Knowledge bases and regional development: collaborations between higher education and cultural creative industries

This paper builds on the assumption that cooperation between higher education institutions (HEIs) and creative and cultural industries (CCIs) stimulates innovation and economic growth at the regional level. It further assumes that HEIs and CCIs hold different perspectives on their intention to cooperate with external actors and, thus, there is a need for joint arenas to develop and integrate knowledge and practices among stakeholders across academia and industry. With this rationale in mind, the paper’s main objective is to discuss how universities’ roles in the establishment and development of locally embedded CCIs change or evolve over time. Taking a process economics perspective and building on a case study from the South of Norway, two questions are addressed: (1) What are the barriers – structural and cognitive-cultural – hindering cooperation between HEIs and CCIs in Southern Norway? and (2) How can long-term win-win cooperative arrangements between HEIs and CCIs be enhanced? Different knowledge bases, combined with lack of knowledge and understanding of the other sector’s expertise or knowledge content, and thus the lack of common language, were found to be the biggest barriers that must be overcome to stimulate strategic cooperation between HEIs and CCIs in Southern Norway. The findings support the need for a diverse and flexible policy where target initiatives are adjusted to CCIs’ needs and academic departments’ fields of knowledge to decrease barriers to cooperation, with the ultimate aim of moving from a situation of ‘lock-in’ towards the creation of new innovative and valuable relationships.     

Police–public relations in transition in Antwerp, 1840s–1914

This article examines how police–public relations have evolved during the nineteenth-century expansion of formal policing. Following recent critiques of the ‘state monopolization thesis’, it dismisses the idea of a ‘policeman-state’ progressively assuming dominion over the governance of crime, generating vicious antagonism between police and public, and effectively coercing the latter into obedience. In order to chart changes in police–public relations across the ‘long’ nineteenth century, the analysis draws on Antwerp police statistics from 1842 until 1913. It assumes that movements in different types of offences reflect the initiative of different actors and also constitute a valuable index of conflicts between police and public. The article argues that although police activity in Antwerp did significantly increase towards the end of the nineteenth century, priorities in crime control were not merely dictated from ‘above’ (the police and authorities) but also delivered from ‘below’ (the people). It shows how police interventions were shaped by shifting policy concerns, by the interests of different urban interest groups, and by the practical constraints of police work. Finally, it counters the idea of a repressive police disciplining a hostile public with evidence of growing public use of the police and of complex popular attitudes towards the ‘blue locusts’.     

Clamming Up: An Ethnoarchaeological Study of a Costa Rican Artisanal Clam Fishery

A vibrant artisanal fishery of the brackish water marsh clam (Polymesoda acuta) is located in the lower Río Tempisque, Costa Rica. Fishermen harvest clams from shoals according to tidal and lunar cycles. They take most clams directly to riverside processing stations to be cooked and sold as salted meat, although some cooked clams are dried, and others sold live. Processing activities result in the formation of shellmounds that share significant similarities and some differences with ancient marsh clam shellmounds of coastal Chiapas, Mexico. In this study, procurement and processing activities are described and quantified, revealing the substantial amount of labor and skill involved in the modern fishery. Implications for archaeological preservation and predictions from optimal foraging theory are evaluated.     

Characterization of concrete from Roman buildings for public spectacles in <Emphasis Type="Italic">Emerita Augusta</Emphasis> (Mérida,Spain)

The aim of this work is to characterize the original concrete from Roman buildings for public spectacles, theatre and amphitheatre, from Emerita Augusta, Mérida, Spain. An advanced knowledge of the Roman concrete composition is required for a reliable restoration and preservation of these ancient monuments. The concrete was studied through mineralogical (optical polarized microscopy and X-ray diffraction) and petrophysical (bulk and real density, open porosity to water and Hg, mechanical strength and ultrasonic velocity) analyses. With this work, it is possible to fill the gap that exists in this field and the characterization of the materials used in the Roman concrete from these two buildings, never previously studied, despite the significance of this archaeological ensemble, declared a World Heritage Site by UNESCO in 1993. The results allowed us to determine the composition of the Roman concrete and to infer the provenance of the aggregates used in these monuments.     

Updating Numerical Models of Masonry Arch Bridges by Operational Modal Analysis

This article aims at presenting and discussing the strategies for updating the finite element numerical modeling of stone masonry arch bridges using operational modal analysis. The study comprehended three bridges: two old ones, the St. Lázaro and the Lagoncinha bridges, and a recently constructed bridge in Vila Fria, Portugal. Updating of the bridge models is performed by comparing the numerical and experimental modal parameters. Three-dimensional detailed numerical models are used to perform modal analysis of the bridges. Experimental modal identification of the bridges is based on the measurement of their acceleration responses during normal operation. The assigned material properties are also based on available results obtained from in situ and laboratory tests and on the results of visual inspection and historical research carried out for both old bridges.     

Planning Cultures and Histories: Influences on the Evolution of Planning Systems and Spatial Development Patterns

Abstract

This special issue addresses the influences of planning cultures and histories on the evolution of planning systems and spatial development. As well as providing an international comparative perspective on these issues, the collection of articles also engages in a search for new conceptual frameworks and alternative points of view to better understand and explain these differences. The articles focus on three main aspects: the change in planning systems and its impact on spatial development patterns; the interrelationship between planning cultures and histories from a path-dependency perspective; and the variations in physical development patterns resulting from different planning cultures and histories. Papers from different parts of the European continent present evidence at different scales to illustrate these aspects. In all cases, the specific combinations of political, ideological, social, economic and technological factors are important in determining urban and regional planning trajectories as well as spatial development patterns.     

Out of The Shadow of Vasari: Towards A New Model of The ‘Artist’ in Colonial Latin America

Within shifts affecting colonial studies, a ‘life-work model’ employed in colonial art history has been left unexamined. Developed by a contemporary of Michelangelo, Giorgio Vasari (Italy, 1511–1574), this methodology was grounded in particular European social conditions that allowed the creation of the ‘artist’ whose ‘artwork’ was the inalienable product of a single mind and hand. Following the art historical paths laid by Vasari in the viceroyalties leads to dead ends: indigenous artists who efface their individuality; painters who exist with little social or historical context; and artworks whose conservation denies finding the traces of the hands that made them. Because artworks were and are the connective tissue of complex social networks, reconfiguring concepts of ‘artist’ and ‘artwork’ and recasting them in accordance with social practices within Latin America, gains us purchase on how colonial subjects, in their engagement with their material worlds, came to be constructed.

Resemblance to European prototypes is an essential historical reality of colonial artworks: much artwork, particularly the painting, of colonial Latin America ‘looks’ like that of early modern Europe and thus has generated a foundational expectation, laid out in purest form by Manuel Toussaint (Mexico, 1890–1955), that Latin American art history might also look like Europe's. We argue that a mismatch with Europe and its methodologies means that certain, foundational historiographic assumptions about writing art history for Latin America need to be reassessed, in particular the ‘artist’ and ‘artwork.’