scholarly journals „OPEN FOR CONSERVATION”: LIVE EXPERIENCES

2019 ◽  
pp. 79-88
Author(s):  
Cobau Andreina Costanzi
Keyword(s):  
Cultural Heritage ◽  
Public Issues ◽  
Communication Plan ◽  
The Public ◽  
Slaked Lime ◽  
Cultural Properties ◽  
Roman Forum ◽  
Conservation Interventions ◽  
The Way

The need to show to the public issues related to conservation of cultural properties first became clear in the eighties during the great projects conducted in the Roman forum. Three major conservation innovations were introduced at that time: documentation became part of the contract specifications; consolidation was performed using slaked lime; the worksite scaffolding was opened to non-specialists. The way in which the documentation is realized is an indicator of the quality and professionalism of a program. This should incorporate a communication plan, to promote and raise awareness among the public about the instances related to the conservation of cultural heritage. This article addresses the communication principles applied to conservation interventions.

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 BATIK MADURA: Menilik Ciri Khas dan Makna Filosofinya

CORAK ◽  
2015 ◽  
Vol 4 (1) ◽  
Author(s):  
R.A Sekartaji Suminto
Keyword(s):  
Cultural Heritage ◽  
The Public ◽  
Excellent Quality ◽  
Surrounding Areas ◽  
Over Time ◽  
The Way

Batik is the cultural heritage of the archipelago that is priceless. Each area in Indonesia has batiktradition, especially in Java and surrounding areas. Batik has been known since centuries ago.Batik type is classified into two major parts, namely inland and coastal batik. Batik Madura isone type of coastal batik has its own beauty, but still not so well known by the public at large.Every region in Madura has a typical batik yield of each, which can be seen from the patterns,motifs and colors. Batik Bangkalan, especially batik gentongan, Tanjung Bumi, it had its owncharacteristics, namely of how to make it. Gentongan batik dyeing technique requires a specialway, which is by doing the barrel stone in a period of 1 month to 1 year. This is the way toproduce batik with excellent quality. Gentongan batik color will not fade, even the longer will bemore beautiful. Batik Madura is still less popular than Batik Pekalongan, Cirebon or Lasem, butthe beauty of Madura batik, especially batik gentongan Tanjung Bumi remained in line with theprogress of time, even becoming increasingly popular over time. Keywords: Batik Madura, characteristic, gentongan, Tanjung Bumi  Batik adalah warisan budaya Nusantara yang tak ternilai harganya. Setiap daerah di Indonesiamemilik tradisi membatik, khususnya di Pulau Jawa dan sekitarnya. Batik sudah dikenal sejakberabad-abad yang lalu. Jenis batik digolongkan menjadi dua bagian besar, yaitu batikpedalaman dan batik pesisir. Batik Madura adalah salah satu jenis batik pesisir yang memilikikeindahan tersendiri, namun masih belum begitu dikenal oleh masyarakat secara luas. Setiapwilayah di Madura yang menghasilkan batik memiliki ciri khas masing-masing, yang bisa dilihatdari corak, motif dan warnanya. Batik Bangkalan, khususnya batik gentonganTanjung Bumi,memilik ciri khas tersendiri, yaitu dari cara pembuatannya. Teknik pewarnaan batik gentonganmemerlukan cara khusus, yaitu dengan melakukan perendaman dalam gentong batu dalamjangka waktu 1 bulan hingga 1 tahun. Hal ini untuk menghasilkan batik dengan kualitas prima.Warna batik gentongan tidak akan memudar, bahkan makin lama akan makin indah. BatikMadura memang masih kurang populer dibandingkan dengan batik Pekalongan, Cirebon atauLasem, namun keindahan batik Madura, terutama batik gentongan Tanjung Bumi tetapbertahan seiring dengan kemajuan jaman, bahkan menjadi semakin terkenal dari waktu kewaktu.Kata kunci : Batik Madura, ciri khas, gentongan, Tanjung Bumi

Heritage

2018 ◽  
Author(s):  
Omar Shaikh ◽  
Stefano Bonino
Keyword(s):  
Facial Expressions ◽  
South Asian ◽  
Online Video ◽  
The South ◽  
Men And Women ◽  
The Public ◽  
Video Footage ◽  
Community Heritage ◽  
Personal Accounts ◽  
The Way

The Colourful Heritage Project (CHP) is the first community heritage focused charitable initiative in Scotland aiming to preserve and to celebrate the contributions of early South Asian and Muslim migrants to Scotland. It has successfully collated a considerable number of oral stories to create an online video archive, providing first-hand accounts of the personal journeys and emotions of the arrival of the earliest generation of these migrants in Scotland and highlighting the inspiring lessons that can be learnt from them. The CHP’s aims are first to capture these stories, second to celebrate the community’s achievements, and third to inspire present and future South Asian, Muslim and Scottish generations. It is a community-led charitable project that has been actively documenting a collection of inspirational stories and personal accounts, uniquely told by the protagonists themselves, describing at first hand their stories and adventures. These range all the way from the time of partition itself to resettling in Pakistan, and then to their final accounts of arriving in Scotland. The video footage enables the public to see their facial expressions, feel their emotions and hear their voices, creating poignant memories of these great men and women, and helping to gain a better understanding of the South Asian and Muslim community’s earliest days in Scotland.

The End of History Museums: What's Plan B??

2008 ◽  
Vol 30 (4) ◽  
pp. 9-27 ◽  
Author(s):  
Cary Carson
Keyword(s):  
Historic Sites ◽  
The Public ◽  
End Of History ◽  
House Museums ◽  
The Past ◽  
History Museums ◽  
Plan B ◽  
The End Of History ◽  
The Way

Abstract Are historic sites and house museums destined to go the way of Oldsmobiles and floppy disks?? Visitation has trended downwards for thirty years. Theories abound, but no one really knows why. To launch a discussion of the problem in the pages of The Public Historian, Cary Carson cautions against the pessimistic view that the past is simply passéé. Instead he offers a ““Plan B”” that takes account of the new way that learners today organize information to make history meaningful.

Rewritten or Reused? Originality, Intertextuality, and Reuse in the Writings of a Buddhist Visionary in Contemporary Tibet

2017 ◽  
Vol 33 (1-2) ◽  
pp. 203-231
Author(s):  
Antonio Terrone
Keyword(s):  
Public Domain ◽  
The Public ◽  
The Way

The study of Buddhist texts can inform us of the way scriptures were composed, as well as illuminate the reasons behind their production. This study examines the phenomenon of borrowing and reusing portions of texts without attributing them to their ‘legitimate authors’ within the Buddhist world of contemporary Tibet. It shows that not only is such a practice not at all infrequent and is often socially accepted, but that it is used in this case as a platform to advance specific claims and promote an explicit agenda. Therefore, rather than considering these as instances of plagiarism, this essay looks at the practice of copying and borrowing as an exercise in intertextuality, intended as the faithful retransmission of ancient truths, and as an indication of the public domain of texts in Tibet.

Biblical Literacy and the English King James Liberal Bible

2014 ◽  
Vol 7 (2) ◽  
pp. 197-211
Author(s):  
James Crossley
Keyword(s):  
Cultural Heritage ◽  
Test Case ◽  
Biblical Literacy ◽  
The Public ◽  
Public Arena ◽  
The Bible ◽  
Liberal Capitalism ◽  
The Rich ◽  
Popular Nationalism ◽  
King James Bible

Using the 400th anniversary of the King James Bible as a test case, this article illustrates some of the important ways in which the Bible is understood and consumed and how it has continued to survive in an age of neoliberalism and postmodernity. It is clear that instant recognition of the Bible-as-artefact, multiple repackaging and pithy biblical phrases, combined with a popular nationalism, provide distinctive strands of this understanding and survival. It is also clear that the KJV is seen as a key part of a proud English cultural heritage and tied in with traditions of democracy and tolerance, despite having next to nothing to do with either. Anything potentially problematic for Western liberal discourse (e.g. calling outsiders “dogs,” smashing babies heads against rocks, Hades-fire for the rich, killing heretics, using the Bible to convert and colonize, etc.) is effectively removed, or even encouraged to be removed, from such discussions of the KJV and the Bible in the public arena. In other words, this is a decaffeinated Bible that has been colonized by, and has adapted to, Western liberal capitalism.

scholarly journals Does the Law Determine What Heritage to Remember?

2021 ◽  
Author(s):  
Marie-Sophie de Clippele
Keyword(s):  
Cultural Identity ◽  
Cultural Heritage ◽  
State Intervention ◽  
Historical Knowledge ◽  
Human Right ◽  
Political Will ◽  
The Public ◽  
The Past ◽  
The Law ◽  
Ideological Manipulation

AbstractCultural heritage can offer tangible and intangible traces of the past. A past that shapes cultural identity, but also a past from which one sometimes wishes to detach oneself and which nevertheless needs to be remembered, even commemorated. These themes of memory, history and oblivion are examined by the philosopher Paul Ricoeur in his work La mémoire, l’histoire, l’oubli (2000). Inspired by these ideas, this paper analyses how they are closely linked to cultural heritage. Heritage serves as a support for memory, even if it can be mishandled, which in turn can affect heritage policies. Memory and heritage can be abused as a result of wounds from the past or for reasons of ideological manipulation or because of a political will to force people to remember. Furthermore, heritage, as a vehicule of memory, contributes to historical knowledge, but can remain marked by a certain form of subjectivism during the heritage and conservation operation, for which heritage professionals (representatives of the public authority or other experts) are responsible. Yet, the responsibility for conserving cultural heritage also implies the need to avoid any loss of heritage, and to fight against oblivion. Nonetheless, this struggle cannot become totalitarian, nor can it deprive the community of a sometimes salutary oblivion to its own identity construction. These theoretical and philosophical concepts shall be examined in the light of legal discourse, and in particular in Belgian legislation regarding cultural heritage. It is clear that the shift from monument to heritage broadens the legal scope and consequently raises the question of who gets to decide what is considered heritage according to the law, and whether there is something such as a collective human right to cultural heritage. Nonetheless, this broadening of the legislation extends the State intervention into cultural heritage, which in turn entails certain risks, as will be analysed with Belgium’s colonial heritage.

Volumetric Video in Augmented Reality Applications for Museological Narratives

2021 ◽  
Vol 14 (2) ◽  
pp. 1-20
Author(s):  
Néill O’dwyer ◽  
Emin Zerman ◽  
Gareth W. Young ◽  
Aljosa Smolic ◽  
Siobhán Dunne ◽  
...  
Keyword(s):  
Augmented Reality ◽  
Cultural Heritage ◽  
Applied Research ◽  
Ease Of Use ◽  
Museum Visitors ◽  
The Public ◽  
Research Article ◽  
Nature Of Information ◽  
Live Action ◽  
Capture Technique

Cross-reality technologies are quickly establishing themselves as commonplace platforms for presenting objects of historical, scientific, artistic, and cultural interest to the public. In this space, augmented reality (AR) is notably successful in delivering cultural heritage applications, including architectural and environmental heritage reconstruction, exhibition data management and representation, storytelling, and exhibition curation. Generally, it has been observed that the nature of information delivery in applications created for narrating exhibitions tends to be informative and formal. Here we report on the assessment of a pilot scene for a prototype AR application that attempts to break this mold by employing a humorous and playful mode of communication. This bespoke AR experience harnessed the cutting-edge live-action capture technique of volumetric video to create a digital tour guide that playfully embellished the museological experience of the museum visitors. This applied research article consists of measuring, presenting, and discussing the appeal, interest, and ease of use of this ludic AR storytelling strategy mediated via AR technology in a cultural heritage context.

scholarly journals Making the Invisible Visible: Underwater Malta—A Virtual Museum for Submerged Cultural Heritage

2021 ◽  
Vol 13 (8) ◽  
pp. 1558
Author(s):  
Timmy Gambin ◽  
Kari Hyttinen ◽  
Maja Sausmekat ◽  
John Wood
Keyword(s):  
Cultural Heritage ◽  
Public Access ◽  
Human Interaction ◽  
Underwater Cultural Heritage ◽  
Virtual Museum ◽  
Underwater Imaging ◽  
Human Occupation ◽  
The Public ◽  
3D Photogrammetry ◽  
Underwater Sites

The seabed can be considered as the world’s largest museum, and underwater sites explored and studied so far provide priceless information on human interaction with the sea. In recognition of the importance of this cultural resource, UNESCO, in its 2001 Convention on the Protection of the Underwater Cultural Heritage, determined that objects/sites should be preserved in situ, whilst also advocating for public access and sharing. The implementation of these principles is not without difficulties. Some states have opened up underwater sites to the public—mainly through diving, yet the vast majority of the world’s population does not dive. In Malta, 7000 years of human occupation is reflected in and on the landscape, and recent offshore surveys show that the islands’ long and complex history has also left an indelible mark on the seabed. Besides difficulties related to their protection and management, these sites also present a challenge with regard to sharing and communicating. Recent advances in underwater imaging and processing software have accelerated the development of 3D photogrammetry of submerged sites and the idea for a virtual museum was born. The virtual museum, UnderwaterMalta, was created out of a need to share the plethora of underwater sites located on the seabed of the Maltese Islands. A multitude of digital tools are used to share and communicate these sites, offering visitors a dry dive into submerged sites that would otherwise remain invisible to the vast majority of the public. This paper discusses the basic principle of the sharing of underwater cultural heritage and the difficulties that beset the implementation of such a principle. A detailed explanation and evaluation of the methods used to gather the raw data needed is set in the context of the particular and unique working conditions related to deep water sites. The workings of this paper are based on first-hand experiences garnered through the recording of numerous wrecks over the years and the creation and launch of The Virtual Museum-Underwater Malta—a comprehensive virtual museum specifically built for “displaying” underwater archaeological sites that are otherwise invisible to the general public.

scholarly journals Identifying Challenges and Solutions in Cultural Heritage Adaptive Reuse through the Historic Urban Landscape Approach in Amsterdam

2021 ◽  
Vol 13 (10) ◽  
pp. 5547
Author(s):  
Nadia Pintossi ◽  
Deniz Ikiz Kaya ◽  
Ana Pereira Roders
Keyword(s):  
Cultural Heritage ◽  
Circular Economy ◽  
Urban Landscape ◽  
Multiple Scales ◽  
Adaptive Reuse ◽  
Sustainable Urban Development ◽  
Landscape Approach ◽  
The Public ◽  
Private Knowledge ◽  
Manifest Content

Cultural heritage drives and enables sustainable urban development. The adaptive reuse of cultural heritage creates values while prolonging the lifespan of heritage. Similarly, circular economy creates value while extending the useful life of materials and elements through their reuse. Existing studies on adaptive reuse challenges seldom focus on cultural heritage properties, and they are often identified through the engagement of a limited variety of stakeholders, as compared to the actors normally involved in adaptive reuse. Filling this gap, this paper provides a preliminary baseline of challenges faced by the city of Amsterdam from the perspective of various involved stakeholders, and suggests solutions to address them. The participants represented the public, private, knowledge, and third sectors. The methods used were the following: for data collection, a multidisciplinary workshop using the steps of the Historic Urban Landscape approach as an assessment framework applied to multiple scales on adaptive reuse, and for data analysis, manifest content analysis. The results expanded the range of challenges and solutions reported by previous literature on the adaptive reuse of cultural heritage in content and scale by identifying 61 themes—e.g., knowledge and civic engagement. Tools and stakeholders were also identified. These findings provide a reference for future practice, policymaking, and decision-making, facilitating the adaptive reuse of cultural heritage to capitalize on its potential for sustainable development and circular economy.

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