scholarly journals The Perczel Project (2007–2019)

2021 ◽  
Vol 4 ◽  
pp. 1-8
Author(s):  
Mátyás Márton ◽  
Gábor Gercsák ◽  
László Zentai
Keyword(s):  
Cultural Heritage ◽  
Prime Minister ◽  
The State ◽  
Work Of Art ◽  
The Third ◽  
The Past ◽  
University Library ◽  
Public Property ◽  
The University

Abstract. Hungarian presenters gave several papers on this project at cartographic conferences and published articles on the state of the work in the past decade. The project undertaken by the Department of Cartography and Geoinformatics at Eötvös Loránd University (ELTE) serves the saving of cultural heritage, namely a globe, a significant work of art. The project is named after its maker, Perczel. The work, which lasted for more than ten years with interruptions, was crowned by the birth of three imposing artistic copies of the globe. This part of the project completed in half a year was organized by the Archiflex Studio and led by Zsuzsanna Lente, restorer artist. The first copy decorates the office of the Hungarian prime minister in the former Carmelite cloister in the Buda Castle. The second copy is placed in the National Széchényi Library, where the original globe is kept. The third copy went to the University Library of ELTE. The physical embodiment of the globe makes it a real public property: Perczel’s globe is a work of art that represents great scientific and cultural values.The present paper reviews shortly the manuscript globe made by Perczel in 1862, and presents the stages of the digital re-creation and restoration of the globe map carried out at the Department of Cartography and Geoinformatics at ELTE, which led to its physical reconstruction, the birth of its artistic copies. Finally, some cartographic “juicy bits” follow: the representation of non-existent “ghost” islands on the globe and some interesting graphical solutions that are unusual today.

Erasing the Past: The Destruction of Libraries and Archives in Bosnia-Herzegovina

1995 ◽  
Vol 29 (1) ◽  
pp. 7-11 ◽  
Author(s):  
András Riedlmayer
Keyword(s):  
Human Suffering ◽  
The Past ◽  
University Library ◽  
National Heritage ◽  
National Archives ◽  
Rare Books ◽  
The University

Three years have passed since the beginning of the war in Bosnia. Amidst the reports of human suffering and atrocities, another tragic loss has gone largely unnoted—the destruction of the written record of Bosnia’s past.On 25 August 1992, Bosnia’s National and University Library, a handsome Moorish-revival building built in the 1890s on the Sarajevo riverfront, was shelled and burned. Before the fire, the library held 1.5 million volumes, including over 155,000 rare books and manuscripts; the country’s national archives; deposit copies of newspapers, periodicals and books published in Bosnia; and the collections of the University of Sarajevo. Bombarded with incendiary grenades from Serbian nationalist positions across the river, the library burned for three days; it was reduced to ashes with most of its contents. Braving a hail of sniper fire, librarians and citizen volunteers formed a human chain to pass books out of the burning building. Interviewed by ABC News, one of them said: “We managed to save just a few very precious books. Everything else burned down. And a lot of our heritage, national heritage, lay down there in ashes.” Aida Buturovic, a librarian in the National Library’s exchanges section, was shot to death by a sniper while attempting to rescue books from the flames.

Art and Society in England and France in the Mid-Nineteenth Century: Two Paintings before the Public

1972 ◽  
Vol 22 ◽  
pp. 119-139
Author(s):  
Alan Bowness
Keyword(s):  
Primary Source ◽  
Source Material ◽  
The State ◽  
Work Of Art ◽  
The Public ◽  
The Past ◽  
Historical Fact ◽  
Art And Society ◽  
The Moment ◽  
State Of Art

The primary source material for the art historian is of course the work of art, and this in itself places him in a fortunate position because the permanent relevance of the work of art is, I take it, self-evident. For the art historian, the work of art is an historical fact, pre-selected for generally accepted aesthetic reasons. But the work of art has no absolute meaning: it does not exist in a vacuum. It has both what we might call a history and a geography—the history being that record of interpretation and evaluation which accrues to the work of art from the moment of its creation down to the present day; and the geography being the particular artistic and social context of its original creation. The history can at times be very misleading: it is obvious that each generation is going to interpret the past as it wishes, and no judgment can be objective. So it is the geography that is more important, and this is extremely difficult to define. But if we are to understand the work of art, we need to enquire into the circumstances of its creation: we must ask, what did this painting or sculpture or building signify when it first appeared? Only from such specific investigations can one proceed to general propositions about the state of art at any particular moment, and perhaps also about the state of society which produced the art.

The Third Manifesto: ‘We Shall Come to See’

1988 ◽  
Vol 4 (14) ◽  
pp. 120-121
Author(s):  
John Andreasen
Keyword(s):  
Avant Garde ◽  
The Third ◽  
The Past ◽  
The Future ◽  
Art Forms ◽  
Science And Politics ◽  
The University ◽  
Changing Society

In June 1985, a fortnight's discussions on ‘The Theatre in the Future’ were held as part of the Fools' Festival in Copenhagen. The seminars discussed the position of theatre and its possibilities in a rapidly changing society, often from deeply opposed positions – socially engaged versus wildly avant-garde, verbal versus imagistic, anthropological versus robotic, and so on. Participants were an exciting mix of professional performers of many kinds, plus theatre critics and ‘ordinary’ engaged people, who for two weeks exchanged experiences and visions of theatre in conjunction with other art forms, and with science and politics. The manifesto below was the contribution to these seminars of John Andreasen, a veteran of ‘sixties happenings, who has subsequently concentrated on street and environmental theatre, and for the past twelve years has taught and directed in the Drama Department of the University of Aarhus.

scholarly journals Get to Know the Gastronomy of Quintana Roo from the Smoke Kitchen Model

2021 ◽  
Author(s):  
Luis David Balderas Domínguez ◽  
Yolanda Daza Toldán ◽  
Laura De Guadalupe Vázquez Paz
Keyword(s):  
Cultural Heritage ◽  
Business Model ◽  
Small Towns ◽  
Tourism Industry ◽  
Qualitative Approach ◽  
The State ◽  
Quintana Roo ◽  
Behavioral Patterns ◽  
2030 Agenda ◽  
The University

The smoke house works as a tourism model that will directly impact women living across Quintana Roo communities and small towns, with the idea that this project will empower them, and provide them with a more dignified income, with the end goal to reduce the poverty rates in the state Likewise, to introduce an adequate formula of cuisine that promotes the regional gastronomic identity, since this typology of cultural heritage is linked to the experience of enjoying the state's native food. (Carrillo, J. and Vazquez, L., 2018) It should be noted that the main representatives and transmitters of gastronomy are women, usually housewives. Therefore, a methodology based on the qualitative approach was designed, taking as a basis the ethnographic method, which allows understanding the behavioral patterns of a society. In the first instance, a gastronomic laboratory is proposed for the university, which will later be used as a business model within the tourism industry, directed at people who seek to enjoy cultural and ex-periential tourism. And at the same time, it will benefit communities across the state by generating more income for them. In addition, the project of model smoke kitchen is oriented to go in accordance with the 2030 agenda. Which includes 17 objectives and 169 goals; six of those objectives are directly aligned with this project, and the rest can be observed to relate it in a more indirectly manner. In the same way, a summary of the results obtained by the five-year groundwork is presented, as well as the division of the gastronomy in the state according to the characteristics that conform the gastronomic region.

scholarly journals Il Museo di Storia Naturale dell'Università degli Studi di Firenze. Le collezioni antropologiche ed etnologiche / The Museum of Natural History of the University of Florence. The Anthropological and Ethnological Collections

2014 ◽  
Author(s):  
Jacopo Moggi Cecchi ◽  
Roscoe Stanyon
Keyword(s):  
Natural History ◽  
New Technology ◽  
History Museum ◽  
The Third ◽  
The Past ◽  
History Of ◽  
History Of The University ◽  
The Many ◽  
University Of Florence ◽  
The University

This volume is dedicated to the Anthropological and Ethnological section of the Natural History Museum. First the historical journey of the collections is traced from the antique nucleus of the Medici to the foundation of the National Museum of Anthropology and Ethnology, when Florence was the capitol of Italy, and the discipline of anthropology was born. The second part illustrates the multivariate collections from all over the globe. They are a precious record of the past and present biological and cultural diversity of our species opening wide horizons that rigorously connect science to the many faces of human culture, including art. The third section is dedicated to current research and opens new prospectives on the significance of ethnological and anthropological collections due to new technology and in light of a new appreciation of the museum as a living “zone of contact”.

scholarly journals International conference in Helsinki ponders accessibility

1970 ◽  
pp. 80
Author(s):  
Elina Anttila ◽  
Sari Salovaara ◽  
Leena Tokila
Keyword(s):  
Cultural Heritage ◽  
Virtual Communities ◽  
Ageing Population ◽  
Multicultural Society ◽  
Policy Makers ◽  
The Third ◽  
The Past ◽  
Future Challenges ◽  
Cooperation Network ◽  
Accessibility Issues

Making Cultural Heritage Truly Inclusive – Prospects of Accessibility in Nordic Museums 11–12 October 2007, the National Museum of Finland.This article focuses on questions that emerged at the ”Making Cultural Heritage Truly Inclusive” conference, which was held in Helsinki on 11–12 October 2007. The theme of the conference was the Nordic principle of equality as seen in relation to the cultural heritage sector. The participants numbered about 140 cultural heritage workers from the Nordic countries and elsewhere in Europe. In addition to representatives of the museum sector, the invited speakers included future researchers and policy makers. At the conference, museums were seen as exerting a social influence. The first part of the conference examined accessibility strategies and the challenges and expectations they engendered in the projected Nordic future. The second part dealt with the potential of the shared Nordic cultural heritage for reflecting a multicultural society. The third part of the conference focused on future challenges, which were identified as including virtual communities for young people, and the importance of considering an ageing population. The conference was part of the Tillgänglig- hetsnätverk för museer i Norden (Accessibility networks for museums in the Nord- ic countries) project, which, over the past few years, has been creating a cooperation network to enable Nordic culture sector organisations that are interested in accessibility issues to exchange experiences. 

scholarly journals A brief synthesis of corrections, including retractions, of the Hungarian literature

2020 ◽  
Author(s):  
Jaime A. Teixeira da Silva
Keyword(s):  
European Union ◽  
Research Ethics ◽  
Peer Review ◽  
The State ◽  
The European Union ◽  
Hungarian Literature ◽  
The Past ◽  
The Uk ◽  
The University ◽  
The Eu

Hungary is geographically central in the European Union (EU). Being linguistically and culturally distinct, Hungary is ideally positioned and somewhat unique, being surrounded by seven other nations. In academics, the challenges facing Hungarian scholars are no different than other scholars in the EU, or globally. In the past few years, research ethics has become more stringent, in part as a result of fortified post-publication peer review. This letter provides one perspective about the state of Hungarian research and academia relative to other EU nations through the prism of research ethics, and in the form of literature corrections, including retractions. Using the Retraction Watch database, 24 retractions, corrections or expressions of concern were observed. One third of those emerged from the University of Debrecen. Five of the corrections were in Elsevier journals, followed by four in Springer Nature journals. Compared with the remaining 26 EU nations, excluding the UK (i.e., considering Brexit), Hungary ranks 17th in terms of number of corrections (range: Malta = 2; Germany = 751). These numbers suggest either that research ethics may be more stringent in Hungary, or that the Hungarian literature has not been sufficiently scrutinized through post-publication peer review.

Building a Cochlear Implant Practice: Five Lessons Learned

2013 ◽  
Vol 20 (1) ◽  
pp. 14-21
Author(s):  
Anne M. Lobdell ◽  
Joseph E. Dansie ◽  
Sarah Hargus Ferguson
Keyword(s):  
Cochlear Implant ◽  
Cochlear Implants ◽  
Lessons Learned ◽  
Clinical Aspects ◽  
University Of Utah ◽  
The Third ◽  
The Past ◽  
Speech Science ◽  
The University ◽  
First Time

Cochlear implants are becoming available to an increasing proportion of the deaf and hard-of-hearing population. As interest in and success with cochlear implants has grown, more and more private practice clinics are incorporating them into their scopes of practice. Over the past 2 years, the first 2 authors of this article have been heavily involved in developing cochlear implant programs in separate otolaryngology private practices. A recent conversation about this process revealed several common experiences and lessons learned. During these same 2 years, the third author began teaching the cochlear implant course at the University of Utah. Although her audiology and speech science background gave her extensive knowledge of the science behind cochlear implants, she had no clinical experience with them. The first author took this course the first time the third author taught it, and the experiences and insights she shared with the third author during and since the course have been an important component of the third author’s personal education in the clinical aspects of cochlear implants. In this article, the first 2 authors share 5 things we wish we had known when first beginning their work with cochlear implants.

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