To see the other types of publications on this topic, follow the link: Noyes Museum of Art.
Journal articles on the topic 'Noyes Museum of Art'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 journal articles for your research on the topic 'Noyes Museum of Art.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.
1
Burganova, Maria A. "The Future Belongs to Those Who Can Make it a Reality." Scientific and analytical journal Burganov House. The space of culture 18, no. 6 (December 10, 2022): 64–72. http://dx.doi.org/10.36340/2071-6818-2022-18-6-64-72.
Full textAbstract:
The article is devoted to the specifics of modern museums, positioning themselves as museums of the future. The author analyses this new format in the world of museums. The Museum of the Future in Dubai, created by Sean Killa with the participation of Killa Design, Buro Happold and Mattar ben Lahej, serves as an example. The author notes a particular interest in the construction of museums around the world. This arises from the unique purpose of such objects - their ability to become a symbol of the city and, in a certain sense, create its positive image in the public mind. Such prominent architects as Zaha Hadid, Peter Schweger, Aldo Rossi, Hans Hollein, Axel Schultes, Shigeru Ban and others paid attention to the construction of museums. Considering several relatively new museum buildings, the author identifies some general trends, among which, first of all, are the expressiveness of architectural images and a change in the museum concept. As a rule, there are no works of art in the museum of the future. The author believes that this is perhaps the most shocking moment experienced by those visitors who were hoping for a meeting with the classics or contemporary art. The traditional image of the temple of the muses and the national treasury has been replaced by a new museum, in which the priority is given to meeting with the event. Now the museum is a place of educational programs, an opportunity to test one’s creative abilities. The modern museum, which has chosen the position of interpreting the future, is a kind of intellectual, communicative, public centre with leisure services.
2
Embrick, David G., Simón Weffer, and Silvia Dómínguez. "White sanctuaries: race and place in art museums." International Journal of Sociology and Social Policy 39, no. 11/12 (October 14, 2019): 995–1009. http://dx.doi.org/10.1108/ijssp-11-2018-0186.
Full textAbstract:
Purpose This paper examines the Art Institute of Chicago – a nationally recognized museum – as a white sanctuary, i.e., a white institutional space within a racialized social system that serves to reassure whites of their dominant position in society. The purpose of this paper is to highlight how museums create and maintain white spaces within the greater context of being an institution for the general public. Design/methodology/approach The empirical analysis of this study is based on collaborative ethnographic data collected over a three-year period of time conducted by the first two authors, and consists of hundreds of photos and hundreds of hours of participant observations and field notes. The data are analyzed using descriptive methods and content analyses. Findings The findings highlight three specific racial mechanisms that speak to how white spaces are created, recreated and maintained within nationally and internationally elite museums: spatiality, the policing of space, and the management of access. Research limitations/implications Sociological research on how white spaces are maintained in racialized organizations is limited. This paper extends to museums’ institutional role in maintaining white supremacy, as white sanctuaries. Originality/value This paper adds to the existing literature on race, place and space by highlighting three specific racial mechanisms in museum institutions that help to maintain white supremacy, white normality(ies), and serve to facilitate a reassurance to whites’ anxieties, fears and fragilities about their group position in society – that which helps to preserve their psychological wages of whiteness in safe white spaces.
3
Kugusheva, Alexandra Yu. "The lost prewar collection of the Simferopol Art Gallery (1937–1941)." Issues of Museology 12, no. 1 (2021): 28–34. http://dx.doi.org/10.21638/spbu27.2021.103.
Full textAbstract:
The article highlights the history of the prewar collection of the Simferopol Art Museum in 1937–1941 and notes the most important works of art lost. The events that accompanied the loss of the collection during the Great Patriotic War were repeatedly covered by the museum in publications. According to official data, during the evacuation in October 1941, the boxes with the exhibits and the museum archive were transported to Kerch where they were burnt during a fire in the port caused by the bombing of enemy aircraft. For many years, the museum’s employees Galina I. Fedotova, Natalya D. Dyachenko and Natalya F. Grishchenko studied documents in the Simferopol, Moscow and St. Petersburg archives to restore the list of exhibits from the prewar collection. The result of their work was an extensive “Catalog of the values of the Simferopol Art Museum, lost during the Second World War” (2002), which is presented in the documentary archive of the museum. The main sections of the permanent exhibition of the prewar collection of the Simferopol Art Gallery are marked in the catalog. This information is of great importance for Russian museum science: many items transferred in 1937–1941 to the Simferopol collection were previously included in the funds of the State Russian Museum, the Tretyakov Gallery, the Hermitage and other major museum collections.
4
Soloshenko, V. "Looting of Cultural Property in Europe for the Fuhrer – Museum in Linz." Problems of World History, no. 13 (March 18, 2021): 190–202. http://dx.doi.org/10.46869/2707-6776-2021-13-9.
Full textAbstract:
The article analyzes the activities of the Nazi “Special Mission Linz”, its organization and preparations for the opening of the Fuhrer-Museum in Linz. By A. Hitler’s design, Berlin was supposed to become a kind of Rome, and Linz – to become the European capital of world art. Although this museum was never established, its creation project and precious collections, most of which were seized from Jewish families, deserve a great deal of attention, and the connected with it secrets continue to be a concern of mankind. The crucial role in the selection and formation of the creating museum's expositions was played by its leaders. They took charge of future museum and selected for it the most precious items of the looted collections of Europe, coordinating the process of museum’s filling with Hitler.
The author finds out that the Fuhrer-Museum in Linz expositions consisted mainly of art collections of Jews. The main criterion for the selection of valuable pieces of art for the museum was its belonging to the European high art.
The article analyzes the components of the “mission’s” activities, outlines the routes of the artworks, which got into the museum collections in different ways. Besides, significant attention is paid in the article to the key figures: architects whose projects were approved by the Fuhrer, leaders of the museum in Linz – art historians and other executors who were directly involved in organizing and conducting of a large-scale looting of cultural property in Europe. The author notes that the purpose of the “Special Mission Linz”, was, inter alia, to find artworks created by masters of “Aryan” birth. The study emphasizes that such kind of museum establishment was an attempt to prove the greatness and steadfastness of the German Reich. It is noted in the article that Hitler was planning to build cultural centers in Königsberg and Drontheim (Norway) during the war. The Fuhrer wanted to establish a museum with cultural property from Eastern Europe in Königsberg, and the artworks of German authors were supposed to decorate the exposition of the newly created museum in Drontheim – the northernmost center of the future Great Empire. The fact that the Fuhrer-Museum in Linz was never built does not give any grounds to reject the facts of systematic looting and confiscation of cultural property that were conducting during many years of Nazi rule.
5
Rocheleau, Caroline M., and John H. Taylor. "Redating the Coffins of the North Carolina Museum of Art." Journal of Egyptian Archaeology 103, no. 2 (December 2017): 203–21. http://dx.doi.org/10.1177/0307513317741416.
Full textAbstract:
The two little-known coffins in the Egyptian collection of the North Carolina Museum of Art, Raleigh, USA, have recently been the subjects of scholarly research. The present article offers a detailed description of the decorative scheme of the coffins and the subsequent re-dating and provenance attribution based on iconography and design. The article also includes a few notes on each of the deceased’s names and titles, an overview of the inscriptions, and a brief examination of the materials and construction methods.
6
Cymbala, Amy. "Editorial Notes: Exhibition Complex: Displaying People, Identity, and Culture." Contemporaneity: Historical Presence in Visual Culture 3 (June 5, 2014): 96–97. http://dx.doi.org/10.5195/contemp.2014.116.
Full textAbstract:
Editorial Notes on section relating to submissions from the symposium Exhibition Complex: Displaying People, Identity, and Culture held October 18-20, 2012 at the Carnegie Museum of Art, Pittsburgh, Pennsylvania.
7
Igumnova, E. V. "Роджер Фрай и Дж.П. Морган: из истории собрания европейской живописи в музее Метрополитен." Iskusstvo Evrazii [The Art of Eurasia], no. 4(19) (December 30, 2020): 134–45. http://dx.doi.org/10.46748/arteuras.2020.04.011.
Full textAbstract:
The article examines the contribution of the British art historian and critic Roger Fry to the study of Italian painting of the Renaissance, his role in the noble community of that time, work on the search for works for large museums (special attention is paid to his relations with the Metropolitan Museum and its patron J.P. Morgan) and attribution problems. The study notes the evolution of Fry's views, going from interests in Italian art to the works of modern masters and the creation of a theory of “significant form”. В статье рассматривается вклад британского историка искусства и критика Роджера Фрая в изучение итальянской живописи эпохи Возрождения, его роль в знаточеском сообществе того времени, работа по поиску произведений для крупных музеев (особое внимание уделено его отношениям с нью-йоркским музеем Метрополитен и коллекционером Дж.П. Морганом) и проблемам атрибуции. В исследовании отмечена эволюция взглядов Фрая, идущая от интересов к итальянскому искусству к работам современных мастеров и созданию теории «значимой формы».
8
Anderson, Maxwell L. "Notes on the Mission of the Whitney Museum of American Art." American Art 13, no. 2 (July 1999): 84–86. http://dx.doi.org/10.1086/424343.
Full text
9
Bessonova, Albina, and Vladimir Viktorovich. "Searching for the Dostoevsky House (Notes on the Failed Sensation)." Неизвестный Достоевский 9, no. 1 (March 2022): 20–37. http://dx.doi.org/10.15393/j10.art.2022.5961.
Full textAbstract:
The article presents the facts that contradict A. S. Syrovatko’s statement, which claims that the current territory of the Museum is not related to the Dostoevsky estate (The Unknown Dostoevsky. 2021. No. 4). When studied objectively, the objects found during the excavations do not contradict the presence of “traces of Dostoevsky.” The so-called memorial period of estate ownership by the writer’s parents, which lasted only seven years, was unable to leave too many traces, and the objects found by archaeologists in the 18th — early 19th centuries could have been used by the Dostoevsky family up to 1830s. Additional arguments are introduced to resolve the dispute: the result of the dendrological examination and written sources (previously known and recently discovered), namely, boundary plans, memoirs and diaries of A. M. Dostoevsky, family correspondence. The proposed comprehensive approach and a comparison of all the currently available sources, allows us to attribute the location of the Dostoevsky manor house to the preserved wing where the museum was recently opened. In connection with the problem of identification of the museum house, the hypotheses of other authors are considered (T. N. Dementieva and L. A. Tarasova, L. A. Voronkina) about the cardinal changes that took place in the architecture of the manor Darovoe at different times. Sources indicate, on the contrary, a certain continuity in the development of the estate under all three of its owners: the Khotyaintsev, Dostoevsky and Ivanov families. The key factor is the location of two “mounds” under the lime trees as “green canteens” tied to the manor house, and on the other side, the border between the landowner’s estate and peasant homesteads remained unchanged (as confirmed by archival documents and the boundary wall and moat preserved). Conservative localization is characteristic of the life in a noble estate, once and forever inscribed in the surrounding landscape. Taking into account the experience of their predecessors, the Dostoevskys and Ivanovs did not make radical changes to the space inhabited before them, and their house did not change its location.
10
Ozola, Silvija. "ALEXANDER STREKAVIN’S (1889–1971) DRAWINGS OF MITAU – EVIDENCE FOR THE 19TH– EARLY 20TH-CENTURY INVENTIONS." SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 4 (May 28, 2021): 653–79. http://dx.doi.org/10.17770/sie2021vol4.6203.
Full textAbstract:
Mitau, the former capital of the Duchy of Courland and Semigallia, became the Courland Governorate centre with the Governor’s residence in a palace on an island formed by the Driksa, the branch of the Lielupe River, and great changes have taken place in this city. Artist Alexander Aleksandrovich Strekavin, who born in Mitau on 17 September 1889, studied art history, read books, investigated documents in the museum, listened to people’s stories and completed materials about events and the development of his native city. His drawings introduce with the new iron bridge for traffic and technical innovations – bicycles, the first car in the Baltics and the first phonograph in Mitau, clothes of citizens during the 19th century and at the beginning 20th century. Since the 1950s, six notebooks in Latvian with memoirs recalling by Aleksander Strekavin and an illustrative appendix – a collection of his drawings “The Atlas of Notes on Ancient Mitau” are in the funds of Jelgava History and Art Museum of Ģederts Eliass. Research object: drawings of artist Alexander Strekavin. Research goal: analysis of changes in Mitau during the 19th century and at the beginning 20th century. Research problem: Strekavin’s drawings stored in the funds of Jelgava History and Art Museum have not been studied. Research novelty: analysis of information on technical innovations included in “The Atlas of Notes on Ancient Mitau”. Research methods: studies of published literature, cartographic materials and archive documents.
11
Jérémy, Richard, Bertet Karell, and Faucher Cyril. "Ble Based Indoor Positioning System and Minimal Zone Searching Algorithm (MZS) Applied to Visitor Trajectories within a Museum." Applied Sciences 11, no. 13 (June 30, 2021): 6107. http://dx.doi.org/10.3390/app11136107.
Full textAbstract:
Museums are perfect experimentation grounds for indoor positioning technologies. Indeed, museum managers are always pleased to hold these kinds of events where it offers the opportunity to the public to be a part of such experimentation and allowing us at the same time to popularize our research with them. In this paper, we describe an experiment that held within the museum of natural history of La Rochelle with a class of high school volunteers. We will explain our systems that has been built to work in this specific case, and among other things formalize our algorithm for indoor localization that has not had an equivalent in the state of the art. The minimal zone searching algorithm (MZS) can compute in real time the position of a visitor, shaped as a zone with an average surface of 3 m2 when resources are limited and when the placement of nodes must respect the constraints imposed by the room’s layout. This method offered good results with data collected during the experimentation, such as a meaningful representation of the position of a visitor and most importantly a stable execution during the whole experience even when the subject was in tight spaces.
12
Бороноева, Т. А. "The role of museums in the modern artistic process of Buryatia." Iskusstvo Evrazii [The Art of Eurasia], no. 4(23) (December 29, 2021): 32–41. http://dx.doi.org/10.46748/arteuras.2021.04.003.
Full textAbstract:
Автор рассматривает роль государственных музеев и центров современного искусства в развитии изобразительного искусства Бурятии. В частности, показано, как решаются проблемы, порожденные географической удаленностью республики от культурных столиц России и сложившимся в русле академизма стереотипом «национального своеобразия». В настоящее время в Республике Бурятия достаточно заметны признаки активного развития современного искусства, поддерживаются молодые таланты. При этом автор отмечает, что ведущую роль в сохранении, продвижении произведений изобразительного искусства и художников играют именно государственные музеи. Именно там работы художников становятся музейными предметами — культурными ценностями, имеющими значение для истории и культуры государства и обладающими особыми признаками, которые делают необходимыми для общества их сохранение, изучение и публичное представление. The author examines the role of state museums and centers of contemporary art in the development of the fine arts of Buryatia. In this development process, it is important to solve the problems generated by the geographic remoteness of the republic from the cultural capitals of Russia and the stereotype of “national identity” that has developed in line with academism. At present, signs of active development of contemporary art are quite noticeable in the republic, young talents are supported. At the same time, the author notes that it is the state museums that play the leading role in the preservation and promotion of works of fine art and artists. It is in museums that the works of artists become museum objects — cultural values that are significant for the history and culture of the state and possess special characteristics that make it necessary for society to preserve, study and publicize them.
13
Zeller, Christoph. "Moment and Permanence in Wolf Vostell’s Performance Art." Poetica 51, no. 1-2 (September 22, 2020): 170–94. http://dx.doi.org/10.30965/25890530-05101005.
Full textAbstract:
Abstract Scholars hold that performance art wants to seize the moment, cannot be preserved or put on display, and necessarily remains outside the cultural archive. In contrast, this essay stresses the medial and material aspect of performance art and highlights the temporal opposition of presence and permanence as a feature of written documents. The linguistic origins of performance art and its temporal nature are a key to understanding Wolf Vostell’s artworks. His relationship to poetry and language has only recently received attention. Vostell’s drafts, notes, invitations, manifestos, score cards, correspondences, and books form the basis of a vast collection that create permanence beyond the fleetingness of the happening. Central to the following investigation is the temporal flux of Vostell’s concept of “dé-coll/age,” the way in which language informs his aesthetics, and the role that the museum plays in his artistic considerations.
14
Arvanitis, Kostas. "The ‘Manchester Together Archive’: researching and developing a museum practice of spontaneous memorials." Museum and Society 17, no. 3 (November 29, 2019): 510–32. http://dx.doi.org/10.29311/mas.v17i3.3203.
Full textAbstract:
On 22 May 2017, a homemade bomb was detonated in the foyer of Manchester Arena as people were leaving the Ariana Grande concert. Twenty-three people (including the bomber) were killed and over 800 were injured. Within hours of the attack, people of Manchester began to leave flowers, candles, soft toys, balloons, written notes and other items in St Ann’s Square and other locations around the city. In June 2017, the Manchester City Council tasked Manchester Art Gallery to oversee the removal and collection of material objects from St Ann’s Square. Manchester Art Gallery ultimately stored more than 10,000 objects to form what is now known as the ‘Manchester Together Archive’ of the public response to the Manchester Arena attack. An associated research project, co-designed by the author with Manchester Art Gallery staff, aimed to document creatively the evolving thinking, interactions with different stakeholders and decision-making about the archive, as well as the impact of those decisions on institutional life, policy and practice.After reviewing the literature on museum practices around spontaneous memorials, this paper goes on to critically reflect on how cultural professionals in Manchester addressed the gap in their experience with spontaneous memorials by adapting or diverting from standard collecting processes. It aims to demonstrate that this was a creative process of negotiating the interaction between their professional ethics and a strong sense of civic and social responsibility, which led to a new museum practice altogether. The paper argues that this museum practice was also the result of accepting and inviting the migration of the memorial’s characteristics (as a public, spontaneous and mass participation heritage performance) into the resulting Manchester Together Archive and the collecting process itself. This meant that the archive was not a ‘collection’ of the spontaneous memorial, but another form and manifestation of the memorial itself, which offered a perspective of cultural remembrance that is driven by a focus on process, rather than permanence. The paper concludes with some brief thoughts on how this new museum practice around the Manchester Together Archive is impacting already on Manchester Art Gallery’s broader policy and practice and its process of rethinking its spaces, activity and engagement with its publics.
15
Guze, Justyna. "CATALOGUES OF ENGRAVINGS – ITALIAN ONES FROM THE NATIONAL MUSEUM IN WROCŁAW AND FRENCH ONES FROM THE NATIONAL MUSEUM IN SZCZECIN." Muzealnictwo 59 (June 26, 2018): 93–97. http://dx.doi.org/10.5604/01.3001.0012.1437.
Full textAbstract:
At the turn of 2017 and 2018, with the date 2017 printed in the colophon, two catalogues of engravings’ collections were published: old Italian prints from the collection of the National Museum in Wrocław, and French prints from the National Museum in Szczecin. The collection of Wrocław contains groups of artworks by the best Italian engravers from the Renaissance to the 18th century, and a small representation of the 19th century. An introduction to the catalogue gives the history, the scope and the contents of the collection as well as the brief history of the engraving art on the Apennine Peninsula. The catalogue itself is glossed, giving references to the latest research, preceded by biographical notes of encyclopaedic character. This well illustrated and thoroughly edited catalogue, organised in a user-friendly alphabetical order, is a compendium useful not only for art historians. The catalogue published by the National Museum in Szczecin has the same title as the exhibition of French engravings from its collection. It is a combination of both the exhibition and the collection catalogue. Hence its specific layout corresponding rather with the narration of an exhibition than a catalogue’s criteria. Both the encyclopaedic profiles of artists and the following glosses are accompanied by selected bibliography; its full version together with extensive academic references can be found at the end of the volume. The collection of over 600 prints has been divided not in alphabetical or chronological order but in accordance with an academic hierarchy of subjects. Engravings for art reproduction purposes prevail in Szczecin collection although original works of famous artists are also included. The publication of both catalogues allows us to learn more about the engravings in Polish public collections, i.e. the ones of national museum in Szczecin and Wrocław. It also gives the history of Polish collections after 1945, affected by the previous losses of the World War II. Undoubtedly, the sign of the times and the presence of Poland in the united Europe is the publication of the Italian engravings’ collection from Wrocław, which was kept before in the Academy of Arts in Berlin. Great care has been taken to prepare both catalogues in terms of their typography, although the illustrations in the French engravings’ catalogue would be of more benefit if were somewhat larger.
16
Romanova, E. O. "Italian Landscape in the Art of Konstantin Gorbatov." Art & Culture Studies, no. 2 (June 2022): 194–217. http://dx.doi.org/10.51678/2226-0072-2022-2-194-217.
Full textAbstract:
Based on the first widely presented in Russia exhibition of works by the Russian emigrant artist Konstantin Ivanovich Gorbatov (1876–1945) organized in 2021 by the State Museum of History and Art ‘New Jerusalem’ with the participation of museum and private collections, the author analyzes a part of the master’s pictorial heritage dedicated to Italy. A graduate of the Imperial Academy of Arts and a follower of the Russian impressionist tradition, Gorbatov first came to Italy during his retirement trip in 1912. There he was able to feel the power of color and the influence of the light and aerial environment on the transformation of color, and forever remained faithful to the Italian landscape. Having left their homeland in 1922, Gorbatov and his wife settled in Berlin but made numerous journeys to Italy, where he always worked a lot. While staying in Capri, he would travel along the Italian coast, creating his chronicle of charming towns scattered on the coastal cliffs and poetic landscapes inspired by the emerald color of the sea and the bright sun. The subject of the research is the paintings by K.I. Gorbatov dedicated to Italy and his Notes on Art and Life that provide comments on the peculiarities of the master’s perception of nature, vision of color and balance of colors, and his work with color. The research aims to study K.I. Gorbatov’s works in the context of life and work of the Russian artistic emigration in Europe in the second quarter of the 20th century through the analysis of his Italian landscapes, and to analyze the master’s creative method using archival materials. This will contribute to raising understanding and awareness of his art among Russian viewers who were deprived of the opportunity to familiarize themselves with the artist’s work for a long time. The development of the declared research topic involves the application of the interdisciplinary approach, archival, empirical, and iconographic methods, and comparative, artistic and stylistic analyses.
17
Moos, Stanislaus von. "Art, Spectacle, and Permanence. Notes on Le Corbusier and the Synthesis of the Arts." Art and Architecture, no. 42 (2010): 90–99. http://dx.doi.org/10.52200/42.a.9qdjipbo.
Full textAbstract:
In the light of contemporary architecture, last century’s emblematic ‘artist-architect’ may appear at once disquietingly prophetic and almost surrealistically antiquarian. This essay explores the hypothesis that Le Corbusier’s ultimate passion was the museum, and his ultimate dream that of being assigned a key place in the history of art. Though this may sound simple enough - perhaps trivial - it may help re-organizing a very well-known (but also partly unknown) body of knowledge on the master and to understand better the paradox of the continuing presence in current architectural discussions.
18
Markkula, Merja. "The Way I See the Stars: Fibre Art Inspired by Astrobiology." Culture and Cosmos 16, no. 1 and 2 (October 2012): 413–20. http://dx.doi.org/10.46472/cc.01216.0267.
Full textAbstract:
Throughout my life I have studied edges, borderlines, signs determining inside and outside, insider and outsider, seeking to understand the differences – or similarities – between scientific and artistic ways of appreciating life. In 2005 I had a special opportunity to follow the lectures of the Vatican summer school of astrobiology, and expand my understanding of the origin and limiting factors of life. Inspired by this, I made the strongly hairy, three-dimensional, black felt Dark Matter and Extraterrestrial art works, expressing something between known and foreign, visible and hidden, combining male and female and general mammalian features. These works were exhibited in Gerald R. Ford Museum, Grand Rapids, Michigan, USA, 2006. I continued reading my notes about the inspiring lectures by Lunine et al., resulting in making a series of fibre artworks called Lecture Notes and, finally, a series of twenty works about the origin and limitations of life. This exhibition, The way I see the Stars, felt inspired by astrobiology and has been shown in Castel Gandolfo, Rome, Italy and in Kaarina, Finland. All the works have been made using fibre techniques.
19
Cocciolo, Anthony. "Challenges to born-digital institutional archiving: the case of a New York art museum." Records Management Journal 24, no. 3 (November 11, 2014): 238–50. http://dx.doi.org/10.1108/rmj-04-2014-0023.
Full textAbstract:
Purpose – The purpose of this paper is to highlight the challenges to born-digital institutional archiving using a New York Archive Museum (NYAM) as a case. Design/methodology/approach – The digital record-keeping practices at NYAM were studied using three data sources: focus groups with staff, totaling 81 individuals, or approximately one-third of all staff; analysis of network file storage; and analysis of digital records in archival storage, or specifically removable media in acid-free archive boxes. Findings – This case study indicates that the greatest challenges to born-digital institutional archiving are not necessarily technological but social and cultural. Or rather, the challenge is getting individuals to transfer material to a digital archive so that it can undergo the technological transformations needed to ensure its long-term availability. However, transfer is impeded by a variety of factors which can be addressed through education, infrastructure development and proactive appraisal for permanent retention. Practical implications – This paper highlights the challenges to born-digital institutional archiving, yet notes that these challenges can be overcome by following a multi-pronged approach. Originality/Value – This paper outlines the challenges to born-digital institutional archiving, which is not often discussed in the literature outside of the context of higher education.
20
Giżycki, Marcin. "Król(owa) kampu." Kwartalnik Filmowy, no. 107 (December 31, 2019): 237–41. http://dx.doi.org/10.36744/kf.178.
Full textAbstract:
Tekst jest spojrzeniem na fenomen grupy Queen przez pryzmat filmu Bohemian Rhapsody oraz wystawy Notes on Fashion w Metropolitan Museum w Nowym Jorku, inspirowanej sławnym tekstem Susan Sontag Notes on Camp z 1964 r. Autor dowodzi, że film Bryana Singera, chociaż dość powierzchowny, odnosi sukces w jednym aspekcie: dobrze ukazuje dochodzenie wokalisty zespołu Freddiego Mercury’ego i reszty grupy Queen do show-biznesowego kampu. Giżycki stawia przy tym tezę, że Mercury, który jeszcze jako Farrokh Bulsara studiował w Ealing Art College w Londynie w latach 60., musiał znać tekst Sontag i kształtował swoją strategię wizerunkową według jego tez.
21
Lisnani, Lisnani, Zulkardi Zulkardi, Ratu Ilma Indra Putri, and Somakim Somakim. "Etnomatematika: Pengenalan Bangun Datar Melalui Konteks Museum Negeri Sumatera Selatan Balaputera Dewa." Mosharafa: Jurnal Pendidikan Matematika 9, no. 3 (October 1, 2020): 359–70. http://dx.doi.org/10.31980/mosharafa.v9i3.754.
Full textAbstract:
AbstrakEtnomatematika merupakan integrasi antara kebudayaan dan matematika sebagai salah satu usaha memperkenalkan budaya dan matematika secara bersamaan. Salah satu bentuk etnomatematika misalnya bangun bersejarah di kota Palembang yaitu Museum Negeri Sumatera Selatan Balaputera Dewa. Tujuan penelitian ini yaitu mengeksplorasi hubungan antara matematika dan budaya dalam seni arsitektur pada Museum Negeri Sumatera Selatan Balaputera Dewa dan mengenalkan konsep bangun datar melalui konteks Museum Negeri Sumatera Selatan Balaputera Dewa. Penelitian ini tergolong deskriptif kualitatif dengan studi pustaka. Subjek penelitian adalah salah seorang petugas Museum. Data dikumpulkan menggunakan prinsip etnografi melalui observasi, wawancara, dokumentasi, dan catatan lapangan. Teknik analisis data berupa hasil wawancara dan dokumentasi yang dikaitkan dengan kebudayaan dan matematika. Hasil penelitian ini yaitu eksplorasi hubungan antara matematika dan budaya, terutama dalam seni arsitektur pada Museum Negeri Sumatera Selatan Balaputera Dewa dan adanya konsep matematika yaitu bangun datar dari eksplorasi Museum Negeri Sumatera Selatan Balaputera Dewa. Ethnomathematics: Introduction of Plane Figure Through the Context of the South Sumatra State Museum Balaputera DewaAbstractEthnomathematics is an integration between culture and mathematics as an effort to introduce culture and mathematics simultaneously. One form of ethnomathematics, for example, is a historic building in the city of Palembang, namely the State Museum of South Sumatra Balaputera Dewa. The purpose of this research is to explore the relationship between mathematics and culture in architectural arts at the State Museum of South Sumatra Balaputera Dewa and introducing the concept of flat wakes through the context of the State Museum of South Sumatra Balaputera Dewa. This research is classified as descriptive qualitative with literature study. The research subject is one of the museum officers. Data collected using ethnographic principles through observation, interviews, documentation, and field notes. The data analysis technique was in the form of interviews and documentation related to culture and mathematics. The results of this study are the exploration of the relationship between mathematics and culture, especially in the art of architecture at the State Museum of South Sumatra Balaputera Dewa and the existence of a mathematical concept, namely the flat shape of the exploration of the Museum Negeri South Sumatra Balaputera Dewa.
22
Shamraeva, Elena Yu. "The Mentality of a Museum on a Library Site: Book Exhibitions and the Representative Function." Observatory of Culture 19, no. 3 (July 5, 2022): 236–46. http://dx.doi.org/10.25281/2072-3156-2022-19-3-236-246.
Full textAbstract:
The development of digital culture has made significant changes in the field of culture and information, in particular in the field of library activities. Digitization of library collections forms a digital resource of knowledge, which requires reflection and identification of its potential, strengths and weaknesses. The strengths of the digital resource include a multiple increase in the availability of the book collections and a qualitative change in the opportunity of their research. The problematic aspects of digitalization include the issue of reliability of the digital sources and authenticity of a book unit translated into digital format. One of the verification solutions to this issue may be creating a digital information block accompanying a digital book to collect, accumulate and preserve information about the paper book unit and the history of its existence.Due to the development of digital technologies, a paper book ceases to be the only medium of information. From an information document, it turns into an object of culture with a memory value, historical and artistic features. The translation of the book into the category of a cultural object brings together the position of libraries and museums as medium socio-communicative institutions that act as a platform for the presentation of their collections, one of the most optimal forms of which are exhibitions. The article considers the issues of representativeness of book exhibits and book exhibitions in the conditions of development of the digital environment and digital technologies. There is examined the representativeness of book exhibitions using the example of thematic and artistic-mythological exposition methods.The article considers the activities of the Museum of Painting Culture (MZHK) and the Higher Art and Technical Workshops (VKHUTEMAS) and their experimental searches of the first third of the 20th century in the field of creating new museum exposition forms and exhibition formats. The author draws parallels between universal methods of working with an art object developed by MZHK and VKHUTEMAS and working with book exhibits when creating an exhibition today. The article briefly outlines the tasks solved by the curatorial and design group to strengthen the representative function of an exhibit-book. There are analyzed modern forms of real and virtual exhibitions, their interrelation and mutual influence, formats of interaction. The article notes the importance of exhibitions for the self-presentation of cultural institutions in the digital space.
23
Dubiński, Krzysztof, and Ewa Katarzyna Świetlicka. "LEOPOLD BINENTAL AND THE HISTORY OF HIS COLLECTION." Muzealnictwo 58, no. 1 (June 21, 2017): 109–22. http://dx.doi.org/10.5604/01.3001.0010.1024.
Full textAbstract:
Leopold Jan Binental (1886–1944) was a musicologist and journalist, and an indefatigable promoter of Frederic Chopin’s compositions and researcher into his life story in the inter-war period. He wrote and published a great deal in professional periodicals as well as in the national and foreign popular press, mainly in France and Germany. Until 1939, he was a regular music critic for "Kurier Warszawski". He was thought to be a competent and respected Chopinologist, and his reputation in Europe was confirmed by the monograph Chopin published in Warsaw (1930 and 1937) and in Paris (1934) and the album Chopin. On the 120th anniversary of his birth. Documents and mementoes (Warsaw 1930 and Leipzig 1932) presenting Chopin’s mementoes, prints, drawings, handwritten musical notes and letters. He initiated and co-organised famous exhibitions about Chopin in the National Museum in Warsaw (1932) and the Polish Library in Paris (1932 and 1937). He was Executive Secretary on the Management Board of the Fryderyk Chopin National Institute created in 1934. Binental amassed a private collection of Chopin’s manuscripts and mementoes which is highly regarded in musicological circles. He also collected works of art; his collection comprised ancient, Middle Eastern and modern European ceramics, medieval sculpture and tapestries, goldsmithery and Judaica. After the outbreak of war in autumn 1939, Binental took certain steps to secure his collections. Three chests with ceramics and works of art were deposited in the National Museum in Warsaw. However, it is not known what happened to the collection of Chopin’s objects. At the beginning of 1940, Binental and his wife managed to leave Poland and reach France, where his daughter lived. In 1944 he was arrested by Gestapo and sent to Auschwitz from which he did not return. After the war, at the request of his daughter Krystyna, some of the works of art deposited in the collections of the National Museum were found. With her approval, they are currently to be found in public collections in Poland, although the fate of his Chopin collection remains unknown. Every now and then, some proof appears on the world antiquarian market that the collection has not been damaged, despite remaining missing.
24
Hawthorne, Lucy. "MoKnow your museum: Using simple websites for internal resource-sharing." Art Libraries Journal 44, no. 3 (June 12, 2019): 151–58. http://dx.doi.org/10.1017/alj.2019.21.
Full textAbstract:
This paper will demonstrate the way low-cost WYSIWYG websites can be used as a method of storing and disseminating information in a museum context, as illustrated by the internal website – MoKnow – developed by the Museum of Old and New Art (Mona) library. Websites like Google Sites can be used to share resources with a range of in-house users – from curators to front of house staff – in an easy-to-access manner. Quick to set up, these sites can be used to share text and bibliographic information, store PDFs and other documents, and link to images, videos and websites, thereby providing users with an intuitive and quick method of accessing information relevant to the institution and its collection. As Mona library manager, Mary Lijnzaad notes, the website MoKnow, “started as a digital version of the old school vertical filing cabinets… it was simply a way of not having to store vast amounts of physical information.” However, six years after the original site's creation, the website's purpose and scope continues to evolve in response to the changing nature of online resources and the demands of the institution. The paper will also examine some of the challenges and restrictions associated with using such sites, including copyright, ownership, changing technologies, and confidentiality concerns.
25
Zubkov, N. N. "M. Voloshin’s Handwritten Notes in the Foreign Books from his Koktebel Library." Bibliotekovedenie [Russian Journal of Library Science], no. 2 (April 28, 2015): 46–51. http://dx.doi.org/10.25281/0869-608x-2015-0-2-46-51.
Full textAbstract:
M. Voloshin’s library, a literary monument of the Russian culture and spirituality, in spite of the tumultuous events of XX century, has survived virtually unchanged in the House-Museum of the poet in Koktebel. Currently, according to the inventory, there are 9254 items of printed publications, including 3981 items in the foreign languages. The article provides an overview of the most significant handwritten notes of M. Voloshin in the foreign books from his library on branches of knowledge (literature and criticism, history, philosophy, art), revealed in the process of work on the Catalog “Memorial Library of M. Voloshin in Koktebel: Books and Materials in the Foreign Languages”
26
Megaw, Ruth, Vincent Megaw, and Rosalind Niblett. "A Decorated Iron Age Copper Alloy Knife from Hertfordshire." Antiquaries Journal 79 (September 1999): 379–87. http://dx.doi.org/10.1017/s0003581500044577.
Full textAbstract:
One of the objects on display in the ‘Celtic Iron Age’ gallery of the British Museum is so small that in fact it may not be immediately appreciated for what it is – a cast bronze knife with exquisite curvilinear decoration which measures a mere 11omm in length (figs I a−b 2a−c).To date only the briefest of descriptions of the knife have appeared in print accompanied by illustrations which, it must be said, hardly do it justice.2 Thus, some further notes may be added to draw further attention to one of the miniature insular masterpieces of what, despite the best efforts of many, is still widely termed ‘early Celtic art’.
27
Wrześniak, Małgorzata. "THE UFFIZI GALLERY IN THE LIGHT OF MEMOIRS OF TRAVELLERS IN THE POLISH REPUBLIC IN THE 18TH CENTURY." Muzealnictwo 58, no. 1 (May 17, 2017): 74–83. http://dx.doi.org/10.5604/01.3001.0009.9709.
Full textAbstract:
The article briefly studies the way of perceiving of the Uffizi Gallery in Florence by Polish travellers during the period when the museum was subject to the so-called Enlightenment order. The analysis of memoirs from diaries of the Polish Grand Tour indicates that they were considerably influenced by Italian guidebooks and texts by French travellers, among which the most popular was Voyage d’un français en Italie fait dans années 1765–1766 by Joseph- Jérôme Lalande, who was eagerly referred to and his passages quoted. Realising the scheme of the Uffizi Gallery’s descriptions by Polish travellers, one should not hastily assume they lacked the sense of observation, taste or aesthetic sensitivity, and finally the ability to assess a work of art. An in-depth analysis of Polish notes indicated that enlightened arrivals from the Vistula River could critically relate not only to the text of the guide or the French description mentioned, directly ascertaining: You were not right, Mr Lalande!, but also that they came to Florence prepared for the reception of an artwork and the museum itself. They were primarily interested in newly acquired objects or changes in the exhibition. The picture of a Polish traveller, as it is seen through Polish 18th-century accounts, who notes – frequently remotely – fleeting impressions, but without a doubt, they are perfectly aware of what they are looking at.
28
Myzgina, V. "Memories in memoirs: Mykhailo (Moisey) Fradkin." Vìsnik Harkìvsʹkoi deržavnoi akademìi dizajnu ì mistectv 2021, no. 02 (October 2021): 306–28. http://dx.doi.org/10.33625/visnik2021.02.306.
Full textAbstract:
The artist Moisey Fradkin (1904–1974) was a bright talented person in a brilliant galaxy of Ukrainian artists of the late 1920s – mid 1930s. He was a direct participant in the process of forming a special national “face” of graphic art. His works, which were exhibited at numerous foreign exhibitions in Europe and the United States, were noted as “strong and magical.” However, the further Fradkin’s creative destiny was not triumphant – after a very bright surge of original talent, his art was muted in the Procrustean bed of the Stalinist ideology, from about the end of the 1930s to the 1960s. He did not lose his skills, but only at the end of his life, full of wise experience, Fradkin again acquired bright energy and youthful enthusiasm in his work. Fradkin was a widely educated person, he taught at the Kharkiv Art Institute, was an active illustrator, author of easel compositions and graphic miniatures-exlibrises, worked in the field of industrial graphics for many years, headed the section of decorative and applied arts of the Kharkiv Club of Exlibrisists, collected a huge library. He and his wife, H. Krieger put together a unique collection of paintings, graphics and decorative and applied arts (more than 4000 items), which was later inherited by the Kharkiv Art Museum. The museum’s archives contain scattered sheets with fragments of Fradkin’s memoirs about his years of study at the Kharkiv Art College-Institute, which emotionally describe the time of the rapid reform of art education, which was full of contradictions. The article is based on these, not completely deciphered notes, and on the personal memoirs of the author of the article, who was familiar with the artist in the last four years of his life.
29
Demenova, Victoria V. "Sino-Tibetan Style of Buddhist Sculpture: Articulation of the Attribution Problem." Izvestia of the Ural federal university. Series 2. Humanities and Arts 24, no. 2 (2022): 272–86. http://dx.doi.org/10.15826/izv2.2022.24.2.039.
Full textAbstract:
This article is devoted to the concept of “style” and the possibility of its application in the attribution of works of Buddhist metal sculpture. This aspect, which, as a rule, is peripheral for classical Oriental studies, Buddhology, and history, where it is interpreted quite freely, is one of the key ones for art history and museum attribution activities. The author notes the terminological and factual diversity of the designation of the “Sino-Tibetan style” in the circle of researchers of the art of Buddhism. The author poses the question of what exactly the concept of “Sino-Tibetan style” means and whether it is an indication of the body of technical and plastic features of sculptures, or just a designation of the geography of the origin of Buddhist sculptures of the eighteenth and nineteenth centuries made in the western provinces of China. The author refers to three sculptures which are the most controversial ones from the point of view of attribution (Maitreya Buddha from the private collection of A. V. Glazyrin (Ekaterinburg), Shakyamuni Buddha, and Begtse from the collection of the Sverdlovsk Regional Museum of Local Lore), which have several similar stylistic features, and which could presumably be attributed to the “Sino-Tibetan style” of the eighteenth century. Also, the article presents the results of the study of the metal composition of these sculptures using an X-ray fluorescence analyser (spectrometer). Based on the data obtained on the content of substances in the alloy and considering the general artistic and stylistic features of metal images, the author makes a conclusion as to when the attribution designation “Tibeto-Chinese style” is the most accurate one and when it can be applied to Buddhist gilded sculptures created on the territory of China (Manchu Qin dynasty) between the eighteenth and nineteenth centuries.
30
Khasianova, Leila. "Zapiski Ahmeda ibn Fadlana i Pogrzeb Rusa w Bułgarze Henryka Siemiradzkiego." Slavica Wratislaviensia 162 (April 18, 2016): 49–58. http://dx.doi.org/10.19195/0137-1150.162.4.
Full textAbstract:
Notes by Ahmad ibn Fadlan and Obsequies of the Noble Rus in Bulgar by H. Siemiradsky In the book Historical Sketches of Folk Literature in Art F.I. Buslaev developed the idea that „getting closer to their primitive source, the elements of literature and art enter each other; and sometimes the author becomes an illustrator of his manuscript; and so a literary historian often through miniatures decorating the manuscript understands the idea of the text before it opens in its lines”. The validity of these lines becomes apparent when we compare the passage from the Notes by ibn Fadlan to Henryk Siemiradzki’s Obsequies of the Noble Rus in Bulgar, located in the State Historical Museum in Moscow. Записки Ахмеда ибн Фадлана и Похороны знатного руса в Булгаре Г.И. Семирадского В книге Исторические очерки народной словесности в искусстве, посвященной этой теме, Ф.И. Буслаев развил мысль о том, что «чем ближе к своему первобытному источнику, тем сплошнее друг в друга входят элементы литературные и художественные; и как писец, а иногда и автор, был вместе и иллюминатором своей рукописи, так и историк литературы очень часто в миниатюрах, которыми украшена рукопись, дочитывает до конца мысль пи- сания, не вполне выраженную в строках». Справедливость этих строк становится очевид- ной, если сравнить отрывок из Записок ибн Фадлана с произведением Г.И. Семирадского Погребение знатного руса в Булгаре, которое находится в Государственном Историческом музее в Москве.
31
Peek, Philip. "Simon Ottenberg, ed. The Nsukka Artists and Nigerian Contemporary Art. Washington, D.C.: National Museum of African Art, Smithsonian Institution, 2002. 380 pp. Illustrations. Notes. Bibliography. Index. $40.00. Paper." African Studies Review 47, no. 2 (September 2004): 193–96. http://dx.doi.org/10.1017/s0002020600031188.
Full text
32
Demeshchenko, Svetlana. "Abstract forms and symbolism of the ornament in the Paleolithic art of Malta (The State Hermitage collections)." Camera Praehistorica 8, no. 1 (June 2022): 34–57. http://dx.doi.org/10.31250/2658-3828-2022-1-34-57.
Full textAbstract:
The article continues the studies of the series of cult pendants and crafts from the Upper Paleolithic site of Malta, dated 23–19 kya. The article uses materials from the Malta collections of the State Hermitage Museum. The author considers rod-shaped crafts, buckles and pendants in the form of “eight” as a particular abstract form of Paleolithic art. Analyzing the art objects of Malta, the author classifies figurines and handicrafts as belonging to a stylized manner of depiction. Image stylization being one of the techniques of artistic abstraction is not an initial generalization and convention resulted from the peculiarities of our perception, but rather from a symbolic system of the mythological genre, revised and recorded by means of symbolic codes. A special role in symbolic symbols is given to ornamental elements those create separate structures of symbols and decorative compositions. Any selected ornamental elements (modules) in various combinations can carry different semantic loadings. In this respect it is important to analyze the use of ornamental patterns and their correlation with specific kinds of craft items and decorations. The author notes that the preservation of the material and traces of biogenic effects on objects during their staying in soil horizons (manganese dendrites, traces of plant roots an microorganisms) give a strong distortion of decorative elements.
33
Bender, Courtney. "Mrs. Rockefeller’s Exquisite Corpse." Comparative Studies in Society and History 63, no. 4 (October 2021): 768–97. http://dx.doi.org/10.1017/s0010417521000244.
Full textAbstract:
AbstractThe “exquisite corpse” in this title refers to a gift book presented to Mrs. Abby Aldrich Rockefeller in December 1931, which contains signed notes from Rockefeller’s domestic employees, friends, ministers, art dealers, Museum of Modern Art (MoMA) employees, and also a signed painting by Diego Rivera. The book’s construction highlights the intersecting social networks and associations among a variety of religious, artistic, philanthropic, and domestic organizations and individuals that are more typically investigated as distinct or non-connecting. As such, the book invites an alternate reading of influences shaping MoMA’s earliest years. This interpretation takes inspiration from the surrealist games and conceits of ethnographic and artistic surrealism—an approach that is generatively suggested by the Tribute Book’s construction. Read in this way, I take the gift book to open up a range of associations that make possible modes of interpretation through which to consider the secular and the modern religious. I use the book’s intertextual qualities as an entry point into a new consideration of the presence and effects of liberal-protestant spiritual aesthetics in MOMA’s earliest years. I argue that such spiritual aesthetics shaped the secular museum’s curation, display, and interpretation of political artists including Rivera and European surrealists.
34
Kvashnina, Yu V. "UNPUBLISHED NOTES BY V. S. KEMENOV TO THE PAINTING BY V. I. SURIKOV "THE ANNUNCIATION" FROM THE ARCHIVAL FUND OF THE MUSEUM-ESTATE OF V. I. SURIKOV." Northern Archives and Expeditions 6, no. 2 (June 30, 2022): 154–60. http://dx.doi.org/10.31806/2542-1158-2022-6-2-154-160.
Full textAbstract:
The article contains a decoding and systematization of unique research materials from the archive of the famous Soviet art critic V. S. Kemenov, stored in the funds of the Museum-Estate of V. I. Surikov (Krasnoyarsk). The materials are devoted to the study of the work of Vasily Ivanovich Surikov "The Annunciation", created by the artist in 1914. The late period of Surikov's work, to which the painting belongs, has not been fully explored to date. The publication of previously unpublished archival materials containing a detailed study of the process of creating a painting in the context of time and the artist's creative credo is intended to expand the tools of the modern researcher of the great Russian painter's work.
35
Schneemann, Carolee. "Aphrodite Speaks: on the Recent Performance Art of Carolee Schneemann." New Theatre Quarterly 16, no. 2 (May 2000): 155–62. http://dx.doi.org/10.1017/s0266464x00013671.
Full textAbstract:
The work of Carolee Schneemann, who celebrated her sixtieth birthday last year, has from the first challenged suppressive sexual and other taboos, and placed her own body as an artist into a fluent relationship with her art. She both pioneered and in her new work continues to energize forms of what we now call performance art. The retrospective of her works from 1963 to 1996, recently seen at the New Museum of Contemporary Art, New York, affirmed her recognition as a major artist – yet threatened also to ‘fix’ her art, which remains very much ‘in progress’. The exhibition included the installation Mortal Coils (1993–94), in which a slide projection system is combined with motorized ropes, flour, and sand to explore taboos of death and loss; Up to and Including Her Limits (1979), a video installation depicting the actions which produced surrounding wall drawings; and Video Rocks (1989), in which a hundred hand-sculptured rocks merge into a wall of seven monitors on which feet walk back and forth over virtual rocks. Vulva's Morphia (1995), a colour grid of photographs with text and motorized components, was exhibited at the Pompidou Centre in 1995, and her multi-media installation Known/Unknown – Plague Column (1996), was seen in New York and Montreal in 1996. Schneemann's published books include Parts of a Body: House Book (1972); Cézanne, She Was a Great Painter (1976); ABC: We Print Anything – in the Cards (1977); Video Burn (1992); and More Than Meat Joy: Performance Works and Selected Writings (1997). Her Body Politics: Notes and Essays of Carolee Schneemann is forthcoming from MIT Press, and a selection of her letters from Johns Hopkins University Press. Alison Oddey, Professor of Drama at Loughborough University, interviewed Carolee Schneemann on 29 August 1997 in her Manhattan loft in New York, and what follows is an edited version of that interview, which focuses on her more recent performative work.
36
Alshattnawi, Sawsan. "Building Tour Plan and Navigation System in Art Museum using Dijkstra Algorithm based on Geo-coded QR codes and Cloud Computing." International Journal of Advanced Pervasive and Ubiquitous Computing 6, no. 2 (April 2014): 1–13. http://dx.doi.org/10.4018/ijapuc.2014040101.
Full textAbstract:
Several technologies have been proposed to support the indoor positioning and navigation. Some of these technologies are combined together to achieve a correct and accurate positioning. The used technologies for indoor navigation such as the RFID and the infrared combined with Wi-Fi have many problems; all these technologies need hardware installation which is costly and restrict, sometimes, the user to have additional hardware on his smartphone. In this paper, we will use Geo-coded QR codes because it is free cost technology for user's positioning. The QR codes have many benefits and it will be used to detect the user's location. A custom tour plan is built according to user preferences. The graph represents the environment and the navigation is provided to the user according to this plan and using only the QR codes. In addition, the cloud infrastructure will be used to store the data and to build the plan, data downloading is done according to user's location and plan. When the graph is dense and the number of nodes is very huge then the telephone may have a problem in processing and search the graph to build the plan. No additional hardware will be installed, the software development process will be easier and the cloud will support the limited mobile resources.
37
Boltz, William G. "Notes on the Authenticity of the so Tan Manuscript of the LAO-TZU." Bulletin of the School of Oriental and African Studies 59, no. 3 (October 1996): 508–15. http://dx.doi.org/10.1017/s0041977x00030627.
Full textAbstract:
Among the numerous extant manuscripts of the Lao-tzu, Tao te ching perhaps the best known, apart from the famous Ma wang tui manuscripts discovered in Hunan province in 1973 and the Hsiang erh chu manuscript from Tun Huang (important primarily for its commentary), is the long fragment known as the So Tan manuscript, currently in the private collection of Mr. John B. Elliott and through his generosity on extended loan to the University Art Museum at Princeton. The manuscript is said to have been a part of the Tun Huang finds of the turn of the century. It appears to be one of the few of those manuscripts that remained in China after its discovery rather than immediately finding its way to France, England, or some other Western country. It moved from private collector to private collector, from Peking to Hong Kong to Japan and back again, only becoming a part of the John B. Elliott collection relatively recently.
38
Hase, Jackson, and Rebecca Darley. "Collections to think with." Journal of the History of Collections 32, no. 2 (July 31, 2019): 369–78. http://dx.doi.org/10.1093/jhc/fhz022.
Full textAbstract:
Abstract Blackburn Museum and Art Gallery has a nationally significant coin collection, thanks mainly to two bequests in the early twentieth century. The donation by R. E. Hart, a local industrialist, was made along with all his accompanying notes and books. This collection offers unique insights into the habits and aims of Hart as a numismatist, his wider network and the intellectual community of collecting. Understanding Hart’s processes of acquisition, and his role as a learned society member and customer of major auction houses supplies the outlines of a shared endeavour that, in the early twentieth century, shaped social and personal, as well as economic and cultural identities. Collections and collecting like Hart’s were also fundamental in creating the resources and structures for numismatic study today, offering a reminder of the importance of preserving and understanding inclusive environments of knowledge curation, as well as context for the collections underpinning much current research.
39
Kaczmarska, Elżbieta. "Contemporary symbols in the space of Baku." Budownictwo i Architektura 19, no. 2 (August 28, 2020): 121–36. http://dx.doi.org/10.35784/bud-arch.2166.
Full textAbstract:
When performing even a cursory analysis of the visual image of contemporary Baku, the capital of Azerbaijan, one simply cannot ignore its ancient history, the political influence of nearby powers and the almost age-old dependence on Soviet Russia. The regaining of independence in 1991, associated with the policy of then-national leader Heydar Aliyev, stimulated the young country’s ambition to open up to the world and organise an international cultural event. The preparation for the Eurovision Song Contest in 2012 initiated another construction boom in the history of Baku, fuelled with petrodollars, and became an occasion to present a new vision of the capital. In the years 2007–2012, numerous new cultural, artistic and sports buildings were constructed and which are now a hallmark and symbol of contemporary Baku. One such building, which creates a new, futuristic city space and is presented in the article, is the Heydar Aliyev Centre, a centre of art and museum designed by Zaha Hadid. The author notes the creative intent, external appearance and structure of the building, as well as new means of expression in creating place-based ambience. Also noted were the use of contemporary art in the creation of attractive utilitarian spaces. Other presented buildings display the ages-old symbols of the ‘Land of Fire’ in a new way and are embedded into the contemporary panorama of the city
40
Baarsen, Reinier. "Acquisitions." Rijksmuseum Bulletin 70, no. 4 (December 14, 2022): 374–98. http://dx.doi.org/10.52476/trb.13476.
Full textAbstract:
By the end of 2022, the Rijksmuseum’s Decorative Art Fund, established by private benefactors with the aim of forming a collection of drawings for the decorative arts, will celebrate its tenth anniversary. This will be marked by an exhibition, Process: Design Drawings from the Rijksmuseum 1500-1900, to be held at the Design Museum in Den Bosch and afterwards at the Fondation Custodia in Paris. The show is accompanied by a catalogue presenting about 250 drawings: the collection is indeed coming of age! And it continues to grow, as evidenced in the selection brought together here, almost entirely acquired after the choice of drawings for the exhibition had been finalized. Research on these drawings is ongoing, and only some preliminary findings are presented at this point.
The expansion of the collection is only possible because of the unflinching support of the Fund’s founders and of many other benefactors. Some of their names appear in the notes on individual acquisitions, but there are many more, and we are deeply grateful to them all.
41
Afanasyeva, Tatiana I. "An Old Russian Service Book in Baltimore and Its Missing Fragment in St. Petersburg." Canadian-American Slavic Studies 52, no. 4 (December 7, 2018): 433–47. http://dx.doi.org/10.1163/22102396-05204011.
Full textAbstract:
AbstractThis study examines the history of an ancient Russian service book (sluzhebnik) dating from the first half of the fourteenth century, which was divided into two parts in the early nineteenth century. One of the two parts was purchased by the well-known Russian collector Alexander Sulakadzev and is currently held by the Manuscript Library of the Walters Art Museum in Baltimore, Maryland (USA). The other part was acquired by the Imperial Public Library in St. Petersburg (currently, the National Library of Russia) no later than the 1830s. Judging by the surviving inventories, Sulakadzev acquired the service book for his collection in 1816 at the earliest. While in his possession, Sulakadzev added several false notes to the sluzhebnik attempting to pass it off as a manuscript known to have been in Tmutarakan in 1079; other false handwritten notes in the service book were intended to imply that it had belonged to several famous Russian historical figures. This article corrects some errors made in earlier publications about the manuscript and establishes that Sulakadzev pasted into the service book a miniature of much later origin (which, however, has not survived). The article presents a reconstruction of the contents of the original sluzhebnik, including descriptions of both its parts.
42
Woźny, Marzena. "Rola Józefa Łepkowskiego w pozyskaniu dla krakowskich instytucji zbiorów Karola Rogawskiego i Bolesława Podczaszyńskiego." Kwartalnik Historii Nauki i Techniki 67, no. 4 (December 19, 2022): 79–93. http://dx.doi.org/10.4467/0023589xkhnt.22.036.16967.
Full textAbstract:
The Role of Józef Łepkowski in Acquiring the Collections of Karol Rogawski and Bolesław Podczaszyński for Krakow Institutions During many years of scientific activity, Józef Łepkowski (1826–1894), archaeologist, the first Polish professor of this discipline and protector of monuments, looked after the collections belonging to the Krakow Scientific Society (the predecessor of the Academy of Arts and Sciences), the Jagiellonian University, and the Czartoryski dukes for whom he acquired the collection items. The archaeological artifacts, works of art, works of artistic craftsmanship, collections of weapons, and other artifacts obtained by him constitute a valuable part of the resources of Krakow institutions to this day. The article shows the methods by which, in the 19th century, objects were acquired for state institutions, scientific societies and large, aristocratic collections. The author takes as an example the fate of the collections of Karol Rogawski (1820–1888) and Bolesław Podczaszyński (1822–1876). Encouraged by Łepkowski, Rogawski donated the book collection, archaeological artifacts, and works of art and crafts to the Jagiellonian University and the Czartoryski dukes. However, a specialized part of Podczaszyński’s collection – archaeological artifacts with notes on prehistoric finds from the territory of the former Polish-Lithuanian Commonwealth – was purchased by the Academy of Arts and Sciences as a result of Łepkowski’s efforts. Therefore, thanks to the long and complicated measures taken by this tireless researcher, museum expert, and protector of monuments, the collections survived in their entirety to the present day, avoiding the dispersion to which many other private 19th-century collections were subjected.
43
Brown, Julie A. "An Exploration of Virtual Reality Use and Application Among Older Adult Populations." Gerontology and Geriatric Medicine 5 (January 2019): 233372141988528. http://dx.doi.org/10.1177/2333721419885287.
Full textAbstract:
Despite increased research on virtual reality (VR) platforms in recent years, there are very few studies that specifically examine its application within a gerontological context. This study examines the usability, preferences, and application considerations of a mobile VR platform by individually interviewing community-dwelling older adults both before and after trying the Samsung Gear VR. Participants were asked to self-select and view short VR videos (30 s-3 min) that were filmed within the local community (e.g., walking path and art museum). Semi-structured interview questions explored participant perceptions of using the device and was followed with two focus group sessions. Thematic analysis was employed when reviewing observational notes and transcribed audio recordings. Ten adults (aged 63-89) participated and themes identified include (a) usability, (b) video subject matter preferences, and (c) application. These themes highlighted both the challenges and opportunities of VR use among a wide range of older populations and provided greater insight with its exploration and application in future studies. This included potential use among those older adults who have notable functional limitations, such as those who are immobile, or reside within a care facility.
44
Stead, I. M., and N. D. Meeks. "The Celtic Warrior Fibula." Antiquaries Journal 76 (March 1996): 1–16. http://dx.doi.org/10.1017/s0003581500047399.
Full textAbstract:
In 1960 and 1961 Ole Klindt-Jensen published two short notes about a golden statuette of a Celtic warrior, soldered to a fine brooch. He was convinced that the warrior did not belong to the brooch, and thought that they had been combined fairly recently. J. M. de Navarro added a comment to the 1961 note, concluding: ‘My impression (from photographs only) is that the brooch might date from the fourth century BC and the figure not before the latter half of the third or the second century BC, i.e. that it was added later.’ Klindt-Jensen's notes were accompanied by plates, and at the same time another photograph was published on the front cover ofCelticum, volume I. A decade later the brooch was shown at the Royal Scottish Museum, Edinburgh, and at the Hayward Gallery, London, as item no. 35 in the Early Celtic Art exhibition held in 1970. The catalogue entry was based on Klindt-Jensen's note, but no photograph was published. In the mid 1970s R. M. Rowlett prepared a paper on the authenticity of the brooch, including metal analyses and a comparison of its proportions with those of some La Tène II brooches: Rowlett considered that the figure of the warrior was contemporary with the rest of the brooch, which he accepted as an authentic antiquity. His paper was eventually published about twenty years later.
45
Ahmed, Waleed, and Ali Muhammad Ali Rushdi. "1 A Novel Minimization Method for Sensor Deployment Via Heuristic 2-Sat Solution." Sir Syed Research Journal of Engineering & Technology 1, no. 1 (December 19, 2018): 7. http://dx.doi.org/10.33317/ssurj.v1i1.37.
Full textAbstract:
The tasks of guard placement or sensor deployment in an art gallery, a museum or in the corridors of public and security buildings pose the same problem, which requires placing the guards or sensors so as to cover a specified set of nodes with a minimum number of sensors or guards, thereby reducing the overall cost of the system as well assist power consumption. Generally, minimization can be done using optimization techniques such as linear programming, but in case of sensor deployment or guard placement there is a need either to place or not to place the sensor or guard, and hence only Boolean or binary values are used. Therefore, in order to optimize such a problem, we use the special case of linear integer programming known as Boolean integer linear programming (0-1 ILP). Other algorithms like Pseudo-Boolean SAT Solvers can also be used for the minimization purpose. In this paper, we introduce these minimization algorithms for the sensor deployment problem. We also contribute a greed-based heuristic, which utilizes the fact that the pertinent propositional formulas have variables of purely un-complemented literals. This heuristic has much less computational cost compared to those of 0-1 ILP and the Pseudo-Boolean SAT Solvers.
46
Ahmed, Waleed, and Ali Muhammad Ali Rushdi. "A Novel Minimization Method for Sensor Deployment Via Heuristic 2-Sat Solution." Sir Syed University Research Journal of Engineering & Technology 7, no. 1 (December 19, 2018): 7. http://dx.doi.org/10.33317/ssurj.v7i1.37.
Full textAbstract:
The tasks of guard placement or sensor deployment in an art gallery, a museum or in the corridors of public and security buildings pose the same problem, which requires placing the guards or sensors so as to cover a specified set of nodes with a minimum number of sensors or guards, thereby reducing the overall cost of the system as well assist power consumption. Generally, minimization can be done using optimization techniques such as linear programming, but in case of sensor deployment or guard placement there is a need either to place or not to place the sensor or guard, and hence only Boolean or binary values are used. Therefore, in order to optimize such a problem, we use the special case of linear integer programming known as Boolean integer linear programming (0-1 ILP). Other algorithms like Pseudo-Boolean SAT Solvers can also be used for the minimization purpose. In this paper, we introduce these minimization algorithms for the sensor deployment problem. We also contribute a greed-based heuristic, which utilizes the fact that the pertinent propositional formulas have variables of purely un-complemented literals. This heuristic has much less computational cost compared to those of 0-1 ILP and the Pseudo-Boolean SAT Solvers.
47
Melnikova, Olga Mikhailovna. "ARCHAEOLOGIST S. G. MATVEEV: NOTES TO THE BIOGRAPHY." Yearbook of Finno-Ugric Studies 15, no. 1 (April 2, 2021): 139–46. http://dx.doi.org/10.35634/2224-9443-2021-15-1-139-146.
Full textAbstract:
The article contains materials for the biography of the archaeologist Sergey Matveev, who in 1926 led the first Soviet archaeological expedition invited to the Votsk Autonomous region on the initiative of The scientific society for the study of the Votsk region. In addition to S. G. Matveev, the expedition was attended by A. P. Smirnov, a post-graduate student of the Institute of archeology and art studies, for whom the Udmurt theme will later become one of the key ones in scientific research. His work has been repeatedly analyzed in the archaeological literature. Unfortunately, biographical information about S. G. Matveev is very sparse: the dates of his life are unknown, and information about his place of work is contradictory. In various sources, Russian archival and museum collections managed to collect as yet little information about the scientist. They need to be systematized in order to get a first approximation of the personality of the archaeologist, who is the author of two scientific research programs on the archaeological study of the territory of Udmurtia. The first of them was set out in a letter to the Votsk regional Executive Committee during the discussion of plans for the work of metropolitan archaeologists in the region in 1926, the second a year later in 1927 when discussing research for subsequent years. Biographical information about S. G. Matveev is of interest for understanding the development of Udmurt archeology. It is significant in the context of the formation of the first Soviet generation of Russian archaeologists, including the fact that S. G. Matveev was a student of the outstanding Russian archaeologist V. A. Gorodtsov.
48
Tarsitani, Belle Asante. "Grass Roots: African Origins of an American Art, edited by Dale Rosengarten, Theodore Rosengarten, and Enid Schildkrout. New York: Museum for African Art, 2008; 269 pp., 232 (chiefly color) illustrations, 9 maps, notes; $60.00 cloth, $35.00 paper." African Arts 43, no. 2 (June 2010): 87–89. http://dx.doi.org/10.1162/afar.2010.43.2.87.
Full text
49
György, Horváth. "Adalékok Kondor Béla sors-történetéhez." Művészettörténeti Értesítő 69, no. 2 (March 30, 2021): 171–256. http://dx.doi.org/10.1556/080.2020.00011.
Full textAbstract:
In the course of my research in archives – in search of documents about the history of the Art Foundation of the People’s Republic (from 1968 Art Fund) – while leafing through the sea of files in the National Archives of Hungary (MNL OL) year after year, I came across so-far unknown documents on the life and fate of Béla Kondor which had been overlooked by the special literature so far.Some reflected the character of the period from summer of 1956 to spring 1957, more precisely to the opening of the Spring Exhibition. In that spring, after relieving Rákosi of his office, the HWP (Hungarian Workers’ Party, Hun. MDP) cared less for “providing guidance for the arts”, as they were preoccupied with other, more troublesome problems. In the winter/spring after the revolution started on 23 October and crushed on 4 November the echelon of the HSWP (Hungarian Socialist Workers’ Party, Hun. MSzMP) had not decided yet whether to strike a league with extreme leftist artistic groups or to pay heed to Memos Makris (Hun. Makrisz Agamemnon), the ministerial commissioner designing the reform of the artists’ association and organizing the Spring Exhibition and to leave the artists – so-far forced into the strait-jacket of socialist realism – alone. I found some documents which shed bright light on the narrow-mindedness of the dogmatic artistic policy trying to bend the artists toward its goals now with the whip, now with milk cake.I start the series of recovered documents with a ministerial file dated summer 1956 on the decision to purchase Kondor’s diploma work (the Dózsa cycle). The next piece of good news is a record of the committee meeting in February 1957 awarding Kondor a Derkovits scholarship. This is followed by ministerial letters – mirrors of the new artistic policy – by a changed, truly partyist scholarship committee which apparently revel in lecturing talented Kondor who was not willing to give up his sovereignty, so his works were often refused to be bought on state funds for museums.In addition to whip-lashing documents, I also present a few which offered some milk cake: a letter inviting him to a book illustrating competition called by the Petőfi Literary Museum and one commissioning him to make the sheets on the Heves county part of a “liberation album”.Next, I put forth a group of illumining documents – long known but never published in details: the files revealing the story of the large panels designed for the walls of the “Uranium city” kindergarten in Pécs and those revealing the preparations for the exhibition in Fényes Adolf gallery in 1960 and the causes of the concurrent tensions – including texts on decisions to hinder the publication of Lajos Németh’s catalogue introduction.The last group includes futile efforts by architects to get Kondor commissions for murals. They give information on three possible works. Another for Pécs again (this time with Tibor Csernus), for works for a “men’s hostel” and on the failure of the possibility. The other is about works for Kecskemét’s Aranyhomok Hotel, another failure. The third is about a glass window competition for a new modern hotel to be built in Salgótarján, to which Kondor was also invited, but the jury did not find his work satisfactory in spite of the fact that the officials representing the city’s “party and council” organs, and the powerful head of the county and town, the president of the county committee of the HSWP all were in favour of commissioning him.Mind you, the architects’ efforts to provide the handful of modern artists with orders for “abstract” works caused headache for the masterminds of controlled art policy, too. On the one hand, they also tried to get rid of the rigidity of the ideologically dogmatic period in line with “who is not against us, is with us”, the motto spreading with political détente, and to give room to these genres qualified as “decoration”. On the other hand, they did not want to give up the figurative works of socialist contents, which the architects wanted to keep away from their modern buildings. A compromise was born: Cultural Affairs and the Art Fund remained supporters of figurative works, and the “decorative” modern murals, mosaics and sculptures were allowed inside the buildings at the cost of the builders.Apart from architects, naturally there were other spokesmen in favour of Kondor (and Csernus and the rest of the shelved artists). In an essay in Új Irás in summer 1961 Lajos Németh simply branded it a waste to deprive Kondor of all channels except book illustration, while anonymous colleagues of the National Gallery guided an American curator to him who organized an exhibition of Kondor’s graphic works he had packed into his suitcase in the Museum of Modern Art in Miami.From the early 1963 – as the rest of the explored documents reveal – better times began in Hungarian internal and cultural politics, hence in Béla Kondor’s life, too. The beginning is marked by a – still “exclusive” – exhibition he could hold in the Young Artists’ Studio in January, followed by a long propitiatory article urging for publicity for Kondor by a young journalist of Magyar Nemzet, Attila Kristóf. Then, in December Kondor became the Grand Prix winner of the second Graphic Biennial of Miskolc.From then on, the documents are no longer about incomprehensible prohibitions or at time self-satisfying wickedness, but about exhibitions (the first in King Stephen Museum, Székesfehérvár), prizes (including the Munkácsy Prize in April 1965), purchases, the marvellous panel for the Grand Hotel on Margaret Island, the preparations for the Venice Biennale of 1968, the exhibition in Art Hall/Műcsarnok in 1970 and its success, and Kondor’s second Munkácsy Prize.Finally, I chanced upon a group of startling and sofar wholly unknown notes which reveals that Béla Kondor was being among the nominees for the 1973 Kossuth Prize. News of his death on 12 December 1972, documents about the museum deposition of his posthumous works and the above group of files close the account of his life.I wrote a detailed study to accompany the documents. My intention was not to explain them – as they speak for themselves – but to insert them in the life-story of Kondor, trying to find out which and how, to what extent contributed to the veering of his life-course and to possibilities of publicity for his works. I obviously included several further facts, partly in the main body of the text, and partly in footnotes. Without presenting them here, let me just pick one or two.Events around the 1960 exhibition kindled the attention not only of the deputy minister of culture György Aczél, but also of the Ministry of the Interior: as Anikó B. Nagy dug out, they asked for an agent’s report on who Kondor was, what role he was playing among young writers, architects, artists, the circle around Vigilia and the intellectuals in general. Also: what role did human cowardice play in banning the panels for the Pécs kindergarten, and how wicked it was – with regulations cited – to ask back the advance money from an artist already hardly making a living with the termination of the Der ko vits scholarship. Again: what turn did modern Hungarian architecture undergo in the early sixties to dare and challenge the still prevalent culture political red tape? It was also a special experience to track down and describe the preparations for the Hungarian exhibition of the Venice Biennial of 1968 and to see how much caution and manoeuvring was needed even in those milder years to get permission for Béla Kondor (in the company of Tibor Vilt and Ignác Kokas) to feature in the pavilion. Finally, it was informative to follow the routes of Kondor’s estate as state acquisitions and museum deposits after his death which foiled his Kossuth Prize.
50
Samdarshi, Pranshu. "Asia. Nalanda Srivijaya and beyond: Re-exploring Buddhist art in Asia Edited by Gauri Parimoo Krishnan Singapore: Asian Civilisations Museum, 2017. Pp. 296. Maps, Plates, Notes, Bibliography, Index." Journal of Southeast Asian Studies 49, no. 2 (June 2018): 323–25. http://dx.doi.org/10.1017/s0022463418000024.
Full text