Allícya Marya Dias de Lima, Antônio de Souza Silva Júnior
Esta pesquisa teve como objetivo descrever a atuação do bibliotecário para desenvolvimento da competência em informação dos usuários de bibliotecas públicas vinculadas a instituições federais de ensino superior do Nordeste Brasileiro. Trata-se de uma pesquisa qualitativa, quanto à abordagem, esta pesquisa se classifica como descritiva e exploratória. A coleta de dados se deu por meio de entrevistas semiestruturadas e a análise dos dados, realizada pelo método da pragmática da linguagem. Os relatos apontaram que a atuação bibliotecária se mostra mais reativa às demandas da comunidade interna e externa. As informações sobre os produtos e serviços da biblioteca são expostos nos sites e redes sociais e, apenas quando provocada, são realizadas ações de formação com os usuários. Foi relatado também a necessidade do desenvolvimento, pelas instituições de ensino, de um programa de formação continuada para aprimorar os conhecimentos dos bibliotecários sobre tecnologias digitais. Conclui-se que a atuação bibliotecária vai mais além da disponibilização de informações, mas também na capacitação de usuários na busca, interpretação e avaliação da informação de modo ético e eficiente. Diante de um cenário de expressivo aumento da publicação das informações, auxiliar na identificação de informações confiáveis e desinformações reforça a participação social consciente na construção dos saberes.
Diplomatics. Archives. Seals, Bibliography. Library science. Information resources
This study explores two hypotheses regarding the use of date palm (Phoenix dactylifera/Phoenix canariensis) wood for the manufacture of plucked string instruments (in this case the lute) and ceramics for bowed instruments (rabāb), drawing inspiration from exceptionally significant iconographic sources.
Multimodal approaches have shown great promise for searching and navigating digital collections held by libraries, archives, and museums. In this paper, we introduce map-RAS: a retrieval-augmented search system for historic maps. In addition to introducing our framework, we detail our publicly-hosted demo for searching 101,233 map images held by the Library of Congress. With our system, users can multimodally query the map collection via ColPali, summarize search results using Llama 3.2, and upload their own collections to perform inter-collection search. We articulate potential use cases for archivists, curators, and end-users, as well as future work with our system in both machine learning and the digital humanities. Our demo can be viewed at: http://www.mapras.com.
The current investigation was to redescribe the morphology of the species of hard tick, Rhipicephalus pravus Dönitz, 1910 (Ixodida, Ixodidae) that was recently recorded from Baghdad Province, central of Iraq. A total of 130 sheep were obtained from the local animal markets in Baghdad Province, throughout the period from May 2022 to November 2023; these sheep were examined for the presence of hard ticks. The current study revealed five sheep infested with R. pravusin Baghdad Province. The specimens were deposited in the Iraq Natural History Research Center and Museum-Baghdad University under the number: INHM, 2023: Hard Ticks, No. 1.1. Hard tick-borne pathogens were reviewed, so this species of tick was associated with several pathogens, so it an important species that affects public health and livestock as well. The present description was provided with pictures and illustrations.
Museums. Collectors and collecting, Natural history (General)
Frederic William Lucas (1842–1932) was a solicitor, collector, author and Fellow of the Zoological Society of London and the Linnean Society of London. He exemplifies a collector of means with access to suppliers, and a deep and enduring interest in his collection interests. Despite the size and diversity of his zoological and ethnographic collection, Lucas has received little scholarly attention. His self-funded private museum included over 1,200 vertebrate specimens including the skulls of large game animals and articulated skeletons of domesticated mammals. There are also over 600 items of ethnographic material, together with some human remains. Over the period from 1909 to 1925 Lucas donated almost the entirety of his collection to the Brighton Museum and Art Gallery and the Booth Museum of Natural History, Brighton. Information about Lucas and the material he amassed is meagre and dispersed. However, examination of his collection and its associated archive together with what can be gleaned from other sources about Lucas and the social and intellectual environment in which he circulated, provides a useful means of advancing understanding of not only late nineteenth and early twentieth-century private collectors of natural history and ethnography, but also the provincial museums that received their collections.
Dobychina’s name and her Art Bureau are mentioned in the bibliography dedicated to the history of modernism thanks to the “Last Futurist Exhibition. 0,10” which was held there in December, 1915–January, 1916. However, it should be noted though that Dobychina hardly belonged to the radical avant-gardists. Her interests as a collector and a curator in the pre-revolutionary years included artists of the World of Art and the Blue Rose groups, but she also had in her possession some artworks by Natal’ia Goncharova, Mikhail Larionov, David Burliuk, Natan Al’tman, Marc Chagall, Wassily Kandinsky. The documents from the Dobychina’s archive, kept at the State Russian library, prove that she played an important role in the art field and acted as an art dealer both before and after the October revolution. In the early 1920s, she was in charge of the exhibition departments of the several institutions in Petrograd (Leningrad), from 1932 to 1934 she worked as a senior researcher at the State Russian Museum; after that she moved to Moscow, where she headed the Art Department of the Revolution Museum. Throughout these turbulent years she tried to keep her art collection. The three collection inventories, compiled in 1919, 1924 and 1930, show that some artworks constituted the collection’s integral part and not intended for selling. The most striking paintings and graphics by Mikhail Vrubel’, Valentin Serov, Viktor Borisov-Musatov, Dmitriĭ Stelletsky, Alexandre Benois, Martiros Sar’ian, apparently, belonged to Dobychina for decades and were sold mostly after her death to the famous Soviet collectors – Solomon Shuster, Aram Abramian, Aleksandr Miasnikov, and Valeriĭ Dudakov.
Mar Canet Solà, A. Korepanova, Ksenia D. Mukhina
et al.
Museum collection strategies are governed by a variety of factors, including topical focus, acquisition funds, availability of works in the art market, donations and specific coincidental opportunities. Yet, it remains unclear if more fundamental collection patterns emerge, exist, and are shared between museums, which could for example allow an established artist to estimate when a contemporary art museum would acquire their works. Here we collect and analyze data from 12 European contemporary art museums, taking into account artwork creation dates, collection acquisition dates, and the associated artist age at both points in time. From this simple quantitative construct we are able to reveal a striking gradient of museum profiles at the aggregate level. This lag can function to constitute a macroeconomic index of "mean museum collection lag", ranging from 3 years in the most dynamic cases (Kiasma) to 35 years in the most established institutions (Museo Reina Sofía). Meanwhile, on the granular level, plotting artist age over collection year, and using artist-age vs artwork-collection matrices, a detailed picture becomes evident, where individual museums are characterized by shared patterns and a rich heterogeneity of ideographic details. Regularities include continuous acquisitions, systematic acquisition of older materials over time, and brief bursts, where whole oeuvres of individual artists join specific collections. Hence, we are able to shed light on the detailed collection history of museums, transcending the anecdotal nature of art historical storytelling via the provision of a quantitative context. Our approach of cultural data analysis combines expertise in art, art history, computational social science, and computer science. Our joint perspective builds a bridge between and serves an audience of museum professionals, art market actors, collectors, and individual artists alike.
The historiography concerning the Garum, as well as the archaeological evidence of the same, are very wide and cover the entire topic both from the historical and archaeological points of view. Can a team of archaeologists faithfully recreate Garum today, starting only with the historical knowledge available to us, and at the same time being careful to use the methods and materials that the ancient Romans had at their disposal to make this product?
Electrolana madelinae Schädel, Hyžny & Haug, 2021 was described from two excellently preserved isopod specimens from ca. 40-million-year-old amber from Myanmar. Appraisal of the two specimens and their comparison to extant genera and species of Cirolanidae show that the genus Electrolana Schädel, Hyžny & Haug, 2021 is a junior synonym of Cirolana Leach, 1818, and that the holotype and paratype represent two distinct species. The holotype is placed in the combination Cirolana madelinae (Schädel, Hyžny & Haug, 2021) comb. nov., and the paratype, a species of Metacirolana Kussakin, 1979, is here diagnosed and named Metacirolana jimlowryi sp. nov. Brunnaega roeperi Polz, 2005 is transferred to Cirolana roeperi (Polz, 2005) comb. nov.
Gustavo Candela, Nele Gabriëls, Sally Chambers
et al.
Large-scale digitization in Galleries, Libraries, Archives and Museums (GLAM) created the conditions for providing access to collections as data. It opened new opportunities to explore, use and reuse digital collections. Strong proponents of collections as data are the Innovation Labs which provided numerous examples of publishing datasets under open licenses in order to reuse digital content in novel and creative ways. Within the current transition to the emerging data spaces, clouds for cultural heritage and open science, the need to identify practices which support more GLAM institutions to offer datasets becomes a priority, especially within the smaller and medium-sized institutions. This paper answers the need to support GLAM institutions in facilitating the transition into publishing their digital content and to introduce collections as data services; this will also help their future efficient contribution to data spaces and cultural heritage clouds. It offers a checklist that can be used for both creating and evaluating digital collections suitable for computational use. The main contributions of this paper are i) a methodology for devising a checklist to create and assess digital collections for computational use; ii) a checklist to create and assess digital collections suitable for use with computational methods; iii) the assessment of the checklist against the practice of institutions innovating in the Collections as data field; and iv) the results obtained after the application and recommendations for the use of the checklist in GLAM institutions.
While AI technology is becoming increasingly prevalent in our daily lives, the comprehension of machine learning (ML) among non-experts remains limited. Interactive machine learning (IML) has the potential to serve as a tool for end users, but many existing IML systems are designed for users with a certain level of expertise. Consequently, it remains unclear whether IML experiences can enhance the comprehension of ordinary users. In this study, we conducted a public event using an IML system to assess whether participants could gain technical comprehension through hands-on IML experiences. We implemented an interactive sound classification system featuring visualization of internal feature representation and invited visitors at a science museum to freely interact with it. By analyzing user behavior and questionnaire responses, we discuss the potential and limitations of IML systems as a tool for promoting technical comprehension among non-experts.
Abstract:This article examines several collecting expeditions to the Philippines and Sarawak, Borneo between 1898 and 1909. Collectors on these expeditions collected Indigenous cultural objects, human remains, anthropological data, and natural specimens in order to build up museum collections in Sarawak, England, and the United States. This article argues that to varying degrees, these expeditions were all directly or indirectly supported by imperial power, through funding, logistical aid, protection, or by the use of Indigenous labor. These collectors were informed by imperial ethnographers and collecting guides and shaped their collecting goals accordingly. They attempted to preserve objects and specimens they deemed to be in threat of disappearing due to increasing Western imperial influences. These collectors utilized this salvage rhetoric and the structures of empire to attempt to gain social mobility and professional prestige as anthropology developed as a discipline in the early twentieth century.
This article traces the process of forming in the second part of the 19th century of interest in Russian tile as one of the original phenomena of national culture, reflected in the creation of its museum collections. The Historical Museum, founded in 1883, was amongst the first museums in Russia that established the major collections of tiles. Based on the study of its collection, the interest of researchers headed by I.E. Zabelin developed considering tile not only as a fragment of the decor of the building or of the stove, but as a self-contained art product and a museum item requiring attribution. The author examines the tiled stove of the middle of the 18th century from the SHM collection which is currently on the Moat bell tower of the Cathedral of the Protection of Most Holy Theotokos. The monument was a part of the collection of tiles formed in the first half of the 20th century in the branch of the Historical Museum «Pokrovsky Cathedral», and it has not been previously studied. This collection was transferred to the SHM Department of Ceramics and Glass in 2012, which did not only reveal new attributes of the tiled stove, but also restored the history of the monument. This article first describes the stove in detail, identifies the ratio of the original tiles to the 1920s copies, gives the analogues, and makes a statistical analysis of the painting composition. Although the stove was not included in the inventory of the collection of the famous Russian antique collector P.I. Shchukin in 1905 when the transfer to the Historical Museum took place, nor it was transported to the SHM funds after Shchukin’s death in 1917, detailed examination of unpublished archival documents allowed to attribute the monument with confidence to the Shchukin’s collection.
Abstract:Collecting was one of the mechanisms through which women empowered themselves at the end of the nineteenth century and at the beginning of the twentieth. Through collecting they created networks with other women and established their presence in a public sphere from which they were habitually excluded because of their gender. In this article I flesh out these issues by focusing on the career of Isabel Frances Dodd (1857–1943), a specialist in art and archaeology who worked as a professor at the American College for Girls in Constantinople. The article is divided into two parts. First, I provide an overview of the historical context and the sources available for approaching the case study. Second, I concentrate on one of the main features of Dodd’s professional life—namely, her role as a collector of antiquities. In this part, particular attention is devoted to the largest project she launched: the creation of a museum.
The purpose of the article is to ascertain the stages of collecting European portrait miniature of the 16th – 19th century from the outset of this art until now as an important factor for the research of the Bohdan and Varvara Khanenko National Museum of Arts miniatures, Kyiv. The research methodology is based on historiographical analysis coupled with axiological and holistic approaches to identify the relationship between the history of collecting and the evolution of the art of portrait miniature. The scientific novelty of the article lies in determining the general trends in collecting works to clarify the reasons for collecting European portrait miniatures in Ukraine, inter alia, at the Bohdan and Varvara Khanenko National Museum of Arts in Kyiv. Conclusions. Transformation of portrait miniature from an object of private property to a museum artefact began in the 17th century. Portrait miniature was recognised as a separate artistic genre. The processes of studying the term “miniature portrait”, researching of the art tradition, and creating the first museum’s collections were launched. It was at that time that the core of the miniatures collection was set up by its founders in the Bohdan and Varvara Khanenko National Museum of Arts. Now it is one of the greatest in Ukraine. Understanding of the artworks value have been proceeding during decline of demand for the traditional portrait miniature after invention of daguerreotype. Nowadays, the works are of interest to collectors, but the painting tradition continues only among amateurs. Keywords: portrait, painting, miniature, European miniature, collection, history, research, the Bohdan and Varvara Khanenko National Museum of Arts.
Vertebrate paleontology was born from the efforts of amateur and commercial fossil collectors in the nineteenth century. Amateur fossil collecting is a popular hobby in the USA, though owing to different ownership laws, American vertebrate paleontologists have less positive attitudes toward amateur collectors than in Europe where amateur and professional collectors work synergistically. Collections-based and literature surveys were conducted to evaluate the scientific contribution of amateurs to vertebrate paleontology near Santa Cruz, California. The first was a survey of museum collections identifying collector status (amateur or professional) of fossils from two formations (Santa Margarita Sandstone, Purisima Formation). The second was a com-prehensive literature survey for these two stratigraphic units, documenting whether fossils were collected by amateurs or professionals. The third was a literature survey of all published (2009-2021) Cenozoic marine vertebrate records for the Pacific coast of North America (Alaska to Baja California, Mexico). The first survey indicates that amateurs have contributed the most (75.9%) to Santa Margarita Formation specimens and over a third (38.1%) of Purisima Formation specimens. These contributions are of high quality as they are included in 40% of all publications through time in the study area, and amateur-collected fossils are reported in half (49%) of all publications from the Pacific coast over the past decade. These findings indicate that amateur collectors are not only capable of collecting scientifically significant specimens, but appear to be integral to the study of Cenozoic marine vertebrates on the Pacific coast. Dismissive attitudes towards amateur collectors are clearly unwarranted. Advice for cultivating strong professional-amateur relations is provided.
In Museums, Infinity, and the Culture of Protocols: Ethnographic Collections and Source Communities, Howard Morphy expands the idea of the “universal museum” into the “infinite museum.” Because museums have stakeholders who exist around the world and into the distant future, he argues, they are mandated to perpetually preserve collections and collections access. Morphy identifies repatriation and access protocols as threats to museum mandates and the rights of future stakeholders. In this review I will restrict myself to one of several potential discussions of this work: that Morphy’s account does not take the roles of Indigenous sovereignties seriously enough, thus undermining them as bases for heritage governance. Morphy begins by reflecting on his life in museums, from his boyhood fascination with displays at the Pitt Rivers Museum to his professional roles there as a collector, curator, and anthropologist. Then, in the second and third chapters, he lays out an history of anthropological museum collecting to argue that ethnographic museums promote global appreciation for Indigenous cultures. This history, he believes, originated in colonial violence but shifted to anthropological contexts formed by Indigenous agency, partnership, and—increasingly—collaboration. In the fourth chapter, Morphy makes his case for preserving the remains of ancient Indigenous ancestors in museum collections for research. Here he outlines the implications of his “infinity perspective” for the definition and agency of stakeholder groups.1 In the case of reburial for ancestors and their grave goods, “the wish of a particular group to destroy an object may be framed as a denial of the rights of future generations to have a say in the decision and to have access to the objects themselves.”2 Morphy argues in his penultimate chapter for the importance of open access to museum collections. He sees open access as resolving the inequities of cultural gatekeeping and warns that movements toward repatriation and respecting sometimes restrictive protocols “result in the information
Lo más destacado:
• El artículo contribuye al conocimiento del patrimonio arquitectónico industrial ligado a la trashumancia que se encuentra profundamente degradado y en visos de desaparecer.
• Introduce nuevas tecnologías para la difusión del conocimiento, facilitando una comprensión inclusiva para todos los sectores de la sociedad.
• Promueve una metodología científica rigurosa y exhaustiva, sentando las bases para la recuperación y valorización de este patrimonio arqueológico y cultural.
Resumen:
El esquileo de Perales (El Espinar, Segovia) constituye una muestra única de esta tipología arquitectónica singular de la región del piedemonte segoviano, implementada por las élites cortesanas a comienzos del siglo XVIII. El edificio sirvió para esquilar a la numerosa y reputada cabaña trashumante de lana fina de la marquesa de Perales, permitiendo además las operaciones complementarias a esta técnica novedosa (clasificación, almacenaje, estribado, etc.), así como el avituallamiento de todos los trabajadores y pastores ligados al proceso. A su vez, el esquileo integraba un palacio de excelente factura y prestancia para el alojamiento y disfrute de sus ennoblecidos propietarios, que participaban en la supervisión de las tareas. No obstante, tras la Guerra de la Independencia y el declive de la trashumancia el edificio fue abandonado paulatinamente, quedando abocado a su irremediable destrucción. En concreto, el esquileo fue desmantelado durante un extenso proceso regresivo sostenido a lo largo del siglo XX, derivado de nuevas motivaciones y planteamientos urbanísticos en la población. Durante estas fases se demolieron la mayoría de las edificaciones que integraban el conjunto, conservándose únicamente cuatro de los muros que componían su núcleo principal, y donde se integraron artificiosamente los elementos más significativos de las fachadas derribadas. Aun así, los restos supervivientes de este esquileo todavía muestran la sobresaliente calidad de la ejecución y su diseño, entre cuyos elementos destaca el magnífico conjunto de tres grandes portadas. En este artículo se presenta la reconstrucción virtual del esquileo de Perales, fundamentada en una metodología transversal de trabajo de campo y de archivo, y expuesta a través de un conjunto de planos e imágenes trazados mediante un modelado tridimensional (3D) que permite comprender la magnitud y capacidad de este singular complejo; todo ello, como medio para promover su conservación y salvaguarda futuras.