To see the other types of publications on this topic, follow the link: Regional Gallery.
Journal articles on the topic 'Regional Gallery'
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 'Regional Gallery.'
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
Saulaka, Oky Tri Suci, Mesra Amirudin Mesra, and Daulat Saragi Daulat. "Analisis Kerajinan Boneka Berbahan Koran Bekas Produk Galeri J-ART." Journal of Education, Humaniora and Social Sciences (JEHSS) 3, no. 2 (December 2, 2020): 294–300. http://dx.doi.org/10.34007/jehss.v3i2.205.
Full textAbstract:
This study aims to describe the craft of dolls made from used newspapers from the indicators of shape, and plasticity carried out in the J-Art Gallery. This research is a qualitative descriptive study. The subjects of this study were 3 doll craft works made from used newspapers from J-Art Gallery. The accuracy of the shape of the doll and its plasticity are the objects in this study. Data collection methods used are observation, documentation, and interviews. Analysis of the data used is descriptive qualitative analysis techniques. The results of this study indicate that the accuracy of the shape and plasticity of dolls made from used newspapers on the J-Art Gallery products is quite good. The accuracy of the shape and plasticity of doll products made from used newspapers in the J-Art Gallery have shown the accuracy of the shape and the nature of plasticity that are in accordance with the characters of adult human dolls and also in accordance with consumer interests and support the preservation of regional culture.
2
Choi, J. W., and S. Y. Na. "Image Gallery: Complex regional pain syndrome with changes in the nail unit." British Journal of Dermatology 176, no. 6 (June 2017): e121-e121. http://dx.doi.org/10.1111/bjd.15440.
Full text
3
Galloway, Sheila, and Julian Stanley. "Thinking outside the box: galleries, museums and evaluation." Museum and Society 2, no. 2 (March 20, 2015): 125–46. http://dx.doi.org/10.29311/mas.v2i2.45.
Full textAbstract:
Museums and galleries in the UK increasingly engage with educational and social concerns; this article refers to research to evaluate two such initiatives. Evaluation of the Museum and Gallery Education Programme Phase 2, funded by the Department for Education and Skills, ends in August 2004. The research partnership to evaluate the ‘En-vision’ pilot action research programme, established by Engage (the national association for gallery education) with support from the Calouste Gulbenkian Foundation, the Carnegie UK Trust and three Arts Council regional offices, will complete in 2005. The article explores some key methodological issues relating to evaluation in this developing field. The conclusions are not necessarily endorsed by these sponsors; they are the views of the authors alone.
4
Jasiński, Artur, and Anna Jasińska. "THREE MUSEUMS OF THE ART OF THE PACIFIC AND THE FAR EAST – POSTCOLONIAL, MULTICULTURAL AND PROSOCIAL." Muzealnictwo 60 (March 4, 2019): 16–32. http://dx.doi.org/10.5604/01.3001.0013.0764.
Full textAbstract:
Three museums of the art of the Pacific and the Far East are described in the paper: Singapore National Gallery, Australian Art Gallery of South Wales in Sydney, and New Zealand’s Auckland Art Gallery Toi o Tāmaki. The institutions have a lot in common: they are all housed in Neo-Classical buildings, raised in the colonial times, and have recently been extended, modernized, as well as adjusted to fulfill new tasks. Apart from displaying Western art, each of them focuses on promoting the art of the native peoples: the Malay, Aborigines, and the Maori. Having been created already in the colonial period as a branch of British culture, they have been transformed into open multicultural institutions which combine the main trends in international museology: infrastructure modernization, collection digitizing, putting up big temporary exhibitions, opening to young people and different social groups, featuring local phenomena, characteristic of the Pacific Region. The museums’ political and social functions cannot be overestimated; their ambition is to become culturally active institutions on a global scale, as well as tools serving to establish a new type of regional identity of postcolonial multicultural character.
5
Kats, L. M. "Приморская государственная картинная галерея как центр художественного пространства Дальнего Востока." Iskusstvo Evrazii [The Art of Eurasia], no. 4(19) (December 30, 2020): 68–83. http://dx.doi.org/10.46748/arteuras.2020.04.006.
Full textAbstract:
The article is devoted to the last decade of exposition and exhibition activity of the Primorye State Art Gallery. The focus is on art projects that have become the result of increasingly strong inter-Museum contacts: “guest”, exchange and joint exhibitions. They are born as a result of searches for interested partners and sponsors, agreements with the heads of various institutions at forums and seminars. The patronage of Central museums is of great importance: the State Hermitage Museum, the state Tretyakov Gallery, the State Russian Museum, and others. The Primorye State Art Gallery organizes international exhibitions in order to promote Far Eastern fine art in the countries of the Asia-Pacific region, to open new names for these territories in the artistic sphere of the region and the district. The experience of the the Primorye State Art Gallery can be useful for museum workers in the Far Eastern and Siberian regions, and the information obtained can become an incentive for establishing new inter-museum contacts. The Primorye State Art Gallery is a relatively young museum formed in 1966 on the basis of the art collection of the Primorsky Regional Museum of Local Lore (now the Museum of the History of the Far East named after V. K. Arsenyev). Over five and a half decades, the gallery's funds have grown immeasurably, and it has become a methodological center for art museums in the Far East: the State Hermitage Museum has held six master classes on restoration and conservation of works of art in the gallery, and specialists from the State Russian Museum have been conducting scientific and practical seminars for the Far Eastern Federal district in recent years here. Статья посвящена последнему десятилетию экспозиционно-выставочной деятельности Приморской государственной картинной галереи. В центре внимания — арт-проекты, ставшие результатом все более крепнущих межмузейных контактов: «гостевые», обменные и совместные выставки. Рождаются они как итог поисков заинтересованных партнеров и спонсоров, договоренностей с руководителями различных институций на форумах и семинарах. Большое значение имеет шефское внимание центральных музеев: Государственного Эрмитажа, Государственной Третьяковской галереи, Государственного Русского музея и других. Международные выставки Приморская картинная галерея организует с целью продвижения дальневосточного изобразительного искусства в страны Азиатско-Тихоокеанского региона, открытия для этих территорий новых имен в художественной сфере края и округа. Опыт Приморской государственной картинной галереи может быть полезным для музейных работников Дальневосточного и Сибирского регионов, а полученная информация — стать побудительным импульсом для установления новых межмузейных контактов. Приморская государственная картинная галерея — сравнительно молодой музей, образовавшийся в 1966 году на основе художественной коллекции Приморского краевого краеведческого музея им. В.К. Арсеньева (ныне Музей истории Дальнего Востока им. В.К. Арсеньева). За пять с половиной десятилетий неизмеримо выросли фонды галереи, она превратилась в методический центр для художественных музеев Дальнего Востока: Государственный Эрмитаж провел в стенах картинной галереи Владивостока шесть мастер-классов по реставрации и консервации произведений искусства, специалисты Государственного Русского музея в последние годы выезжают с научно-практическими семинарами для зоны Дальневосточного федерального округа.
6
BROWN, CHRISTOPHER. "The Renaissance of Museums in Britain." European Review 13, no. 4 (October 2005): 617–36. http://dx.doi.org/10.1017/s1062798705000840.
Full textAbstract:
In this paper – given as a lecture at Netherlands Institute for Advanced Study in the summer of 2003 – I survey the remarkable renaissance of museums – national and regional, public and private – in Britain in recent years, largely made possible with the financial support of the Heritage Lottery Fund. I look in detail at four non-national museum projects of particular interest: the Horniman Museum in South London, a remarkable and idiosyncratic collection of anthropological, natural history and musical material which has recently been re-housed and redisplayed; secondly, the nearby Dulwich Picture Gallery, famous for its 17th- and 18th-century Old Master paintings, a masterpiece of 19th-century architecture by Sir John Soane, which has been restored, and modern museum services provided. The third is the New Art Gallery, Walsall, where the Garman Ryan collection of early 20th-century painting and sculpture form the centrepiece of a new building with fine galleries and the forum is the Manchester Art Gallery, where the former City Art Gallery and the Athenaeum have been combined in a single building in which to display the city's rich art collections. The Ashmolean Museum in Oxford, of which I am Director, is the most important museum of art and archaeology in England outside London and the greatest University Museum in the world. Its astonishingly rich collections are introduced and the transformational plan for the museum is described. In July 2005 the Heritage Lottery Fund announced a grant of £15 million and the renovation of the Museum is now underway.
7
Meegama, Sujatha Arundathi. "Curating the Christian Arts of Asia." Archives of Asian Art 70, no. 2 (October 1, 2020): 151–71. http://dx.doi.org/10.1215/00666637-8620357.
Full textAbstract:
Abstract This essay examines the transformation of the Asian Civilisations Museum (ACM) into a global art histories museum. An analysis of the new Christian Art Gallery and its objects that date from the eighth through the twentieth century illuminates the ways in which the ACM engages with global art histories in a permanent gallery and not only through special exhibitions. This essay begins with a history of the ACM and its transition from a museum for the “ancestral cultures of Singapore” to one with a new mission focusing on multicultural Singapore and its connections to the wider world. Hence, taking a thematic approach, the ACM's new galleries question how museums generally display objects along national lines or regional boundaries. This essay also brings attention to the multiple mediums and functions of Christian art from both the geographical locations that usually are associated with Asian art and also from cultures that are rarely taught or exhibited, such as Timor-Leste, the Philippines, Sri Lanka, and Vietnam. While showcasing the different moments that Christianity came to Asia, the museum also emphasizes the agencies of Asian artistic practitioners in those global encounters. Although appreciative of the ways in which the ACM's Christian Art Gallery reveal the various tensions within global art histories and break down hegemonic constructions of Christian art from Asia, this essay also offers a critique. Highlighting this unusual engagement with Christian art by an Asian art museum, the new gallery reveals that museums and exhibitions can add to the conversations on global art histories.
8
Jordan, Caroline. "The South Kensington Empire and the Idea of the Regional Art Gallery in Nineteenth-Century Victoria." Fabrications 20, no. 2 (December 2011): 34–59. http://dx.doi.org/10.1080/10331867.2011.10539681.
Full text
9
Silva, Igor A., Alessandro W. C. Ferreira, Maria I. S. Lima, and João J. Soares. "Networks of epiphytic orchids and host trees in Brazilian gallery forests." Journal of Tropical Ecology 26, no. 2 (January 29, 2010): 127–37. http://dx.doi.org/10.1017/s0266467409990551.
Full textAbstract:
Abstract:Species interactions have been recently depicted as networks, in which each species is connected to one or more other species in binary interaction matrices. Forty networks of epiphytic orchid and host tree species were assessed in Brazilian gallery forests. The nestedness of the networks was estimated with the NODF index and the significance was tested with null models. The phylogenetic structure of the network was also assessed, by searching for phylogenetic signals in the number of interactions and in the similarity of interacting species. In total, 105 orchid species and 132 host tree species were sampled. A nested pattern in all orchid–host tree networks was found. However, phylogenetic signals were not observed. The results support that the host specificity of orchids is small and most of the interactions occur among generalist orchids and generalist host trees. While the concept of species-specificity can thus be rejected, the extreme alternative – that interacting orchids and host trees are not a random subset of the regional species pool – can be dismissed as well. However, factors other than phylogenetic history may structure interaction networks of epiphytic orchids and host trees.
10
Fauzi, Rizal Ula Ananta, Dian Citaningtyas Ari Kadi, Galuh Kristyangga Setyo Ernanda, Permai Triwidya, and Silvy Adhelia. "Keefektifan Peran Digital Marketing Melalui Media Sosial Dalam Proses Pemasaran Produk Galeri UMKM Ekawira, Kare Madiun." Indonesia Berdaya 2, no. 1 (January 12, 2021): 21–30. http://dx.doi.org/10.47679/ib.202176.
Full textAbstract:
Abstract This study aims to fulfill duties in community service activities in order to help the community in solving problems related to MSMEs (Micro, Small and Medium Enterprises). The place for community service activities is in the Ekawira UMKM Gallery which provides various regional souvenirs from Kare Village, Kare District, Madiun Regency, East Java. Ekawira UMKM Gallery is chaired by Mrs. Hesti Purwanti. One of the products produced at the Ekawira UMKM Gallery is typical curry pia. This product is neatly packaged and already has a brand, but the marketing is only sold in the area around the Kare area, not yet out of town or through existing social media. This is a problem faced by these MSMEs. Therefore, the purpose of holding this community service is to help the Ekawira UMKM Gallery in marketing its products, by providing several sales/promotion media solutions to make it easier in terms of marketing. The marketing solution provided is by doing digital marketing, how to promote it through social media such as Instagram, creating a page on Facebook and creating a product website for the Ekawira UMKM Gallery which aims to make this product known by many people and more consumers who buy it.Abstrak: Penelitian ini bertujuan untuk memenuhi tugas dalam kegiatan pengabdian kepada masyarakat agar bisa membantu masyarakat dalam memecahkan masalah-masalah yang berkaitan dengan UMKM (Usaha Mikro, Kecil dan Menengah). Tempat kegiatan pengabdian masyarakat ini berada di Galeri UMKM Ekawira yang menyediakan aneka oleh-oleh daerah khas Desa Kare, Kecamatan Kare, Kabupaten Madiun, Jawa Timur. Galeri UMKM Ekawira diketuai oleh ibu Hesti Purwanti. Salah satu produk yang di hasilkan di Galeri UMKM Ekawira adalah pia khas Kare. Produk ini sudah di kemas dengan rapi dan sudah memiliki merek, namun pemasarannya hanya dijual di daerah sekitar daerah Kare saja, belum sampai keluar kota maupun melalui media sosial yang ada. Hal ini menjadi masalah yang dihadapi oleh UMKM tersebut. Karena itu, tujuan diadakan pengabdian masyarakat ini untuk membantu Galeri UMKM Ekawira dalam memasarkan produknya, dengan memberikan beberapa solusi media penjualan/promosi untuk mempermudah dalam hal pemasaran. Solusi pemasaran yang diberikan yaitu,dengan melakukan digital marketing caranya mempromosikan melalui media sosial seperti instagram, pembuatan laman pada facebook dan pembuatan laman web produk Galeri UMKM Ekawira yang bertujuan agar produk ini di ketahui oleh banyak orang dan lebih banyak lagi konsumen yang membelinya.
11
Willis, E. O. "Birds of a habitat spectrum in the Itirapina Savanna, São Paulo, Brazil (1982-2003)." Brazilian Journal of Biology 64, no. 4 (November 2004): 901–10. http://dx.doi.org/10.1590/s1519-69842004000500022.
Full textAbstract:
Some 231 birds were recorded on a sandy plateau in central São Paulo, in an area forming a natural "habitat spectrum", from dry or wet grasslands to bushy ones (campo-cerrado) plus gallery scrub, marshes, and low woods. Subtracting 12 species that mostly flew over, and 56 species that seemed to be vagrants or accidental visitors, 163 species were regular (including 14 that center in nearby anthropogenically-modified zones). The 69 in gallery areas are mostly regionally common woodland species, but one southeastern species has disappeared over the years and three northwestern dry-forest species have entered. The 81 grassland species include several rare birds, and hence are important despite exhibiting lower biodiversity than in regional forest areas. Seven rare species disappeared over the years, some due to lack of fires, others because of either recent "greenhouse" dry years or protected vegetation growing to taller campo-cerrado. Several other species are becoming rare. Low vegetation forms a spectrum of temporally unstable habitats that change rapidly; one needs actively managed large areas and corridors even though many open-area birds can fly long distances to varying habitat patches.
12
Hanks, Laura Hourston. "Island identities: the Pier Arts Centre, Orkney." Architectural Research Quarterly 14, no. 3 (September 2010): 222–36. http://dx.doi.org/10.1017/s1359135510000989.
Full textAbstract:
In the context of the maturation of traditional concepts of identity into ‘new forms of plurality and spatiality’, this paper aims to explore the role of genius loci, memory, and ultimately identity in a particular gallery: the Pier Arts Centre in Stromness, Orkney.Initially, it considers ways in which regional and vernacular identities have informed and enriched the architectural project, instilling it with tangible and intangible traces of place, and the past and present people of that place. Formal and material influences from the abstract but poetic idea of north, the local topography and town, and the existent buildings on site, are revealed.
13
Etherington, Rohan, and Alison Shapcott. "Do habitat fragmentation and fire influence variation of plant species composition, structure and diversity within three regional ecosystems on the Sunshine Coast, Queensland, Australia?" Australian Journal of Botany 62, no. 1 (2014): 36. http://dx.doi.org/10.1071/bt13232.
Full textAbstract:
Habitat fragmentation is considered to be one of the greatest threats to biodiversity. Species richness is predicted to decrease with decreasing patch size and increasing isolation, and this has been shown in some ecosystems. However, few studies have specifically investigated the effects of fragmentation on specific vegetation types, or compared different vegetation types within the same region. In this study, we assessed the influence of habitat fragmentation and time since fire on the floristic composition, structure and diversity of three ecosystems with varying fire proneness within the Sunshine Coast region. This study found that the tall-open forest ecosystem (RE 12.9-10.14) had higher overall species richness within fixed sample areas used for this study than did either open forest (RE 12.5.3) or gallery rainforest (RE 12.3.1), because it was composed of species typical of each of these ecosystem types. Open forest species richness was found mostly in the lower stratum, whereas gallery rainforest diversity was found in the upper stratum. Species richness decreased with increasing isolation in the open forest ecosystem where seeds are mostly abiotically dispersed. However, this study did not find strong evidence for reduced species richness within smaller patches in any ecosystem type studied; instead, finding species richness decreased with increasing patch size in the open forest ecosystem. Overall, across ecosystems, time since fire affected vegetation structure, but in fire-prone ecosystems, time since fire was not a determinant of species richness within the sites studied.
14
L. Oliver, Damon, Andrew J. Ley, Hugh A. Ford, and Beth Williams. "Habitat of the Regent Honeyeater Xanthomyza phrygia and the value of the Bundarra-Barraba region for the conservation of avifauna." Pacific Conservation Biology 5, no. 3 (1999): 224. http://dx.doi.org/10.1071/pc990224.
Full textAbstract:
Five types of woodland and forest in the Bundarra-Barraba region of northern New South Wales were surveyed for Regent Honeyeaters Xanthomyza phrygia and other birds over two years. Regent Honeyeaters were found in 24 of the 93 transects, at a density of 0.09 birds/ha. Most were found in box-ironbark woodland (34% of 62 sites), with single records from box-gum woodland, box-stringybark woodland and dry plateau complex woodland. No Regent Honeyeaters were found in riparian gallery forest during censuses, but they were found breeding there at other times. All habitats contained a high density of birds, compared to other wooded regions in southern Australia, with riparian gallery forest and box-ironbark woodland being particularly rich in species and numbers. These habitats had greater flowering indices, larger trees and more mistletoes than other habitats. Sites used by Regent Honeyeaters supported significantly more birds and bird species than unoccupied sites. The region supports a total of 193 species, four of which are nationally threatened and seven which are threatened in New South Wales. The richness of the bird community in the region is partly because it retains a higher proportion of native vegetation cover (43%) than many other parts of rural Australia. Protection and rehabilitation of box-ironbark woodland and riparian gallery forest is of high priority in a regional conservation plan. However, all habitats in the Bundarra-Barraba region should be protected from clearing and degradation, because they are also used at times by Regent Honeyeaters and support a wide range of bird species. Wise management should retain many sensitive bird species that have disappeared from or declined in other regions of southeastern Australia.
15
Mikule, Stanislav. "Galerijní výstavy a vlastivědná muzea." Muzeum Muzejní a vlastivedná práce 58, no. 1 (2021): 38–43. http://dx.doi.org/10.37520/mmvp.2020.005.
Full textAbstract:
The paper is based on the author‘s practice in the Regional Museum in Žďár nad Sázavou. In many cities, museums and galleries are located side by side, and museums also hold gallery exhibitions. Museums of local history have considerable potential to supplement such an exhibition with the help of other museum collection objects of a non-artistic nature, such as the document of time of life and work of a given artist or related to the theme of the presented work. This makes the exhibition attractive to a wider range of visitors. The author describes art exhibitions in which collection items from various areas of human activity, realized in the Žďár Regional Museum, were connected and presents them as inspiration or a topic to reflect on colleagues from the field who do not yet use the potential of their collection items in a similar spirit.
16
Widodo, Widodo. "Pengelolaan sanggar kegiatan belajar (SKB) pada era otonomi daerah." Jurnal Pendidikan dan Pemberdayaan Masyarakat 2, no. 1 (March 1, 2015): 94. http://dx.doi.org/10.21831/jppm.v2i1.4846.
Full textAbstract:
Penelitian ini bertujuan untuk mendeskripsikan implementasi pengelolaan Sanggar Kegiatan Belajar (SKB) di era otonomi daerah. Deskripsi mengenai pengelolaan program Pen-didikan Nonformal, pengelolaan Sumberdaya Manusia, dan pengelolaan keuangan. Harapan-nya mampu menciptakan (1) fasilitas yang memadahi dan mampu menjembatani daerah dengan pusat, (2) munculnya kreatifitas daerah dalam pembangunan, (3) stabilitas politik pusat dan daerah, (4) adanya jaminan kesinambungan usaha, dan (5) terbukanya komunikasi. Namun pada kenyataanya pengelolaan SKB menghadapi masalah mengenai jumlah pendanaan yang kurang memadahi, SDM kurang professional, dan program tidak berkembang. Penelitian dengan menggunakan pendekatan kualitatif studi kasus dari berbagai masalah di beberapa SKB. Kemudian dianalisis dengan dialogis Milles & Huberman meliputi; pengumpulan daya, reduksi data, display data dan pengambilan kesimpulan. Hasil penelitian menemukan bahwa pengelolaan SKB pada era otonomi daerah beragam, ada yang sudah berjalan dengan baik dan mendapat dukungan dari pemerintah daerah, namun kebanyakan SKB tidak berkembang bah-kan teracam dibubarkan atau merger. Pengelolaan kelembagaan SKB yang tidak berkembang dengan baik disebabkan oleh minimnya Sumberdaya Manusia professional, kurangnya dukungan pendanaan. Kesimpulannya bahwa pengelolaan SKB di era otonomi daerah memili-ki kecenderungan menurun atau semakin tidak professional. Otonomi daerah harus tetap memperhatikan SKB sebagai satuan penyelenggara program PNFI dengan dukungan penuh dari pemerintah baik dana maupun sumberdaya manusia yang professional.Kata Kunci: pengelolaan, Sanggar Kegiatan Belajar(SKB), era otonomi daerah Management of Learning Activities Gallery (LAG) in Outonomy Era AbstractThis study aimed to describe the management implementation of Learning Activities Gallery (LAG) in the autonomy era. Description of Non-formal Education program management, Human Resources management, and financial management. Its purpose is able to create (1) facilities and able to bridge regions to the center, (2) the emergence of creativity in the construc-tion area, (3) political stability and regional centers, (4) the assurance of business continuity, and (5) open communication. But in fact the management of LAG was facing problems regarding the amount of funding that was not sufficient, human resources was not professional, and the prog-ram did not develop. Research used qualitative case studies approach of various problems in some LAG. Then dialogic analyzed by Milles and Huberman included; data collection, data reduc-tion, data display and conclusions. The study found that LAG management in the autonomy era, there was already successful and the support of the local government, but most of the LAG was not growing even threatened dissolved or merged. LAG institutional management were not well developed caused by the lack of professional Human Resources, the lack of funding support. So from some of these problems were concluded that LAG management in the era of regional auto-nomy had a tendency to decrease or even unprofessional. Regional autonomy must consider LAG as a unit organizer non-formal and informal education programs with the full support of the government both funds and human resources professionals.Keywords: management, Learning Activities Gallery (LAG), autonomy era
17
Meidl, Peter, Brendan Furneaux, Kassim I. Tchan, Kerri Kluting, Martin Ryberg, Marie-Laure Guissou, Bakary Soro, et al. "Soil fungal communities of ectomycorrhizal dominated woodlands across West Africa." MycoKeys 81 (June 11, 2021): 45–68. http://dx.doi.org/10.3897/mycokeys.81.66249.
Full textAbstract:
Forests and woodlands in the West African Guineo-Sudanian transition zone contain many tree species that form symbiotic interactions with ectomycorrhizal (ECM) fungi. These fungi facilitate plant growth by increasing nutrient and water uptake and include many fruiting body-forming fungi, including some edible mushrooms. Despite their importance for ecosystem functioning and anthropogenic use, diversity and distribution of ECM fungi is severely under-documented in West Africa. We conducted a broad regional sampling across five West African countries using soil eDNA to characterize the ECM as well as the total soil fungal community in gallery forests and savanna woodlands dominated by ECM host tree species. We subsequently sequenced the entire ITS region and much of the LSU region to infer a phylogeny for all detected soil fungal species. Utilizing a long read sequencing approach allows for higher taxonomic resolution by using the full ITS region, while the highly conserved LSU gene allows for a more accurate higher-level assignment of species hypotheses, including species without ITS-based taxonomy assignments. We detect no overall difference in species richness between gallery forests and woodlands. However, additional gallery forest plots and more samples per plot would have been needed to firmly conclude this pattern. Based on both abundance and richness, species from the families Russulaceae and Inocybaceae dominate the ECM fungal soil communities across both vegetation types. The community structure of both total soil fungi and ECM fungi was significantly influenced by vegetation types and showed strong correlation within plots. However, we found no significant difference in fungal community structure between samples collected adjacent to different host tree species within each plot. We conclude that within plots, the fungal community is structured more by the overall ECM host plant community than by the species of the individual host tree that each sample was collected from.
18
Снытко, Людмила Николаевна. "The fate of the painting “Dinner of Tractorists” (1951) by A.A. Plastov." Искусство Евразии, no. 2(17) (June 27, 2020): 306–19. http://dx.doi.org/10.25712/astu.2518-7767.2020.02.020.
Full textAbstract:
Статья посвящена одному из самых замечательных произведений советской эпохи – картине выдающегося советского художника Аркадия Александровича Пластова «Ужин трактористов» (1951 года), которая с 1952 года хранится в Иркутском областном художественном музее имени В.П. Сукачева. Судьба этой картины складывалась драматично. В сталинское время она была подвергнута критике как не соответствующая идейным канонам социалистического реализма и, отвергнутая столичными музеями, оказалась в собрании Иркутского областного художественного музея. Ее триумф пришелся на времена хрущевской «оттепели», когда картина прославилась не только на выставках в нашей стране, но и далеко за рубежом. Возросшая оценка живописного полотна стала причиной претензий на него со стороны Третьяковской галереи. Сотрудникам сибирского музея удалось вернуть картину в свою коллекцию. А для Государственной Третьяковской галереи А.А. Пластов в 1961 г. создал ее повторение. На основе документов автор статьи опровергает возникшие в искусствоведческой литературе неточности в толковании судьбы этой картины. The article is about one of the most remarkable works of the Soviet epoch – the painting “Dinner of Tractorists” (1951) by the outstanding Soviet artist Arkady Plastov. This painting is kept in the Sukachev Irkutsk Regional Art Museum. The fate of this picture was dramatic. In Stalin's time, it was criticized as not corresponding to the ideological canons of socialist realism and, rejected by the capital's museums, ended up in the collection of the Irkutsk Regional Art Museum. The triumph for the painting came in the mid-1950s – 1960s, when it became famous not only at Russian exhibitions, but also far abroad. The increased appreciation of the painting became the reason for pretension on it from the Tretyakov Gallery. The staff of the Irkutsk museum managed to return the painting to its collection. And Arkady Plastov created the replay for the State Tretyakov Gallery in 1961. Based on the documents, the author of the article refutes the inaccuracies in the interpretation of the fate of this picture that arose in the literature of art history.
19
Santos-Filho, M., F. Frieiro-Costa, ÁRA Ignácio, and MNF Silva. "Use of habitats by non-volant small mammals in Cerrado in Central Brazil." Brazilian Journal of Biology 72, no. 4 (November 2012): 893–902. http://dx.doi.org/10.1590/s1519-69842012000500016.
Full textAbstract:
Non-volant small mammals are organisms capable of yielding precise information on richness, abundance and species composition variations related to the use of habitats. The aim of this research was to compare these variations in Cerrado sensu stricto, Palm Forest, Gallery Forest and Rocky Field. From May 1999 to February 2000, we surveyed non-volant small mammals (hence small mammals) in Serra das Araras Ecological Station. We captured 218 individuals and recaptured 62 individuals, belonging to 21 taxa, 13 rodents and eight marsupials, in a total of 13200 trap-nights. Capture success was 1.7%. We observed higher richness of small mammals in forested areas (Gallery Forest and Palm Forest) than in open areas (Rocky Field and Cerrado sensu stricto). The Palm Forest had the highest richness of marsupials, possibly due to the quality of a specific niche. The Rocky Field had the smallest richness, but with very high abundance of few species, mainly Thrichomys pachyurus and Monodelphis domestica. Forest habitats had similar species composition. The open habitats, Cerrado sensu stricto and Rocky Field, had a distinct species composition between them, and also when compared to forested areas. Different species are exclusive or showed preference for specific habitats. The protection of horizontally heterogeneous biomes, such as Cerrado, has a fundamental importance to the maintenance of the regional diversity of the small mammal community of Central Brazil.
20
Rapinčuka, Jeļena. "VIRTUAL GALLERY AS A BASIS FOR THE STUDY OF THE LIFE AND WORK OF BELARUSIAN WRITERS." Via Latgalica, no. 6 (December 31, 2014): 222. http://dx.doi.org/10.17770/latg2014.6.1661.
Full textAbstract:
The legacy of poets and writers of Belarus and Grodno region in particular is undoubtedly rich and diverse. It is well known, that national values begin with the local, regional ones, so that national culture consists of original, distinctive features of regional life. Due to the fact, that on the website of the project LLB-2-269 “Virtual Past is a Keystone for the Future of Museums” the descriptions of museum exhibits were created, we can virtually get acquainted with the artistic and historical heritage of famous personalities, who have left a noticeable imprint on the culture of Belarus and abroad. In a virtual gallery “Literary Grodno region” (http://futureofmuseums.eu/be/ virtual-gallery/maxim-bahdanovich-harodna-museum-collections) virtual visitors have an opportunity to appreciate autographs, documents, books, periodicals, postcards, photographs, household items and home furnishings of the late 19th – early 20th centuries, personal belongings of scientists and writers of Grodno region or of those people, whose lives have been directly related to Prinemanskij region, to Belarus. The descriptions of museum exhibits, which we are presenting, are divided into four subcategories: audiovisual sources, written sources, material monuments and pictorial sources. A significant part of these exhibits has found its place in the “Written sources” subcategory. The descriptions of the original editions of the late 19th – early 20th centuries: works of A. Mickiewicz, E. Ozheshko, V. Syrokomlya, F. Bogushevich, Tetka (A. Pashkevich), Ya. Kupala, Ya. Kolos, M. Bogdanovich, K. Buylo, Ya. Luchina, M. Goretskiy, B. Tarashkevich are of great interest here. Occasional periodicals of the early 20th century are presented by “Nasha Dolya” and “Nasha Niva” newspapers, “Zhizn Belorusa”, “Zhenskoye Delo”, “Krivich” magazines,publications of the first Belarusian calendars etc.The original manuscripts and typescripts of works and letters of such Grodno writers as Z. Veras (L. A. Sivitskaya-Voytik), L. Geniyush, M. Vasilyok, A. Karpyuk, V. Bykov, D. Bichel-Zagnetova, L. Yalovchik are valuable exhibits also. Home furnishings and household items of the late 19th – early 20th centuries are presented in the “Material monuments” subcategory. These are a tea table, a buffet, floor clocks, a bookcase, a chest of drawers, chairs, porcelain crockery and silverware. Writing utensils, caskets, napkins, tablecloths, garments and accessories and other personal items, that belonged to prominent personalities of Grodno, are also shown here. Subcategory “Audiovisual sources” is presented by original photographs of writers and scholars, their relatives and friends, postcards with images of known sceneries and architectural monuments. Among the “Pictorial sources” one can find paintings, icons, portraits, busts, bas-reliefs. In order to understand the style and skill of the definite writer it is not enough only to read his works, it is also extremely important to know the features of that time, which he lived in, his circle of acquaintances that had a direct influence on his creative personality, topics and problems of his works, his position and views. Thus, the virtual gallery “Literary Grodno region”of the project LLB-2-269 “Virtual Past is a Keystone for the Future of Museums” is designed for pupils, students, teachers, researchers and anyone interested in the culture and literature of Belarus. Virtual Gallery is the initial stage, the basis for the study of the huge heritage of outstanding Belarusian writers.
21
Franklin, Adrian, and Nikos Papastergiadis. "Engaging with the anti-museum? Visitors to the Museum of Old and New Art." Journal of Sociology 53, no. 3 (June 6, 2017): 670–86. http://dx.doi.org/10.1177/1440783317712866.
Full textAbstract:
Hailed as the most important cultural event since the opening of the Sydney Opera House, the Museum of Old and New Art (Mona) in Tasmania seemingly made very substantial changes to visitor experiences of an art gallery, catalysed a significant cultural florescence in Hobart and achieved tourism-led urban and regional regeneration on a par with the Guggenheim Museum Bilbao. Drawing on a large survey of visitors this article illuminates the origins, social aims and impacts of successful attempts to push art museums beyond what Hanquinet and Savage call ‘educative leisure’. It contributes to our knowledge of the processes by which traditional forms of ‘highbrow’ cultural experience associated with the dominance of the classical and historical canon are being eclipsed by newer, performative, emotional and sensual forms of cultural taste.
22
Kappenberg, Claudia, and Fiontán Moran. "Reflecting on grounded: A lens on COVID through Screendance." Moving Image Review & Art Journal (MIRAJ) 9, no. 2 (September 1, 2020): 188–94. http://dx.doi.org/10.1386/miraj_00040_1.
Full textAbstract:
Like much of the United Kingdom, arts communities in the South East were largely paralysed during the lockdown in spring 2020 through the temporary closure of venues in Brighton, the Towner Eastbourne, the De La Warr Pavilion Bexhill, Hastings Contemporary and Hastings Museum, and numerous smaller arts, music and theatre venues along the coast. Many gallery staff were on furlough and online content tended to be provided by larger institutions elsewhere, apart from grassroots activities such as Hasting’s Isolation Station broadcast on Facebook. The closure of arts institutions all along the East Sussex Coast and the absence of their habitual signalling felt like an inverse phenomenon and uneasy foreboding. grounded was devised in response to this regional silence and the curators, Claudia Kappenberg and Fiontán Moran reflected on the project for MIRAJ.
23
Althofer, Jayson. "A regional romance of the storming of the art museum: Cultural contradictions of The Lionel Lindsay Art Gallery and Library." Australasian Journal of Popular Culture 7, no. 1 (March 1, 2018): 153–68. http://dx.doi.org/10.1386/ajpc.7.1.153_1.
Full text
24
Pushenkova, Sofiya A., and Olga N. Khakimulina. "A modest artist’s place in history: The legacy of Mikhail Gurevich in the Smolensk gallery." Issues of Museology 11, no. 2 (2020): 239–47. http://dx.doi.org/10.21638/11701/spbu27.2020.208.
Full textAbstract:
The article is a study conducted in the framework of the scientific interests of the author: the study of the history and theory of the Russian avant-garde in the Smolensk region. The purpose of this study is to draw attention to the problem of the low level of knowledge of the avant-garde heritage in the Smolensk region through the analysis of current events in the museum and exhibition environment. The article discusses the exhibition “MG /Humble Artist/”, held in the Art Gallery of Smolensk in February-March 2020. M. G. are the initials of the artist Mikhail Gurevich who was born in Smolensk. Gurevich was a student of the famous David Shterenberg, one of his best graduates and a representative of the creative galaxy of artists — graduates of the Higher Art and Technical Institute. In addition to the analysis of the features of Gurevich’s work, the role of the artist’s work in the cultural process of the USSR in the 1930s is evaluated. The author also provides clarifications concerning the artist’s biography. The heritage of the Russian avant-garde is an important component of the cultural heritage of Russia and has great potential in the tourism sector. The work of the avant-garde era in the regions is often not given due attention, but fortunately, this trend has changed in the last few years. Research of this type will make it possible in the future to expand the knowledge base on the history of Russian art, as well as expand the scope of scientific research in museums by creating new exhibits. Therefore, support for research on the work of regional artists of the avant-garde era, and coverage of events and activities that are the results of these studies, is very important.
25
Zhao, T., W. Liu, and W. Ma. "RESEARCH AND PRACTICE OF THE NEWS MAP COMPILATION SERVICE." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLII-3 (April 30, 2018): 2407–10. http://dx.doi.org/10.5194/isprs-archives-xlii-3-2407-2018.
Full textAbstract:
Based on the needs of the news media on the map, this paper researches on the news map compilation service, conducts demand research on the service of compiling news maps, designs and compiles the public authority base map suitable for media publication, and constructs the news base map material library. It studies the compilation of domestic and international news maps with timeliness and strong pertinence and cross-regional characteristics, constructs the hot news thematic gallery and news map customization services, conducts research on types of news maps, establish closer liaison and cooperation methods with news media, and guides news media to use correct maps. Through the practice of the news map compilation service, this paper lists two cases of news map preparation services used by different media, compares and analyses cases, summarizes the research situation of news map compilation service, and at the same time puts forward outstanding problems and development suggestions in the service of news map compilation service.
26
Sepulchre, P., D. Jolly, S. Ducrocq, Y. Chaimanee, and J. J. Jaeger. "Mid-Tertiary palaeoenvironments in Thailand: pollen evidences." Climate of the Past Discussions 5, no. 1 (February 27, 2009): 709–34. http://dx.doi.org/10.5194/cpd-5-709-2009.
Full textAbstract:
Abstract. Only few data from South-East Asia document paleoenvironments evolution during the Cenozoic. Here we analyse palynological records from four sites of Thailand. The unique site dated from the Oligocene shows a temperate signal, while younger Miocene records show a tropical signal with variations in the hydrology of the deposition basin, as well as a temperate extra-local signal that could be related to a mid-altitude flora. The mid-Miocene Chiang Muan basin has delivered several occurrences of an opened biotope (Poaceae) alternatively replaced by what could be Syzygium gallery-forests. Khorat (−9 to −6.5 Ma) pollen records deliver similar results, but linked to a strong local signal. Regional and local signals remain difficult to separate, notably because of badly known palynomorphs, but our high resolution record confirm oceanic data that suggest high variability in Miocene climate, as well as modelling studies inferring an early onset of the Asian monsoon.
27
Cornish, Caroline, Patricia Allan, Lauren Gardiner, Poppy Nicol, Heather Pardoe, Craig Sherwood, Rachel Webster, Donna Young, and Mark Nesbitt. "Between Metropole and Province: circulating botany in British museums, 1870–1940." Archives of Natural History 47, no. 1 (April 2020): 124–46. http://dx.doi.org/10.3366/anh.2020.0627.
Full textAbstract:
Exchange of duplicate specimens was an important element of the relationship between metropolitan and regional museums in the period 1870–1940. Evidence of transfers of botanical museum objects such as economic botany specimens is explored for the Royal Botanic Gardens, Kew, and six museums outside the capital: Cambridge University Botanical Museum, National Museum Wales, Glasgow Museums, Liverpool World Museum, Manchester Museum and Warrington Museum. Botany became an important element in these museums soon after their foundation, sometimes relying heavily on Kew material as in the case of Glasgow and Warrington, and usually with a strong element of economic botany (except in the case of Cambridge). Patterns of exchange depended on personal connections and rarely took the form of symmetrical relationships. Botanical displays declined in importance at various points between the 1920s and 1960s, and today only Warrington Museum has a botanical gallery open to the public. However, botanical objects are finding new roles in displays on subjects such as local history, history of collections, natural history and migration.
28
Loustau, Marc Roscoe. "Politics of the Blessed Lady: Catholic Art in the Contemporary Hungarian Culture Industry." Religions 12, no. 8 (July 27, 2021): 577. http://dx.doi.org/10.3390/rel12080577.
Full textAbstract:
I examine Hungary’s Catholic arts industry and its material practices of cultural production: the institutions and professional disciplines through which devotional material objects move as they become embedded in political processes of national construction and contestation. Ethnographic data come from thirty-six months of fieldwork in Hungary and Transylvania, and focuses on three museum and gallery exhibitions of Catholic devotional objects. Building on critiques of subjectivity- and embodiment-focused research, I highlight how the institutional legacies of state socialism in Hungary and Romania inform a national politics of Catholic materiality. Hungarian cultural institutions and intellectuals have been drawn to work with Catholic art because Catholic material culture sustains a meaningful presence across multiple scales of political contestation at the local, regional, and state levels. The movement of Catholic ritual objects into the zone of high art and cultural preservation necessitates that these objects be mobilized for use within the political agendas of state-embedded institutions. Yet, this mobilization is not total. Ironies, confusions, and contradictions continue to show up in Transylvanian Hungarians’ historical memory, destabilizing these political uses.
29
Rogers, Sarah. "Producing the Local: The Visual Arts in Beirut." Review of Middle East Studies 42, no. 1-2 (2008): 19–25. http://dx.doi.org/10.1017/s0026318400051476.
Full textAbstract:
In a 2002 lecture at Home Works, Beirut’s contemporary art festival, writer and cultural critic Abbas Beydoun claimed that Lebanon’s internationalism had led to derivative cultural production. The well known critic’s comments evoked an angry outburst from members of his predominantly Lebanese audience of young artists and cultural workers. To varying degrees, however, this characterization of Beiruti culture repeats and prefigures descriptions of the city as a meeting point between East and West. Indeed, Beirut’s reputation as a multi-linguistic and cross-cultural Mediterranean port is traced to the latter half of the nineteenth century when the city became the capital of an Ottoman province and followed as a regional center for missionary, political, and cultural activities. Moreover, Beydoun’s characterization did not always carry such a negative connotation. This paper begins to trace the ways in which the visual arts is a field for producing, rather than reflecting, Beirut’s cosmopolitanism. To do so, I look at two historical moments pivotal in the institutionalization of the visual arts. The first is that of Daoud Corm (1852-1930), the city’s first professional easel painter whose career ran from the Ottoman period through the French Mandate (1920-1943). The second is the decades of the 1960s and 70s, the city’s heyday as a regional cultural capital when a number of artists and activists established a gallery system, further expanding the private sector’s consumption of painting and sculpture.
30
Arriaga, Amaia, and Imanol Aguirre. "Museum-university collaboration to renew mediation in art and historical heritage. The case of the Museo de Navarra." Arte, Individuo y Sociedad 32, no. 4 (July 23, 2020): 989–1008. http://dx.doi.org/10.5209/aris.66295.
Full textAbstract:
We present an action research project in which a university and a regional museum of art and historical heritage collaborate. The objective of this project has been to design and develop a mediation plan and its interpretation resources. First, a description is provided of the historical context of the debate regarding the educational function of the museum and mediation actions for the interpretation of art. Next, we present the theoretical principles on which our approach to mediation in museums is based and explain the two phases of the action research project. Initially, an investigation of the mediation tools offered by the museum is carried out. Next, a description is provided of how the conclusions drawn are materialized in the “All Art is Contemporary” project that renews part of the permanent exhibition and that offers accessible, rigorous, pluralistic and stimulating mediation/interpretation resources (gallery text, museum labels, etc.) that allow visitors to participate in the discourse that the museum proposes, turning it into a site of social interaction, a negotiation of meaning and an encounter between different sensibilities and identities. In short, it is a tool for continuous and critical civic education.
31
Filippova, O. N. "The creative work of Grigory Gurkin and Vasily Sheshunov as students of Ivan Shishkin." Iskusstvo Evrazii [The Art of Eurasia], no. 3(18) (September 30, 2020): 91–104. http://dx.doi.org/10.46748/arteuras.2020.03.008.
Full textAbstract:
The article contains a comparative analysis of the work of two artist-students of I.I. Shishkin: Grigory Gurkin (Altai) and Vasily Sheshunov (Far East). Both painters went through the school of the great Russian landscape painter at the Imperial Academy of Arts in St. Petersburg. Grigory Gurkin became one of the most significant masters of Russian realistic landscape in the first third of the 20th century, the first professional artist of Altai. Vasily Sheshunov had an equally significant influence on the formation of the artistic life of Ussuriisk and the entire Primorye. In the context of the continuity of Ivan Shishkin's art school, the genre-thematic originality, artistic manner, and creative method of these two masters are compared for the first time. The material for the study was the paintings of artists from the collections of the Sukachev Irkutsk Regional Art Museum, the Primorye State Art Gallery, the State Art Museum of the Altai Krai, the Tomsk Regional Art Museum. Статья посвящена сравнительному анализу творчества двух художников-учеников И.И. Шишкина: алтайского — Г.И. Гуркина и дальневосточного — В.Г. Шешунова. Оба живописца прошли школу великого русского художника-пейзажиста в Императорской Академии художеств в Санкт-Петербурге. Григорий Иванович Гуркин стал одним из самых значительных мастеров русского реалистического пейзажа первой трети XX века, первым профессиональным художником Алтая. Василий Григорьевич Шешунов оказал столь же существенное влияние на становление художественной жизни Уссурийска и всего Приморья. В контексте преемственности художественной школы И.И. Шишкина жанрово-тематическое своеобразие, художественная манера, творческий метод этих двух мастеров сравниваются впервые. Материалом для исследования послужили живописные полотна художников из собраний Иркутского областного художественного музея им. В.П. Сукачева, Приморской государственной картинной галереи, Государственного художественного музея Алтайского края, Томского областного художественного музея.
32
Groner, V. P., M. Claussen, and C. Reick. "Palaeo plant diversity in subtropical Africa – ecological assessment of a conceptual model of climate–vegetation interaction." Climate of the Past Discussions 11, no. 4 (July 2, 2015): 2665–700. http://dx.doi.org/10.5194/cpd-11-2665-2015.
Full textAbstract:
Abstract. We here critically re-assess a conceptual model dealing with the potential effect of plant diversity on climate–vegetation feedback, and provide an improved version adjusted to plant types that prevailed during the African Humid Period (AHP). Our work contributes to the understanding of the timing and abruptness of vegetation decline at the end of the AHP, investigated by various working groups during the past two decades using a wide range of model and palaeoproxy reconstruction approaches. While some studies indicated an abrupt collapse of vegetation at the end of the AHP, others suggested a gradual decline. Claussen et al. (2013) introduced a new aspect in the discussion, proposing that plant diversity in terms of moisture requirements could affect the strength of climate–vegetation feedback. In a conceptual model study, the authors illustrated that high plant diversity could stabilize an ecosystem, whereas a reduction in plant diversity might allow for an abrupt regime shift under gradually changing environmental conditions. Based on recently published pollen data and the current state of ecological literature, we evaluate the representation of climate–vegetation feedback in this conceptual approach, and put the suggested conclusions into an ecological context. In principle, the original model reproduces the main features of different plant types interacting together with climate although vegetation determinants other than precipitation are neglected. However, the model cannot capture the diversity of AHP vegetation. Especially tropical gallery forest taxa, indirectly linked to local precipitation, are not appropriately represented. In order to fill the gaps in the description of plant types regarding AHP diversity, we modify the original model in four main aspects. First, the growth ranges in terms of moisture requirements are extended by upper limits to represent full environmental envelopes. Second, data-based AHP plant types replace the hypothetical plant types. Third, the tropical gallery forest type follows the gradual insolation forcing with a linear approximation because it relies more on large scale climate than on regional precipitation amounts. Fourth, we replace the dimensionless vegetation cover fractions with individual effective leaf areas to capture different contributions to climate–vegetation feedback. These adjustments allow for the consideration of a broader spectrum of plant types, plant-climate feedbacks, and implicitly for plant-plant interactions. With the consideration of full environmental envelopes and the prescribed retreat of the tropical gallery forest type we can simulate a diverse mosaic-like environment as it was reconstructed from pollen. Transient simulations of this diverse environment support the buffering effect of high functional diversity on ecosystem performance and precipitation, concluded by Claussen et al. (2013) from the simple approach. Sensitivity studies with different combinations of plant types highlight the importance of plant composition on system stability, and the stabilizing or destabilizing potential a single functional type may inherit. In a broader view, the adjusted model provides a useful tool to study the roles of real plant types in an ecosystem and their combined climate–vegetation feedback under changing precipitation regimes.
33
Eiten, George. "Vegetation near Santa Teresinha, NE Mato Grosso." Acta Amazonica 15, no. 3-4 (December 1985): 275–302. http://dx.doi.org/10.1590/1809-43921985153301.
Full textAbstract:
The Santa Tenesinha region in northeaster Mato Grosso has a varied vegetation which is principally hammock pantanal. The flat clayey alluvial ground between the hummocks is coveted with a continuous non-cerrado ground cover dominated by grasses but which harbors sedges and a lange herb flora. No woody plants grow in it. The tops of the 10-20m wide, slightly elliptical hummocks, 1.5-2 m high, 10-40 per hectare, are covered with cerrado plants: herbs, semlshrubs, thin- and thick-stemmed shrubs and low trees. For 4-5 months during the latter part of the rainy season, the regional water table rises to the surface and the ground between the hummocks becomes saturated or floods up to 1.5-2 m deep. The tops of the hummocks almost always remain above high water level. In the dry season the surface soil dries out completely. This alternation of saturation or shallow flooding and dryness, prevents woody plant, growth between the hummocks, and except for a few tolerant species, also prevents woody plant. growth on the lower part of the hummochs. The gallery forests in the pantanal are seasonally flooded more deeply but their soil does not dry out so thonoughly in the dry season so woody plant growth is not prevented.
34
Escobar-Torrez, Katerine, Marie-Pierre Ledru, Teresa Ortuño, Umberto Lombardo, and Jean-François Renno. "Landscape changes in the southern Amazonian foreland basin during the Holocene inferred from Lake Ginebra, Beni, Bolivia." Quaternary Research 94 (December 26, 2019): 46–60. http://dx.doi.org/10.1017/qua.2019.72.
Full textAbstract:
AbstractOur study is located in northern Beni and aims to improve knowledge on regional landscape changes from the last 8600 years, based on pollen and charcoal analyses from a lacustrine sediment core from Lake Ginebra. Our results showed that gallery forest and lacustrine sediment were observed from 8645 until 3360 cal yr BP. After a change from a lacustrine to a swamp environment at 1700 cal yr BP, the Cerrados and the Mauritia swamp became installed 1000 years ago on our study site. The environmental changes we observed over the last 8600 years in the Ginebra record reinforce the evidence of a west–east climatic gradient with the persistence of rain forest throughout the Holocene on the western side and the presence of the Cerrados until the late Holocene on the eastern side. Moreover, the persistence of a wet forest in the early to mid-Holocene in southwestern Amazonia highlighted some local responses to the global trend that could be related to the distance from the Andes; while in the late Holocene, both an increase in insolation and strengthening of the South American summer monsoon system enabled the installation of a seasonal flooded savanna in northern Beni and of the rain forest in eastern Beni.
35
Marisova, N. D. "REGIONAL MUSEUM AS A CULTURAL NORM: THE 100TH ANNIVERSARY OF THE ASTRAKHAN STATE PICTURE GALLERY IN THE REFLECTION OF THE HISTORICAL PROCESSES OF A COUNTRY, REGION, CITY." CASPIAN REGION: Politics, Economics, Culture 60, no. 3 (2019): 129–34. http://dx.doi.org/10.21672/1818-510x-2019-60-3-129-134.
Full text
36
Omran Zailuddin, Firdaus Naif, Muhammad Abdullah, Hawari Berahim, and Azharudin Mappon. "Interpretation of 9 Selected Visual Works of Contemporary Young Talent from the Context of the National Cultural Policy Core." Idealogy Journal 3, no. 2 (September 7, 2018): 43–60. http://dx.doi.org/10.24191/idealogy.v3i2.64.
Full textAbstract:
Contemporary Young Talent (CYT) is a visual arts competition organized by the National Visual Arts Gallery (NVAG) which is the most prestigious in Malaysia. Its 40 years of organization have successfully produced many renowned artists who are now pioneers in the Malaysian and regional visual arts arena. In line with the strength of CYT as a reflection of the future of Malaysian visual arts and the role of art as a cultural vehicle, the objective of the study is to analyze and further dismantle the latest visual art works of Malaysian artists from the perspective of national culture through the CYT platform from 2000 to 2013. This study aims to clearly understand the visual elements and features that are the cultural identity in the latest Malaysian visual arts. This objective was achieved through observation and reading of CYT catalog books published by NVAG, scholarly books, journals, and relevant previous studies as well as interviews on three artists and academics who won the CYT competition. This study uses a qualitative approach, guided by the 4 components of the theory of art criticism Feldman E.B. (1994) namely description, analysis, interpretation and evaluation. 9 works will be analyzed from the aspects of ‘form’ and ‘meaning’. The results of the work analysis will be compared with national cultural elements (data triangulation) and then justify and classify CYT visual art works based on the 3 cores of the National Cultural Policy, namely, the culture of the region's indigenous peoples, other appropriate cultures and Islamic culture through descriptive text.). This study is important to create awareness, deeper appreciation and provide knowledge to art admirers in understanding the meaning and approach and content in the latest visual artwork. The results of the study through descriptive texts explain the existence of national cultural elements and their relationship in selected contemporary works of CYT (2000-2013).
37
Turpin, John. "Researching Irish art in its educational context." Art Libraries Journal 43, no. 3 (June 18, 2018): 123–26. http://dx.doi.org/10.1017/alj.2018.16.
Full textAbstract:
Documentary sources for Irish art are widely scattered and vulnerable. The art library of the Royal Hibernian Academy of Arts was destroyed by bombardment during the Rising of 1916 against British rule. The absence of degree courses in art history delayed the development of art libraries until the 1960s when art history degrees were established at University College Dublin, and Trinity College Dublin. In the 1970s the state founded the Regional Technical Colleges all over Ireland with their art and design courses. Modern approaches to art education had transformed the education of artists and designers with a new emphasis on concept rather than skill acquisition. This led to theoretical teaching and the growth of art sections in the college libraries. Well qualified graduates and staff led the way in the universities and colleges to a greater emphasis on research. Archive centres of documentation on Irish art opened at the National Gallery of Ireland, Trinity College and the Irish Architectural Archive. At NCAD the National Irish Visual Arts Archive (NIVAL) became the main depository for documentation on 20th century Irish art and design. Many other libraries exist with holdings of relevance to the history of Irish art, notably the National Library of Ireland, the Royal Irish Academy, the Royal Dublin Society, the Royal Society of Antiquaries of Ireland and the National Archives.
38
Faria, Luciene Carrara Paula, Lucas Aguiar Carrara, Frederico Queiroga do Amaral, Marcelo Ferreira de Vasconcelos, Mauro Guimarães Diniz, Christiane Duarte Encarnação, Diego Hoffmann, Henrique Belfort Gomes, Leonardo Esteves Lopes, and Marcos Rodrigues. "The birds of Fazenda Brejão: a conservation priority area of Cerrado in northwestern Minas Gerais, Brazil." Biota Neotropica 9, no. 3 (September 2009): 223–40. http://dx.doi.org/10.1590/s1676-06032009000300023.
Full textAbstract:
The Cerrado is now considered the most threatened biome of South America. Northwestern Minas Gerais state, in southeastern Brazil, still harbors large areas of extreme importance for biological conservation of the Cerrado. The current study provides the first thorough assessment of the avifauna of a large remnant of Cerrado vegetation in this region, the Fazenda Brejão. Data are based on a bird survey conducted from November 1998 to January 2007. This area is a private property of 20.000 ha preserved that lies in a region recognized for its palm groves, a pristine Cerrado (savannah-like vegetation) and gallery forests. Bird censuses were carried out through random transects censuses, mist-net captures and recording bird vocalizations. It was recorded 273 species, belonging to 56 families. This represents 32% of all 857 bird species recorded for the Cerrado. Palm groves held approximately 42% of all recorded species. We also recorded endemic species of Cerrado as well as adjacent biomes such as the Atlantic Forest and the Caatinga. Regional threatened species were also recorded such as the Greater Rhea Rhea americana, the Chestnut-bellied Guan Penelope ochrogaster, the Bare-faced Curassow Crax fasciolata, the Black-and-white Hawk-eagle Spizastur melanoleucus, the Blue-and-yellow Macaw Ara ararauna, the Yellow-faced Parrot Alipiopsitta xanthops and the Minas Gerais Tyrannulet Phylloscartes roquettei. This species diversity reveals the biological importance of the region. The establishment of a natural reserve in the region will be an essential measure to guarantee the biological conservation of one of the best preserved areas of Cerrado to date in southeastern Brazil.
39
Agafonov, Anatoly I. "Armorial Images on Portraits of the Military Ataman of the Don Army D. E. Efremov and Features of the Formation of the Southern Russian Nobility in the 18th Century." IZVESTIYA VUZOV SEVERO-KAVKAZSKII REGION SOCIAL SCIENCE, no. 2 (210) (June 28, 2021): 23–34. http://dx.doi.org/10.18522/2687-0770-2021-2-23-34.
Full textAbstract:
The article is devoted to the study of the coat of arms on the portraits of the military ataman of the Don ar-my Danila Efremovich Efremov, the formation of the nobility in the southern outskirts of Russia. The first portraits of D. Efremov were painted in the Kiev-Pechersk Lavra and on the Don under the influence of the Polish, Malorussian and Russian artistic traditions. The painting of the coat of arms was based on the status of the military ataman D. E. Efremov, the award of the ranks of Major General and privy councilor, the acquisition of the nobility. The author characterizes the controversial issues of the origin of the portrait gallery of D. E. Efremov, and suggests a new dating of its painting based on the study of imperial grants, military and political events on the Don and in Russia. The composition and symbolism of the portraits are revealed, some anthropometric data of the military ataman are described, it is shown that the portraits of D. E. Efremov and his armorial images had a huge impact on the development of the Don ceremonial ataman and senior (starshina) portrait. It is stated and argued that the portrait from the Kiev-Pechersk Lavra in 1752 was preceded by other, not preserved works, from which “freeˮ copies were made. The latter can be independent creations. The author examines the government's attitude to the Don elder, the legal framework that regulated the sta-tus of the regional elite, individuals and positions.
40
Koleva, Donka. "Project "Digital Presentation and Preservation of the Cultural Heritage of the Old-print Fund and the Historical Theatre Salon of Community Center "Nadejda 1869", Veliko Tarnovo"." Cultural and Historical Heritage: Preservation, Representation, Digitalization 6, no. 1 (2020): 32–42. http://dx.doi.org/10.26615/issn.2367-8038.2020_1_003.
Full textAbstract:
The topic is dedicated to the joint project between „Nadejda 1869” community Center and Regional Library „P.R.Slaveykov”. The objectives of the project are preservation and popularization of the Bulgarian cultural heritage in the European context of cultural and creative industries, cultural exchange and cultural diversity through: (1) Presentation and popularization of the value of the cultural wealth of the Community centre; Popularization of the theme of the book Treasures of the Community Library and innovative online presentation of the old Printing fund, storing it in electronic form to facilitate access to it and its preservation for future generations; (2)Popularization of the historical cultural hall, connected with statehood and the first inscription „Unity makes Power” by digitization of archival documentation; (3) Stimulating sustainable partnerships, exchanging experience and knowledge, bringing together scientific and practical experience in the preservation of cultural heritage and volunteering. The community Center „Nadezhda 1869” is associated with historical events important for the Bulgarian statehood. Three great folk assemblies were sitting in his theater hall. It starts the library and museum work, the theater, the cinema and the Art Gallery in the city. The library has a fund of 48 787 units, and the old-print collection consists of 446 books, newspapers and magazines from the period 16th -19th century. The oldest is the book „The Work Miney”, printed in Venice in 1588 and containing religious texts in Greek. For digitization is selected the topic „Bulgarian education to Liberation”, consisting of teaching aids in linguistics, natural sciences, mathematics and history – a total of 78 titles. Digitization is carried out in the specialised Digital center „North +” of Regional Library “P.R.Slaveykov", created under the program BG08 „Cultural Heritage and contemporary arts”. The successful realization of the project activities will help to protect and promote knowledge, improve access through digital technologies to the specialized collections of the old Printing fund and popularization of the Historical Theatre Hall -National value, through their inclusion in the cultural treasury „North +”, the rubric „Old print Fund” and the website of the Community Center. Keywords: Preservation of Cultural Heritage, Old-print Fund, Historical Theatre Salon "Nadejda"
41
Suescun, Leopoldo. "Crystallography and the IYCr2014 in Uruguay and Latin America." Acta Crystallographica Section A Foundations and Advances 70, a1 (August 5, 2014): C1288. http://dx.doi.org/10.1107/s2053273314087117.
Full textAbstract:
X-ray Crystallography has been present in Uruguay since the 50's. A project funded by UNESCO brought Prof. S. Furberg to Montevideo and introduced equipment in a laboratory of Universidad de la República, Facultad de Ingeniería where Prof. Stephenson Caticha Ellis worked.[1] During the period 1968-1995 the political and economic situation of the country reduced research in general and crystallography in particular, re-emerging in the late 90's with the acquisition of an automatic single-crystal diffractometer by Facultad de Química. After the opening of the Brazilian Synchrotron Light Laboratory in 1997 several projects in crystallography have also developed with the successful realization of half a dozen postgraduate projects. Currently there are chemical, biological and physical crystallography labs in the country, with a reduced but sufficient pool of research equipment. The main institutions where Crystallography is developed are Universidad de la República (3 groups) and the Institut Pasteur de Montevideo. There has been an explosive growth of crystallography in the country in recent years. From the 4-people group found at F. de Química in 2000 to over 50 people of the Red Uruguaya de Cristalografía recently founded.[2] This development wouldn't have happened without the strong influence of Latin American crystallographers, mainly but not only from Argentina and Brazil, and also collaboration from extra-regional colleagues from USA, the UK, France and Switzerland. Very recently additional impulse has come from Latin America with the formation of the Latin American Cryst. Assoc. LACA[3]. Uruguayan crystallographers are currently involved in dissemination and academic projects for IYCr2014 such as an open-sky photo-gallery in Montevideo, a national crystal growth competition, a protein crystallography school and two UNESCO/IUCr OpenLab Type 1 sponsored by Bruker. A description of on-going projects in Uruguay and the region will be outlined in the presentation
42
M. J. S. Bowman, D., and J. C. Z. Woinarski. "Biogeography of Australian monsoon rainforest mammals: implications for the conservation of rainforest mammals." Pacific Conservation Biology 1, no. 2 (1994): 98. http://dx.doi.org/10.1071/pc940098.
Full textAbstract:
Monsoon rainforests form an archipelago of small habitat fragments throughout the wet-dry tropics of northern Australia. According to the definition of Winter (1988) the current monsoon rainforest mammal assemblage contains only one rainforest specialist mammal species (restricted to Cape York Peninsula), and is dominated by eutherian habitat generalists (murids and bats) that mostly occur in surrounding savannah habitats. The mammal assemblages in monsoon rainforests across northern Australia (Cape York Peninsula, Northern Territory and the Kimberley) are essentially regional subsets of the local savannah and mangrove mammal assemblages, and consequently share only a limited number of species in common (most of which are bats). The lack of rainforest specialists in northwestern Australia is thought to be due to: (i) the lack of large tracts (> 1 000 ha) of monsoon rainforest habitat; (ii) the possible substantial contraction of these habitats in the past; and (iii) the limited extent of gallery rainforests, such rainforests being important habitats for rainforest mammals in South American savannahs. Unfortunately it is not possible to identify the threshold of habitat area required to maintain populations of monsoon rainforest specialist mammal species because of an impoverished fossil record pertaining to the past spatial distribution of monsoon rainforests. The implications of the lack of a specialist mammal fauna in Australian monsoon rainforests for the future of heavily fragmented tropical rainforests elsewhere in the world is briefly discussed. It is concluded that the analogy of habitat fragments to true islands is weak, that rainforest plant species are less vulnerable to local extinction than mammals, that the loss of mammal rainforest specialists may not result in a dramatic loss of plant species, and that corridors of rainforest may be critical for maintenance of rainforest mammal assemblages in areas currently subject to forest clearance.
43
Yulandha, Fitria Arissa, and Anna Oktaviana. "PUSAT KULINER KHAS KABUPATEN HULU SUNGAI SELATAN DI BANJARMASIN." LANTING JOURNAL OF ARCHITECTURE 9, no. 1 (February 29, 2020): 153–66. http://dx.doi.org/10.20527/lanting.v9i1.554.
Full textAbstract:
Hulu Sungai Selatan has very interesting regional specialties to taste, but the popularity of the Hulu Sungai Selatan culinary specialty is less developed because people from various regions outside Hulu Sungai Selatan do not have enough time or opportunity to come directly to Hulu Sungai Selatan. At present the city that is a place to stay or settle is that most people from various islands, provinces and districts are Banjarmasin, in Banjarmasin there are actually places that sell typical Hulu Sungai Selatan culinary but unfortunately most only sell ketupat kandangan only while other cuisines are less popular , from that problem arises that is how to design a culinary center that can popularize the peculiarities of the Hulu Sungai Selatan culinary in Banjarmasin. To answer these problems a central culinary design can be used as a medium to popularize the typical Hulu Sungai Selatan culinary using the Peter Zumthor Atmospheres method emphasize the processing of the interior and exterior of the design and apply the design aspects of Peter Zumthor's Atmospheres themselves as a concept of design. At this culinary center only a few aspects are applied as concepts in interior and exterior design, this adjusts to the needs of the culinary center, the interior of the culinary center emphasizes the body of architecture aspects, material compatibility, between composure and seduction , levels of intimacy and the light on things in the dining, kitchen, gallery and culinary materials stores while on the exterior emphasizes compatibility, the temperature of the space, surrounding objects, tension between interior & exterior and the light on things on the outside buildings and sites. Thus, it is hoped that this culinary center will be able to become a media that can popularize the culinary specialties of Hulu Sungai Selatan.
44
Czapelski, Marek. "Towards Socialist Architecture: Architectural Exhibitions at the Zachęta in the Years 1950–1955." Ikonotheka 26 (June 26, 2017): 31–61. http://dx.doi.org/10.5604/01.3001.0010.1672.
Full textAbstract:
Exhibitions of contemporary designs accompanied by their public criticism and assessment by a commission were meant to be a tool in implementing Socrealism in Polish architecture – a process which had been announced in 1949. The First National Exposition of Architectural Design (OPA, 22 January – 28 February 1951), housed in the Zachęta – National Gallery of Art building in Warsaw, was one of the most widely advertised events of this kind. Its discussion exposes the peculiar atmosphere of these events, the strategies of persuasion and instruction as employed by the organisers in relation to ideological and aesthetic issues, and the reactions of the architects participating in the debates, who generally tried to avoid the aggressive tone of the polemic. In addition, the primacy of technocratic economics, which was later to become one of the key elements of policies concerning the construction industry in the People’s Republic of Poland, was fi rst revealed at the OPA, if only still in the background. The exhibition at the Zachęta, treated as a production meeting in progress, was to be a preparatory stage for a sweeping exhibition that would present an all-inclusive vision of both historical and contemporary Polish architecture. Such an event accorded with the universal schemata of rituals of social life structured in keeping in line with Stalinism, but the path to the First General Exhibition of Architecture in the People’s Republic of Poland (PWA, 8 March – 22 April 1953) turned out not to be easy. Problems concerning its fi nancing and venue, as well as the lack of political support, resulted in its opening, in the Zachęta building, soon after Stalin’s death. In general, the exhibition’s arrangement followed regional divisions, i.e. both the historical and contemporary material were arranged according to region. An analysis of this plan reveals that it was profoundly ill-suited to the realities of producing architecture in the state-owned design offi ces when the emphasis on typicality was increasing. The initial stage of the critique of Socrealism is also inseparably linked with the PWA; the essay appraising the exhibited designs as delivered at the First National Council of Architects in April 1953 must be considered the fi rst text of this kind. Both the OPA and the PWA are, above all, reminders of the practice of institutional coercion and of the ideological approach to history that were typical of Stalinism. At the same time, however, it should not be forgotten that the exhibition of 1953 resulted in the publication of a series of valuable publications concerning history and art, while the Regional Architectural Shows, instituted in order to select designs to be exhibited at the PWA, evolved into recurring events which in some centres are still organised today.
45
Ward, Matt, and Jimmy Loizeau. "The Illegal Town Plan: Anecdotal Speculation for Coastal Futures." Temes de Disseny, no. 36 (October 1, 2020): 90–113. http://dx.doi.org/10.46467/tdd36.2020.90-113.
Full textAbstract:
The Illegal Town Plan aims to understand and develop community- based futures for economic and social development. This case study describes and analyses an ongoing practice-based research project that began in 2015. The project, ambitious in its scope, has engaged with communities that have been stripped of power to develop and present new visions of their hometown. Located in Rhyl, North Wales, the design team has developed strategies, ideas, and possibilities with the people who rejected a European future. This project proposes a form of economic, architectural, and design speculation that aims to reimagine regeneration in a post-BREXIT Britain.
The case study questions how we, as designers, evolve and develop processes and practices, popularised through the evolution of Critical and Speculative Design (CSD), to think through alternative social, political, and economic futures. The project utilises open, interdisciplinary, and diverse dialogues with the intention of building a heightened notion of engagement and agency. We hope to demonstrate practices that allow speculation to become democratised away from the gallery and into the world.
Through conversation with two politicians, the authors were confronted by a growing realisation that there was a deep problem at the heart of regional development. There was a gap, a schism, between the community and those tasked with the future of their economic prosperity. For the last four years, we’ve been trying to support the people of Rhyl to bridge this gap. As a form of participatory speculation, this project aims to build a new language and discourse of speculation in which underrepresented voices become key to the ambitions of a small town and where the outlier is valued for opening alternatives.
There have been many criticisms of critical and speculative design approaches in recent years. This project builds on nearly two decades of CSD experience (in both research and education) to imagine the evolution of the approach.
Through a process of anecdotalisation, this case study gives four semi-fictional accounts of extraordinary moments that aim to give insight into the unseen process of an experimental design practice.
46
K. S. RAGHUNANDAN, K. S. RAGHUNANDAN, and S. BASAVARAJAPPA S. BASAVARAJAPPA. "Incidence of Galleria Mellonella Infestation on Apis Dorsata Colonies At Different Regions of South-Western Karnataka." International Journal of Scientific Research 3, no. 2 (June 1, 2012): 542–44. http://dx.doi.org/10.15373/22778179/feb2014/182.
Full text
47
Maroco dos Santos, Emanuel José. "Unamuno y su crítica al separatismo lingüístico regional." Resonancias. Revista de Filosofía, no. 5 (March 11, 2019): 15. http://dx.doi.org/10.5354/0719-790x.2018.49464.
Full textAbstract:
La crítica de Unamuno al separatismo lingüístico de las demás regiones españolas es célebre y sobradamente conocida. Sin embargo, aunque conocida en su planteamiento más general, muchos de sus aspectos son desconocidos para la mayoría de los intérpretes de su pensamiento. En este artículo, intentaremos reagrupar todas las críticas que Unamuno dirigió al euskera, al gallego y al catalán con vistas a comprender la razón por la cual se opuso a su establecimiento como lenguas oficiales en sus respectivas regiones. Se trata, pues, de un trabajo histórico-hermenéutico de reconstrucción del pensamiento del autor. Sin embargo, no siendo nuestro objetivo discutir con Unamuno sus polémicas tesis lingüísticas, no dejaremos de analizarlas, presentando lo que a nuestro juicio es el gran error lingüístico-cultural de don Miguel de Unamuno.
48
Roth, Liliane, and Matthias Bürgi. "Bettlaubsammeln als Streunutzung im St. Galler Rheintal | Collecting leaves for beddings – a traditional forest use in the St. Galler Rheintal." Schweizerische Zeitschrift fur Forstwesen 157, no. 8 (August 1, 2006): 348–56. http://dx.doi.org/10.3188/szf.2006.0348.
Full textAbstract:
So far, only little is known about the traditional forest use of collecting leaves for beddings. In a study in the St. Galler Rheintal, oral history interviews were conducted to collect traditional knowledge about the use, extent and the reasons why this special type of litter collection has been abandoned. The study shows that factors other than the availability of beach stands and the economic situation were responsible for the existence of this use. Amongst these, access to alternative materials for bedding, and regional traditions are the most prominent. In areas with a lack of access to alternatives, beach leaves were highly valued, but only rarely were they given a monetary value. According to the forest service, intensive leaf collection had negative effects on the forests, giving rise to the need for regulations. Our results show that these regulations were regionally very variable. The declining demand for leaves for beddings led to a slackening of the regulations, which were then subsequently abandoned altogether.
49
Vidal Rodríguez, José Antonio. "La reconstrucción de la identidad gallega en Cuba: procesiones, festivales y romerías regionales en La Habana (1804-1920)." Anuario de Estudios Americanos 59, no. 2 (December 30, 2002): 511–40. http://dx.doi.org/10.3989/aeamer.2002.v59.i2.184.
Full text
50
James, William F., and John W. Barko. "Convective water exchanges in a wind-sheltered littoral region of Eau Galle Reservoir, Wisconsin USA." Fundamental and Applied Limnology 145, no. 3 (June 28, 1999): 373–83. http://dx.doi.org/10.1127/archiv-hydrobiol/145/1999/373.
Full text