In the museum context, curators and conservators often play a role in shaping the nature of contemporary artworks. Before, during and after the acquisition of an art object, curators and conservators engage in dialogue with the artist about how the object should be exhibited and conserved. As a part of this dialogue, the artist may express specifications for the display and conservation of the object, thereby fixing characteristics of the artwork that were previously left open. This process can make a significant difference to the visual appearance of the work, the nature of the audience's experience, and how the work should be interpreted. I present several case studies in which the nature of the artwork has been shaped by such dialogues, and discuss principles for resolving cases in which there is a conflict between instructions specified by the artist and those adopted by the museum. 相似文献
The present study compared secondary traumatization among child protection social workers versus social workers employed at social service departments. In addition, based on Conservation of Resources (COR) theory, the study examined the contribution of working in the field of child protection as well as the contribution of background variables, personal resources (mastery), and resources in the workers’ social and organizational environment (social support, effectiveness of supervision, and role stress) to secondary traumatization. The findings indicate that levels of mastery and years of work experience contributed negatively to secondary traumatization, whereas exposure to child maltreatment, trauma history, and role stress contributed positively to secondary traumatization. However, no significant contribution was found for social support and effectiveness of supervision. The study identifies factors that can prevent distress among professionals such as child protection workers, who are exposed to the trauma of child abuse victims. Recommendations are provided accordingly. 相似文献
Public visual spaces, populated by a blend of community murals, unauthorised street art, and historic painted mercantile signs, are often the mark of an urban environment that is both progressive and eclectic. Changes in the aesthetic and cultural value of these urban mural forms have led to an increase in the appreciation and, in some instances, promotion of their artistic merit and cultural significance as examples of public art. However, examining the significance of these works, with a view to implementing a conservation approach is problematic. This is due to a number of practical and theoretical considerations that are primarily a result of the ephemeral existence of urban murals outside conventional exhibition spaces, and issues associated with their often fragmented ownership and uncertain authorship. Consequently, larger thinking on the interpretation, conservation assessment, and advocacy for the conservation of urban murals are required. Key to defining and implementing such strategies is contextualising the public visual spaces that these murals occupy and, as part of this, the local and wider communities’ perception of these murals as culturally significant objects as well as fostering awareness and understanding of appropriate measures aimed at their conservation. This paper examines the role of citizen science, or crowd-sourcing, of local community members in establishing a conservation dialogue and generating conservation- relevant data on urban murals. It looks specifically at a project involving a collection of in situ historic painted mercantile signs — also known as ghost signs — in the City of Port Phillip, Melbourne, Australia. The project fostered the establishment of an informed and open dialogue between conservation specialists and participants from the local community on the significance of local ghost signs whilst transferring knowledge on conservation processes and assessment methods. Working directly with community members, a programme was designed in which conservation and community knowledge of these urban art forms, could be collected and exchanged across digital platforms. This enabled researchers to examine how citizen science can be utilised as a research tool as well as a means to advocate for the conservation of collections of urban murals. It created the opportunity to consider the role of non-specialists and shared authorities in the collection and collation of conservation- relevant data and how information generated from what we call citizen conservation projects, can inform the way in which conservators evaluate and prioritize the conservation of urban cultural heritage. The data gathered and interpreted proved to be the most effective means of ‘conserving’ these often ephemeral forms of cultural material. 相似文献
Attitudes and approaches toward the collection, use, and care of color photographs have evolved enormously since the official arrival of commercially viable color photographic processes in the early twentieth century. This article traces the evolution of collection, exhibition, and preservation practices for works of art in color photography over the last few decades, as represented by one institution, The Metropolitan Museum of Art. 相似文献
INTRODUCTION The differential quadrature method (DQM) was proposed by Bellman and Casti as an analogous ex- tension of the quadrature method for integrals (Bellman and Casti, 1971; Bellman et al., 1972). It can be essentially expressed as the values of the de- rivatives at each grid point as weighted linear sums approximately of the function values at all grid points within the domain under consideration. As a distinct numerical solution technique to obtain the initial and/or boundary … 相似文献
AbstractUniversity rankings are increasingly important internationally, and in the UK include a sustainability ‘Green League’. However, there is little evidence about experiences of studying in ‘sustainable universities’. We report an empirical study at five universities in varied positions in the Green League, exploring students’ energy literacy, environmental attitudes and perceptions of their institution’s energy-saving efforts. Although the link to energy literacy is not clear, findings suggest that there are significant differences between students’ environmental attitudes at universities placed at different points in the league. In addition, students at higher ranked universities are more positive about their university’s energy-saving efforts, suggesting that these institutions may exhibit more overt manifestations of sustainability. This is important since students report being more likely to choose energy-conservation behaviours if there is visible representation of energy use. The study is the first to attempt a comparison between universities at different positions in a sustainability ranking. 相似文献
Purpose: To describe the results of showing farmer learning videos through different types of volunteers.
Design/Methodology/Approach: Semi-structured interviews with volunteers from different occupational groups in Bangladesh, and a phone survey with 227 respondents.
Findings: Each occupational group acted differently. Shop keepers, tillage service providers, agricultural input and machine dealers reached fairly small audiences. Tea stall owners had large, male audiences. Non-governmental organisations and community-based organisations, reached more women. The cable TV (dish-line) operators showed the videos on local TV, but some were reluctant to do so again. The Union Information Service Centres showed the videos and reached women viewers. Half of the official government extension agents surveyed also showed the videos publically.
Practical Implication: This video featured maize, wheat and rice seeding machinery. Because the machinery is complex and requires hands-on training, this first video aimed to expose tillage and sowing service providers and farmers to the machinery, without trying to teach them how to use it. But some farmers were so interested that they watched the video many times to learn more about the equipment. Before farmers and service providers decide to buy machinery for direct seeding, they still want to see and learn from demonstration plantings, to examine first-hand how the crop behaves when planted with the new equipment.
Originality/Value: Video can be an effective way of sharing high-quality information with a large audience, if properly distributed. 相似文献