Dual Energy Computed Tomography for the Non‐destructive Analysis of Ancient Ceramics

Ceramics are usually the most common artefact found on any ancient archaeological site. Compositional analysis of this pottery, and characterization of the clay fabrics from which they are made, has the potential to pinpoint sources of manufacture as well as identify trade routes and consumption patterns in the ancient world. Currently, most analytical techniques require the partial or total destruction of the ceramic sample. This research investigates the use of dual energy computed tomography (DECT) to analyse Black Gloss and Vesuvian Sigillata from Pompeii. The results indicate that DECT may be a viable adjunct or alternative to conventional analytical techniques. Importantly, unlike traditional methods, DECT is totally non‐destructive, a highly significant factor when analysing irreplaceable artefacts.     

For love or money? Assessing outcomes from direct public investment in film

ABSTRACT

This study examines Australian domestic film performance under two distinct policy regimes with respect to direct investment strategy. In particular, we contrast film performance under two public funding agencies with noted differences in (i) the number of films financed annually, (ii) the average (and maximum) funding per film, and (iii) the involvement of an expert review panel in funding decisions. In addition to box office returns, we consider performance benchmarks related to major film festival screenings, nominations and awards; critical acclaim based on IMDb user and critic reviews; and whether or not the film received a release in the major UK and/or US markets. Finally, we exploit a subset of our data where a ‘two-door’ policy was used for investment decisions that allows us to reflect on our more general results.     

Public intellectuals as policy makers: the democratization of culture and Sean O’Faoláin’s Arts Council, 1956–1959

ABSTRACT

This article examines the brief tenure of the writer Sean O’Faoláin as Director of the Arts Council of Ireland. The article notes the generational similarities and shared outlook between O’Faoláin and André Malraux, the Minister of Culture for France from 1959 to 1969. However, O’Faoláin’s tenure in office was shorter, less successful, and marked by a bitter dispute with the administration and artists of the Royal Hibernian Academy. This dispute serves as a useful case study for examining competing conceptions of national culture, the purpose of cultural policy, and the role of the cultural elite as arbiters of taste.