Overseas export promotion calendar

Mode of access: Internet.

Agriculture in the United States;

Mode of access: Internet.

Official report of the California State Agricultural Society's fourth annual fair, cattle show and industrial exhibition, held at Stockton, Sept. 29th, 30th, Oct. 1st and 2d, 1857 /

Mode of access: Internet.

Premium list rules and regulations of the ... Central California Fair

"To be held at Hanford, Kings County, California."

Premium list, rules and regulations of the annual Napa County Fair

Mode of access: Internet.

Program and premium list

Mode of access: Internet.

Empathy and Its Potential in Museum Practice

Thesis (Master's)--University of Washington, 2016-06

Chaos Theory as an Approach to Understanding MICE in Time of Crisis

MICE (meetings, incentives, conventions, and exhibitions), has generated high foreign exchange revenue for the economy worldwide. In Thailand, MICE tourists are recognized as ‘quality’ visitors, mainly because of their high-spending potential. Having said that, Thailand’s MICE sector has been influenced by a number of crises following September 11, 2001. Consequently, professionals in the MICE sector must be prepared to deal with such complex phenomena of crisis that might happen in the future. While a number of researches have examined the complexity of crises in the tourism context, there has been little focus on such issues in the MICE sector. As chaos theory provides a particularly good model for crisis situations, it is the aim of this paper to propose a chaos theory-based approach to the understanding of complex and chaotic system of the MICE sector in time of crisis.

Paulicéia literária: páginas e suplementos literários em jornais paulistanos (1920-1964)

Este trabalho tem por objeto central páginas e suplementos literários. Trata-se de uma pesquisa que buscou localizar, identificar e caracterizar páginas e suplementos literários, inseridos em jornais paulistanos de grande circulação e prestígio, no período entre 1920 e 1964. Os jornais escolhidos para este estudo foram: Correio Paulistano, O Estado de S. Paulo, Diário Popular, A Gazeta, Folha da Noite, Folha da Manhã, Folha da Tarde, Diário de S. Paulo e Última Hora. Por meio de uma abordagem qualitativa, percebemos que os espaços para as artes e espetáculos, nos jornais analisados, se davam de diversas maneiras, e não apenas em páginas e suplementos literários, como a publicação de seções diárias de artes e espetáculos, cadernos de cultura, páginas sem títulos , rodapés de crítica literária, romances-folhetins, entre outros. Também verificamos que a prática de inserir suplementos literários, nos jornais paulistanos, iniciou-se no fim da década de 1920, com a publicação do Supplemento Dominical do Diário de S. Paulo. No entanto, foi no pós-1945 que a inclusão de páginas e suplementos literários, nos jornais da capital paulista, passou a ocorrer com maior freqüência. Localizados páginas e suplementos literários, analisamos a seção Resenha Bibliográfica do Suplemento Literário de O Estado de S. Paulo, com o objetivo de entender como estes veículos atuavam, enquanto divulgadores do mercado editorial.(AU)

Without a trace? The Sámi in the Swedish History Museum

Around 2005, the Swedish History Museum (SHM) in Stockholm reworked their Vikings exhibition, aiming to question simplistic and erroneous understandings of past group identities. In the process, all references to the Sámi were removed from the exhibition texts. This decision has been criticised by experts on Sámi pasts. In this article, it is argued that we can talk about a Sámi ethnic identity from the Early Iron Age onwards. The removal of references to the Sámi in the exhibition texts is discussed accordingly, as well as the implicit misrepresentations, stereotypes and majority attitudes that are conveyed through spatial distribution, choice of illustrations, lighting, colour schemes and the exhibition texts. Finally, some socio-political reasons for the avoidance of Sámi issues in Sweden are suggested, including an enduring colonialist relation to this minority.

The other on display: translation in the Ethnographic Museum

The ethnographic museum in the West has a long and troubling history. The display of 'exotic peoples' in travelling exhibitions began as early as the sixteenth century, but it was the mid and late nineteenth century that saw the great expansion of museums as sites to show artefacts collected - under anything but reputable circumstances - from what were considered the 'primitive', 'natural', or 'tribal' peoples of the world. Today the ethnographic museum is still a feature of large European cities, though faced with newly formulated dilemmas in the postcolonial world. For how can the material culture of a non-western people be collected and displayed in the West without its makers being translated into wordless and powerless objects of visual consumption? In national museums the processes of choosing, contextualizing and commentating exhibits help form national identity; in the ethnographic museum, similarly, they shape perceptions of the apparently distant Other. Like written ethnography, the museum is a 'translation of culture', with many of the associated problems traced by Talal Asad (1986). Like the written form, it has to represent the dialogic realities of cultural encounters in a fixed and intelligible form, to propose categories that define and order the material it has gathered. As the public face of academic ethnography, the museum interprets other cultures for the benefit of the general reader, and in that task museum practice, like all ethnography, operates within very specific historical and political parameters. How are museums in western Europe responding to the issues raised by critical ethnographers like James Clifford (1988), with their focus on the politics of representation? Is globalisation increasing the degree of accountability imposed on the ethnographic museum, or merely reinforcing older patterns? What opportunities and problems are raised by the use of more words - more 'translation' in the narrower sense - in ethnographic museums, and how do museums gain from introducing a reflexive and contextualizing concept of "thick translation" (Appiah 1993) into their work of interpretation?

Development, Annotation and Protection of Digital Archive “Bulgarian Folklore Heritage”

The key to prosperity in today's world is access to digital content and skills to create new content. Investigations of folklore artifacts is the topic of this article, presenting research related to the national program „Knowledge Technologies for Creation of Digital Presentation and Significant Repositories of Folklore Heritage” (FolkKnow). FolkKnow aims to build a digital multimedia archive "Bulgarian Folklore Heritage” (BFH) and virtual information portal with folk media library of digitized multimedia objects from a selected collection of the fund of Institute of Ethnology and Folklore Studies with Ethnographic Museum (IEFSEM) of the Bulgarian Academy of Science (BAS). The realization of the project FolkKnow gives opportunity for wide social applications of the multimedia collections, for the purposes of Interactive distance learning/self-learning, research activities in the field of Bulgarian traditional culture and for the cultural and ethno-tourism. We study, analyze and implement techniques and methods for digitization of multimedia objects and their annotation. In the paper are discussed specifics approaches used to building and protect a digital archive with multimedia content. Tasks can be systematized in the following guidelines: * Digitization of the selected samples * Analysis of the objects in order to determine the metadata of selected artifacts from selected collections and problem areas * Digital multimedia archive * Socially-oriented applications and virtual exhibitions artery * Frequency dictionary tool for texts with folklore themes * A method of modern technologies of protecting intellectual property and copyrights on digital content developed for use in digital exposures.

Knowledge-based Virtual Reconstruction of Museum Artifacts

Within the framework of heritage preservation, 3D scanning and modeling for heritage documentation has increased significantly in recent years, mainly due to the evolution of laser and image-based techniques, modeling software, powerful computers and virtual reality. 3D laser acquisition constitutes a real development opportunity for 3D modeling based previously on theoretical data. The representation of the object information rely on the knowledge of its historic and theoretical frame to reconstitute a posteriori its previous states. This project proposes an approach dealing with data extraction based on architectural knowledge and Laser statement informing measurements, the whole leading to 3D reconstruction. The experimented Khmer objects are exposed at Guimet museum in Paris. The purpose of this digital modeling meets the need of exploitable models for simulation projects, prototyping, exhibitions, promoting cultural tourism and particularly for archiving against any likely disaster and as an aided tool for the formulation of virtual museum concept.

Close-Up of Charles and Betty Perry in their Palm Beach Home

Close-Up of Charles and Betty Perry in their Palm Beach Home. Charles Edward Perry (Chuck), 1937-1999, was the founding president of Florida International University in Miami, Florida. He grew up in Logan County, West Virginia and received his bachelor's and masters's degrees from Bowling Green State University. He married Betty Laird in 1960. In 1969, at the age of 32, Perry was the youngest president of any university in the nation. The name of the university reflects Perry’s desire for a title that would not limit the scope of the institution and would support his vision of having close ties to Latin America. Perry and a founding corps opened FIU to 5,667 students in 1972 with only one large building housing six different schools. Perry left the office of President of FIU in 1976 when the student body had grown to 10,000 students and the university had six buildings, offered 134 different degrees and was fully accredited. Charles Perry died on August 30, 1999 at his home in Rockwall, Texas. He is buried on the FIU campus in front of the Graham Center entrance. Betty Laird Perry was born Betty Laird in Ashland, Ohio. She attended Akron General Hospital School of Nursing, where she was the president of the Akron, Ohio TriCity Student Government Association. She received a 3 year diploma in nursing in 1960 and took her state board exams for licensure as an RN that same year. Ultimately, she became licensed in Ohio, Florida and Texas. She met Charles Perry in 1959 and the couple married on September 17, 1960, in Ashland, Ohio; the same week of her graduation. Betty began her nursing career at the Bowling Green State University campus Health Center while Chuck worked on the Admissions staff. In 1974, Mrs. Perry received her BSN from Florida International University and in 1985 she earned a Master's Degree in Healthcare Policy and Planning from Georgia State University. She went on to start her own business, BC Golf, Ltd., in 1992 where she was recognized by Cambridge’s Who's Who for demonstrating dedication, leadership and excellence in business management. Betty’s passion for art is reflected in the Student Art Award at Florida International University which she and Charles Perry started. In 2010-2011, Betty made a generous donation to the Patricia & Phillip Frost Art Museum Building Fund at Florida International University where she has a gallery named in her honor that is dedicated to student, faculty, and alumni exhibitions.