Michael J Clarke collections,from the Geological Survey of Tasmania,are transferred to the Tasmanian Museum and Art Gallery

Over 300 primary type and figured specimens of Late Palaeozoic invertebrates described by Michael J Clarke have been transferred to the Tasmanian Museum and Art Gallery Collections.     

Sound recordings and cultural heritage: the Fonck Museum,the Felbermayer collection,and its relevance to contemporary Easter Island culture

Sound recording plays a prominent role in cultural heritage work in the Pacific region, supported by sound archives and institutional collections that serve to preserve this intangible cultural heritage. While it has long been a standard practice for field recordings to be lodged in institutions of learning, recent developments in Pacific research have emphasised the ethical and social benefits that can result from the repatriation of sound recordings to their communities of origin, and from the development of field recording practices in which cultural stakeholders are more directly involved. Meanwhile, the digitisation of historical sound recordings and the use of digital domains for dissemination have become matters of theoretical and methodological inquiry in their own right. This article seeks to contribute to the discourse surrounding the repatriation of historical field recordings through the presentation of findings from a recent Chilean government-funded digitisation and repatriation project involving previously undocumented recordings of Easter Island (Rapanui) music from the Fonck Museum, Viña del Mar. It will explain the circumstances under which the project developed, the strategies pursued in bringing it to fruition, and the reception of the project by the Rapanui community.     

建设镇村风物地情馆 打造乡情文化新名片——“海安:故乡风物地情馆”项目实施报告

随着乡村振兴步伐的加快,城乡建设进入跨越式发展阶段,构成人们乡愁记忆的无数故乡传统和风物风习也在逐渐消失和淡化。海安市委史志工委鼓励并指导镇村挖掘利用地情文化资源,创新打造"让城市留住记忆,让人们记住乡愁"的系列地情馆,发挥地情文化的社会效益,形成地方文化自信,为处理继承与发展关系,让历史文化和现代生活融为一体,进而推动地区经济社会发展做出了有益探索。"海安:故乡风物地情馆"项目入选2019年江苏省地方志工作十大创新项目。     

From Boatyard to Museum: 3D laser scanning and digital modelling of the Qatar Museums watercraft collection,Doha, Qatar

This article presents the results of a project to 3D laser scan and digitally model 14 watercraft from the Qatar Museums collection, comprising a range of regional vessels: most had not been surveyed previously. The project used the resulting point clouds generated 2D naval lines and orthographic records of the vessels in their current condition, and photorealistic 3D digital models for gallery display. This case study provides illustrative examples of the intermediate stages and final outputs. It assesses the pros and cons of 3D laser scanning as a survey technology for nautical scholars in terms of the time, cost, and skillset, as well as logistical considerations. It also compares the accuracy of traditional hand survey methods.     

Global competitiveness and special events in cultural tourism: the example of the Barnes Exhibit at the Art Gallery of Ontario, Toronto

This study investigates the role of cultural tourism in enhancing urban global competitiveness. The recent growth in urban cultural products is linked to improved quality of life, economic prosperity and development. An example of an urban cultural tourism product of international significance is used as a case study for this research to investigate such potential linkages. From September 1994 to January 1995 the Art Gallery of Ontario in Toronto hosted a major art exhibit of French impressionist paintings ‘From Cezanne to Matisse, Great French Paintings,’ known as the ‘Barnes Exhibition.’ This special cultural event affected the attraction mix of Toronto's urban tourism product and acted as a ‘magnet’ drawing out of town visitors to Toronto with the main purpose of visiting this unique event. This paper explores the spatial impact of the Barnes Exhibit in a segmentation analysis of ‘out‐of‐town’ Barnes Exhibit visitors. Visitors are segmented by major trip purpose and visitor origin. The pull of the Exhibit is examined using two simple gravity models to describe the distance decay effect. Out‐of‐town visitors from Ontario are compared with visitors from the United States according to the main purpose of their trip, their demographics and spending patterns. Out‐of‐town visitors from Ontario tend to be older than US visitors, spend less than US visitors and are more likely to have the Barnes Exhibit as the main purpose of their trip to Toronto. This study illustrates the value‐added nature of special events to the urban cultural product both for recreational and tourist travel. It shows the complexity and overlapping of urban fields of a Toronto attraction for different types of visitors to the same event. Cette étude examine le rôle du tourisme culturel dans l'amélioration la compétitivité mondiale urbaine. La récente expansion des produits culturels urbains est liee a l'amélioration de la qualité de vie, à la prospérité et au développement économique. Un exemple de produit culturel urbain d'importance Internationale constitue l'étude de cas de cette recherche qui essaie d'établir de potentiels rapports entre ces facteurs. De septembre 1994 à Janvier 1995, la Galerie d'Art de l'Ontario a accueilli une importante exposition de pein‐tures impressionnistes françaises intitutée: de Cézanne à Matisse, chefs‐d'oeuvre de la peinture française, mais plus connue sous le nom de l'Exposition Barnes. Cet événement culturel a joué un rôle dans le pôle attractifdu tourisme urbain de la ville de Toronto, L'exposition a attiré, tel un aimant, de nombreux visiteurs, venus de l'extérieur de Toronto, uniquement pour visiter cette exposition. Cet article explore l'impact spatial de l'Exposition Barnes grâce à une analyse de segmentation des visiteurs de l'exposition venus de l'exteriéur. Les visiteurs ont été segmentés en fonction de leur motif principal pour la visite et en fonction de leur origine. L'attrait de l'exposition a été analysé avec deux simples modèles de gravitation qui décrivent l'effet des distances sur la fréquence des visites. Les visiteurs extérieurs venus de l'Ontario sont comparés aux visiteurs venus des États‐Unis en fonction de leur motivation de voyage, de leur profit socio‐démographique et de leurs habitudes de dépenses. Les visiteurs ontariens ont tendance àêtre plus âgés que les visiteurs américains et l'Exposition Barnes était le but principal de leur voyage a Toronto. L'étude montre bien la nature de la valeur ajoutée des événements spéciaux sur le produit culturel urbain du point de vue du voyage récréatifet de celui du voyage touristique. Elle montre la complexité et le chevauchement des domaines urbains d'un pôle attractif torontois pour différents types de visiteurs d'un même événement.     

Matilda,Leonor and Joanna: the Plantagenet sisters and the display of dynastic connections through material culture

The material culture related to Duchess Matilda of Saxony, Queen Leonor of Castile and Countess Joanna of Toulouse (and former Queen of Sicily) offers a rich resource that allows us to understand how, when and why they connected themselves to their father, Henry II of England. The objects studied in this article prompt significant questions regarding the relation between material culture and royal women, which allow us to explore the formative phases in women’s lives as well as their roles in the promotion and construction of a dynastic consciousness. Even though the sisters probably acted separately, they did so with a shared awareness of their positions as royal daughters and the need to communicate this collectively. By centring on the three sisters’ objects, this article proposes that the study of material culture is crucial for a better understanding of the co-operation between siblings and can contribute to a more nuanced interpretation of power.     

Exploring the potential of the popular culture and world politics agenda: actors,artefacts and the everyday

ABSTRACT

The PCWP agenda has contributed a great deal to the discipline of world politics, empirically, methodologically and theoretically. However, there is scope to expand upon certain aspects of this body of scholarship. In particular, the agenda is developing some unfortunate hierarchies in its focus on high-budget ‘blockbusters’ at the expense of data from the everyday. It is displaying a lack of imagination in terms of its methodologies and forms of output, despite the aesthetic and creative nature of many of the artefacts. Finally, it is evincing a reluctance to explore representations beyond the textual or the visual, at the expense of other forms of representation, including sound, taste or, as I argue in this paper, artefactuality.