Le marché de l'art et le trafic illicite des biens culturels : une étude de cas : la collection Barbier-Mueller.

En mars 2013, trois cent treize artefacts précolombiens, exposés auparavant dans le musée barcelonais des Suisses Jean-Paul Barbier et Monique Mueller, furent mis en vente chez Sotheby’s à Paris par ce couple de collectionneurs. L’affaire fut l’objet une couverture médiatique internationale lorsque des pays d’Amérique centrale et d’Amérique du Sud, notamment le Pérou, le Mexique et le Guatemala, protestèrent contre la tenue de cette vente, avançant que leur patrimoine culturel national n’est pas à vendre. La question centrale de ce mémoire porte sur le trafic illicite des biens culturels et elle se décline en trois axes, à partir d’une étude de cas : la collection Barbier-Mueller. Les relations complexes entre les musées et les grands collectionneurs sont observées dans le premier chapitre à la lumière des règles déontologiques qui régissent habituellement les institutions, afin de ne pas encourager l’acquisition d’objets impliqués dans des transactions illicites. Dans un deuxième temps, au moyen d’une succincte présentation du marché actuel de l’art mondial, l’influence des maisons de ventes aux enchères sera examinée. Tandis que la provenance des artefacts en vente n’est pas toujours clairement affichée, il est difficile de retracer la lignée des propriétaires ou leur nation d’origine. Or, sachant que la commercialisation illicite des biens culturels se développe à l’intérieur même du marché de l'art régulier, les auteurs parlent alors d’un « marché gris ». Ce mémoire remonte, depuis l’excavation en passant par leur exportation illégale, la chaîne de transactions de ces biens culturels qui aboutissent dans les expositions des plus prestigieuses institutions. Cette recherche aborde en dernier lieu certaines incongruités du marché de l’art en auscultant les particularités des outils fournis par l’UNESCO et l’ICOM, ainsi que la question de l’aliénation, en plus de celle des limites juridiques des pays requérants. Finalement, cette étude présente les oppositions entre le discours officiel et les actions réellement entreprises pour la protection du patrimoine culturel.

Controlling the transport of an ion: classical and quantum mechanical solutions

The accurate transport of an ion over macroscopic distances represents a challenging control problem due to the different length and time scales that enter and the experimental limitations on the controls that need to be accounted for. Here, we investigate the performance of different control techniques for ion transport in state-of-the-art segmented miniaturized ion traps. We employ numerical optimization of classical trajectories and quantum wavepacket propagation as well as analytical solutions derived from invariant based inverse engineering and geometric optimal control. The applicability of each of the control methods depends on the length and time scales of the transport. Our comprehensive set of tools allows us make a number of observations. We find that accurate shuttling can be performed with operation times below the trap oscillation period. The maximum speed is limited by the maximum acceleration that can be exerted on the ion. When using controls obtained from classical dynamics for wavepacket propagation, wavepacket squeezing is the only quantum effect that comes into play for a large range of trapping parameters. We show that this can be corrected by a compensating force derived from invariant based inverse engineering, without a significant increase in the operation time.

Learning objects management and evaluation in an e-learning environment. 'Objetos de gesti??n de aprendizaje y evaluaci??n en un entorno de e-learning'

Monogr??fico con el t??tulo: 'Estado actual de los sistemas e-learning'. Resumen basado en el de la publicaci??n

Governance and change in higher education : the debate between classical political sociology, new institutionalism and critical theories

Resumen tomado de la publicaci??n

Classical and causal inference approaches to statistical mediation analysis

Resumen tomado de la publicaci??n

Integration of knowledge-based, qualitative and numeric tools for real time dynamic systems supervision

The proposal presented in this thesis is to provide designers of knowledge based supervisory systems of dynamic systems with a framework to facilitate their tasks avoiding interface problems among tools, data flow and management. The approach is thought to be useful to both control and process engineers in assisting their tasks. The use of AI technologies to diagnose and perform control loops and, of course, assist process supervisory tasks such as fault detection and diagnose, are in the scope of this work. Special effort has been put in integration of tools for assisting expert supervisory systems design. With this aim the experience of Computer Aided Control Systems Design (CACSD) frameworks have been analysed and used to design a Computer Aided Supervisory Systems (CASSD) framework. In this sense, some basic facilities are required to be available in this proposed framework: ·

Universal Museum - universal language? Art historian - curator

Marshal McLuhan’s prophetic vision of the global village is about to be realized. If we are aware of the fact that mass communication reduces the dimensions of our world and makes it more unified and universal, we should take this into consideration when planning the Universal Museum and the language that should be used in it. As curators, educators and museum staff we should not ignore the fact that the spectator/viewer is drawn to the exhibits not only by their own merit, but also guided and assisted by verbal messages, i. e. Labels, brochures. Catalogues etc. Hence, the crucial question is what we, the museologists, use as a means of communication when preparing for a Universal Museum. Should we use pictorial semiotics? This may be a partial solution, which is mainly restricted to objects that can be manipulated and moved by the visitor, as is the case in most of the technological museums. But since the range of objects on display at museums is vast and varied - fine art, archaeological finds, ethnographic objects etc., it may not be the answer to the whole spectrum of exhibits. Dr. Ludwig Lazarus Zamenhof, being an optimist, hoped that by introducing Esperanto to the multi-lingual world population, humanity would be able to bridge and diminish the gap of linguistic differences, thus creating a better understanding between the international communities. Unfortunately this vision was not realized. Esperanto was and still is an utopian and esoteric phenomenon. The barriers between nations still exist although, as mentioned earlier, mass media do help, in some ways, to reduce them.

Can objects perform?: agency and thingliness in contemporary sculpture and installation

In his 1967 essay, “Art and Objecthood”, Michael Fried bemoaned the theatricality of minimalist sculpture, which replaced the presentness of compositional sculpture with the staging of an experience for the viewer as performer. His argument has since been inverted by artists and art writers invested in the idea of sculptures as props forming part of an artistic experience economy. This discourse has accompanied the rise of relational aesthetics as a dominant paradigm for contemporary art. More recently, however, there has been a turn away from relationality to ‘object-oriented’ art, where objects are seen to stage their own theatrical experiences, performing themselves without requiring the activation of a viewer’s body. We trace parallels between the philosophy of Bruno Latour and the “Speculative Materialism” group and this emerging trend in sculpture. In ascribing agency to objects, Latour proposes a radical shift from philosophy’s traditional investigation of the relationship between the mind and the world. Drawn to the idea that matter can be creative, artists have embraced his thinking. However, we argue that this has lead to a generalized, universalizing humanism that disables political action. Moreover, it undermines the potential for anti-humanist critique latent in object-oriented philosophy.

Attic pottery in early Classical Thessaly. A case study from Achaia Phthiotis

This paper attributes a previously unnoticed Attic black-figured lekythos kept in the Archaeological Museum of Volos to the Pholos Group (ca. 470 BC) and discusses its findspot in the peripheral Thessalian district of Achaia Phthiotis. Beyond an art-historical appreciation of the hastily-drawn chariot scene on this lekythos and a discussion of stylistic parallels, which include a lekythos in Prague, it is argued that such lekythoi were socially important for their shape and small size that made them easily transportable. The assumed scarcity of Attic pottery in Thessaly can be questioned given that a considerable amount of Attic pottery from Thessalian locations is mentioned only in passing or remains unpublished in museum storage. Small late black-figured lekythoi predominate amongst Attic pottery shapes in Thessaly. The popularity of such lekythoi can become indicative of human mobility across the landscape and the consumption of imported (grave) goods by social groups other than elites.

Models, moulds and mass production: the mechanics of stylistic influence form the Mediterranean to Bactria

Classical Greek and Roman influence on the material culture of Central Asia and northwestern India is often considered in the abstract. This article attempts to examine the mechanisms of craft production and movement of artisans and objects which made such influence possible, through four case studies: (1) Mould-made ceramics in Hellenistic eastern Bactria; (2) Plaster casts used in the production of metalware from Begram; (3) Terracotta figurines and the moulds used to produce them, from various archaeological sites; and (4) Mass production of identical gold adornments in the nomadic tombs from Tillya Tepe. The implications of such techniques for our understanding of the development of Gandhāran art are also discussed.

Interactive sensory objects for and by people with learning disabilities

This project engages people with learning disabilities to participate as co-researchers and explore museum interpretation through multisensory workshops using microcontrollers and sensors to enable alternative interactive visitor experiences in museums and heritage sites. This article describes how the project brings together artists, engineers, and experts in multimedia advocacy, as well as people with learning disabilities in the co-design of interactive multisensory objects that replicate or respond to objects of cultural significance in our national collections. Through a series of staged multi-sensory art and electronics workshops, people with learning disabilities explore how the different senses could be utilised to augment existing artefacts or create entirely new ones. The co-researchers employ multimedia advocacy tools to reflect on and to communicate their experiences and findings.

Interactive sensory objects for and by people with learning disabilities

This project engages people with learning disabilities to participate as co-researchers and explore museum interpretation through multisensory workshops using microcontrollers and sensors to enable alternative interactive visitor experiences in museums and heritage sites. This article describes how the project brings together artists, engineers, and experts in multimedia advocacy, as well as people with learning disabilities in the co-design of interactive multisensory objects that replicate or respond to objects of cultural significance in our national collections. Through a series of staged multi-sensory art and electronics workshops, people with learning disabilities explore how the different senses could be utilised to augment existing artefacts or create entirely new ones. The co-researchers employ multimedia advocacy tools to reflect on and to communicate their experiences and findings.

Testimony, memory, and art at the Jewish Holocaust museum, Melbourne, Australia

Taking its cue from Charlotte Delbo’s powerful writing about the Holocaust in which she highlights the role of sense memories, this chapter begins with the proposition that sense memories – as distinct from narrative or vicarious forms of memory – are a particularly effective vehicle for the communication of past trauma in the present. The paper explores the potential value of this proposition for the display of objects in a Holocaust museum which are given meaning by the voices of the survivor community and their focus on the importance of testimony. The chapter undertakse an analysis of how the sense memories of survivors animate specific objects on display, exploring the ways in which these objects help the Museum to create a bridge between the survivor community and the wider general public (Auerhahn and Laub, 1990). I argue that built into that process there is a requirement that audiences listen in a manner that makes them a witness to past traumas. This listening process, I want to argue, offers not only an opportunity for healing on the part of survivors but also, following Simon (2005), the exchange of a ‘terrible gift’. That gift, I will suggest, places the visitor as a witness to past traumas and builds an ethical request that they should actively work against future genocides. Central to that possibility, I want to argue, is the way in which the process of witnessing a sense memory is an affective experience for the viewer leading to the potential production of empathy.

Matching objects across the textured-smooth continuum

The problem of 3D object recognition is of immense practical importance, with the last decade witnessing a number of breakthroughs in the state of the art. Most of the previous work has focused on the matching of textured objects using local appearance descriptors extracted around salient image points. The recently proposed bag of boundaries method was the first to address directly the problem of matching smooth objects using boundary features. However, no previous work has attempted to achieve a holistic treatment of the problem by jointly using textural and shape features which is what we describe herein. Due to the complementarity of the two modalities, we fuse the corresponding matching scores and learn their relative weighting in a data specific manner by optimizing discriminative performance on synthetically distorted data. For the textural description of an object we adopt a representation in the form of a histogram of SIFT based visual words. Similarly the apparent shape of an object is represented by a histogram of discretized features capturing local shape. On a large public database of a diverse set of objects, the proposed method is shown to outperform significantly both purely textural and purely shape based approaches for matching across viewpoint variation.