Добірка наукової літератури з теми "Patrimoine culturel – Expertise"

Este documento brinda el resultado de las acciones desarrolladas por la Comisión Pro-restauración Casa Jiménez Sancho en el período 2011-2019 en aras de visibilizar la importancia del inmueble, su funcionalidad y recomendaciones de utilización. Se documentan las cuatro fases del proceso de restauración y su condición actual. La información se recopiló mediante fuentes documentales, entrevistas, fotografías cedidas por integrantes de la familia, de la comunidad cartaginesa y propias, sesiones de trabajo de la comisión establecida y con personas expertas, además del seguimiento presencial, constante y cercano de las diferentes etapas de la intervención realizada al inmueble. Se logra contextualizar la casa, su historia y sus habitantes, lo que permite dimensionar no solo su valor cultural, patrimonial y arquitectónico, sino también su posicionamiento en el imaginario cartaginés.

Grave robbers, we all know, loot tombs for material gain. Recently, however, Italian tomb robbers, or tombaroli, have sought public attention by publishing their biographies and appearing on television to present an entirely new image of their métier. They depict themselves as heroes who bring the treasures of the past to the public and boast of an expertise, which remains unrecognised by official archaeologists. Rather than merely dismissing these stories as a justification, or glorification of an illegal activity, a more careful reading reveals many issues, which are of considerable importance to heritage management and archaeological research. These accounts contain a wealth of information on the identity of the people who loot tombs; their backgrounds, motivations and attempts to legitimate their actions. Moreover, they provide a unique insight into the relations between tomb robbers and the communities within which they operate. It is well known that public opinion in Italy and elsewhere to some extent sanctions illegal digging and, in my view, changing these attitudes could prove to be one of the most important steps towards a more effective policy of protecting the cultural patrimony.

Modern Conservation of Cultural Heritage (CCH) is an interdisciplinary field, comprising arts, crafts, architecture, humanities, IT (Information Technology) and STEM (Science, Technology, Engineering, Mathematics). Several decades of extended research have shown the importance of spatial skills and spatial literacy for success in STEM. A major part of cultural heritage is visual, and three-dimensional. A sufficient level of spatial understanding and spatial skills is needed to understand, study and preserve cultural heritage. Visualization is especially helpful in teaching and learning the interdisciplinary CCH. However, the necessity of developing spatial visual literacy, and acquisition of relevant theoretical knowledge by experts and educators in CCH has not yet been commonly accepted. This paper outlines an innovative Methodology for developing Spatial Visual Literacy (MSVL) - a crucial tool for CCH and heritage education, - and selected perspectives of its feasibility and applicability to teacher training and also wider interdisciplinary uses. The paper addresses selected lessons from application of some elements of the Methodology as part of previous research and educational scenarios for different objectives and target audiences, from high-school, undergraduate, PhD students, to experts from different areas of expertise within the CCH, to facilitate its uses for teacher training in heritage education. La Conservación del Patrimonio Cultural (CCH) es un campo interdisciplinario, que comprende artes, artesanía, arquitectura, humanidades, TICs (Tecnología de la información) y STEM (Ciencia, Tecnología, Ingeniería, Matemáticas). Varias décadas de investigación han demostrado la importancia tanto de de las habilidades espaciales, como de la alfabetización espacial para el éxito en STEM. Una parte importante del patrimonio cultural es visual y tridimensional. Se necesita un nivel suficiente de comprensión espacial, así como habilidades espaciales para poder comprender, estudiar y preservar el patrimonio cultural. La visualización, es especialmente útil para enseñar y aprender el patrimonio desde un punto de vista interdisciplinar. Sin embargo, aún no se ha aceptado por parte de expertos y educadores en patrimonnio la necesidad de desarrollar la alfabetización visual espacial y la adquisición de conocimientos teóricos relevantes sobre la misma. Este trabajo presenta una metodología innovadora para desarrollar la alfabetización visual espacial (MSVL, por sus siglas en inglés), una herramienta crucial para la conservación y la educación del patrimonio, y perspectivas seleccionadas de su factibilidad y aplicabilidad a la capacitación docente, así como usos interdisciplinarios más amplios. El documento aborda una selección de ejemplos de aplicación de algunos elementos de la Metodología como parte de investigaciones previas y escenarios educativos con diferentes objetivos y audiencias distintas, desde estudiantes de secundaria, bachillerato o doctorado, hasta expertos de diferentes áreas de experiencia dentro de la conservación del patrimonio, buscando facilitar su uso en la formación docente en educación patrimonial.

Detrás de movimientos por la cultura y el patrimonio existe una ciudadanía bien formada más allá de las personas designadas convencionalmente como “expertas” por instituciones o medios de comunicación. Estas iniciativas aglutinan personas de diversas disciplinas que aportan un enfoque multidisciplinar más moderno y enriquecedor que las tradicionales instancias de poder y decisión en materia cultural, que en general se han quedado anticuadas, sometidas a la instrumentalización de la acción política no exenta de mediocridad y son poco receptivas a abrirse a la participación efectiva reclamada por la sociedad.

As a scholarly discourse, transmedia storytelling relies heavily on conservative constructions of authorship that laud corporate architects and patriarchs such as George Lucas and J.J. Abrams as exemplars of “the creator.” This piece argues that transmedia theory works to construct patriarchal ideals of individual authorship to the detriment of alternative conceptions of transmediality, storyworlds, and authorship. The genesis for this piece was our struggle to find a transmedia storyworld that we were both familiar with, that also qualifies as “legitimate” transmedia in the eyes of our prospective scholarly readers. After trying to wrangle our various interests, fandoms, and areas of expertise into harmony, we realized we were exerting more effort in this process of validating stories as transmedia than actually examining how stories spread across various platforms, how they make meanings, and what kinds of pleasures they offer audiences. Authorship is a definitive criterion of transmedia storytelling theory; it is also an academic red herring. We were initially interested in investigating the possible overdeterminations between the healthcare industry and Breaking Bad (2008-2013). The series revolves around a high school chemistry teacher who launches a successful meth empire as a way to pay for his cancer treatments that a dysfunctional US healthcare industry refuses to fund. We wondered if the success of the series and the timely debates on healthcare raised in its reception prompted any PR response from or discussion among US health insurers. However, our concern was that this dynamic among medical and media industries would not qualify as transmedia because these exchanges were not authored by Vince Gilligan or any of the credited creators of Breaking Bad. Yet, why shouldn’t such interfaces between the “real world” and media fiction count as part of the transmedia story that is Breaking Bad? Most stories are, in some shape or form, transmedia stories at this stage, and transmedia theory acknowledges there is a long history to this kind of practice (Freeman). Let’s dispense with restrictive definitions of transmediality and turn attention to how storytelling behaves in a digital era, that is, the processes of creating, disseminating and amending stories across many different media, the meanings and forms such media and communications produce, and the pleasures they offer audiences.Can we think about how health insurance companies responded to Breaking Bad in terms of transmedia storytelling? Defining Transmedia Storytelling via AuthorshipThe scholarly concern with defining transmedia storytelling via a strong focus on authorship has traced slight distinctions between seriality, franchising, adaptation and transmedia storytelling (Jenkins, “Transmedia Storytelling;” Johnson, “Media Franchising”). However, the theoretical discourse on authorship itself and these discussions of the tensions between forms are underwritten by a gendered bias. Indeed, the very concept of transmediality may be a gendered backlash against the rising prominence of seriality as a historically feminised mode of storytelling, associated with television and serial novels.Even with the move towards traditionally lowbrow, feminized forms of trans-serial narrative, the majority of academic and popular criticism of transmedia storytelling reproduces and reinstates narratives of male-centred, individual authorship that are historically descended from theorizations of the auteur. Auteur theory, which is still considered a legitimate analytical framework today, emerged in postwar theorizations of Hollywood film by French critics, most prominently in the journal Cahiers du Cinema, and at the nascence of film theory as a field (Cook). Auteur theory surfaced as a way to conceptualise aesthetic variation and value within the Fordist model of the Hollywood studio system (Cook). Directors were identified as the ultimate author or “creative source” if a film sufficiently fitted a paradigm of consistent “vision” across their oeuvre, and they were thus seen as artists challenging the commercialism of the studio system (Cook). In this way, classical auteur theory draws a dichotomy between art and authorship on one side and commerce and corporations on the other, strongly valorising the former for its existence within an industrial context dominated by the latter. In recent decades, auteurist notions have spread from film scholarship to pervade popular discourses of media authorship. Even though transmedia production inherently disrupts notions of authorship by diffusing the act of creation over many different media platforms and texts, much of the scholarship disproportionately chooses to vex over authorship in a manner reminiscent of classical auteur theory.In scholarly terms, a chief distinction between serial storytelling and transmedia storytelling lies in how authorship is constructed in relation to the text: serial storytelling has long been understood as relying on distributed authorship (Hilmes), but transmedia storytelling reveres the individual mastermind, or the master architect who plans and disseminates the storyworld across platforms. Henry Jenkins’ definition of transmedia storytelling is multifaceted and includes, “the systematic dispersal of multiple textual elements across many channels, which reflects the synergies of media conglomeration, based on complex story-worlds, and coordinated authorial design of integrated elements” (Jenkins, “Transmedia Storytelling”). Jenkins is perhaps the most pivotal figure in developing transmedia studies in the humanities to date and a key reference point for most scholars working in this subfield.A key limitation of Jenkins’ definition of transmedia storytelling is its emphasis on authorship, which persists in wider scholarship on transmedia storytelling. Jenkins focuses on the nature of authorship as a key characteristic of transmedia productions that distinguishes them from other kinds of intertextual and serial stories:Because transmedia storytelling requires a high degree of coordination across the different media sectors, it has so far worked best either in independent projects where the same artist shapes the story across all of the media involved or in projects where strong collaboration (or co-creation) is encouraged across the different divisions of the same company. (Jenkins, “Transmedia Storytelling”)Since the texts under discussion are commonly large in their scale, budget, and the number of people employed, it is reductive to credit particular individuals for this work and implicitly dismiss the authorial contributions of many others. Elaborating on the foundation set by Jenkins, Matthew Freeman uses Foucauldian concepts to describe two “author-functions” focused on the role of an author in defining the transmedia text itself and in marketing it (Freeman 36-38). Scott, Evans, Hills, and Hadas similarly view authorial branding as a symbolic industrial strategy significant to transmedia storytelling. Interestingly, M.J. Clarke identifies the ways transmedia television texts invite audiences to imagine a central mastermind, but also thwart and defer this impulse. Ultimately, Freeman argues that identifiable and consistent authorship is a defining characteristic of transmedia storytelling (Freeman 37), and Suzanne Scott argues that transmedia storytelling has “intensified the author’s function” from previous eras (47).Industry definitions of transmediality similarly position authorship as central to transmedia storytelling, and Jenkins’ definition has also been widely mobilised in industry discussions (Jenkins, “Transmedia” 202). This is unsurprising, because defining authorial roles has significant monetary value in terms of remuneration and copyright. In speaking to the Producers Guild of America, Jeff Gomez enumerated eight defining characteristics of transmedia production, the very first of which is, “Content is originated by one or a very few visionaries” (PGA Blog). Gomez’s talk was part of an industry-driven bid to have “Transmedia Producer” recognised by the trade associations as a legitimate and significant role; Gomez was successful and is now recognised as a transmedia producer. Nevertheless, his talk of “visionaries” not only situates authorship as central to transmedia production, but constructs authorship in very conservative, almost hagiographical terms. Indeed, Leora Hadas analyses the function of Joss Whedon’s authorship of Marvel's Agents of S.H.I.E.L.D (2013-) as a branding mechanism and argues that authors are becoming increasingly visible brands associated with transmedia stories.Such a discourse of authorship constructs individual figures as artists and masterminds, in an idealised manner that has been strongly critiqued in the wake of poststructuralism. It even recalls tired scholarly endeavours of divining authorial intention. Unsurprisingly, the figures valorised for their transmedia authorship are predominantly men; the scholarly emphasis on authorship thus reinforces the biases of media industries. Further, it idolises these figures at the expense of unacknowledged and under-celebrated female writers, directors and producers, as well as those creative workers labouring “below the line” in areas like production design, art direction, and special effects. Far from critiquing the biases of industry, academic discourse legitimises and lauds them.We hope that scholarship on transmedia storytelling might instead work to open up discourses of creation, production, authorship, and collaboration. For a story to qualify as transmedia is it even necessary to have an identifiable author? Transmedia texts and storyworlds can be genuinely collaborative or authorless creations, in which the harmony of various creators’ intentions may be unnecessary or even undesirable. Further, industry and academics alike often overlook examples of transmedia storytelling that might be considered “lowbrow.” For example, transmedia definitions should include Antonella the Uncensored Reviewer, a relatively small-scale, forty-something, plus size, YouTube channel producer whose persona is dispersed across multiple formats including beauty product reviews, letter writing, as well as interactive sex advice live casts. What happens when we blur the categories of author, celebrity, brand, and narrative in scholarship? We argue that these roles are substantially blurred in media industries in which authors like J.J. Abrams share the limelight with their stars as well as their corporate affiliations, and all “brands” are sutured to the storyworld text. These various actors all shape and are shaped by the narrative worlds they produce in an author-storyworld nexus, in which authorship includes all people working to produce the storyworld as well as the corporation funding it. Authorship never exists inside the limits of a single, male mind. Rather it is a field of relations among various players and stakeholders. While there is value in delineating between these roles for purposes of analysis and scholarly discussion, we should acknowledge that in the media industry, the roles of various stakeholders are increasingly porous.The current academic discourse of transmedia storytelling reconstructs old social biases and hierarchies in contexts where they might be most vulnerable to breakdown. Scott argues that,despite their potential to demystify and democratize authorship between producers and consumers, transmedia stories tend to reinforce boundaries between ‘official’ and ‘unauthorized’ forms of narrative expansion through the construction of a single author/textual authority figure. (44)Significantly, we suggest that it is the theorisation of transmedia storytelling that reinforces (or in fact constructs anew) an idealised author figure.The gendered dimension of the scholarly distinction between serialised (or trans-serial) and transmedial storytelling builds on a long history in the arts and the academy alike. In fact, an important precursor of transmedia narratives is the serialized novel of the Victorian era. The literature of Charlotte Brontë, George Eliot and Harriet Beecher Stowe was published in serial form and among the most widely read of the Victorian era in Western culture (Easley; Flint 21; Hilmes). Yet, these novels are rarely given proportional credit in what is popularly taught as the Western literary canon. The serial storytelling endemic to television as a medium has similarly been historically dismissed and marginalized as lowbrow and feminine (at least until the recent emergence of notions of the industrial role of the “showrunner” and the critical concept of “quality television”). Joanne Morreale outlines how trans-serial television examples, like The Dick Van Dyke Show, which spread their storyworlds across a number of different television programs, offer important precursors to today’s transmedia franchises (Morreale). In television’s nascent years, the anthology plays of the 1940s and 50s, which were discrete, unconnected hour-length stories, were heralded as cutting-edge, artistic and highbrow while serial narrative forms like the soap opera were denigrated (Boddy 80-92). Crucially, these anthology plays were largely created by and aimed at males, whereas soap operas were often created by and targeted to female audiences. The gendered terms in which various genres and modes of storytelling are discussed have implications for the value assigned to them in criticism, scholarship and culture more broadly (Hilmes; Kuhn; Johnson, “Devaluing”). Transmedia theory, as a scholarly discourse, betrays similarly gendered leanings as early television criticism, in valorising forms of transmedia narration that favour a single, male-bodied, and all-powerful author or corporation, such as George Lucas, Jim Henson or Marvel Comics.George Lucas is often depicted in scholarly and popular discourses as a headstrong transmedia auteur, as in the South Park episode ‘The China Problem’ (2008)A Circle of Men: Fans, Creators, Stories and TheoristsInterestingly, scholarly discourse on transmedia even betrays these gendered biases when exploring the engagement and activity of audiences in relation to transmedia texts. Despite the definitional emphasis on authorship, fan cultures have been a substantial topic of investigation in scholarly studies of transmedia storytelling, with many scholars elevating fans to the status of author, exploring the apparent blurring of these boundaries, and recasting the terms of these relationships (Scott; Dena; Pearson; Stein). Most notably, substantial scholarly attention has traced how transmedia texts cultivate a masculinized, “nerdy” fan culture that identifies with the male-bodied, all-powerful author or corporation (Brooker, Star Wars, Using; Jenkins, Convergence). Whether idealising the role of the creators or audiences, transmedia theory reinforces gendered hierarchies. Star Wars (1977-) is a pivotal corporate transmedia franchise that significantly shaped the convergent trajectory of media industries in the 20th century. As such it is also an anchor point for transmedia scholarship, much of which lauds and legitimates the creative work of fans. However, in focusing so heavily on the macho power struggle between George Lucas and Star Wars fans for authorial control over the storyworld, scholarship unwittingly reinstates Lucas’s status as sole creator rather than treating Star Wars’ authorship as inherently diffuse and porous.Recent fan activity surrounding animated adult science-fiction sitcom Rick and Morty (2013-) further demonstrates the macho culture of transmedia fandom in practice and its fascination with male authors. The animated series follows the intergalactic misadventures of a scientific genius and his grandson. Inspired by a seemingly inconsequential joke on the show, some of its fans began to fetishize a particular, limited-edition fast food sauce. When McDonalds, the actual owner of that sauce, cashed in by promoting the return of its Szechuan Sauce, a macho culture within the show’s fandom reached its zenith in the forms of hostile behaviour at McDonalds restaurants and online (Alexander and Kuchera). Rick and Morty fandom also built a misogynist reputation for its angry responses to the show’s efforts to hire a writer’s room that gave equal representation to women. Rick and Morty trolls doggedly harassed a few of the show’s female writers through 2017 and went so far as to post their private information online (Barsanti). Such gender politics of fan cultures have been the subject of much scholarly attention (Johnson, “Fan-tagonism”), not least in the many conversations hosted on Jenkins’ blog. Gendered performances and readings of fan activity are instrumental in defining and legitimating some texts as transmedia and some creators as masterminds, not only within fandoms but also in the scholarly discourse.When McDonalds promoted the return of their Szechuan Sauce, in response to its mention in the story world of animated sci-fi sitcom Rick and Morty, they contributed to transmedia storytelling.Both Rick and Morty and Star Wars are examples of how masculinist fan cultures, stubborn allegiances to male authorship, and definitions of transmedia converge both in academia and popular culture. While Rick and Morty is, in reality, partly female-authored, much of its media image is still anchored to its two male “creators,” Justin Roiland and Dan Harmon. Particularly in the context of #MeToo feminism, one wonders how much female authorship has been elided from existing storyworlds and, furthermore, what alternative examples of transmedia narration are exempt from current definitions of transmediality.The individual creator is a social construction of scholarship and popular discourse. This imaginary creator bears little relation to the conditions of creation and production of transmedia storyworlds, which are almost always team written and collectively authored. Further, the focus on writing itself elides the significant contributions of many creators such as those in production design (Bevan). Beyond that, what creative credit do focus groups deserve in shaping transmedia stories and their multi-layered, multi-platformed reaches? Is authorship, or even credit, really the concept we, as scholars, want to invest in when studying these forms of narration and mediation?At more symbolic levels, the seemingly exhaustless popular and scholarly appetite for male-bodied authorship persists within storyworlds themselves. The transmedia examples popularly and academically heralded as “seminal” centre on patrimony, patrilineage, and inheritance (i.e. Star Wars [1977-] and The Lord of the Rings [1937-]). Of course, Harry Potter (2001-2009) is an outlier as the celebrification of J.K. Rowling provides a strong example of credited female authorship. However, this example plays out many of the same issues, albeit the franchise is attached to a woman, in that it precludes many of the other creative minds who have helped shape Harry Potter’s world. How many more billions of dollars need we invest in men writing about the mysteries of how other men spread their genetic material across fictional universes? Moreover, transmedia studies remains dominated by academic men geeking out about how fan men geek out about how male creators write about mostly male characters in stories about … men. There are other stories waiting to be told and studied through the practices and theories of transmedia. These stories might be gender-inclusive and collective in ways that challenge traditional notions of authorship, control, rights, origin, and property.Obsession with male authorship, control, rights, origin, paternity and property is recognisible in scholarship on transmedia storytelling, and also symbolically in many of the most heralded examples of transmedia storytelling, such as the Star Wars saga.Prompting Broader DiscussionThis piece urges the development of broader understandings of transmedia storytelling. A range of media scholarship has already begun this work. Jonathan Gray’s book on paratexts offers an important pathway for such scholarship by legitimating ancillary texts, like posters and trailers, that uniquely straddle promotional and feature content platforms (Gray). A wave of scholars productively explores transmedia storytelling with a focus on storyworlds (Scolari; Harvey), often through the lens of narratology (Ryan; Ryan and Thon). Scolari, Bertetti, and Freeman have drawn together a media archaeological approach and a focus on transmedia characters in an innovative way. We hope to see greater proliferation of focuses and perspectives for the study of transmedia storytelling, including investigations that connect fictional and non-fictional worlds and stories, and a more inclusive variety of life experiences.Conversely, new scholarship on media authorship provides fresh directions, models, methods, and concepts for examining the complexity and messiness of this topic. A growing body of scholarship on the functions of media branding is also productive for reconceptualising notions of authorship in transmedia storytelling (Bourdaa; Dehry Kurtz and Bourdaa). Most notably, A Companion to Media Authorship edited by Gray and Derek Johnson productively interrogates relationships between creative processes, collaborative practices, production cultures, industrial structures, legal frameworks, and theoretical approaches around media authorship. Its case studies begin the work of reimagining of the role of authorship in transmedia, and pave the way for further developments (Burnett; Gordon; Hilmes; Stein). In particular, Matt Hills’s case study of how “counter-authorship” was negotiated on Torchwood (2006-2011) opens up new ways of thinking about multiple authorship and the variety of experiences, contributions, credits, and relationships this encompasses. Johnson’s Media Franchising addresses authorship in a complex way through a focus on social interactions, without making it a defining feature of the form; it would be significant to see a similar scholarly treatment of transmedia. At the very least, scholarly attention might turn its focus away from the very patriarchal activity of discussing definitions among a coterie and, instead, study the process of spreadability of male-centred transmedia storyworlds (Jenkins, Ford, and Green). Given that transmedia is not historically unique to the digital age, scholars might instead study how spreadability changes with the emergence of digitality and convergence, rather than pontificating on definitions of adaptation versus transmedia and cinema versus media.We urge transmedia scholars to distance their work from the malignant gender politics endemic to the media industries and particularly global Hollywood. The confluence of gendered agendas in both academia and media industries works to reinforce patriarchal hierarchies. The humanities should offer independent analysis and critique of how media industries and products function, and should highlight opportunities for conceiving of, creating, and treating such media practices and texts in new ways. As such, it is problematic that discourses on transmedia commonly neglect the distinction between what defines transmediality and what constitutes good examples of transmedia. This blurs the boundaries between description and prescription, taxonomy and hierarchy, analysis and evaluation, and definition and taste. Such discourses blinker us to what we might consider to be transmedia, but also to what examples of “good” transmedia storytelling might look like.Transmedia theory focuses disproportionately on authorship. This restricts a comprehensive understanding of transmedia storytelling, limits the lenses we bring to it, obstructs the ways we evaluate transmedia stories, and impedes how we imagine the possibilities for both media and storytelling. Stories have always been transmedial. What changes with the inception of transmedia theory is that men can claim credit for the stories and for all the work that many people do across various sectors and industries. It is questionable whether authorship is important to transmedia, in which creation is most often collective, loosely planned (at best) and diffused across many people, skill sets, and sectors. 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Ce travail de recherche vise à analyser, au moyen de l'enquête ethnographique, le phénomène de qualification des « objets africains » ainsi que les problématiques personnelles et institutionnelles qui justifient leur appropriation et leur appréciation. En se basant sur une enquête de terrain effectuée en France et au Mali, l'étude s'attache à circonscrire le spectre des pratiques individuelles et collectives qui s'organisent avec et autour de ces productions. Européens ou Africains, amateurs du dimanche, collectionneurs aguerris, sculpteurs, touristes ou marchands, une multiplicité d'acteurs individuels, issus de sphères parfois totalement étrangères les unes aux autres, gravitent autour de cette catégorie d'objets et les envisagent selon des perspectives variées. Fondé sur une approche dynamique et une mise en perspective historique visant à dessiner une anthropologie symétrique de ces objets - symétrie Afrique/Occident, objets/personnes, expert/profane -, l'objectif est donc de construire un cadre d'observation qui permette de respecter la diversité des formes d'appropriation de ces productions matérielles. Il s'agit, en d'autres termes, d'analyser les transformations physiques, sémantiques ou conceptuelles auxquelles sont soumis ces objets en vue de leur circulation et du fait de leur circulation entre des espaces géographiques, des cultures nationales et des mondes économiques différents. L'observation des dispositifs socio-techniques sur lesquels s'appuient les goûts, les pratiques et les visions du monde de ces acteurs permet ainsi d'identifier les enjeux qui les unissent ou les opposent
This research aims to analyze, through ethnographic inquiry, the phenomenon of qualification of the "African objects" as well as the personal and institutional problems that justify their appropriation and appreciation. Based on a field survey conducted in France and Mali, the study seeks to identify the spectrum of individual and collective practices that are organized around and with these productions. Europeans or Africans, amateurs, collectors, carvers, tourists and merchants, a multiplicity of individual actors, sometimes coming from areas totally strangers to each other, revolve around this object class and consider them from various perspectives. Based on a dynamic approach and on a historical viewpoint to draw a symmetrical anthropology of these objects - symmetry Africa/West, objects/people, expert/layperson - the goal is to build an observation framework which allows to respect the diversity of appropriation forms of these material productions. In other words, this work wants to analyze the physical, semantic or conceptual transformations which objects are subject for their circulation and because of their transit between geographical areas, national cultures and different economic worlds. The observation of socio-technical devices on which lean on the tastes, practices and worldviews of these actors allows to identify the stakes that unite them or divide them

La convention adoptée par l’Unesco pour sauvegarder le patrimoine culturel immatériel (2003) institue une transformation profonde du rôle des acteurs dans l’attribution de la valeur patrimoniale. Celle-ci est désormais soumise à la « participation » des porteurs de patrimoine eux-mêmes (Unesco, 2003). Minorant l’expertise scientifique pratiquée jusqu’alors, l’enjeu participatif est cependant peu normé par la convention. La thèse analyse la façon dont les acteurs professionnels de deux organismes parapublics en Normandie et en Bretagne, dans l’inventaire du PCI, conçoivent et mettent en œuvre ce renversement par des innovations participatives dans leurs pratiques professionnelles. La thèse s’appuie sur l’observation participante au titre d’une Convention industrielle de formation par la recherche (Cifre) et met en miroir deux terrains régionaux où s’expriment des héritages contrastés : le dynamisme associatif breton laisse envisager une approche résolument participative, alors que l’expérience historique normande dans l’expertise ethnologique présage une approche plus technocratique. Selon une démarche compréhensive, la thèse met à jour le processus par lequel les pratiques de participation norment, déplacent et recomposent l’expertise patrimoniale pour développer et renforcer la compétence professionnelle dans les différents registres d’action : la mise en fiche du PCI, la construction d’un raisonnement et d’une rhétorique pour diffuser la notion, l’expérimentation d’inventaires dits « participatifs », la réalisation d’enquêtes et l’intervention sur le PCI pour sa sauvegarde. Se pose la question de la construction d’un collectif professionnel pour sa légitimité dans l’appareil patrimonial qui est traditionnellement tourné vers la production de savoirs savants et les dimensions matérielles du patrimoine
The convention adopted by UNESCO (2003) to safeguard Intangible Cultural Heritage (ICH) institutes a profound transformation of the role of actors in the attribution of heritage value. The latter is now subject to the "participation" of the holders of heritage themselves (Unesco, 2003). Whilst it undermines the scientific practised until then, the participatory stake shows very little standards in the convention. The PhD dissertation analyses the way by which professional actors of two parapublic organisations in Normandy and Brittany, specialised in ICH inventory, conceive and implement this shift by including participative innovations in their professional practices. The study is based on participant observation as part of an Agency Doctoral Funding and Placement (CIFRE in French) and compares two regional areas with contrasting heritages: the dynamism of Breton agencies suggests a participatory approach, whereas the historical experience of Normandy in ethnological expertise suggests a more technocratic rationale. Following a comprehensive approach, the thesis reveals the process by which participatory practices normalise, displace and recompose heritage expertise in order to develop and strengthen professional competence in the different registers of action: the criterionisation of ICH, the construction of a rationale and a rhetoric so as to disseminate the notion, the experimentation of so-called "participatory" inventories, the implementation of surveys and the intervention on ICH to safeguard it. The heritage apparatus is traditionally turned towards the production of knowledge and the material dimensions of heritage. Hence stems for its agents the issue pertaining to the construction of a professional collective formation in the perspective of acquiring legitimacy

Cette thèse analyse le fonctionnement d’un système d’action publique relatif à la production et à la gestion du patrimoine culturel et du patrimoine mondial en Turquie. Dans une démarche de sociologie politique, une attention particulière est portée sur les interactions entre institutions étatiques et organisations civiles et sur les multi-positionnements individuels et collectifs. Les enquêtes menées à Istanbul, Ankara, dans la région kurde, sur plusieurs sites du patrimoine mondial à travers l’ensemble du pays et au sein des arènes de l’UNESCO permettent d’explorer en profondeur les mécanismes de l’action publique et les circulations des experts du patrimoine mondial. Plus spécifiquement, à travers le cas du site de Diyarbakır, inscrit au patrimoine mondial en juillet 2015 et sinistré par des combats armés dès la fin de la même année, il est possible de montrer que l’expérience de transfert du programme du patrimoine mondial ne peut être comprise qu’à travers une étude politique des relations et des modalités d’exercice du pouvoir aux niveaux local, régional et national. La fabrique du patrimoine et du patrimoine mondial s’opère selon une succession d’appropriations et de manipulations de concepts et instruments d’action publique suscitant la création de produits hybrides, d’objets patrimoniaux situés entre métaculture unesquienne et représentations nationalistes
This PhD dissertation analyses the public action system related to the production and management of cultural heritage and World Heritage in Turkey. In a political sociology approach, particular attention is given to the interactions between state institutions and civil organisations and to the multi-positionings of individuals and collectives. Field research conducted in Istanbul, Ankara, in the Kurdish region, at various World Heritage sites throughout the country, as well as within the UNESCO arenas themselves, enables an in-depth exploration of public action mechanisms and of the circulation of World Heritage experts. The specific case of the site of Diyarbakir, inscribed on the World Heritage list since July 2015 and deeply affected by armed conflict at the end of the same year, illustrates how the experiences of transfer of the World Heritage program can only be understood through a political study of the relations and modalities of the exercise of political power at the local, regional and national levels. The making of heritage and World Heritage proceeds from a sequence of appropriations and manipulations of concepts and public action tools. These mechanisms create hybrid products, heritage objects located between unesquian metaculture and nationalist representations

L'objectif de cette thèse est de fournir une grille de lecture retraçant l'itinéraire juridique des créations matérielles subsahariennes, depuis leur production en milieu endogène jusqu'à leur diffusion sur le marché international. Véritable kaléïdoscope, l'objet africain traditionnel change de dénomination et de valeur selon le contexte dans lequel il se situe. La singularité de sa trajectoire, dans le temps et l'espace, en fait un artefact atypique. Objet strictement fonctionnel à l'origine, il se métamorphose souvent en œuvre d'art lorsqu'il est exporté au Nord. N'ayant traditionnellement aucune valeur pécuniaire et ne faisant pas l'objet d'un véritable titre de propriété, les objets de la statuaire animiste doivent être - conformément à la définition doctrinale - qualifiés de "choses" tant qu'ils demeurent dans leur milieu originel. En revanche, dès qu'ils en sont exclus, ils acquièrent une autre fonction (ethnologique, artistique, patrimoniale. . . ) et peuvent faire l'objet de transferts marchands. Ces nouveaux critères les intègrent de jure dans la catégorie des "biens". Le changement de leur statut social implique nécessairement une mutation du régime juridique auquel ils sont soumis. Pour comprendre cette métamorphose, la pluralité des modes de diffusion des œuvres matérielles d'Afrique noire devait être précisément analysée à la lumière du droit. Qu'il soit licite ou illicite, à destination d'une personne privée ou publique, onéreux ou gratuit, leur transfert répond à des logiques particulières, distinctes de celles issues de la pensée juridique classique. Il convenait donc de démontrer l'impérieuse nécessité du juriste de prendre en compte ces spécificités inhérentes aux biens culturels africains afin de leur offrir une protection sui-generis adaptée à leur originalité.

Cette étude examine si les sites historiques pourraient être considérés comme des biens publics ou non. Il étudie aussi les caractéristiques d'un site d’être considéré comme un bien public mondial. Considérant les sites historiques comme biens publics exige différent type de planification et gestion car ces sites sont généralement gérés par les gouvernements et les gouvernements engagent des coûts élevés pour leur restauration et leur entretien. Par conséquent, il serait important d'évaluer la valeur des différents sites de prioriser la restauration de ces sites. Donc, dans cette recherche différents types de valeurs générées par des sites historiques a été étudié et la méthode la plus appropriée pour évaluer la valeur totale des sites a été proposé. Ensuite, une étude empirique a été réalisée en constituant des données originales pour l'évaluation de la valeur du site du mausolée de Ferdowsi en Iran et la valeur totale du site ainsi que ses sous valeurs a été évaluée
This study considers whether historic sites could be considered as public goods or not. It also studies the characteristics of a site to be considered as a global public good. Considering historic sites as public goods demands different kind of planning and management as these sites are usually are managed by Governments and Governments incur high cost for their restoration and maintenance. Therefore, it would be important to assess the value of the different sites to prioritize restoration of these sites. To this mean, in this research different kind of values generated from historic sites has been considered and the most proper method in order to assess the total value of the sites has been proposed. Then an empirical study has been carried out by constituting original data for the value assessment of the Ferdowsi mausoleum site in Iran and the total value of the siteas well as its sub values has been assessed

La présente thèse s’intéresse à l’authenticité du mobilier français de l’époque classique selon trois axes de réflexion : interprétation, évaluation et préservation. Dans un premier temps, le sens du mot « authenticité » est exploré ainsi que sa portée dans le domaine de la conservation du patrimoine culturel, et ce corrélativement à l’évolution de la pratique de la restauration. À partir des réflexions engagées lors de la Conférence de Nara sur l’authenticité, tenue au Japon en 1994 dans le cadre de la Convention du patrimoine mondial, des critères d’évaluation de l’authenticité spécifiques au mobilier sont proposés. Ensuite, les caractéristiques esthétiques du mobilier français de l’époque classique et les techniques qui lui sont associées sont traitées. Une « procédure d’authentification » est proposée pour évaluer et préserver son authenticité. Enfin, quatre études de cas illustrent les idées développées ; l’authenticité de chacun de ces meubles est appréciée à l’aide des « critères d’évaluation » établis
This dissertation focuses on the authenticity of French furniture of the Classic period in regard to its interpretation, evaluation and preservation. The first part, theoretical, addresses the meaning of the word “authenticity” as well as its interpretation in the context of cultural heritage and looks into the history of conservation. Based on the exchanges carried out during the Nara Conference on Authenticity, held in Japan in 1994 in relation to the World Heritage Convention, specific evaluation criteria for furniture are suggested. The second part, technical, will review aesthetic features of French furniture of the Classic period as well as its associated techniques. An “authentication procedure” is proposed to evaluate and preserve authenticity. Four case studies allow, in the third part, to illustrate the ideas previously discussed; the authenticity of each of them is assessed from the “evaluation criteria” established

Hablar de universidad creativa es referirse a una institución de educación superior que sistematiza las experiencias narradas y tiene un enfoque que se configura como un modo propio de presentar los resultados de ejercicios de docentes y estudiantes. En este libro usted encuentra un sensible carácter polifónico del discurso narrativo, un acercamiento complejo que secuencia y privilegia el contexto. Por eso, los criterios que aquí se desarrollan están redefinidos de manera congruente con las premisas teóricas y con el material objeto de estudio (Connelly y Clandinin, 1990). Esta sistematización de experiencias de narrativas en el aula le permite al lector un acercamiento interpretativo a los diversos asuntos desarrollados. Esto, en palabras de Lluis Duch2 , es una posibilidad antropológica del empalabrar la experiencia formativa, en este caso la profesional: se trata de lenguajear las maneras como se nombra el mundo, de nombrar la ubicación lingüística en él. Por eso es que se desarrollan temas en torno a rutas de análisis sobre enseñar a leer y a escribir, un ejercicio propio de la formación de maestros que atienden la infancia. Asimismo, la incidencia de la escritura a la hora de la creatividad en la generación de competencias para ingenieros; también se abordan las construcciones narradas en torno a la cultura, la política y el patrimonio; finalmente, se analiza la relación entre literatura y derecho gracias a que son posibles otras formas de asumir la formación de los profesionales en leyes. Y es que en las posibilidades para el abordaje de lo profesional en nuestros días, hay un alejamiento de las teorías clásicas sobre el tema, en tanto que en esta contemporaneidad es importante la mirada de disposiciones interaccionistas , y las que desde lo estructural4 trabajan la profesionalidad en estrecha relación con el desarrollo de una subjetividad que se pone en evidencia a través de lo biográfico. Este trabajo es precisamente un ejercicio de reconstrucción de la interacción al interior de las aulas de clase de una institución de educación superior, que emerge como una hermenéutica objetiva emanada de los análisis narrativos en torno a sucesos que se presentan en la formación de diferentes profesiones. Estas narrativas son definitivamente una opción para reconstruir un tejido que dota de sentido acciones de aula. Unas narrativas como las que Antonio Bolívar denomina Profesionalización desde abajo, ya que para este tipo de ejercicios resulta interesante observar las diversas maneras en las que se puede comprender que las profesiones se constituyen desde las interacciones cotidianas, y que están determinadas por una diversidad compleja de tensiones, paradojas y sentidos. Ellas están dadas por lo que W. Helsper6 denomina las antinomias del actuar pedagógico que es el vínculo cotidiano entre lo real, lo imaginario y lo simbólico. Es importante reiterar que Profesionalización desde abajo hace referencia entonces al grupo de trabajo representado por los sujetos conscientes de sí mismos y de su instalación histórica como profesionales. En este trabajo se evidencian subjetividades y configuración de formaciones de maestros y estudiantes, en medio de un habitus profesional, lo que tiene que ver con la obtención de una serie de habilidades científicas que les permite instalarse, para decidir y actuar como expertos. En síntesis, tematizar las profesiones, desde el análisis de las características, no es en definitiva una manera adecuada para proceder sobre ese asunto. Por eso, el gran valor de un texto como este es que le permite al lector interpretar la estructura de los problemas de la formación laboral, de manera que esta reconstrucción de lo que sucede en los espacios de formación puestos en narrativas –si se me permite, desde abajo-, permite pensar de otra manera y con amplitud de perspectivas las cuestiones propias de la formación de profesionales como la que exige nuestro tiempo. Hoy la pregunta por quienes atienden la sociedad debe plantearse en otros términos. La discusión científica sobre el trabajo y las labores profesionales ocupa estantes de bibliotecas. Entonces, un libro que reconstruye creativamente la universidad, desde la sistematización de las experiencias de narrativas, ocupa un lugar especial. Con todo lo antedicho, mis mejores deseos de una grata lectura

AbstractThis chapter will focus on the potential role of safe microorganisms as biocleaning agents in the removal of altered or undesirable organic substances on historical wall paintings. Selected microbes can be adopted as biological cleaners to reduce and remove deterioration ageing phenomena, environmental pollutants and altered by-products of past intervention of restorations. The aim is to offer a comprehensive view on the role and potentiality of virtuous microorganisms pro- biocleaning of altered historical wall paintings. We also report four case studies in the CH restoration field, carried out in the last 25 years, with the innovative use of bacteria and different delivery systems, focusing the attention on the preliminary diagnosis and the monitoring of the whole process. The CH field represents a great challenge and Science and Art link together the work of conservator scientists and historians with researchers and scientists, sharing their diverse expertises and joining the knowledges to the preservation and the conservation of our artistic patrimony.

Que voulons-nous manger?—What do we want to eat? The French government posed this question in 2000 as part of a Ministry of Agriculture project on l’Etats Generaux de l’Alimentation (EGA), or the “General State of Food.” It also recruited thousands of citizens to respond in surveys, discussion groups, and a national colloquium, which were all duly recorded, analyzed, and interpreted by market researchers. Described as an effort to promote debate and dialogue around the French public’s “true” food concerns, the EGA seemed an extraordinary overture from a government not known for soliciting public opinion on policy matters (Marris 1999). But then, it was an extraordinary time. In the previous five years, mad cows, dioxin chickens, and listeria had found their way into the French food supply; opposition to genetically modified organisms (GMOs) had mushroomed into a major political crisis; a millennial shipwreck off the Brittany coast had dumped huge quantities of potential carcinogens into some of the country’s richest fishing waters. Media coverage of these affairs had played up the roles of government officials who were either corrupt, incompetent, disingenuous, or simply unable or unwilling to address questions about possible food risks (Jaillette 2000; Mamère and Narbonne 2001). The government badly needed to show that it was listening, and that it could protect the public’s health. Yet the EGA findings, while inconclusive in many respects, did show that alleviating public anxieties about the food supply would take more than stricter safety measures (Joly and Marris 2001). For the French were concerned not only about mad cow disease and listeria, but also the loss of their culinary patrimony. In particular, they feared that globalization would force upon them the travesties of “Anglo-Saxon” food culture, from Big Macs to biotech maize. France’s fresh produce importers would probably find the EGA’s findings old but ironic news. After all, the importers had helped to globalize one prominent part of the French diet, namely fresh produce. For much of the past century France, unlike Britain, had produced much of its own fruit and vegetable supply.

The essay focuses upon the issues and the evolution of protecting library materials by the Italian Regions since 1972, when the state law delegated to them this activity. The activities carried out by the regional authority had a positive outcome until 6 August 2015 when through a State law n.125 the authority regarding the protection of library material returned to the central competence.As well as the printed bibliography, also sources from the regional archives and the direct experience of the author have been used, as she was from 2006 Head of Regional Office of the Superintendent Book Heritage of the Veneto Region. Successful examples since 2003 carried out by the Office activities to protect the library cultural heritage will also presented. The author hopes for close cooperation between the National office who has now taken the responsibility to take care of the library heritage material in Veneto and the and regional Office in order to keep the knowledge and expertise developed by the latter throughout years of close collaboration with the institutions based on its territory.

En la región nororiental del departamento Norte de Santander, se encuentra la provincia de Ocaña, una región llena de tradiciones históricas, con un encanto cultural, paisajístico y una exquisita gastronomía, entre las que se destacan las cebollitas ocañeras. La siembra y Comercialización de la cebolla Ocañera ha venido en decadencia. Con la metodología del Marco lógico, se procedió a realizar el análisis situacional para la planificación del proyecto “Recuperando tradiciones, la Cebolla Ocañera un patrimonio olvidado”, a fin de determinar las causas que han originado la baja producción del producto y proponer acciones que mitiguen su desaparición. El desarrollo incluyó la aplicación de técnicas de investigación documental, revisión de archivos y análisis de publicaciones, revistas e informes originados por entidades gubernamentales relacionados al producto, asi como la opinión de expertos en el tema. En este capitulo se expone la aplicación de cada uno de los pasos comprendidos en la metodología, del cual se deriva como una de las alternativas para mantener su producción, la formulación de proyectos que propendan por la puesta en valor y la salvaguarda de la identidad cultural que precede a la cebolla Ocañera, un producto patrimonial con todos los atributos y características para ser protegida a través de Denominación de origen y protección de marca colectiva.

Motiv-ARCHE es una plataforma que incrementa la motivación de los jóvenes por el patrimonio gracias a la co-creación y al uso de la Realidad Aumentada. Con esta aplicación los usuarios pueden añadir a los elementos patrimoniales nuevos contenidos en distintos formatos que se visualizan con Realidad Aumentada. Los objetivos de Motiv-ARCHE son motivar a los jóvenes en el aprendizaje del patrimonio cultural y natural, haciéndolo más atractivo y accesible, facilitar la co-creación de contenidos patrimoniales tanto por los jóvenes como por los gestores patrimoniales, y potenciar la comunicación y la interacción entre la sociedad y las entidades patrimonio. Es conveniente proporcionar a los expertos del Patrimonio Cultural y Natural un entorno de trabajo que les facilite la creación de experiencias en las que se incluyan elementos de Realidad Aumentada y que éstas se puedan adaptar a las diferentes características de los usuarios que las usen. En este artículo se presenta Motiv-ARCHE y las pruebas piloto de co-creación de contenidos realizadas por expertos en patrimonio en el Museu d’Història Medieval de la Cúria-Presó, s.XIV de Castelló d'Empúries; en el Parc Natural del Cap de Creus; y en el Museu Municipal de Tossa de Mar. Estas pruebas se han desarrollado dentro del proyecto PECT "Costa Brava i Pirineu de Girona: Natura, Cultura i Intel·ligència en xarxa" en colaboración con los responsables de las mencionadas instituciones patrimoniales. Título de la ponencia – Running head 2022, Editorial Universitat Politècnica de València La aplicación de la metodología de la investigación basada en el diseño (IBD) nos permite a partir de los resultados de la experiencia presentada proponer mejoras en MOTIV-ARCHE.Más información en https://motivarch.online/

En este trabajo ofrecemos una reflexión sobre los procesos de patrimonilización del patrimonio inmaterial relacionado con el pescado analizando para ello la propuesta expositiva realizada en torno a la cultura alimentaria marítimo pesquera de Mallorca y en la que hemos participado activamente. La reflexión toma en consideración algunas aportaciones de la antropología, las acciones investigativas que fundamentan la propuesta expositiva así como su estructura y contenido, que se expone brevemente. El análisis nos permite poner de manifiesto el interes de tomar en consideración los presupeuestos de la antropología cultural aplicada al conocimiento de las culturras alimentarias así como la necesidad de abordar la complejidad de los fenómenos alimentarios, incluyendo la dimensión temporal, la memoria oral y las situaciones actuales. Se analiza también el interés de las propuestas expositivas temporales como instrumento que permite superar algunas de las contradicciones que caracterizan a los procesos patrimonializadores de la cultura alimentaria.Estructurada en once paneles la exposición presenta la cultura alimentaria asociada a la actividad pesquera artesanal desde el punto de vista de aquellos que le han dedicado su vida. Dicha información fue recogida mediante entrevistas en profundidad con pescadores y sus mujeres, las pescaderas, con un panel de expertos formado por diferentes cocineros célebres en la isla y con análisis de fuentes secundarias. Así, la tradición del mar y la pesca y sus evoluciones se presentan en temas que varían desde la vida a bordo y el trabajo en el mar, hasta las recetas de pescado del ámbito domèstico, la preparación y conservación del mismo y la importancia de la restauración y de los recetarios como instrumentos de recreación y transmisión de saberes.