scholarly journals 3D Reproductions of Cultural Heritage Artifacts: Evaluation of Significance and Experience

2021 ◽  
Vol 5 (1) ◽  
pp. 1-29
Author(s):  
Umair Shafqat Malik ◽  
Liselore Tissen ◽  
Arnold Vermeeren
Keyword(s):  
Education Research ◽  
Cultural Heritage ◽  
Art History ◽  
Qualitative Data ◽  
Cultural Institutions ◽  
Cultural Contexts ◽  
Cultural Experiences ◽  
The One ◽  
3D Digitization ◽  
Qualitative Analyses

3D digitization of cultural heritage has long been used to preserve information about cultural heritage (CH) objects such as architecture, art, and artifacts. 3D dissemination of CH objects through technologies such as augmented reality, virtual reality, and 3D printing have impacted the fields of art history and cultural heritage and have become more common. Yet, studies that go beyond the technical aspects of 3D technology and treat such topics as their significance for restoration, conservation, engagement, education, research, and ethics hardly exist. The aim of this paper is twofold: on the one hand, it aims to get a better understanding of the applicability of each technology for different purposes (education, research, conservation/restoration, and museum presentation), and, on the other hand, it focuses on the perception of these technologies. This research was carried out by combining a literature review with quantitative and qualitative analyses of the data acquired through (1) a questionnaire of eleven questions and (2) a workshop with a group of specialists and non-specialists who were asked to brainstorm about the different uses of the 3D technologies and their applicability to their areas of work and research. Based on the analysis of these quantitative and qualitative data, we provide some criteria for using 3D digitized and printed reproductions to enhance cultural experiences. The results demonstrate the importance of carefully designing 3D interactions in the personal and cultural contexts of end-users and cultural institutions in order to create authentic cultural experiences.

scholarly journals El papel de la escuela en la promoción del patrimonio cultural. Un análisis a través del folklore.

2020 ◽  
Vol 23 (3) ◽  
Author(s):  
Daniel Jiménez ◽  
Silvia Martínez de Miguel López ◽  
Jaime Vizcaíno
Keyword(s):  
Cultural Heritage ◽  
Experimental Research ◽  
Research Method ◽  
Social Institutions ◽  
Local Environment ◽  
Discussion Group ◽  
The Other ◽  
Cultural Institutions ◽  
Teachers And Students ◽  
The One

¿Aprovechan los centros educativos las posibilidades de su entorno para la enseñanza del patrimonio cultural folklórico? Partiendo de esta cuestión, esta investigación constituye un estudio sobre la promoción que realizan los centros educativos de su patrimonio cultural y, en concreto, de una manifestación rica y diversa como es el folklore. Para ello, se ha indagado en el conocimiento que poseen los docentes y el alumnado sobre dicha temática, así como su presencia en los currículos escolares. Además, se ha analizado la cooperación entre las instituciones culturales y los centros educativos para la promoción del folklore. Siguiendo un método de investigación no experimental, en el cual han participado docentes y alumnado de diferentes centros escolares, así como representantes de asociaciones culturales. Para la recogida de información se ha llevado a cabo una metodología mixta, por un lado, la encuesta, y por otro lado, la entrevista y grupo de discusión. Esta investigación refleja la necesidad de concienciar a los centros educativos e instituciones sociales y culturales del valor que tiene para la educación el conocimiento y estudio de nuestras raíces y tradiciones, a través de una herramienta tan enriquecedora, y presente en nuestro entorno, como es el folklore. Do schools take advantage of the local environment possibilities to teach the cultural heritage? This investigation constitutes a study about the promotion that educational centers carry out relating to the local cultural heritage through folklore. In this way, it will look into the knowledge that teachers and students have about this topic, as well as the presence in the syllabus. In addition, it will analyze the cooperation between cultural institutions and schools for the promotion of local folklore. Following a non-experimental research method, in which teachers and students from different schools have participated, just as representatives of cultural associations. For the collection of information, a mixed methodology has been carried out, on the one hand, the survey, and on the other hand, the interview and discussion group. This research reflects the need to make aware schools and cultural and social institutions about the value that knowledge of our roots and traditions have for education, through something enriching, and present in our society, as is folklore

scholarly journals Doświadczenia kulturowe społeczeństwa utrwalone w związkach frazeologicznych – aspekt pedagogiczny

1970 ◽  
pp. 37-54
Author(s):  
Kinga Kuszak
Keyword(s):  
Cultural Heritage ◽  
Social Groups ◽  
Language Education ◽  
The Other ◽  
Cultural Experience ◽  
New Words ◽  
New Meanings ◽  
Cultural Experiences ◽  
The One ◽  
Educational Aspect

The article discusses the cultural experience preserved in language in the form of more or less popular phrasemes. The author identifies selected sources of the phrasemes and depicts their function in preserving and saving the cultural heritage of past generations. She highlights the changes taking place in the contemporary language. The author underlines the multidirectional nature of these changes: on the one hand, society preserves the linguistic heritage, while on the other hand it gives new meanings to previously known words and sayings, creates new words and phrasemes which allow a reflection on the current socio-cultural experiences of individuals and social groups. The summary indicates the educational aspect of the issue and the necessity of implementing a carefully planned native language education which will support developing the identities of individuals, social groups and society as a whole.

Pablo Neruda's Transnational Modernist Networks: Colombo-Madrid-London-Buenos Aires (1927–1933)

2017 ◽  
Vol 12 (2) ◽  
pp. 198-225
Author(s):  
Patricia Novillo-Corvalán
Keyword(s):  
Chamber Music ◽  
Latin American ◽  
Buenos Aires ◽  
Cultural Institutions ◽  
Complex Composition ◽  
British Colonial ◽  
The One ◽  
Composition Process ◽  
In Transit ◽  
Standing Question

This article positions Pablo Neruda's poetry collection Residence on Earth I (written between 1925–1931 and published in 1933) as a ‘text in transit’ that allows us to trace the development of transnational modernist networks through the text's protracted physical journey from British colonial Ceylon (now Sri Lanka) to Madrid, and from José Ortega y Gasset's Revista de Occidente (The Western Review) to T. S. Eliot's The Criterion. By mapping the text's diasporic movement, I seek to reinterpret its complex composition process as part of an anti-imperialist commitment that proposes a form of aesthetic solidarity with artistic modernism in Ceylon, on the one hand, and as a vehicle through which to interrogate the reception and categorisation of Latin American writers and their cultural institutions in a British periodical such as The Criterion, on the other. I conclude with an examination of Neruda's idiosyncratic Spanish translation of Joyce's Chamber Music, which was published in the Buenos Aires little magazine Poesía in 1933, positing that this translation exercise takes to further lengths his decolonising views by giving new momentum to the long-standing question of Hiberno-Latin American relations.

scholarly journals “‘But the Fountain Sprang Up and the Bird Sang Down’: Heidegger’s Gathering of the Fourfold and the Seven-Sacraments Font at Salle, Norfolk.”

Religions ◽  
2021 ◽  
Vol 12 (7) ◽  
pp. 464
Author(s):  
Marie Clausén
Keyword(s):  
Cultural Heritage ◽  
Art History ◽  
Architectural Elements ◽  
15Th Century ◽  
The Earth ◽  
Medieval Church ◽  
The Church ◽  
As If

My paper analyses the 15th-century seven-sacraments font at the medieval church of St Peter and St Paul at Salle in Norfolk (England). The church guides and gazetteers that describe the font, and the church in which it is situated, owe both their style and content to Art History, focusing as they do on their material and aesthetic dimensions. The guides also tend towards isolating the various elements of the font, and these in turn from the rest of the architectural elements, fittings and furniture of the church, as if they could be meaningfully experienced or interpreted as discrete entities, in isolation from one another. While none of the font descriptions can be faulted for being inaccurate, they can, as a result of these tendencies, be held insufficient, and not quite to the purpose. My analysis of the font, by means of Heidegger’s concept of Dwelling, does not separate the font either from the rest of the church, nor from other fonts, but acknowledges that it comes to be, and be seen as, what it is only when considered as standing in ‘myriad referential relations’ to other things, as well as to ourselves. This perspective has enabled me to draw out what it is about the font at Salle that can be experienced as not merely beautiful or interesting, but also as meaningful to those—believers and non-believers alike—who encounter it. By reconsidering the proper mode of perceiving and engaging with the font, we may spare it from being commodified, from becoming a unit in the standing reserve of cultural heritage, and in so doing, we, too, may be momentarily freed from our false identities as units of production and agents of consumption. The medieval fonts and churches of Norfolk are, I argue, not valuable as a result of their putative antiquarian qualities, but invaluable in their extending to us a possibility of dwelling—as mortals—on the earth—under the sky—before the divinities.

Brazilian Colonial Art and the Decolonization of Art History

2021 ◽  
Author(s):  
Maria Berbara
Keyword(s):  
19Th Century ◽  
Art History ◽  
18Th Century ◽  
Early Modern Period ◽  
Minas Gerais ◽  
Early 19Th Century ◽  
Art Objects ◽  
Colonial Art ◽  
The One ◽  
The 19Th Century

There are at least two ways to think about the term “Brazilian colonial art.” It can refer, in general, to the art produced in the region presently known as Brazil between 1500, when navigator Pedro Álvares Cabral claimed the coastal territory for the Lusitanian crown, and the country’s independence in the early 19th century. It can also refer, more specifically, to the artistic manifestations produced in certain Brazilian regions—most notably Bahia, Minas Gerais, and Rio de Janeiro—over the 18th century and first decades of the 19th century. In other words, while denotatively it corresponds to the art produced in the period during which Brazil was a colony, it can also work as a metonym valid to indicate particular temporal and geographical arcs within this period. The reasons for its widespread metonymical use are related, on the one hand, to the survival of a relatively large number of art objects and buildings produced in these arcs, but also to a judicative value: at least since the 1920s, artists, historians, and cultivated Brazilians have tended to regard Brazilian colonial art—in its more specific meaning—as the greatest cultural product of those centuries. In this sense, Brazilian colonial art is often identified with the Baroque—to the extent that the terms “Brazilian Baroque,” “Brazilian colonial art,” and even “barroco mineiro” (i.e., Baroque produced in the province of Minas Gerais) may be used interchangeably by some scholars and, even more so, the general public. The study of Brazilian colonial art is currently intermingled with the question of what should be understood as Brazil in the early modern period. Just like some 20th- and 21st-century scholars have been questioning, for example, the term “Italian Renaissance”—given the fact that Italy, as a political entity, did not exist until the 19th century—so have researchers problematized the concept of a unified term to designate the whole artistic production of the territory that would later become the Federative Republic of Brazil between the 16th and 19th centuries. This territory, moreover, encompassed a myriad of very different societies and languages originating from at least three different continents. Should the production, for example, of Tupi or Yoruba artworks be considered colonial? Or should they, instead, be understood as belonging to a distinctive path and independent art historical process? Is it viable to propose a transcultural academic approach without, at the same time, flattening the specificities and richness of the various societies that inhabited the territory? Recent scholarly work has been bringing together traditional historiographical references in Brazilian colonial art and perspectives from so-called “global art history.” These efforts have not only internationalized the field, but also made it multidisciplinary by combining researches in anthropology, ethnography, archaeology, history, and art history.

scholarly journals File Not Found: Rarity in an Age of Digital Plenty

2014 ◽  
Vol 15 (1) ◽  
pp. 68-74 ◽  
Author(s):  
Doug Reside
Keyword(s):  
Cultural Heritage ◽  
Good Deal ◽  
The State ◽  
Web Portal ◽  
Web Based ◽  
Rare Books ◽  
The One ◽  
The Web

In the first section of the submission guidelines for this esteemed journal, would-be authors are informed, “RBM: A Journal of Rare Books, Manuscripts, and Cultural Heritage uses a web-based, automated, submission system to track and review manuscripts. Manuscripts should be sent to the editor, […], through the web portal[…]” The multivalent uses of the word “manuscript” in this sentence reveal a good deal about the state of our field. This journal is dedicated to the study of manuscripts, and it is understood by most readers that the manuscripts being studied are of the “one-of-a-kind” variety (even rarer than the “rare . . .

scholarly journals They Arrived Completely Intact: The Evacuation of Chersonese Museum Collections to Sverdlovsk

2020 ◽  
Vol 8 (2) ◽  
Author(s):  
Anton Mokhov ◽  
Andrey Shamanaev ◽  
Karina Kapsalykova
Keyword(s):  
Cultural Heritage ◽  
Emergency Evacuation ◽  
Modern World ◽  
Cultural Institutions ◽  
Museum Exhibits ◽  
Military Conflicts ◽  
Great Patriotic War ◽  
Archival Documents ◽  
Public Organisations ◽  
The Military

This article considers the emergency evacuation of the collections of the Chersonese Historical and Archaeological Museum from Sevastopol to Sverdlovsk during the Great Patriotic War, between September and December 1941. The authors analyse some issues concerning the preparation and transportation of the museum collection and the interaction between state structures and cultural institutions in wartime conditions. The study is based on unpublished archival materials from the funds of the State Archive of Sverdlovsk Region and the Documentation Centre of Public Organisations of Sverdlovsk Region. The study of problems connected with saving cultural heritage during military conflicts is relevant considering the threat of local wars in the modern world. At present, military actions pose serious risks of the destruction, damage, and illicit transfer of museum exhibits. The authors employ the historical and anthropological approach, paying a great deal of attention to the historiography of the issue of cultural heritage preservation during the Great Patriotic War. The experience of evacuating heritage collections from the Chersonese Museum is both unique and typical. One hundred and eight crates of artifacts, books, and archival documents were sent from Sevastopol to Sverdlovsk, accompanied by a single employee of the museum, S. F. Strzelecki. Owing to his effort, the priceless collection was successfully delivered to the rear. Most problems faced during the emergency evacuation of the Chersonese collections related to the deficit of material resources, rapid changes in the situation at the front, inefficient interaction between the bodies of power, academic and cultural institutions, and deficiencies in the transportation system. The authors argue that during the early stages of the Great Patriotic War, the conditions in the military and cultural spheres posed a significant threat to the preservation of cultural heritage. There were no mobilisation plans for museums and the authorities failed to assess the real risks of wartime. Taking these factors into account should help diminish the threat of cultural heritage loss during military conflicts.

scholarly journals The Heritage Given: Cultural Landscape and Heritage of the Vistula Delta Mennonites as Perceived by the Contemporary Residents of the Region

2022 ◽  
Vol 14 (2) ◽  
pp. 915
Author(s):  
Klaudia Nowicka
Keyword(s):  
Cultural Heritage ◽  
Cultural Landscape ◽  
World View ◽  
Original Data ◽  
Local Identity ◽  
Tourism Product ◽  
Science Centre ◽  
The One ◽  
Vistula Delta ◽  
Ways Of Life

All tangible and intangible elements of cultural heritage that the past has conceded to local communities create unique landscapes shaped by tightly connected anthropogenic and natural factors. This heritage is a keystone of local identity which plays a significant role in politics, economic development, society and world view. In some regions, such as in the Vistula delta in Poland, the cultural heritage has been created by consecutive groups of settlers who represented different values, beliefs and ways of life. On the one hand, such a rich heritage may be perceived as a valuable asset and become a landmark or tourism product of a region. On the other hand, it may be perceived as alien and unwanted by contemporary residents, especially when they are not descendants of the former communities. The main objective of the study presented herein is to analyse how the residents of the Vistula delta region, called Żuławy Wiślane, perceive and use cultural heritage of the Mennonites, representing the most extraordinary group of settlers who used to live in the region. The analysis covers original data gathered during survey research in the period of 2017–2018 under the project Miniatura I “Perception and usage of cultural heritage of the Vistula delta Mennonites” financed by the National Science Centre in Poland.

scholarly journals PERBANDINGAN STRUKTUR, FUNGSI, DAN NILAI BUDAYA PADA LEGENDA TELAGA NGEBEL PONOROGO DAN LEGENDA DANAU RANU PASURUAN

2017 ◽  
Vol 3 (2) ◽  
pp. 201
Author(s):  
Nuraini Saura Putri ◽  
Oktavian Aditya Nugraha
Keyword(s):  
Cultural Heritage ◽  
Structure Function ◽  
Cultural Values ◽  
General Public ◽  
Oral Literature ◽  
Cultural Institutions ◽  
Literature Research ◽  
New Knowledge ◽  
Similarities And Differences

Efforts to preserve the legendary cultural heritage and in the framework of seeking the identity of the nation as well as the diversity of ethnic groups in Indonesia, one way to do is to collect and care for folklore. This research as a means to treat foklor legend of Lake Ranu and Ngebel legend Telaga. Both legends have almost the same story, both the character and the story. The purpose of this study is to determine the similarities and differences in the two legends, through its structure, function and cultural values. Such long-term goal in this study is, to provide knowledge about oral literature research on literature students who can be used as a reference for the future. In addition, this research can also provide new knowledge for the general public about the storyline of the legend of Lake Ngebel and the legend of Lake Ranu. Based on the results of research that has been done then can be drawn a conclusion, namely: the structure there are four equations and has three differences. Something contained in the two legends have three functions, namely; as entertainment, as a means of legitimizing institutions and cultural institutions, as child educators. For the cultural values contained in these two legends are the value of Diktatik, Ethical, and Religious values

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