The challenges of safeguarding and securing cultural heritage materials during violent conflict in Nigeria.

Almost every community, country and continent is experiencing a form of conflict, war or disaster. These wars have claimed lives, antiquities, heritage materials, contemporary Arts, Galleries, Museums, Archives, Monuments andHeritage sites. The aim of this study is to explore the challenges of safeguarding cultural heritage material during violent conflict in Nigeria bearing in mind the two UNESCO world heritage sites in Nigeria: Sukur kingdom and Osun Oshogbo sacred Grove. The outcome of this study will help the policy makers to address the challenges of safeguarding cultural heritage materials in times of conflicts, bridge the gap on the existing literature concerning the safeguarding of cultural heritage materials in times of conflict and to make a modest contribution to the existing body of knowledge on cultural heritage protection in Nigeria in particular and other parts of the world in general. This study relies on both primary and secondary sources using questionnaire and oral interview to elicit information from selected relevant cultural agencies, journalists and scholars in the field of art and culture. Relevant literature and documents on the challenges of safeguarding and securing of cultural heritage materials during conflicts were reviewed. The data gathered from the questionnaires and the oral interview is presented in frequency tabular form to give precise and comprehensive insight into the study findings. Notable among the challenges were insecurity and lack of professionalism in the field of cultural heritage profession. The study also revealed that governments are not enforcing the global laws and conventions for the protection of cultural heritage materials in times of violent conflict. The communities where these materials are located have little or no knowledge about the import of these materials and do not take part in securing them in the event of conflict. It is crucial that we place high value on heritage materials since they are inextricably linked with our identity and where we come from. It is strongly recommended that Cultural Heritage Institutions should involve as much as possible the local communities living around the sites by creating awareness educating and encouraging them to take ownership of the Sites located within their communities. They must ensure that the site is safeguarded against all forms of threat. Items of heritage value are not often considered in most disaster management plans therefore there is the need to consider heritage as priority just as the protection of lives and property.

Contemporary Art UK (Art World Series)

Adventures Close to Home: the British art scene from “then” to “now” is an introductory essay to the forthcoming Art World Series published by Blackdog to cover contemporary art in the United Kingdom. Previous titles have looked at North America, South America and Eastern Europe.

Contemporary Art UK (Art World Series)

Adventures Close to Home: the British art scene from “then” to “now” is an introductory essay to the forthcoming Art World Series published by Blackdog to cover contemporary art in the United Kingdom. Previous titles have looked at North America, South America and Eastern Europe.

Global Trade Governance and ASEAN: Studies of Trade-Related Aspects of Labor, Environment and Culture in Southeast Asia

Thesis (Ph.D.)--University of Washington, 2016-08

King of the Renaissance: Art and Politics at the Neapolitan Court of Ferrante I, 1458-1494

In the second half of the fifteenth century, King Ferrante I of Naples (r. 1458-1494) dominated the political and cultural life of the Mediterranean world. His court was home to artists, writers, musicians, and ambassadors from England to Egypt and everywhere in between. Yet, despite its historical importance, Ferrante’s court has been neglected in the scholarship. This dissertation provides a long-overdue analysis of Ferrante’s artistic patronage and attempts to explicate the king’s specific role in the process of art production at the Neapolitan court, as well as the experiences of artists employed therein. By situating Ferrante and the material culture of his court within the broader discourse of Early Modern art history for the first time, my project broadens our understanding of the function of art in Early Modern Europe. I demonstrate that, contrary to traditional assumptions, King Ferrante was a sophisticated patron of the visual arts whose political circumstances and shifting alliances were the most influential factors contributing to his artistic patronage. Unlike his father, Alfonso the Magnanimous, whose court was dominated by artists and courtiers from Spain, France, and elsewhere, Ferrante differentiated himself as a truly Neapolitan king. Yet Ferrante’s court was by no means provincial. His residence, the Castel Nuovo in Naples, became the physical embodiment of his commercial and political network, revealing the accretion of local and foreign visual vocabularies that characterizes Neapolitan visual culture.

Concerning the house museum and the picturesque landscape in the work of Sir John Soane : with raw hints for post-heritage museum space

The picturesque aesthetic in the work of Sir John Soane, architect and collector, resonates in the major work of his very personal practice – the development of his house museum, now the Soane Museum in Lincoln’s Inn Fields in London. Soane was actively involved with the debates, practices and proponents of picturesque and classical practices in architecture and landscape and his lectures reveal these influences in the making of The Soane, which was built to contain and present diverse collections of classical and contemporary art and architecture alongside scavenged curiosities. The Soane Museum has been described as a picturesque landscape, where a pictorial style, together with a carefully defined itinerary, has resulted in the ‘apotheosis of the Picturesque interior’. Soane also experimented with making mock ruinscapes within gardens, which led him to construct faux architectures alluding to archaeological practices based upon the ruin and the fragment. These ideas framed the making of interior landscapes expressed through spatial juxtapositions of room and corridor furnished with the collected object that characterise The Soane Museum. This paper is a personal journey through the Museum which describes and then reviews aspects of Soane’s work in the context of contemporary theories on ‘new’ museology. It describes the underpinning picturesque practices that Soane employed to exceed the boundaries between interior and exterior landscapes and the collection. It then applies particular picturesque principles drawn from visiting The Soane to a speculative project for a house/landscape museum for the Oratunga historic property in outback South Australia, where the often, normalising effects of conservation practices are reviewed using minimal architectural intervention through a celebration of ruinous states.

Report on relationship management and culture change

Brisbane Water (BW), a commercialised business arm of Brisbane City Council (BCC) entered into an alliance with a number of organisations from the private sector in order to design, construct, commission and undertake upgrades to three existing wastewater treatment plants located at Sandgate, Oxley Creek, and Wacol in Brisbane. The alliance project is called the Brisbane Water Environmental Alliance (BWEA). This report details the efforts of a team of researchers from the School of Management at Queensland University of Technology to investigate this alliance. This is the second report on this project, and is called Stage 2 of the research. At the time that Stage 2 of the research project was conducted, the BWEA project was nearing completion with a further 8 months remaining before project completion. The aim of this report is to explore individuals’ perceptions of the effectiveness and functioning of the BWEA project in the latter stages of the project. The second aim of this report is to analyse the longitudinal findings of this research project by integrating the findings from Stage 1 and Stage 2 of the project. This long-term analysis of the functioning and effectiveness of the alliance is important because at the current time, researchers have little knowledge of the group developmental processes that occur in large-scale alliances over time. Stage 2 of this research project has a number of aims including assessing performance of the BWEA project from the point of view of a range of stakeholders including the alliance board and alliance management team, alliance staff, and key stakeholders from the client organisation (Brisbane Water). Data were collected using semi-structured interviews with 18 individuals including two board members, one external facilitator, and four staff members from the client organisation. Analysis involved coding the interview transcripts in terms of the major issues that were reported by interviewees.

Australian Media and Culture

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The effective and the evocative : reflecting on practice-led research approaches in art and design

Early in the practice-led research debate, Steven Scrivener (2000, 2002) identified some general differences in the approach of artists and designers undertaking postgraduate research. His distinctions centered on the role of the artefact in problem-based research (associated with design) and creative-production research (associated with artistic practice). Nonetheless, in broader discussions on practice-led research, 'art and design' often continues to be conflated within a single term. In particular, marked differences between art and design methodologies, theoretical framing, research goals and research claims have been underestimated. This paper revisits Scrivener's work and establishes further distinctions between art and design research. It is informed by our own experiences of postgraduate supervision and research methods training, and an empirical study of over sixty postgraduate, practice-led projects completed at the Creative Industries Faculty of QUT between 2002 and 2008. Our reflections have led us to propose that artists and designers work with differing research goals (the evocative and the effective, respectively), which are played out in the questions asked, the creative process, the role of the artefact and the way new knowledge is evidenced. Of course, research projects will have their own idiosyncrasies but, we argue, marking out the poles at each end of the spectrum of art and design provides useful insights for postgraduate candidates, supervisors and methodologists alike.

Practising public relations in the global community of the 21st century : a comparison of business practices and culture in three world regions

Non-Western practitioners across the globe instinctively attempt to implement Western-based public relations models and theories, often unsuccessfully, regardless of their surrounding environment. This paper reviews business practices and reveals that in Europe, company interests are a main priority, while in Asia, the line between business and personal relationships is extremely blurred. Cultural dimensions and topois were even more varied between the three regions. Implications for the adoption of Western models of public relations practice are discussed.

Communication and culture : mobile telephony in PNG villages

This paper examines the recent introduction of mobile telephony into rural communities in Papua New Guinea (PNG). It presents the findings of substantial fieldwork conducted in 2009, and suggests ways in which the new technology is already changing people’s lives and relationships. The paper identifies the roles of mobile telephones in two communities, the changes taking place and how villagers are responding to them. Comparison of the two villages is strategic as it highlights similarities in perceptions of mobile phones in these two very different settings. An ethnographic approach is adopted, situated within an interpretative methodology. Data collection methods include semi-structured interviews, orally-administered surveys and participant observation. The village lifestyle or ‘culture’ provides an important lens for understanding this data and the assertions made by village respondents. This research is significant as it addresses changes currently occurring in the communication methods of whole communities.

Artful determination : "state of the art" and PCME Ltd v. Goyen COntrols Co. UK Ltd

In a recent decision by Mr Justice Laddie, a patent was held anticipated by, inter alia, prior use of a device which fell within the claims of the patent in suit, even though its circuitry was enclosed in resin. The anticipating invention had been "made available to the public" within the terms of section 2 (2) of the Patents Act 1977 because its essential integers would have been revealed by an interesting character, the "skilled forensic engineer".