental film festivals in India." Studies in South Asian Film & Media 10, no. 1 (2019): 7–22. http://dx.doi.org/10.1386/safm_00002_1.
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Abstract This article will examine the emergence of independent platforms to screen radical and alternative cinema in India by tracing two case-studies: Experimenta, a biannual festival curated by Shai Heredia, and The New Medium section curated by Shaina Anand. While Experimenta has remained largely independent, relying on the support of established artists and cultural organizations, The New Medium section has managed to secure its place within the programme of the MAMI Mumbai Film Festival (MFF). Although their approach may differ, both curators are committed to promoting a culture of moving image experimentation in the country. Drawing on first-hand observations, interviews and scrutinizing festival ephemera, this article aims to identify the curatorial practices and strategies that have established these alternative film festivals both within the international film festival network and the larger film community in the country.
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Sakamoto, Nami, Takaki Oka, Yuki Matsuzawa, et al. "MS2Lipid: A Lipid Subclass Prediction Program Using Machine Learning and Curated Tandem Mass Spectral Data." Metabolites 14, no. 11 (2024): 602. http://dx.doi.org/10.3390/metabo14110602.
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Background: Untargeted lipidomics using collision-induced dissociation-based tandem mass spectrometry (CID-MS/MS) is essential for biological and clinical applications. However, annotation confidence still relies on manual curation by analytical chemists, despite the development of various software tools for automatic spectral processing based on rule-based fragment annotations. Methods: In this study, we present a novel machine learning model, MS2Lipid, for the prediction of known lipid subclasses from MS/MS queries, providing an orthogonal approach to existing lipidomics software programs in determining the lipid subclass of ion features. We designed a new descriptor, MCH (mode of carbon and hydrogen), to increase the specificity of lipid subclass prediction in nominal mass resolution MS data. Results: The model, trained with 6760 and 6862 manually curated MS/MS spectra for the positive and negative ion modes, respectively, classified queries into one or several of 97 lipid subclasses, achieving an accuracy of 97.4% in the test set. The program was further validated using various datasets from different instruments and curators, with the average accuracy exceeding 87.2%. Using an integrated approach with molecular spectral networking, we demonstrated the utility of MS2Lipid by annotating microbiota-derived esterified bile acids, whose abundance was significantly increased in fecal samples of obese patients in a human cohort study. This suggests that the machine learning model provides an independent criterion for lipid subclass classification, enhancing the annotation of lipid metabolites within known lipid classes. Conclusions: MS2Lipid is a highly accurate machine learning model that enhances lipid subclass annotation from MS/MS data and provides an independent criterion.
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Burchak, Liana, and Stanislav Burchak. "EXTRACURRICULAR WORK AS A MEANS OF CREATIVITY DEVELOPMENT OF HIGHER EDUCATION." Academic Notes Series Pedagogical Science 1, no. 191 (2020): 44–47. http://dx.doi.org/10.36550/2415-7988-2020-1-191-44-47.
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The publication states that the modern labor market, professional conditions in the new Ukrainian school, the requirements of inclusive education, STEM-education make serious demands not only on the professional training of future educators, but also on the level of their personal development. extracurricular work ", which was previously associated only with independent preparation of applicants for practical laboratory classes, with the educational work of the curator (tutor), and today it has many significant aspects. In this regard, the article considers the essence of extracurricular work of higher education students at the Pedagogical University, which in our own research we understand as a special form of organization of life of future teachers, which takes place in extracurricular time to ensure meaningful, active and useful recreation. various interests of applicants, deepening and expanding their knowledge, skills and abilities, development of intellectual, creative abilities, self-organization, self-learning, etc. The purposes of extracurricular activities, varieties (individual, group, frontal (mass)), forms of organization and holding (self-governing bodies of applicants, clubs, clubs, studios of interest, agency of social projects, scientific society of applicants, sports clubs, sections, master class are presented , volunteering, creative laboratory), as well as the principles that we consider necessary to follow in extracurricular work with applicants (cooperation, humanization, voluntariness, expediency, interest, practical orientation). In addition, the article presents methods of extracurricular activities of future mathematics teachers used in the implementation of the author's model of the system of development of their creativity (problem-searching methods, project method, methods of collective mental activity, methods of applying the latest information and communication technologies). Therefore, organized in the general system of creativity of future teachers of mathematics extracurricular activities promote the development of intellectual, creative abilities of higher education, has a significant impact on the development of their creative potential, critical, logical and creative thinking, cognitive and creative abilities.
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Vorobeva, D. I. "Ukiyo-e Masters of the Utagawa School: Kuniyoshi and Kunisada. Review of the Second Edition of M. V. Uspensky’s Monograph «Kuniyoshi and His Time»." Yearbook Japan 53 (December 11, 2024): 431–44. https://doi.org/10.55105/2687-1440-2024-53-431-444.
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In early 2024, a Saint Petersburg publishing house and independent publishing partner of the State Hermitage Museum “Arka” published a reedition of the catalogue of the exhibition “Kuniyoshi and His Time. Japanese Prints of the 19th Century. The Utagawa School,” which took place in 1997– 1998. The author of this catalogue is M. V. Uspensky (1953–1997), one of the greatest Russian researchers of Japanese fine art and curator of the museum’s Japanese collection.Following the original, the central figures of the second edition’s narrative are contemporaries and graduates of the Utagawa school, the artists Utagawa Kuniyoshi (1798–1861) and Utagawa Kunisada (1786–1865). Just as in the original, the texts describing their different periods of work are followed by catalogue descriptions. Bat, unlike the first edition, these cataloge descriptions have a larger number of exclusively colored illustrations, some of which are presented for the first time. Moreover, missing sheets of polyptychs from the collections of other museums are also included, which undoubtedly gives a more holistic perception of the works. In total, the catalogue descriptions contain 299 illustrations, 143 of which are by Kuniyoshi and his students, and 156 by Kunisada. As for the texts, they are published without much change, except for the addition of the article “Memorial Portraits and Self-Portraits by Kuniyoshi and His Disciples” and the inclusion of illustrations and images with fragments of kanji texts, seals, signatures, etc. in the narrative.e narrative. In general, throughout the book, Kuniyoshi and his mushae, to whom twothirds of the book is devoted, are contrasted with Kunisada and his yakushae and bijinga. This allows the author to paint a rather comprehensive picture of the state of ukiyo-e in the first half of the 19th century.
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Zyryanov, Bogdan. "Strategies of Personal Account Promotion on Instagram." Theoretical and Practical Issues of Journalism 7, no. 3 (2018): 539–56. http://dx.doi.org/10.17150/2308-6203.2018.7(3).539-556.
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In the article, an Instagram page is considered as part of mass communications which brings money and other benefits to its holder. Deep interviews with Russian Instagram bloggers confirmed our hypothesis: each account represents a separate medium with its own information and advertising policy. The article explores such parameters as content planning, interaction with subscribers, advertisers and other bloggers, as well as ROI assessment via the Statistics tool. Promotion in Instagram is achieved through the observance of aesthetic norms and thematic and stylistic unity. In-depth interviews with domestic bloggers confirmed our hypothesis: each separate account is actually a mini-media with its information and advertising policies. The author of the blog thus functions as a curator, or "issuing editor": there is a careful selection of photos that correspond to the concept, themes, and most importantly-the style of the account. There is an important difference between a business SM manager and an independent Instagram blogger: while the former makes content plans for approval with the client, the latter does not rely on long-term planning; instead, he/she procures posts the night before or creates them just before publication. This achieves the effect of sincerity, the sense of "being in the moment", which subscribers appreciate. Graphic content plays the primary role in the promotion of the profile. Additional coverage is provided by hashtags, interaction with subscribers, participation in the #sfs flashmob and symmetric content exchange between bloggers of the same level. It is possible to measure ROI via independent audit by means of the "Stats" tool built into Instagram. This allows to better understand the audience and adjust communication to expand influence. Cooperation with brands starts on average from 10K subscribers. The blogger presents his/her audience and proposes a joint project. The success of advertising placement largely depends on how well the ad post corresponds with the established aesthetics of the profile. Affiliate publications are placed in the main profile, as well as in Stories-a special section with photos and 15-second videos, which are deleted 24 hours after the publication. Reach of such publications is lower, but they are better perceived by subscribers, and placement in Stories costs advertisers cheaper than in the grid. The greatest coverage comes from getting a post featured in the "Trends" section; however, this is regulated by proprietary algorithms within Instagram, and is not possible to predict.
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SNEDKOVA, E. V., and N. V. BUGAEVA. "AN ARISTOCRAT IN THE “RESTORED REPUBLIC”: POLITICAL CAREER OF MARC VALERIUS MESSALLA CORVINUS." LOMONOSOV HISTORY JOURNAL 64, no. 2023, №4 (2024): 15–38. http://dx.doi.org/10.55959/msu0130-0083-8-2023-64-4-15-38.
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Using the example of the political activity of Marcus Valerius Messalla Corvinus, the article examines one of the variants of the relationship between the old republican nobility and Augustus during his principate. Messalla Corvinus was a representative of the oldest Roman aristocratic family of Valerii, one of the leaders of republicans in the epoch of civil wars and, later, a prominent fi gure of political and cultural life of Rome. For the fi rst time, the authors attempt to contextualize his career in a diffi calt era full of change. Th e study demonstrates one of the models of how the relationship between Augustus and the republican aristocracy was structured. It attempts, on the one hand, to understand the tactics of the princeps, to determine the ratio of pressure and encouragement to cooperation, and, on the other hand, to establish the limitations of the republican nobility and their independence. Th e article evaluates Messalla’s actions in the provinces, his appointment as a prefect of the city (praefectus urbi) and subsequent refusal to fulfi l this position, Messalla’s performance of the offi ce of a water commissioner (curator aquarum), his memoirs, and his contribution to Augustus’ “building program”. Domestic and foreign researchers have oft en characterized Messalla Corvinus’ activities as a “bridge” between two epochs in the history of the Roman state. However, in the opinion of the authors, Messalla appears to be a more independent and extraordinary personality, who was capable of not only having his own opinion, but also making his own choices, which sometimes diverged from the policy of the princeps. Noble origin, outstanding talents, ambitious aspirations and at the same time moderate claims together with skillful political calculation could provide Messalla Corvinus not only with the highest social and political position, but also with the independence in the “restored republic”, when the course of events ruined some and elevated others.
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Lopezosa, Carlos, Javier Guallar, and Pere Franch. "Independent newsletters and content curation: The editors' view." Tripodos, no. 56 (December 19, 2024): 02. https://doi.org/10.51698/tripodos.2024.56.02.
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This study presents a qualitative analysis of content curation in independent newsletters, that is, those not affiliated with mainstream media, with the aim of understanding their current and future roles in the media landscape. Fifteen semi-structured interviews were conducted with editors of independent newsletters, which were subsequently analysed using the Atlas.ti tool. This methodological approach allowed for the identification of convergences and divergences in their responses. The results reveal that editors draw inspiration from online content sources, organizational tools, and curation methods, directly influencing the structure and aesthetics of their newsletters. High convergence is noted in key strategic aspects, such as involvement in niche communities, integration of original content, exploration of diverse monetization models, inclusion of multimedia elements, and continuous commitment to improving their newsletters. The findings affirm the significant current and future roles of newsletters and content curation in the media landscape.
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Karachencev, Ivan S. "FORMATION OF PALEONTOLOGICAL COLLECTIONS OF THE IMPERIAL TOMSK UNIVERSITY (1880–1916)." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 55 (2024): 271–82. https://doi.org/10.17223/22220836/55/22.
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The purpose of this article is to reconstruct the process of the formation and use of paleontological collections at Imperial Tomsk University, from the moment when the first specimens were received until 1917. The problem is solved by analyzing laws on universities, archival documents, reports on the state of universities, and journals of university councils. It is known that Tomsk State University was founded in 1888, consisting only of a medical faculty, but along with medical departments, departments of physics, chemistry, mineralogy, botany and zoology were also opened, under which museums and research laboratories were created. A mineralogical museum was headed by Professor A. Zaitsev and the curator was appointed Candidate of Physics and Mathematics A. Derzhavin. Paleontological specimens for the Tomsk University museums were first received in 1890, most often as private donations. Before the opening of the university, a whole range of scientifically systematized collections were donated, equipped with lists and catalogues. Among these collections, one can mention the collections of P. Ivanov, the mining engineer, Duke Leuchtenberg and Professor G. Trautschold. After the university opened, private donations continued, but another way of replenishing the paleontological collection was through scientific expeditions by university staff, from which they transported various fossils and mammoth bones. In addition to the mineralogical museum, some of the paleontology collections were also housed in the zoological museum. Fossils were presented in showcases whereas the bones of mammoths and prehistoric rhinoceros were exhibited on special stands and shelves. Work began from the very first day on the systematisation of collections in the museum’s mineralogy office and the inventory books of the museum were compiled. The systematization and research of collections made it possible to include fossils studies in the university curriculum. In summary, it should be noted that Imperial Tomsk University has the richest paleontological collection, which was formed through donations from university staff and other people. Proper storage and organization of fossils allow them to be used for educational and research purposes and they will determine in the future the creation of an independent paleontological museum at Tomsk State University.
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Vivancos, Valérie. "Sound Arts: An Insider’s View on Independent Experimental Music Publishing." Journal of Visual Culture 10, no. 2 (2011): 232–37. http://dx.doi.org/10.1177/1470412911402895.
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In this article, the author examines the history of independent art editions, the economy of multiples and an exposure to the current experimental music and conceptual art scenes that led to the creation of vibrö/vibrofiles.com as an audio and visual chronicle of contemporary sound creation. In the second part of the article, she exposes the practicalities of such an endeavour when faced with a ‘no/parallel-economy’, as well as the project’s active relationship with contemporary artists, critical writers, curators and institutions. A brief comparison with similar ventures (labels, publishing companies, individual curators, event organizers, artists’ collectives, etc.) helps to locate this experience in the current topology of a creative domain recently labelled as ‘sound arts’. The author concludes by trying to anticipate the possible development and relevance of such a project in a wider perspective.