The Central Institute for Brain Research in Amsterdam and its Directors

The Central Institute for Brain Research was founded in Amsterdam in 1908 as part of an international effort to study the nervous system with multiple institutions and various disciplines. The development of research in the past hundred years at the Brain Institute has hardly been documented. We analyze the history of this institute by means of brief portraits of its directors and their main research topics. It appears that each director introduced his own branch of neuroscience into the institute. Initially, mainly comparative neuroanatomical data were collected. Following the Second World War, the multidisciplinary approach slowly developed with research programs on systems neuroscience, neuroendocrinology, and brain disorders. Every new director introduced new approaches to the study of the brain and thus played an important role in keeping brain research in the Netherlands at the international forefront where it has been ever since its foundation in 1908.     

The settlement patterns of north-eastern and south-eastern Arabia in late antiquity

The east Arabian settlements in antiquity were never large urban sites. However, they were the main centres of the communities that inhabited that area, interfacing between the nomadic and sedentary societies. A study of the distribution and characteristics of these sites reveals different, complementary functions. They were organized in local networks forming the essential structure of the settlement pattern and delineating the territories of communities having their own political identity.     

La Salle dite de L'Echiquier,au Château de Caen

RECOGNITION IN THE Castle Museum, Nottingham, of a ‘lost’ sword from a Viking-age warrior's grave excavated at Donnybrook, Co. Dublin, in 1879, has prompted a reassessment of the burial, which is discussed in relation to other Viking-age burials in the ‘Irish Sea province’. Detailed metallurgical analysis of the sword, undertaken during conservation, has provided important information about the techniques of its construction, and has demonstrated the potential of a variety of analytical approaches.     

A case of local rejection of a heritage tourism policy: tourism and dynamics of change in Abondance,French Alps

Despite the opportunities offered by developing and enhancing cultural heritage in the tourism sector, this article, based on a case study of a little town in the French Alps, shows that public policy of this type may also be subject to criticism and dispute. In the town of Abondance, a small ski resort being converted to cultural tourism site built around heritage, the demonstration observed involved both a desire to keep the skiing and a questioning of the political process, but also a rejection of the alternative solution involving the development of the cultural heritage of the Gothic Court of Savoy. During the qualitative survey of the social reactions, three types of arguments have been raised. (1) As summarised by one of the local leaders ‘the people do not believe in it’. Indeed, local shopkeepers are sceptical that cultural tourism will draw numerous visitors, and fear that is not economically viable. (2) In contrast to the ski resort, heritage tourism is only attached to the imagination of old age, immobility and even death, as if seniority of places necessarily corresponds to seniority of public and images. (3) For residents of the town, setting up a localised visit site has disadvantages because of the turnover of touristic traffic to which this type of tourism is exposed.     

A Pigment Characterization Approach to Selection of Dating Methods and Interpretation of Rock Art: The Case of the Mikinak Site,Lake Wapizagonke,Quebec, Canada

Dating is perhaps the most frequently asked question in rock art studies, but still one of the most difficult to answer. However, chronology is vital in order to understand and interpret rock art sites. Unfortunately, attempts at dating the Mikinak site, at Lake Wapizagonke, Quebec, Canada were unsuccessful. But a multi‐instrumental protocol applied to characterize paintings shows that at least three different paint recipes were employed to create the site. These may reflect three different phases of paintings, and that at least three different artists contributed to the production of this site.