The Transformation of archeological Sites into an Exhibition Space — Project Report on an immersive Installation

Author(s):  
Anton Schlesinger ◽  
Henrik von Coler ◽  
Justus Berger ◽  
Stefan Weinzierl
Author(s):  
Asroji Asroji

This study was conducted based on the facts about the lack of maximal outcomes of learning English in almost all levels of education, especially in vocational school. Although English has been studied for many years, but the majority of students can not master English well, especially speaking. Many factors cause this phenomenon, and all parties should concern to work together to formulatebetter system and process of English learning at vocational school.The research was conducted at SMK Negeri 1 Pacitan, by taking the students of class XII as subjects research. The sample of this research consists of 94 students of Business Travel and Tourism,Network Computer Engineering, and Engineering Software classes. This research uses descriptive qualitative method. It is used to describe the students’ speaking competence, particularlyin presenting final task report. This research also identifies the internal and external functions to formulate a strategy to improve the students’s speaking competence. The results showed that based on the analysis of English speaking competency of SMK Negeri 1 Pacitan students, it can be concluded as follows: a). Based on the students absorption analysis of presenting final project report, shows that English competency level of students is in the category of “pretty”, with evidence of the studentsvalue average in presenting final project report is more than the passing grade value (7.50),it is 79.5. While the number of student, who passed the presentation test,is 66 students.So it can be obtained the percentage level of mastery learning students on the presentation test of final report is only 70.21%, and it is categorized “less”, because the percentage of students who passed this exam is still under 75%. b). While the analysis of the questionnaire can be scribed that the average overall score of 3.44 speaking competence components are categorized “pretty”, and it can be concluded that the level of competence of English speaking students generally categorized “enough”. Based on the level ofstudents’ English speaking competence , it can be formulated the strategies to increase its competence. They are: a). Maximizing the use of English as a language instruction and reducing the use of Indonesian, especially in the learning process, to improve English language competency, so that students can have the ability to explain the sequence of events and the students can pass the exam well. b). Having more English presentation activitiesin other topics to encourage the students’ bravery and self-confidence in speaking English, so that students have good Englishcompetence as preparation to getjobs or to continue their study at university.c). Having more exercise of using body language to improve the mastery of speech, and smooth attitude, so that students have good English competence,and they are able to compete in the global world in obtaining employment. d). And maximizing the use of school’s facilities by using various methods of learning, and focusing on the students’ center method to improve the studentsEnglish competency so that they are able to compete for educational scholarships in this country and abroad.


2011 ◽  
Vol 56 (2) ◽  
pp. 79-100
Author(s):  
Rachel Esner

Seit der Epoche der Romantik bringen viele der Diskurse, die künstlerische Kreativität betreffen, den Künstler und seinen Arbeitsraum zusammen: Die Werkstatt wird als ein Spiegel des Künstlers und seines Werks angesehen, als ein Heiligtum, ein sozialer Raum oder eine Ausstellungsfläche. Ein populärer bildlicher Topos der Zeit war die Darstellung des leeren Ateliers. Der vorliegende Beitrag versteht das Bild des leeren Ateliers im 19. Jahrhundert als ein Selbstporträt des Künstlers. Er untersucht, wie die Darstellung des Raums und seiner Objekte dem Gemälde die Präsenz des Künstlers einschreiben und sein bzw. ihr künstlerisches  Selbstverständnis innerhalb der sich verändernden künstlerischen und sozialen Strukturen der Epoche wiedergeben.<br><br>From the Romantic era onward, many of the discourses surrounding artistic creativity have merged the artist and his working space: the place of work is viewed as the mirror of the man and his oeuvre, a sanctuary, a social or an exhibition space. A popular topos in this context was the view of the empty studio. This paper explores the 19th-century empty studio image as a self-portrait of the artist. It examines how the depictions of the space and its objects work to inscribe the artist’s presence, and to express his or her  artistic self-conception and identity within the changing artistic-social structures of the period.


Transfers ◽  
2017 ◽  
Vol 7 (3) ◽  
pp. 127-130
Author(s):  
Mariana C. Françozo

Located at the old harbor of the city of Genoa, the modern Galata Museo del Mare was inaugurated as part of the commemoration of Genoa as the 2004 European Capital of Culture. Only twelve years later, the museum proudly welcomes 200,000 visitors annually into its twenty-eight galleries, organized in an impressive exhibition space of 10,000 square meters, showcasing 4,300 objects. While the aim of the museum is to tell the maritime history of Genoa—ranging from Christopher Columbus to an open-air space showcasing the story of the Genoese shipyard—it is the exhibition on migration to and from Italy that will truly impress the visitor.


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