Este artigo aborda a sinergia entre a Inteligência Artificial (IA), especialmente a IA Generativa (GenIA), e a Gestão do Conhecimento (GC), ressaltando o conhecimento como principal fator de produção e ativo intangível, crucial para inovação e transformação digital. O objetivo é apresentar e analisar como a Petrobras vem enfrentando o desafio da aplicação da IA em seus processos de GC. O estudo utilizou a metodologia de estudo de caso, tendo a Petrobras como unidade de análise. Os procedimentos metodológicos incluíram a análise de relatórios internos, relatórios de scouting (pesquisa de mercado) e consultorias externas, exame da documentação da contratação de solução para iniciativa, discussões com membros do Time de GC e pesquisa bibliográfica. Os resultados indicam que, após experimentação interna e mapeamento internacional de soluções, foram definidos 42 requisitos de negócio em 13 dimensões para a solução de IA aderentes às necessidades da companhia. A viabilidade econômica desse tipo de iniciativa foi demonstrada pela projeção de economia de tempo na busca por informações (estimada em 30 minutos por dia por empregado). Adicionalmente, foi estabelecida uma governança pautada em IA Responsável. Em conclusão, o estudo evidencia um processo estruturado de transformação digital, reforçando que o êxito da IA na GC depende de uma governança robusta e da indispensável valorização do fator humano para mitigar riscos e maximizar o capital intelectual.
Diplomatics. Archives. Seals, Bibliography. Library science. Information resources
Artykuł przedstawia konkretny przykład zrealizowanych badań terenowych wskazując na przydatność zbieranego w terenie materiału dla muzealnych aplikacji, a tym samym na potencjalne pola współpracy i ewentualne możliwości ekspozycyjne. Omówiony przykład dotyczy badań terenowych przeprowadzonych w 2019 r. na obszarze ziemi dobrzyńskiej, a dokładnie pow. rypińskiego, w trakcie których przeprowadzono prawie 80 wywiadów. Dokumentacja badań została zarchiwizowana i posłużyła budowie stałej ekspozycji w Muzeum Ziemi Dobrzyńskiej w Rypinie. Omówiony przykład służy wskazaniu jak wysiłek badań etnograficznych może zostać wykorzystany przez muzeum, i jak ono jako jedyne, przez swoje możliwości ekspozycyjne, może w istocie odzwierciedlić terenowe artykulacje badanych społeczności. W przeciwieństwie do akademii, współczesne muzeum, znacznie lepiej i z korzyścią dla siebie jest w stanie wyartykułować emocjonalność, sensoryczność, afektywność, nietekstowość, materialność, cielesność i nostalgiczność, które towarzyszą sytuacji badawczej i relacjom społeczności lokalnej z rzeczami. W tej optyce współpraca akademii i muzeum, jej kontynuacja we współczesnych warunkach jawi się jako obopólnie korzystna i konieczna.
Today’s digital world inevitably affects both the study of culture and the processes taking place in culture itself. Such a widespread phenomenon of Ukrainian folk culture of the first half of the twentieth century as epigraphic embroidery (textile products with embroidered folk songs, proverbs, etc.) has not attracted significant attention for several decades. Now, largely thanks to digital technologies, embroidered inscriptions are being updated in Ukraine. This paper is devoted to the influence of IT-methods (particularly, the principles and structure of the Interactive Index of Folklore Formulas (Epigraphic Embroidery)) on cultural studies. The main idea of the Index is to quickly find all the items that contain a specific formula which helps to analyze the changes in a specific embroidered plot as accurately as possible. Also, the paper reviews Internet re-actualization (“new life”) of century-old embroidered products as their photos are used as a means of communication in social networks.
José Antonio Huesca-Tortosa, María del Rosario Pacheco-Mateo, Mercedes Tendero-Porras
et al.
This paper deals with the study of construction and geometry, as well as with the analysis of deformations and active degradations of the natatio belonging to the Western Baths in La Alcudia archaeological site. Its location in Elche-Alicante, Spain (Colonia Iulia Ilici Augusta), is widely known for the discovery of The Lady of Elche in 1897. The dimensions of this natatio in the frigidarium are 6.60 x 9.30 m (22 x 31 Roman feet) and 1.50 m deep, making it one of the largest Roman swimming pools documented to date on the Iberian Peninsula. The natatio has several cracks sealed with materials used in earlier interventions at the end of the third century. Its comparison with the hypothetical original form allowed the researchers to quantify the current deformations. A damage evolution study has been made comparing the 2016 point cloud with the 2022 cloud, both obtained by light detection and ranging (LIDAR). There is evidence that an active process of degradation and deformation is gradually increasing damage to the pool. By studying the geometry and constructive systems of the natatio, relevant data to understand the historical evolution of the Western Baths have been provided. A results analysis conclusion is that the pool was built in two different stages. The eastern half corresponds to the original natatio, while the western half was extended or rebuilt after having collapsed. The early abandonment of the use of the natatio was most likely due to deformations caused by differential settlement; this occurred when the western half was cemented on landfill between the ancient wall and that of the last third of the 1st century AD.
Explica las actuaciones del Museo de Arte Ibérico El Cigarralejo para acercarlo al público durante el confinamiento y en los meses posteriores. También la creación de actividades on line y posteriormente presenciales, ante la drástica reducción de visitantes que era necesario recuperar, a la vez que mostrarlo a las personas que, por diferentes motivos, no podían acceder al mismo.
History of the arts, Museums. Collectors and collecting
The study introduces unique research results on the topic of artistically gifted and talented children and young people, and their interactions with the environment and exhibitions of Slovak galleries. Artistically gifted teenagers (N = 32) from different regions of Slovakia participated in the research. Based on the research results, we consider the gallery environment stimulating for artistic talent of a person in a specific way. The authors of the study confirmed that in the observed group of artistically gifted teenagers, their artistic talent was positively impacted. Progress was captured in specific components of artistic expression (imagination, fantasy and creativity), which was identified as direct influence of visiting galleries.
Rauf Ersenal has hiked through the mountains of North Cyprus for years, searching for the rare clays that have been used to make pottery there for millennia. The most prized colours of these clays produce a soft green that is the colour of fresh olives, the bright red of terra sigiliata, and another clay that creates a true black. He processes these clays to recreate the coloured slips that were used for decorating the Bronze Age Vounous pottery of Çatalköy.
The discussion on gender representation within the museum space has been a challenging one during the last four decades, opening a debate on the gendering of museum roles and the use of feminist narratives and museology (Deepwell 2006). This book traces the origin of the multifaceted relationship between museums and women, analyzing the period from 1850 to 1914 in the English context, a crucial moment both for museums and women’s engagement with a changing society.
Selma de Lourdes Pires Martins, Juliana Siana Simionato, Jean-Philippe Chippaux
et al.
Atualmente não se questiona mais a substituição do formato impresso pelo eletrônico. Entretanto, no final do século XX esse tema era fonte de debate acalorado entre os editores das revistas cientificas. O objetivo deste trabalho foi mostrar a evolução da primeira revista eletrônica científica brasileira, mantida e editada ininterruptamente desde 1995 pelo Centro de Estudos de Venenos e Animais Peçonhentos da Unesp (CEVAP). Denominada inicialmente The Journal of Venomous Animals and Toxins (ISSN 0104-7930), a revista que sempre foi publicada em inglês era fasciculada e distribuída em disquetes de 3.5” em sua primeira fase. A partir de 2003, o escopo foi ampliado e recebeu novo ISSN (1678-9199) e seu título passou a ser The Journal of Venomous Animals and Toxins including Tropical Diseases (JVATiTD). A partir de 2013, estabeleceu parceria com a BioMed Central, um publisher internacional de acesso aberto, membro do grupo Springer-Nature, e sua homepage passou a ser: https://jvat.biomedcentral.com/. A história de sucesso dessa publicação se deve, principalmente, ao processo gradual de mudança de paradigma, ou seja, o primeiro suporte foi o disquete com possibilidade de impressão do fascículo, a seguir o CD-ROM enviado pelo correio permitindo a leitura na tela do computador e, por fim, a distribuição online através da homepage e a implantação da submissão eletrônica de manuscritos. Atualmente, além de ser publicada em fluxo contínuo, a revista também incentiva os autores a incluir áudios e vídeos como material suplementar.
Museums. Collectors and collecting, Bibliography. Library science. Information resources
From the theoretical point-of-view, the azulejo has been studied in Portugal since the second half of the nineteenth century through a perspective that increasingly highlights the idea of originality and, more recently, the identity factor. Actually, today the azulejo is regarded as one of the arts that best identifies Portuguese heritage. However, is it truly so? Is it reasonable to associate identity narratives with azulejo or is this idea connected only to issues of national marketing?
Included in the Month of the Azulejo and the European Year of Cultural Heritage, AzLab#42 special seminar, entitled Identity(ies) of the azulejo in Portugal [1], aimed at debating issues of identity related to glazed tiles, focusing its attention both on the historiographic construction of this (these) concept(s) and on the different points that distinguish the Portuguese usage of the glazed tile from how other countries understand this art form.
Following a protocol signed between the Rede de Investigação em Azulejo (Azulejo Research Network – ARTIS-IHA/FLUL) and the Amigos do Museu Nacional do Azulejo Association (Friends of the National Azulejo Museum), AzLab#42 took place at Amphitheater III of the School of Arts and Humanities of the University of Lisbon on October 4, 2018. The international call for papers had a significant number of proposals, from which, after a blind peer-review process, six were selected. To the latter, three other sessions were added with guest-speakers whose work has been acknowledged in this field of study, which in turn led to vigorous discussions in the several debates held during the seminar.
For the reasons given, because it secures contributes of the several authors with different educational backgrounds and nationalities, the conference proceedings now published are enormously relevant for the future. In addition, this volume also fulfills one of the initial goals of this initiative: to introduce the scientific community’s perspective of this matter and contribute to the theoretical support of the Portuguese azulejo’s application to UNESCO World Heritage.
ARTis ON’s special number mirrors AzLab#42 seminar’s program. As a result, it starts with a set of articles related to historiography, featuring studies dedicated to general themes which are followed by more specific ones. Nuno Rosmaninho’s article opens this volume with a study entitled “Portuguese azulejos and other national arts” in which the author seeks to “link the identity appropriation of the azulejo to a source common to most artistic discourse in the nineteenth and twenty-first centuries”.
Focusing on differentiating issues, Alexandra Gago da Câmara and Rosário Salema de Carvalho list originality facts identified by European historiography until the mid-twentieth century, observing how these spring from seemingly diverse ideas to actually embody a set of well-defined points. From an even more funnelled perspective, Sandra Leandro explores Joaquim de Vasconcelos’ role in this context while João Pedro Monteiro addresses one of the most significant researchers in the glazed tile field of study – João Miguel dos Santos Simões.
The appreciation of the convergent and divergent points between Portuguese and Spanish tiles, understood as focal loci for the azulejo’s universal reach, is presented by Jaume Coll Conesa. Following this study, there is a set of articles that, addressing the call for papers’ theme “azulejo: what identity(ies)”, considers certain distinctive characteristics. Fátima Rodrigues and Pedro J. Freitas analyse patterned tiles using mathematical models of classification; Cristina Carvalho examines advertising panels; Shelley Miller shows how her artistic interventions call the concept of identity into question and, continuing with contemporaneous studies, Inês Leitão ends this section by analysing how artists perceive identity issues associated with the azulejo.
However, there is still plenty to debate and clarify. Indeed, one of the most interesting points concerning AzLab#42, and the articles now published, rests on the range of topics that arise as future research perspectives. Nevertheless, is the importance acknowledged to the azulejo today, how it distinguishes national landscape – whether by its physical presence or as a key element in the Portuguese collective imaginary – as well as its role as a reference to a broad set of other cultural and artistic displays, ranging from fashion to cuisine, enough to grant it the status of a culture’s identity defining art form? Or are we sometimes witnessing a discourse that aims to subordinate Portuguese tiles to a wider narrative, making them fit into a set of supposedly distinctive factors, which actually intends to build a national image for foreign consumption?
Since we believe this volume is a contribution to the future and that from this initiative several others might be held, for the moment we must thank all participants and AzLab#42’s Scientific and Executive Committee. In addition, we would like to highlight the support given by Inês Leitão in terms of graphic design and organisation as well as by Rafaela Xavier and Fábio Ricardo.
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[1] AzLab is a monthly seminar organised by the Az group – Azulejo Research Network, of ARTIS – Instituto de História da Arte da Faculdade de Letras da Universidade de Lisboa (Art History Institute of the School of Arts and Humanities of the University of Lisbon), in collaboration with the National Azulejo Museum (https://blogazlab.wordpress.com). AzLab’s goal is to create new analysis perspectives on issues related to the azulejo, among which are research, inventory, collecting, safeguarding, creating or divulging. The idea of developing a research lab on azulejo, which addresses experimental procedure concepts associated with these spaces, is applied to the discussion AzLab wishes to promote. It also introduces a concept foreign to art history, aiming at developing a multidisciplinary research. Every month a theme is submitted to public debate, which may stem from research projects, masters’ dissertations, PhD thesis, among others. National researchers, who are connected to the most diverse institutions, are invited to participate as well as, whenever possible, foreign scholars. AzLab#42 special Identity(ies) of the Azulejo in Portugal was a one-day conference, which was co-organised by the Amigos do Museu Nacional do Azulejo Association and also supported by Centro Atlântico publisher.
Arts in general, Museums. Collectors and collecting
AbstractThis article reports on the experience of children at the Museum of New and Old Art (Mona) in Hobart, Tasmania. Referred to by its innovative owner as a ‘subversive adult Disneyland’, Mona went further than most new contemporary art galleries in designing a radically new experience of art. It captured the imagination of people new to art in its own locality as well as a global art public. Favoured by leading international contemporary artists for the freedom it gave art unmediated by art history, Mona also seemingly captured the imagination of children. Through an ethnographic approach in which five young children’s visits were documented in great detail, the article considers these in the light of children’s experiences of previous exhibitionary platforms and the relevance of Mona’s museological interventions for building their dispositions to art and broadening art publics.
The project methodology is currently one of the most used technical tools of action in Cultural Management. This article proposes a revision of the concept of cultural project, trying to investigate beyond its functional advantages. From an analysis of some of the problems and criticisms that question the methodology in some sense, it is postulated that a research is possible from a deeper, more situable and complete comprehension perspective of the concept. The perspective that is proposed is Cultural Management, interpreted as a new way of understanding and working around issues of the cultural sector in terms of development. In this sense, Cultural Management can be understood as a previous and broader frame of reference that can reveal dimensions of understanding that go beyond the purely technical or instrumental, which is how the concept of a project tends to be generally thought.
Museums. Collectors and collecting, Ethnology. Social and cultural anthropology
Versa acerca das práticas efetuadas de tratamento informacional dos arquivos no órgão da Secretaria de Estado da Segurança Pública- SSP/AL. Apresenta bibliografia da área de Arquivologia e cita a Lei Federal de Arquivos n.º 8.159 de 8 de Janeiro de 1991. Discorre sobre o planejamento das ações visando à melhoria da gestão documental, abordando os métodos empregados no projeto de e os resultados supervenientes. O projeto mencionado teve duração de um ano e foi finalizado com a entrega de um Manual de Práticas, que compila o material de consulta e de orientação para a instituição no tocante à gestão documental.
Museums. Collectors and collecting, Bibliography. Library science. Information resources
Joseph Rawdon’s account of his making of a military quilt incorporates an emotional
object biography of a kind typically attached to this kind of material. He recalls
the long period of production, an investment of physical and emotional labour
of a different, but related, order to the effort of his dead colleagues, those ‘poor
fellows that fought hard for their country and fell in the struggle’, and whose then
surplus uniforms contribute to the fabric of the patchwork. In this co-authored
article we draw upon objects like that produced by Rawdon, and the narratives
that accompany them, to explore the value and challenges of curating objects
produced by soldiers in wartime. Focusing on patchwork produced by Victorian
military men, we seek to extend the understanding of trench art, in terms of
chronology and form.