BIO-BIBLIOGRAPHY OF (AS) Benefactors (AS) OF THE COUNTRY AND CITIZENS (AS) 1847-2008 HONOR

Today's society called information society, grows rapidly and undergoes changes in the sources of information under the Information Technology and Communication ("tics"), in this situation it is necessary to develop tools or reference sources that allow the (to) user (a) the accessibility and use of information. It systematized information on the Meritorious Citizen of the Fatherland and Honor that is Costa Rica, since 1847 to 2008, due to its contribution to culture, science, recreation, among others. The overall objective of this research was to make a work print and digital reference, which will collect each of the biographies and works written by (as) Benefactors (as) of the country and citizens (as) of Honor and to facilitate access to information and strengthen outreach conducted by the Library "Victor Manuel Sanabria Martínez" of the Legislature, through its publications, exhibitions and related activities, to publicize its documentary. The variables used for this investigation were:-sources (primary and secondary), Organization of information - tools in various documentation centers and libraries. This was carried out a questionnaire, which was structured in the Excel program, aimed at (as) directors (as) or officers (as) in different libraries and documentation centers, and visits to selected sites for search and selection information. It is important to spread this final graduation in different public and school libraries in the country, since history and culture rescues national, who gave identity to the Costa Rican people. The systematization made by a thematic CD-ROM, provide accessibility to all (as) the (as) citizens (as) who access the Internet through the website of the Legislative Assembly Library and other state institutions wishing through a hyperlink on your "web", to refer the same.

Art, sex, and institutions: defining, collecting, and displaying Shunga

In Edo-Japan (c.1603 – 1868) shunga, sexually explicit prints, paintings and illustrated books, were widely produced and disseminated. However, from the 1850s onwards, shunga was suppressed by the government and it has largely been omitted from art history, excluded from exhibitions and censored in publications. Although changes have taken place, cultural institutions continue to be cautious about what they collect and exhibit, with shunga largely remaining a prohibited subject in Japan. Since the 1970s there has been a gradual increase in the acceptance of shunga outside Japan, as evidenced in the growing number of exhibitions and publications. The initial impetus behind this thesis was: Why and how did shunga become increasingly acceptable in Europe and North America in the twentieth century, whilst conversely becoming unacceptable in post-Edo Japan? I discuss how and why attitudes to shunga in the UK and Japan have changed from the Edo period to the present day, and consider how definitions can affect this. My research examines how shunga has been dealt with in relation to private and institutional collecting and exhibitions. In order to gauge modern responses, the 2013 Shunga: Sex and Pleasure in Japanese Art exhibition at the British Museum is used as an in-depth study – utilising mixed methods and an interdisciplinary approach to analyse curatorial and legal decisions, as well as visitor feedback. To-date there are no official or standardised guidelines for the acquisition, cataloguing, or display of sexually explicit artefacts. It is intended that institutions will benefit from my analysis of the changing perceptions of shunga and of previous shunga collections and exhibitions when dealing with shunga or other sexually explicit items in the future.

Przestrzenne formy upamiętniania Zagłady

This book is a synthesizing reflection on the Holocaust commemoration, in which space becomes a starting point for discussion. The author understands space primarily as an amalgam of physical and social components, where various commemorative processes may occur. The first part of the book draws attention to the material aspect of space, which determines its character and function. Material culture has been a long ignored and depreciated dimension of human culture in the humanities and social sciences, because it was perceived as passive and fully controlled by human will, and therefore insignificant in the course of social and historical processes. An example of the Nazi system perfectly illustrates how important were the restrictions and prohibitions on the usage of mundane objects, and in general, the whole material culture in relation to macro and micro space management — the state, cities, neighborhoods and houses, but also parks and swimming pools, factories and offices or shops and theaters. The importance of things and space was also clearly visible in exploitative policies present in overcrowded ghettos and concentration and death camps. For this very reason, when we study spatial forms of Holocaust commemoration, it should be acknowledged that the first traces, proofs and mementoes of the murdered were their things. The first "monuments" showing the enormity of the destruction are thus primarily gigantic piles of objects — shoes, glasses, toys, clothes, suitcases, toothbrushes, etc., which together with the extensive camps’ space try to recall the scale of a crime impossible to understand or imagine. The first chapter shows the importance of introducing the material dimension in thinking about space and commemoration, and it ends with a question about one of the key concepts for the book, a monument, which can be understood as both object (singular or plural) and architecture (sculptures, buildings, highways). However, the term monument tends to be used rather in a later and traditional sense, as an architectural, figurative form commemorating the heroic deeds, carved in stone or cast in bronze. Therefore, the next chapter reconstructs this narrower line of thinking, together with a discussion about what form a monument commemorating a subject as delicate and sensitive as the Holocaust should take on. This leads to an idea of the counter-monument, the concept which was supposed to be the answer to the mentioned representational dilemma on the one hand, and which would disassociate it from the Nazi’s traditional monuments on the other hand. This chapter clarifies the counter-monument definition and explains the misunderstandings and confusions generated on the basis of this concept by following the dynamics of the new commemorative form and by investigating monuments from the ‘80s and ‘90s erected in Germany. In the next chapter, I examine various forms of the Holocaust commemoration in Berlin, a city famous for its bold, monumental, and even controversial projects. We find among them the entire spectrum of memorials – big, monumental, and abstract forms, like Peter Eisenman’s Memorial to the Murdered Jews of Europe or Daniel Liebeskind’s Jewish Museum Berlin; flat, invisible, and employing the idea of emptiness, like Christian Boltanski’s Missing House or Micha Ullman’s Book Burning Memorial; the dispersed and decentralized, like Renata Stih and Frieder Schnock’s Memory Places or Gunter Demnig’s Stumbling Blocks. I enrich descriptions of the monuments by signaling at this point their second, extended life, which manifests itself in the alternative modes of (mis)use, consisting of various social activities or artistic performances. The formal wealth of the outlined projects creates a wide panorama of possible solutions to the Holocaust commemoration problems. However, the discussions accompanying the building of monuments and their "future life" after realization emphasize the importance of the social component that permeates the biography of the monument, and therefore significantly influences its foreseen design. The book also addresses the relationship of space, place and memory in a specific situation, when commemoration is performed secretly or remains as unrealized potential. Although place is the most common space associated with memory, today the nature of this relationship changes, and is what indicates popularity and employment of such terms as Marc Augé’s non-places or Pierre Nora’s site of memory. I include and develop these concepts about space and memory in my reflections to describe qualitatively different phenomena occurring in Central and Eastern European countries. These are unsettling places in rural areas like glades or parking lots, markets and playgrounds in urban settings. I link them to the post-war time and modernization processes and call them sites of non-memory and non-sites of memory. Another part of the book deals with a completely different form of commemoration called Mystery of memory. Grodzka Gate - NN Theatre in Lublin initiated it in 2000 and as a form it situates itself closer to the art of theater than architecture. Real spaces and places of everyday interactions become a stage for these performances, such as the “Jewish town” in Lublin or the Majdanek concentration camp. The minimalist scenography modifies space and reveals its previously unseen dimensions, while the actors — residents and people especially related to places like survivors and Righteous Among the Nations — are involved in the course of the show thanks to various rituals and symbolic gestures. The performance should be distinguished from social actions, because it incorporates tools known from religious rituals and art, which together saturate the mystery of memory with an aura of uniqueness. The last discussed commemoration mode takes the form of exposition space. I examine an exhibition concerning the fate of the incarcerated children presented in one of the barracks of the Majdanek State Museum in Lublin. The Primer – Children in Majdanek Camp is unique for several reasons. First, because even though it is exhibited in the camp barrack, it uses a completely different filter to tell the story of the camp in comparison to the exhibitions in the rest of the barracks. For this reason, one experiences immersing oneself in all subsequent levels of space and narrative accompanying them – at first, in a general narrative about the camp, and later in a specifically arranged space marked by children’s experiences, their language and thinking, and hence formed in a way more accessible for younger visitors. Second, the exhibition resigns from didacticism and distancing descriptions, and takes an advantage of eyewitnesses and survivors’ testimonies instead. Third, the exhibition space evokes an aura of strangeness similar to a fairy tale or a dream. It is accomplished thanks to the arrangement of various, usually highly symbolic material objects, and by favoring the fragrance and phonic sensations, movement, while belittling visual stimulations. The exhibition creates an impression of a place open to thinking and experiencing, and functions as an asylum, a radically different form to its camp surrounding characterized by a more overwhelming and austere space.

GUÍA DE LA INFORMACIÓN QUE CUSTODIA EL ARCHIVO NACIONAL DE COSTA RICA

En la medida en que esta sociedad de información y comunicación crece, también experimenta crecimiento las fuentes de información en sus diferentes soportes. Vivimos en una sociedad marcada por la tecnología, por esto surge la necesidad de crear instrumentos que permiten un mejor aprovechamiento de la información.   Dada la justificación del caso y considerando, la importancia que reviste valorar y conocer la cantidad y calidad de la información que alberga el Archivo Nacional de Costa Rica, el objetivo general de este trabajo de investigación es, realizar una obra de referencia impresa, de los tres archivos que brindan información al público, Archivo Histórico, Archivo Intermedio y Archivo Notarial. Con el fin de facilitar el acceso a la información y de reforzar la labor de divulgación que ha venido haciendo el Archivo Nacional mediante sus publicaciones, exposiciones y demás actividades afines, para dar a conocer sus fondos.

Os museus e o património cultural imaterial: Estratégias para o desenvolvimento de boa práticas

omando como referência fundamental o trabalho desenvolvido pela UNESCO em matéria de proteção do Património Cultural Imaterial (PCI), muito particularmente a Convenção para a Salvaguarda do Património Cultural Imaterial (2003), considerou-se oportuno refletir sobre as implicações que este enfoque traz para os museus. São indiscutíveis as repercussões que este instrumento trouxe para o reconhecimento da importância do PCI à escala internacional, motivando um crescendo de iniciativas em tomo da sua salvaguarda. São vários os agentes envolvidos na preservação deste património, no entanto o International Council of Museums (ICOM) reconhece um papel central aos museus nesta matéria. Mas para responder a este repto, os museus terão que repensar as suas estratégias de forma a relacionar-se mais com o PCI, contrariando uma longa tradição profundamente enraizada na cultura material. O presente estudo reflete sobre as possibilidades de actuação dos museus no sentido de dar resposta aos desafios da Convenção 2003, sendo certo que a partir das catividades dos museus é possível encontrar formas de estudar e de dar visibilidade a este património. Em função das especificidades de cada museu, podem ser encontradas estratégias de salvaguarda do PCI, entre as quais se pode incluir o inventário e a documentação (audiovisual, texto, áudio, imagem), a investigação, a divulgação através de exposições e publicações, difusão através da internet, educação não formal, entre outras actividades. Alguns museus começaram já a desenvolver abordagens integradas para a salvaguarda do PCI, cujos exemplos se apresentam. Este tema suscita vários desafios, implicando práticas museológicas inovadoras que possam reflectir o papel dos museus como promotores da diversidade e criatividade cultural. ABSTRACT: Recalling the UNESCO's work towards the protection of Intangible Cultural Heritage (ICH), in particular the Convention for the Safeguarding of the Intangible Cultural Heritage adopted in 2003, I took this opportunity to reflect upon the implications that this recognition brings to museums. The overwhelming success of this document has raised the importance of ICH at international level, motivating a growing number of initiatives towards its safeguard. Accordingly, to the 2003 Convention, there are many agents involved in the preservation of this heritage, yet the International Council of Museums (ICOM) recognizes a central role for museums. Nevertheless, to face this challenge, museums will have to rethink their relationship with ICH in opposition to their deep rooted tradition in material culture. The present study reflects upon the possibilities that museums have to answer the changeling 2003 Convention, recognizing that it’s possible through museum activities to find ways to study and give visibility to ICH. According to each museum specificities, it seems clear that strategies can be engaged in order to promote the safeguard of ICH, including inventory and documentation (audiovisual, audio, text and image), research, promotion through exhibitions, publications, dissemination trough internet and other means, informal education, among other activities. Many museums have already started exploring integrated approaches towards the safeguard of ICH and some of these examples are presented in this study. This theme is challenging, implying innovative museum practices which reflect on museums role towards the promotion of cultural diversity and creativity.

WordPress as a framework for automated data capture, filtering and structuring processes

The Exhibitium Project , awarded by the BBVA Foundation, is a data-driven project developed by an international consortium of research groups . One of its main objectives is to build a prototype that will serve as a base to produce a platform for the recording and exploitation of data about art-exhibitions available on the Internet . Therefore, our proposal aims to expose the methods, procedures and decision-making processes that have governed the technological implementation of this prototype, especially with regard to the reuse of WordPress (WP) as development framework.

Trajetos cênicos do grupo parafolclórico da UFRN:que dança é essa?

This paper aims at studying UFRN Parafolclórico Group, whose aesthetic formation is subjected to our analysis, specially at its two last performances, that is, Flor do Lírio (Lily Flower), 2004, and Debaixo do Barro do Chão (Under the Mud of the Ground), 2008. Three targets are envisaged here: to analyze the aesthetic ideas backing Parafolclórico Group exhibitions; to evaluate how their many folk elements interact with different artist languages in order to compose a certain choreography; and finally, to identify the aesthetic conformation placed behind the two different choreographs of the last performances, their trends and innermost features that differentiate them. In accordance with the Analysis of Contents (BARDIN, 2006), interviews have been made with the choreographers and the staff of the spectacles, resulting in elucidating answers to the understanding of their thematic axis. On the first chapter we called attention to motivating subjects as recollection, personal experiences, bibliography research, research in loco regarded as propelling forces of the creative works. Herein, folk culture is depicted as a dynamic process opening a frank dialogue with contemporary events and reinforcing their continuity. On the second chapter, we approached the aesthetic conformation and the scenic elements (costumes, light, scenario, make-up), integrating the studied spectacles and disseminating folk songs in various ways. As what concerns the subjects discourse, we have obtained support in authors like Robatto (1994); Lobo; Navas (2008); Burke (1989); Canclini (2006); Dufrenne (2005); Medeiros (2005); Pavis (2005); Silva (2005), among others. Those authors have provided us with an indispensable theoretic support which, added to the interviews, convinced us that the Parafolclórico Group s aesthetic conception tends to identify itself with the artist languages and other techniques of that Group. It also made sure that the Group s course aims at an aesthetic conception which is not limited to popular culture manifestations, like dance, but admits to play with other media in order to communicate its art. In view of this situation, we arrived to two conclusions: first: the group s interchanges emphasize the dynamic character of popular culture which, by establishing contacts with different realities, receives influences capable of extending its own continuity; second: the contemporary state of arts also improves multiple interchanges opening way, so, for many accomplishments in their field. Therefore, UFRN Parafolclórico Group inserts itself in the contemporary scenery by performing new evaluations of the popular dances as long as it puts them in contact with different technical, aesthetic, artist and culture combinations

Experiencing differences and negotiating prejudices at the Immigration Museum Melbourne

The social agency of museums in countering prejudices and fostering respect for differences is increasingly recognised and empirical research has begun to illuminate the impacts of exhibitions devoted to difficult subjects on audiences. This paper draws on an ongoing research project conducted by two Australian universities in collaboration with the Immigration Museum Melbourne aimed at understanding the role of the Identity: Yours, Mine, Ours exhibition in countering racism and increasing the acceptance of differences among Australian high school students. The paper focuses on narrative interviews with students which offer insights into how differences are experienced and prejudices become negotiated through processes of meaning-making and embodied engagements. The empirical evidence indicates that the exhibition moves beyond the orchestration of an abstract tolerance by unsettling the Self and destabilising stereotyped interpretations of the Other. Identity: Yours, Mine, Ours creates a place and space of encounter in which differences are humanised, thus facilitating understandings of broader contexts through individual experiences. At the same time, the research findings suggest that the life worlds of students, their personal backgrounds and schools, are intertwined with their interpretive engagements with the exhibition and need to be considered for museum practices and further research.

NEXUS

The artwork in NEXUS is influenced by the South West Volcanic Plain, in particular the area known as the Stony Rises. The artwork responds to the histories and stories embedded in, and reflected by, the landscape. The artwork in this exhibition has layers of referential elements in order to signify the conjunction of occupation on the land and the nexus of relationships the land has sustained.

Aqua optica - planet x

Planet X is video work which is presented using an original optical projection system which involves a large spherical lens, water and rear projection and various other materials including glass, timber, fabricated steel, etc and which I have called "Aqua Optica". The Planet X is 10 min looping video explores both the historical origins of the discovery of Pluto in 1930 (by astronomer Clyde Tombaugh at the Lowell Observatory) and the recent explorations of Pluto by NASA with the New Horizons space craft which was transmitting new images of Pluto at the time of this exhibition.

Three flying saucers

Three Flying Saucers is wall mounted set of three works which parody the iconic kitsch set of three flying ducks which inhabit the walls of many houses from the 1950’s to today. The project proposes a time in the future where contact with alien intelligent life has been established and we have finally obtained proof that Flying Saucers were real and had been visiting our world for many decades. Now these mysterious celestial forms have been adopted as the new kitsch and adorn the homes of the future.

Sisters

Melinda Capp and her sister Meredith are identical twin. The Sisters installation presented at the Castlemaine state festival is an exploration of the experience and memories of having grown up as a twin and the complexity for both the self as single and self as other/double which underpins and confronts both the physical and psychological sense being a twin. Nature / Nurture: The work is explored as a dichotomy of Nature / Nurture by referencing the domestic context of childhood (which can be interpreted as an exposition of the influence of nurture) and reference to the physical, genetic aspect of being a twin (a reference to Nature). The Installation was located in a bedroom of a 1960’s brick house, now empty, and invites the viewer to enter into a world which pulls between these two forces of nature/nurture, which shape the sense of identity and realization of self for each twin. The bond between twins emerges at the cellular level and continues for the rest of their lives. Despite all emergence of individuality and bloodline thread binds them together forever no matter the distance between them and changes through time In dark wooden wardrobe two dresses, made from fine white tissues paper, hang quietly on each side of the robe with backlighting which floods the room with an ethereal luminance. Placed in the center of a large bare wall, a small image of Melinda and Meredith as young children (a photo transfer also on the ephemeral tissue paper) hangs in isolation. This placement and the surrounding space unites these two young twins together, bound in symmetry like a mirror image in the vast open space of the empty wall, a symbol of the potential for growth and individual identity in a world which surrounds them. On the opposite wall a series of object and artifacts are pressed between sheets of acrylic and backlit as if they were some sorts of scientific samples for detailed inspection. Feathers/hair, handmade paper with embroided (reference to the traditionally feminine arts) text and the words Blood Ties traced out. Each object is placed for analysis and hovers in space at the viewers approximate eye level like a series of clues for the revelation of some deeper insight. Hidden speakers were embedded within the walls of the room and played looped recordings at low level inviting the viewer to listen as a voyeur. A series of whispered schoolyard chants by Melinda and Meredith (identical wording were individually recorded by each sister and then superimposed) and a collage of spoken word, memories and anecdotes from the period of their childhood. Most notably recollections of the Apollo Moon landing. A symbol of the ability of science to transcend and reveal that which lies beyond and within, while at the same time counterpointed by the poetics of childhood songs emerging in unison as two twins reveal their innate unification.

Being, vitruvian

"Being, Vitruvian" is the first of two exhibitions encompassing the visual narrative of Daniela Bertol’s creative research "Form Mind Body Space Time" where practices of "making" intersect practices of "moving". ‘Making movement’ is inspired by geometric configurations which are also archetypical shapes and symbols in several cultures and are deeply embedded in the human psyche.

Technics & touch: body / matter / machine

This exhibition project tested the limits of human and robot proficiencies through a series of experimental scenarios. The project explored methods of producing feedback systems through perception and action cycles. The exhibition consisted of two parallel events: a laboratory space where the artists were 'in-residence', producing drawings in conjunction with the robot; and a procedural drawing exhibition in an adjoining space, where the outcomes of this human/non-human team were exhibited alongside the work of practitioners who have been exploring rule-based drawing for some time. The aim was to make and to discuss approaches to embodied, expanded and autonomous intelligent systems.

Warlpiri drawings : Remembering the future

An exhibition of drawings made by Warlpiri people between 1932 and 2013