博物馆文物的防震保护研究（一）——传统抗震措施与现代隔震技术

通过对博物馆内物浮放物体的地震危害性分析,指出了物防震的一些主要问题。归纳总结了馆藏物的传统抗震措施。阐述了现代隔震技术的发展、研究现状以及隔震装置在物防震工作中的应用情况。同时给出了博物馆物防震保护的设计方案。     

西风吹拂下的晚清民国艺术

晚清民国,中国艺术处于前所未有的历史转型时期。这一时期的艺术是西风吹拂下的艺术,是中西杂陈、新旧交并的艺术,西方艺术的写实主义被引入作为革新旧艺术的利器。20世纪中叶由于社会原因,中国艺术又从写实主义过渡到现实主义。处于这一时期的艺术家,关注社会,心系国家,把艺术革新跟社会革新、跟国家的命运紧密联系起来。而这一切,都是因为"内外交困",这一切也都是因为"内外交合"。     

Cross-cultural interaction on Wuvulu Island,Papua New Guinea: the perspective from use-wear and residue analyses of turtle bone artifacts

Recent studies have emphasized the importance of Indigenous producers and traders in the formation of ethnographic museum collections, but have found difficulty in finding concrete evidence for their active roles. A use-wear and residue study of turtle bone cleavers from Wuvulu Island, Papua New Guinea provides the opportunity to test whether objects that comprise a significant component of early collections were made specifically for sale, as hypothesized by contemporary observers in the late 19th century. Comparative studies of used and unused turtle bone artifacts from the Caroline Islands and Papua New Guinea identified differences between wear traces resulting from manufacture and use. Analyses of the Wuvulu turtle bone cleavers showed they had been heavily used prior to sale. Rather than produce artifacts to meet the high demand from German traders, the local people sold old, worn-out objects, many of which had been repaired. The study demonstrates that archaeological approaches to ethnographic museum collections can trace Indigenous agency within cross-cultural interaction. It also showcases the potential of use-wear and residue analytical techniques for the analysis of bone tools and the utility of digital, hand-held microscopes for the analysis of large artifacts.     

故宫博物院藏宋代铜凤凰的修复保护与研究

文物修复保护及研究是一项涵盖多学科、多因素的系统性工作,不同文物中所包含的历史信息、文化价值和病害情况等都有其独特性。对文物的观察和研究,既能够发现、研究其中有价值的问题,又能够决定如何具体开展文物修复保护工作。本文以故宫博物院藏的一件宋代铜凤凰修复保护及研究工作为例,以时间发展和问题递进两个方面为顺序,对铜凤凰进行了信息调查、元素成分、形态结构、制作工艺等方面的综合研究,科学地、具体地、整体地分析在此项工作过程中所遇到的问题,根据实际情况提出与之相适应的解决方案并加以实施,对问题的发现过程与形成因素给出尽可能详细的解释,直观呈现对这件文物完整的修复保护及研究。在整个工作的过程中,思考使用问题导向思维作为文物修复保护中开展工作的底层逻辑,使所做工作都尽可能做到知其然也知其所以然。     

Building a GIScience Community in Cyberspace: reflections on GIScOnline

In this paper, distance learning is defined not as the physical separation of students from a tutor but by the need to facilitate group learning, interaction and a sense of community amongst course participants. A critical review of an established distance-learning course is made reflecting on the team's experiences of building a learning community in cyberspace. The successes and failures are recorded, as are the barriers to engendering a sense of kinship on the course. A survey of students' own experiences with and feeling towards various communication technologies is also presented.     

‘My voice counts because I’m handsome.’ Democratising the museum: the power of museum participation

Abstract

Participation – where visitors are invited to leave a comment, co-create, or contribute to exhibitions – has been hailed as an opportunity to democratise the museum experience. New qualitative data from on-site and follow up interviews with museum visitors and practitioners at the experimental exhibition Power of 1 at the Museum of Australian Democracy has been used as a case study to determine if the rhetoric of the highly interactive, audience-centred approach of the participatory museum is meeting its aims. This paper argues that participation has the potential to democratise the museum experience for visitors, particularly when a more expansive definition is applied which acknowledges the benefits of participation beyond simply leaving a comment. Participation can provoke conversations and forge connections with real and imagined communities within the museum and beyond; however this potential is hampered by the often unacknowledged undemocratic practices within institutions by professionals who devalue visitor participation and power-sharing in order to uphold traditional museum practices.     

Mephisto

This article explores the resonances of objects that travelled between continents and the entangled imaginaries tied to them – here a 30-tonne German military tank captured by Australian soldiers during the First World War in France and shipped to Brisbane to be exhibited at the Queensland Museum. The author ‘reads’ the tank, intriguingly named ‘Mephisto’, as the apotheosis of nature/culture divide entrenched in nineteenth-century colonialism, which exported the taxonomies of the Enlightenment to the antipodes and in return repatriated objects of flora and fauna all over Europe. Mephisto thus also marks the manifestation of a German–Australian modernity: developed from the agricultural tractor, the tank remains a brutal and clumsy device designed purely to subdue and conquer territory.     

Learning by ‘design’: how undergraduates in Singapore learn to become engineers

ABSTRACT

In this paper, we explore the evolving norms and dispositions of creativity and enterprise of engineering students using data gathered from a newly established technology and engineering-focused university called ‘UniTech’ located in Singapore. Based on interviews with students, we seek to explain (1) what they learn, reject, adopt and appropriate; (2) the kinds of challenges they face and (3) the unexpected and serendipitous outcomes of their learning. Through an integrated engineering curriculum focusing on design, students learn to be technically competent, creative and entrepreneurial persons. This paper considers how the curriculum works as a set of formal procedures preparing students for a future ‘knowledge-based economy’ imagined to be technology-intensive, dynamic and filled with opportunities but also increasingly uncertain. We analyse how students at UniTech negotiate this design-focused curriculum where experiences of creativity, open-ended possibilities and holistic perspectives intersect with the national economic agenda of a knowledge-based economy.     

博物馆经典藏品资源的文创产品开发——以曾侯乙编钟文创系列产品的开发为例

对博物馆经典藏品进行复制,或者萃取其文化元素开发衍生产品,一直为博物馆所重视。这类复制品从传播效应、经济效应、市场价值、文化价值和创意内涵诸方面都体现出"文创产品"的性质,应该纳入"文创产品"市场予以定位、规划。湖北省博物馆对馆藏经典藏品曾侯乙编钟开发了七大类百余个品种的文创系列产品,它们既体现了藏品原型的价值和精髓,也具有保护、研究和实用价值。目前我国博物馆文创事业还需要在经典藏品资源的研究、市场研发人才的培养、衍生品系列的完善、跨界同质资源的整合以及复制品制作单位资质的把控等方面加大推进的步伐。