Arthur Benjamin and the French Public

Tempo ◽  
1955 ◽  
pp. 2-3
Author(s):  
Jean-Paul Changeur
Keyword(s):  
Cultural Heritage ◽  
Subject Matter ◽  
General Public ◽  
18Th Century ◽  
Foreign Country ◽  
The Public ◽  
Peter Grimes ◽  
Remote Part

“How will the public react to it?” is a question that arises when an opera is about to have its first performance in a foreign countryArthur Benjamin's opera Primadonna does not seem a difficult one to “export,” mainly because of its subject-matter. One might expect the action of a British opera to take place in some remote part of Old England (as in Peter Grimes, the most famous of English operas with us French) whose ways are so unfamiliar as to risk leaving the general public quite untouched. Here, however, there is no such risk: we are in Venice, the courtly Venice of the 18th century, and the characters, the déecor, the whole atmosphere belong to the cultural heritage of all Europe.

Article 8—Use of Out-of-commerce Works and Other Subject Matter by Cultural Heritage Institutions

2021 ◽  
pp. 158-202
Author(s):  
Eleonora Rosati
Keyword(s):  
Cultural Heritage ◽  
Subject Matter ◽  
Single Market ◽  
Equal Treatment ◽  
Communication To The Public ◽  
The Public ◽  
Collective Management ◽  
Management Organization ◽  
Copyright Directive

This chapter talks about Article 8 of Directive 2019/790, the European copyright directive in the Digital Single Market, which outlines provisions on the use of out-of-commerce works and other subject matter by cultural heritage institutions. It mentions the collective management organization that may conclude a non-exclusive licence for non-commercial purposes with a cultural heritage institution for the reproduction, distribution, and communication to the public or making available to the public of out-of-commerce works or other subject matter that are permanently in the collection of the institution. It also mentions the guarantee that all rightholders have equal treatment in relation to the terms of the licence. The chapter points out the liberty of rightholders to exclude their works or other subject matter from the licensing. It describes a work or other subject matter that is deemed to be out-of-commerce when it can be presumed that is not available to the public through customary channels of commerce.

Maritime Archaeology, the Dive Community, and Heritage Tourism

2012 ◽  
Author(s):  
Arthur B. Cohn ◽  
Joanne M. Dennis
Keyword(s):  
Cultural Heritage ◽  
General Public ◽  
Heritage Tourism ◽  
Maritime Archaeology ◽  
Archaeological Site ◽  
Underwater Cultural Heritage ◽  
Remotely Operated Vehicle ◽  
The Public ◽  
Vehicle Technologies ◽  
Underwater Sites

In modern times, the development of new survey, navigation, diving, and remotely operated vehicle technologies have made the location, exploration, and excavation of historic shipwrecks feasible to the general public. The debate on the value of underwater cultural heritage is recent and the issues of protecting underwater sites are now accepted. The diving community has been engaged in this debate for several decades, and a wide variety of viewpoints have developed. Museums focusing on underwater cultural heritage serve as platforms to foster discussions on submerged cultural resource protection. As any archaeological site, shipwrecks excite the general public. While museums provide a venue to share the story of the wrecks, or the historical contexts in which they existed, there are multiple ways to share this information with the public that will allow them a first-hand experience with a shipwreck. This notion has given rise to the concept of heritage tourism.

scholarly journals Communicating Cultural Heritage Resources to the Public: Experiences from the Makonde of Mtwara Region, Tanzania.

2019 ◽  
Vol 8 (1) ◽  
pp. 35
Author(s):  
Festo Wachawaseme Gabriel
Keyword(s):  
Cultural Heritage ◽  
General Public ◽  
Local Communities ◽  
Public Archaeology ◽  
The State ◽  
African Countries ◽  
The Public ◽  
The World

Communicating cultural heritage to the public has gained popularity in many African countries and the world at large. However,little efforts have been done to promote the practice of public archaeology in Tanzania. The main reason is the dominance of conventional archaeology which is mainly meant for academic consumption. In this kind of practice, the participation of local communities has been passive. This paper explores local communities’ understanding of cultural heritage resources focusing on local communities in the Mtwara Region of Tanzania. The results of this study reveal that little effort has been made by archaeologists and cultural heritage professionals to create awareness among local communities on matters related to archaeology and cultural heritage resources. Apart from discussing the state of local communities’ awareness on archaeology and cultural heritage resources, the paper also discusses the importance of communicating cultural heritage resources to the general public and the need to engage local communities in the conservation and preservation of cultural heritage resources.

scholarly journals Archaeology in Public and Media: A short introduction to theoretical premises of the dialogue on heritage

2016 ◽  
Vol 9 (3) ◽  
pp. 597
Author(s):  
Ivan Vranić
Keyword(s):  
Cultural Heritage ◽  
General Public ◽  
Short Introduction ◽  
Active Participant ◽  
Global Trends ◽  
The Public ◽  
The Past ◽  
Potential Problems ◽  
The Many ◽  
Social Memories

Along with many different definitions of archaeology, from the inception of the discipline to the present, it may be valid to assert that it is a kind of complex dialogue on heritage with the public of contemporary societies. In this dialogue, archaeologists have directly constructed social memories and modern identities, this being an exceptional responsibility, and have at the same time been susceptible to ethnocentric transfers of modern values and expectations into the images of the past. In this respect, it may well be said that the public is not only the most important consumer of cultural heritage, but also an active participant indirectly influencing the shaping of archaeological interpretations of the past. Thanks to the global trends in the discipline, but also due to the administrative decisions of the Ministry of Culture and Information, archaeology in Serbia is compelled to intensify contacts with the public and to make the results of our work more readily accessible and economically sustainable. The paper aims to offer a short overview of theoretical premises of various models of collaboration of archaeology and the public, to point to the advantages and shortcomings, as well as the consequences of these approaches, thus warning of the many potential problems stemming from the uncritical dissemination of information on the past and heritage to the general public.

scholarly journals Issues in Conservation—Three Value Moments in the Public Perception of Cultural Heritage Objects in Public Spaces

2021 ◽  
Vol 7 (1) ◽  
Author(s):  
W. (Bill) Wei ◽  
Hanneke Heerema ◽  
Rebecca Rushfeld ◽  
Ida van der Lee
Keyword(s):  
Public Opinion ◽  
Cultural Heritage ◽  
Public Participation ◽  
Case Studies ◽  
General Public ◽  
Public Perception ◽  
Public Spaces ◽  
Public Places ◽  
The Public ◽  
Cultural Heritage Objects

Cultural heritage professionals are becoming increasingly concerned about the lack of care being taken by municipalities for their cultural heritage objects which include works of art in public places. They have therefore begun to ask the public to help take care of “their” cultural heritage through so-called public participation projects. Cultural heritage professionals tacitly assume that if they “teach” the public to treasure such objects of “their” heritage, the public will become more proactive in helping to conserve them. However, research being conducted by the authors is showing that a majority of the general public often has a completely different awareness and/or feeling about cultural heritage objects in their neighborhoods than the cultural heritage professionals think they have, or think they should have. Three recent case studies carried out by the authors show that these differences are most noticeable during so-called “value moments” at the beginning and at the perceived end of an object’s life. These are the two moments when decisions are made, usually by cultural heritage professionals, to place an object in a neighborhood or have it significantly changed or removed, often to the surprise and disagreement of the residents. Between these two moments lay many moments when an object is taken for granted, grudgingly accepted, or not even noticed. Given the fact that cultural heritage professionals often make the ultimate decisions and do not always consider or outright ignore public opinion, it should not be surprising that there is an increasingly negative public perception of what they do. The results of the case studies illustrate the need for professionals to consider and accept as valid, public feelings about cultural heritage objects in their neighborhoods.

Article 14—Works of Visual Art in the Public Domain

2021 ◽  
pp. 239-249
Author(s):  
Eleonora Rosati
Keyword(s):  
Cultural Heritage ◽  
Subject Matter ◽  
Visual Art ◽  
Public Domain ◽  
The Public ◽  
Technological Developments ◽  
High Level ◽  
The Way

This chapter highlights the works of visual art in the public domain stipulated in Article 14 of Directive 2019/790, copyright order in Europe. It discusses the term of protection of a work of visual art, which is not subject to copyright or related rights when deemed expired. It also reviews rapid technological developments that continue to transform the way works and other subject matter are created, produced, distributed, and exploited. The chapter cites the Commission Communication of 9 December 2015 entitled, which states that it is necessary to adapt and supplement the existing Union copyright framework, while keeping a high level of protection of copyright and related rights. It explains that cultural heritage institutions cover publicly accessible libraries and museums regardless of the type of works or other subject matter that they hold in their permanent collections.

scholarly journals An Introduction to Development-led Archaeology in Europe: Meeting the needs of archaeologists, developers and the public

2019 ◽  
Author(s):  
Agnes Stefánsdóttir
Keyword(s):  
Cultural Heritage ◽  
General Public ◽  
Heritage Management ◽  
The Public ◽  
Raising Awareness ◽  
The Media ◽  
Management Symposium ◽  
The Eu

In the EAC 2018 heritage management symposium, the idea was to look at the topic of development-led archaeology from a different angle and encourage discussions between heritage management officials, developers, archaeologists working in the field and the public. How can we meet the needs of these very different stakeholders and do we always need to? This topic was also highly relevant in view of the decision of the EU and European Parliament’s decision to make 2018 the European Year of Cultural Heritage with the aim of raising awareness as well as drawing attention to the opportunities offered by Cultural Heritage i.e. to reflect on the place that cultural heritage occupies in our lives. This themed issue reflects some of the topics covered by speakers from professional archaeology and cultural heritage spheres as well as representatives of the media and the general public.

Imperatives for Setting up a Body of Knowledge on Public Procurement Practice in Nigeria

2021 ◽  
Vol 7 (4) ◽  
pp. 49-62
Author(s):  
Kanu Success Ikechi ◽  
Anuolam Moses Onyema ◽  
Nwadiubu Anthony
Keyword(s):  
Survey Research ◽  
Research Design ◽  
Subject Matter ◽  
General Public ◽  
Public Procurement ◽  
The Public ◽  
The Core ◽  
Body Of Knowledge ◽  
Human Endeavor ◽  
One Stop

A body of knowledge (BOK) refers to the core teachings and skills required to work in a particular field of human endeavor or industry. This study is set to ascertain if there is need to develop an acceptable body of knowledge on public procurement practice in Nigeria. It adopted a survey research design as open ended questionnaires were administered and used to elicit response on subject matter. The population consists of procurement staff in some selected MDA’s at the Federal Capital Territory, Abuja, Nigeria. Outcome of the study reveals that there is no one-stop body of knowledge or a comprehensive guide on procurement practice in Nigeria. This may be a pointer to the fact that, there is need to establish one. It is one thing for Nigeria to enact the Public Procurement Act; it is yet another for practitioners as well as the general public to fully understand and imbibe the basic tenets and regulations guiding the procurement practice. It will be necessary to train and retrain practitioners and a veritable tool in this direction is the establishment of a body of knowledge on procurement practice. If this is properly articulated, will provide the procedures, skills and tools needed to practice the trade. This is bound to impact positively on process flow and make for a good procurement practice in Nigeria.

The economics of pain: pain in Dutch stock trade discourses and practices, 1600–1750

2017 ◽  
Author(s):  
Inger Leemans
Keyword(s):  
Early Modern ◽  
General Public ◽  
18Th Century ◽  
Early Modern Period ◽  
The South ◽  
The Public ◽  
Modern Period ◽  
Economic Practices ◽  
South Sea

In the early modern period, bourses were scenes of physical exchange. As most of our stock trade has grown into a virtual interplay between online traders and algorithms, researching the embodied stock trade of the early modern bourse floor can provide insight in the performance of trade and the role violence and pain played in this sector. This chapter researches the physical practices of stock trade on the Amsterdam exchange in the 17th and 18th century, with special attention for the role of the general public in this ‘financial theatre’. While exploring economic practices and concepts through images, artists made use of concepts of physicality to make distinctions between different kinds of trade. This becomes all the more transparent in the 1720s, when the South Sea Bubble spurred a wind trade in visual and textual commentaries. Cartoons, poems and theatre plays represented speculative trade through the image of clashing and hurting bodies. When and why did the stock trade hurt? What was the role of the public and the governing bodies in this deep play? How can the economy’s sick and hurting body be cured? This chapter will analyse the sensitivities of the painful stock trade practices on the bourse floor and in the theatre.

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