bluuebunny/crossref_metadata_2025_split huggingface dataset:
Location-based solutions in the experience centre
Authors: Hansen Dan Witzner , Alapetite Alexandre , Holdgaard Nanna , Simonsen Celia , Vilsholm René Larsen 
Published: August 2018

In this paper we present a prototype system for location-based guiding. A user survey has been conducted and the observations are used to support design choices. The prototype allows for both indoor and outdoor navigation at and in the vicinity of the NaturBornholm experience centre in Denmark using a combination of Bluetooth, Near Field Communication (NFC), GPS and QR codes. Bluetooth, NFC and GPS are used for location-based information and QR codes are used to convey user preferences.
1: Digital Heritage. 2: Theorizing Digital Cultural Heritage – A Critical Discourse. 3: New Heritage. New Media and Cultural Heritage
Authors: Lund Niels D. 
Published: August 2018

1: M. Ioannides, A. Addison, A. Georgopoulos, 155 L. Kalisperis (Eds.): Digital Heritage. Proceedings of the 14th International Conference on Virtual Systems and Multimedia.2: Fiona Cameron & Sarah Kenderdine (Eds.): Theorizing Digital Cultural Heritage – A Critical Discourse.3: Yehuda E. Kalay, Thomas Kvan & Janice Af- fleck (Eds.): New Heritage. New Media and Cultural Heritage.På en konference om Digital Heritage i Cypern i efteråret 2008 kunne man under en kulturel udflugt til den udgravede oldtidsby Pafos (World Cultural Heritage Site) besigtige nogle af Middelhavsområdets fineste gulvmosaikker i rester af rigmandsvillaer fra det 2.-5. århundrede f.Kr.; mosaikkerne af marmor og sten gengav scener og motiver fra den græske mytologi, ord og fantasi omsat til faste billeder, en formidling til levende brug og agtelse af noget både identitetsmæssigt og æstetisk betydningsfuldt for mennesker. Den (tyskfødte) græske guide fortalte (på engelsk) turdeltagerne ikke blot om de mageløse mosaikkers materiale og bevaring, men genfortalte også de afbildede mytologiske historier; entusiastisk, stolt og beretteglad formidlede han de gamle billeder tilbage til nutidige levende ord. Nogle deltagere fotograferede imens på livet løs med deres digitalkameraer til senere fremkaldelse og zoomende gensyn på skærme og power-point og i papirprint, medens andre købte turistbøger med tegnede gengivelser og farvefotos. Historiske klenodier har gennemløbet og rummer mange formidlingsformer. Og så er det jo – med støvvarmen og den lette brise fra havet, som dengang - først det visuelle iindtryk af de rigtige mosaikker der sætter sig fast, dernæst er det begejstringen i guidens levende ord man husker, og så til sidst de digitale fotos - selv nok så fokuserede og styringsmulige. Er det sådan oplevelses-, erindrings- og forståelsesrækkefølgen er?
Kunst og naturvidenskab under samme tag
Authors: Krabbe Meyer Mette Kia , Teglhus Hanne 
Published: August 2018

Kollokvium om at udstille kunst og naturvidenskab. Steno Museet, Danmarks Videnskabshistoriske Museum, Århus, 25. september 2006. In the fall of 2006, the Steno Museum (Aarhus, Denmark) exhibited the installation Room One created by the American artist Rosamond Purcell. This installation consists of a full-size model of Museum Wormianum, the Danish physician Ole Worm’s curiosity cabinet, dating from the 17th century. This is a work of art – yet it depicts a naturalist’s laboratory. When one adds that it has also been called the first museum in Denmark, it seemed an obvious step to make the artwork the occasion of a symposium on the relationship between art, science and museums. At this symposium, the artist, along with a number of science historians and museum curators, discussed the definitions of art and science then and now, and spoke about the attempts to transcend the disciplinary boundaries that take place within the museums. Different ways of exhibiting were brought into focus, and Purcell’s installation formed the basis for many interesting discussions about the museum as a place of learning and of aesthetic experience.
Solveig Sjöberg-Pietarinen, Museer ger mening - Friluftsmuseerna Klosterbacken och Amuri som representationer
Authors: Vilkuna Janne 
Published: August 2018

Solveig Sjöberg-Pietarinen som i många år förestått Hantverksmuseet på Klosterbacken definierar sitt arbete, Museer ger mening - Fri- luftsmuseerna Klosterbacken och Amuri som representationer, som en doktorsavhandling i etnologi men med museologisk inriktning. Dessa två discipliners möjligheter att komplettera varandra får hon väl fram i det följande (s. 318): As an ethnologist I approach the museum as an expression of culture for the community and the time when the museum was set up and ask myself what it represents? As a museologist I look at society through the museum and see what it was that the creators wanted to preserve and what they decided to omit. For museologists museums are an instrument for establishing identity and a search for knowledge while ethnologists study what offer of identification they give. In the answers of these questions the two approaches meet as in a mirror.
Det visuella museet
Authors: Nilsson Bo 
Published: August 2018

För många år sedan, kanske trettio, sade Per-Uno i något sammanhang, att ”museerna är visuella institutioner”. Dessa ord kom att betyda en hel del för mitt synsätt på hur museernas skilda verksamheter skulle kunna utvecklas. Per-Unos förhållningssätt till det visuella, till framförallt den fotografiska bilden – stillbilden och i lika hög grad den rörliga – väckte mitt intresse och engagemang. Inom detta stora och komplexa område hade vi genom en lång följd av år stimulerande och för min egen del utvecklande samtal. Samtal som utgick från fotografiets unika betydelse som historisk källa.
Bønder, ånder, dukker og skuespillere i de første folkemuseene ...sökte på allt sätt sökte gifva fullt åskådliga bilder af själva verkligheten...
Authors: Maure Marc 
Published: August 2018

Peasants, ghosts, mannequins and actors in the early ”folkmuseums” The paper presents a discussion of the exhibition activities of the three great pioneers of the Scandinavian folk museums. Artur Hazelius (1833–1871) founded the Scandinavian Ethnographical Collections (later known as the Nordiska Museet) in Stockholm in 1873 and the open-air museum Skansen in 1891. Bernhard Olsen (1836–1922) founded the Danish Folk Museum and the Scandinavian Panopticon in Copenhagen in 1885, and the open-air museum at Sorgenfri in 1901. Anders Sandvig (1862–1950) built up a collection starting in 1887 that would become the foundation for the open-air museum at Maihaugen in Lillehammer in 1904.They were all talented exhibitors, using elements from the peasant culture of yesteryear to create an illusion of reality that would arouse the viewers’ sympathy, interest and understanding. They utilized various strategies in order to give life to the peasant, either by using a physical form in a room, or a picture that existed only in the eye of the viewer. They presented the peasants in the form of ultra-real figures in tableaux arranged according to accepted rules of naturalistic theatre. They reconstructed settings where the viewer could feel the unseen presence of her forefathers, could re-live the past and even ”become” a peasant herself. They used actors who played actual, living peasants with the help of authentic costumes, artefacts and surroundings.
Lennart Palmqvist (red.), Minnets miljöer. Rapport från de museivetenskapliga dagarna 21–22 november 2002
Authors: Ågren Per-Uno 
Published: August 2018

Rådet för museivetenskaplig forskning (som tillkom 1995 på initiativ av Erik Hofrén, då gästprofessor vid institutionen för museologi, Umeå universitet) arrangerade de museivetenskapliga novemberdagarna i Stockholm. Värd i Musikmuseet var rådets nuvarande ordförande, museichefen Stefan Bohman. Avsikten var att ge konkreta exempel från ett alltmer vidgat forskningsfält som i boken speglas i 9 essäer och 10 posterbidrag. Tillsammans utgör de enligt förordet ”en bred och disciplinövergripande kritisk granskning av skilda miljöer som reserverats för det kollektiva minnet”.
Tilbageføring af kulturgods mellem Danmark og Tyskland
Authors: Adriansen Inge 
Published: August 2018

I 2003 vil Nationalmuseet i København vise en stor udstilling med Nydambåden, et af de mest opsigtsvækkende danske mosefund. Den originale båd anses for kulturarv både i Slesvig-Holsten og i Danmark, og den bliver udlånt af Schleswig-Holsteinisches Landesmuseum på Schloss Gottorf i Schleswig under den stiltiende forudsætning, at båden kan vende tilbage til den del af Slesvig, der er tysk, uden at der på ny rejses officielle udleveringskrav fra dansk side. Der er næppe tvivl om, at disse krav vil blive respekteret fra officiel side, men der er næppe heller tvivl om, at der fra uofficiel side vil komme krav om, at Nydambåden skal forblive i Danmark som umistelig kulturarv. For i mere end 100 år har Nydambåden været en af de museumsgenstande, hvorom der var størst dansk-tysk uenighed.
The Spiral as concept and as metaphor
Authors: Anderson David 
Published: August 2018

Professor Patrick Geddes, perhaps the greatest of the early city planners and museologists in the United Kingdom, was commissioned by the Carnegie Trust in 1903 to put forward proposals to develop Carnegie’s home town, the City of Dunfermline. The report was inspired by a determination to infuse the whole city with the museum spirit, and museums with an awareness of the needs and interests of the ordinary inhabitants of the city. Geddes’ proposals are of relevance principally because of his determination to seek alternatives to the museums he saw around him. ”I have no faith in the educational value of the commonplace art museum with its metal masterpieces in a glass case and the smithy no where,” he wrote. ”This whole museum tradition, though still too largely in power, answers but to stamp- or scalp-collecting. Wherever real technical education is beginning, it centres on seeing and sharing the real work, and then applies the paper drawings and the collections of the old system to their right uses.” He stressed that he was aiming to create not Utopia but Eu-topia.
John Aage Gjestrum till minne
Authors: Strandgaard Ole , Vilkuna Janne , Ågren Per-Uno 
Published: August 2018

John Aage nämnde ibland Johannes Sivesind som sin läromästare. Sivesind ledde museet i Toten kommun (med 25 000 invånare) åren 1954–1967. Under tonåren började John Aage hjälpa till där, och tog för sin framtid och sitt museitänkande avgörande intryck av Sivesind. När han 1977 själv blev chef för Totens museum – 24-årig, den yngste av museichefer i Norge! – kom han att utveckla museet till det mönster för ett lokalmuseums möjligheter som gjorde det internationellt ryktbart. År 1991 fyllde Sivesind 70 år. Han hade då avslutat sin yrkesgärning som chef för Borgarsyssel museum i Sarpsborg. För att hedra honom redigerade John Aage Toten museums årsbok detta år som en festskrift till Sivesind med titeln Visjon og Virke.
Utstilling av levende mennesker. En historie om samisk kultur og fremmede blikk
Authors: Gjestrum John Aage 
Published: August 2018

I Rørosregionen kjenner vi ei sørsamisk befolkningsgruppe langt bakover i tid. Samene har da også sammen med andre i Rørosregionen deltatt i den lokale museumsvirksomhet, – samene markerte seg her spesielt aktivt i tida fra like før 1950 og framover til ut på 1960-tallet. Min overraskelse var derfor stor då jeg fant Rørossamer som midtpunkt i Londons museumsverden allerede for mer enn 190 år siden – før vi hadde museer i Norge i det hele tatt. Og det var ikke bare deres særpregede kultur i form av gjenstander og miljø som ble utstilt – nei en hel samefamilie var også satt på utstilling. Hva var det som skjedde? Nysgjerrigheten bragte meg videre i å studere fenomenet med å sette levende mennesker på utstilling. Artikkelen handler om dette. Den sier også noe om datidas oppfatning av samene.
De första renässansmuseerna i Rom och Florens
Authors: Palmqvist Lennart 
Published: August 2018

The first Renaissance Museums in Rome and Florence This paper argues that the archaeological and antiquarian research by the Renaissance humanists in Rome inspired Pope Sixtus IV to donate a collection of ancient bronzes from the Lateran to the Capitol in 1471. This led to the start of the musealization of the Capitol which culminated in the forming of a historical museum at the Palazzo dei Conservatori during Paul III's pontificate in the 1530s. Paul III's plan for the renewal of the Capitol included the transfer to the Capitoline Hill of the equestrian monument of Marcus Aurelius from the Lateran as well as Michelangelo's new design for the buildings and the piazza.
Et sant og levende bilde av verden; Verdensutstillinger og museumshistorie
Authors: Brenna Brita 
Published: August 2018

A true and vividpicture of the world; world exhibitions and museum history Norwegian participarion in Internarional Exhibirions, World Fairs and Expositions Universelles in the last century and its potential relationship to museum history is the subject of this paper. It starts with a juxtaposition of EXP0'98 in Lisbon and the international exhibitions that were arranged in the last century. The juxtaposition highlights how the cultural effects of ideas are transmitted by international exhibitions and how the rationale for such events has changed since the 19th century. This comparison serves as a background for a discussion of the exhibitions of the last century in museological terms. It is argued that there are good reasons for a comparison and for viewing the international exhibitions in the light of the development of museums and museum practice.
Utstillingen som dokumentasjonsform i moderne og postmoderne tider
Authors: Gaard Hilde 
Published: August 2018

The Exhibition as Document in Modern and Postmodern Times The aim of this article is to focus on whether we can speak of modern and postmodern exhibitions as two separate categories. What are the main characteristics that separate the postmodern museum exhibition from its former counterpart? The concept of modernity has been perceived in several different ways from the 5th century AD up to the 20th century. Pitt Rivers published «The Evolution of Culture» in 1875. Both this publication and his ethnographical exhibition in Oxford revealed how the concept of modernity had become Darwinist. Man (i.e. European man) had gradually reached higher levels of development, and linear arrangements of artefacts in vast rows (from primitive towards advanced) were intended to verify this Darwinist discourse. His Oxford exhibition can be considered as objectoriented.
Per Raberg (red.): The Life Region. The Social and Cultural Ecology of Sustainable Development.
Authors: Gjestrum Jan Aage 
Published: August 2018

Flere års prosjektarbeid ligger bak boka The Life Region som Per Råberg har redigert. Råberg har egentlig gjort langt mer enn å redigere, - han har skrever størstedelen av boka, og han har også gjennom sin virksomhet i Kollegiet för humanistiska ftamtidsstudierved Universiteret i Umeå vært pådriver og organisator for de tre konferansene i Västernorrland, der mange av bidragene i boka ble presentert (Härnösand april 1992, Örnsköldsvik, juni 1992 og juni 1993).
Collecting for cultural diversity
Authors: Anderson Margaret 
Published: August 2018

On the morning I sat down to begin this paper, Melbourne's daily newspaper, the Age, had chosen to run an interesting combination of stories on its 'Opinion 'page. This is a page towards the back of the first news section of the paper, on which writers, thinkers, or general 'opinion makers' express their views on topical issues, or ideas. There was only one main topic this day - Australia's contested black/white history and the Federal Government's inability to come to terms with it.
Museet i dagens mediesituasjon
Authors: Johansen Anders 
Published: August 2018

The museum in today's media context In this article, the properties of a medium are seen as partly determined by the position it holds within a contemporary media formation. As an old medium in a new context, the museum is confronted wich a challenge to adapt and develop comparable to chose confronting the arts with the arrival of photography, or the theater when the cinema was born.
Museums and lifelong learning: The adult dimension
Authors: Chadwick Alan 
Published: August 2018

It is worth reminding ourselves that the notion of museums and adult education bodies co-operating together is not unfamiliar. Indeed, the two major Adult Education Reports this century, the Adult Education Committee Final Report (1919) and Adult Education: a plan for development (1973), both considered the roles of museums and adult education providers. In the museums sector, the Report by Sir Henry Miers of 1928 and Sir Frank Markham's Report of 1938 also linked the two roles together, although in the case of the former Report the lack of co-operation between the two sectors was noted.
Kerstin Arcadius: Museum på svenska. Länsmuseerna och kulturhistorien
Authors: Zachrisson Sune 
Published: August 2018

Under våren 1997 lade Kerstin Arcadius fram sin avhandling «Museum på svenska» vid etnologiska institutionen i Lund. Länsmuseerna står i centrum. Avhandlingen behandlar hundraårsperioden från 1800-talets mitt till 1940, det skede då ett brett intresse för fornminnen växte fram och hembygdsrörelsen etablerade sig i svenska bygder.
Stefan Bohman: Historia, museer och nationalism
Authors: Maure Marc 
Published: August 2018

Å se på museene som uttrykk for - og redskap i - identifikasjonsprosesser knyttet til konstruksjon av en nasjonal kulturarv, er et viktig perspektiv for å ha en bedre forståelse av museumsfenomenet generelt. Hvordan ellers forstå framveksten av nasjonalmuseer som har preget Europa i forrige århundre, og som i dag preger de nye nasjonalstatene som opprettes mange steder i verden, uten å relatere det til behovet for å skape - på godt og vondt - en nasjonal identitet?
Iscensättningens verklighet – om Vera Frenkels installationer, några konstbyggen, och museiutställningars historier
Authors: Lindqvist Katja 
Published: August 2018

Installation art and museum exhibition - reality and fiction Two works by the Canadian artist Vera Frenkel, another by Peter Johansson and the Bonk Business Inc exhibition are scrutinized and compared with historical museum displays. The paper argues that Frenkel's and Johansson's installations are opening a dialogue, engaging and stimulating visitors in a way that leave the ironic comment of Bonk Business Inc and the static historic statements of the museum exhibitions far behind. It is to expect - and hope - that impulses from installation art should change the the attitude of the exhibition producers in museums.
An event of curiosity: When a mermaid fake crawled on a TV-screen
Authors: Vainonen Pilvi 
Published: August 2018

Curious things can happen when we put together two mysterious mermaid fakes from the South Sea, two imaginary American FBI agents, and an ordinary Finnish museum workaer. In an extraordinary way, this combination gave rise to some clues which led to some detective work concerning the origins of the two mermaid fakes in the National Museum of Finland.
Hvem ejer museumsgenstandene?
Authors: Gilberg Rolf 
Published: August 2018

Who owns the museum objects? The paper «Who owns the museum objects?» focuses on who actually decides when and how museum objects are used and in what context. Often it is the curators who decide the meaning of a certain museum object, but not always. Problems caused by management, the economy and the safety of the object might limit the way the curator wants to handle it.
Ecomuseum or community museum? 25 years of applied research in museology and development
Authors: De Varine Hugues 
Published: August 2018

The 'applied research' referred to in the following paper was not done by me personally. It is the result of years of practice and innovation by dozens of imaginative professionals, working in the field, with limited means, fighting against the misunderstandings, or even the hostility of the authorities. I have only been an observer, even during my days as general secretary of ICOM. I now keep in touch because I am interested in the new museology as a tool for local and community development, which is my current preoccupation.
Ironbridge – from museum to World Heritage Site
Authors: De Haan David 
Published: August 2018

Ironbridge wanted to be different. At the very earliest discussions way back in 1964, three years before the Museum Trust was formally set up, ideas had already been floated about radically rethinking what form a museum might take. The Gorge, although derelict, was recognised as being a potential cultural asset making the creation of a New Town possible. By 1964 the new town planners advised that «the industrial remains have significant national interest» and «it will become an important recreation area for the whole region... The north bank ofthe Severn might well be developed to provide the same facilities for recreation as Skansen.» (Dawley New Town Draft Master Plan).
The National Museum of Finland 1916-1996 – From preservation to presentation
Authors: Wäre Ritva 
Published: August 2018

The National Museum of Finland was opened to the public in January 1916. This was more than fifty years after the need of a national museum had first been discussed in public in Finland and almost thirty years after the serious planning ofthe museum was started. The construction of the present museum building began in 1905 bypermission of Czar Nicholas II, after years of debates both about the location of the museum and about its architecture. The paper outlines how the architectural concept was developed and how- in face of its ongoing renovation the concern for the museum building as a nationalmonument inevitably comes into conflict with the ideas for the presentation of the collections to a modern public.
Museologisk perle: Erindring om trægulv og tabte tider
Authors: Metz Georg 
Published: August 2018

I dagbladet Informations weekend nummer den 6.-7. april skrev George Metz som så ofte for sit «Intermetzo». Causeriet tager sit udgangspunkt i musikoplevelser i Wien, hvis Konzerthaus er af fornem, arkitektonisk-akustisk kvalitet (med trægulv, herafoverskriften). Ligesom Odd Fellow-palteets sal i København, som brændte ned for få år siden. Ingen har indset nødvendigheden af at genopføre OddFellow-palteets sal i sin gamle, fornemme stand.
Gaynor Kavanagh (ed.), Museum Provision and Professionalism
Authors: Ågren Per-Uno 
Published: August 2018

Gaynor Kavanagh bildar tillsammans med Susan Pearce och Eilean Hooper-Greenhill den trojka av framstående forskare och lärare som med engagemang, entusiasm och målmedvetenhet gjort Department of Museum Studies vid Leicester-universitetet till Europas ledande institution for utbildning på museiområdet.
Nordic Museology
Authors: Ågren Per-Uno 
Published: August 2018

The five Nordic countries - Denmark, Finland, Iceland, Norway and Sweden - share a common cultural history. Four of them are closely related linguistically. Through the ages they have also been politically linked in a variety of combinations, causing both dramatic confrontations and inspiring nationalistic movements not without bearing on the museum history of the countries. The most lasting political unions were those between Denmark, Iceland and Norway (1380- 1814; Iceland stayed with Denmark until 1944) and between Finland and Sweden (1323-1809). In times of aggression from the 'outside' a loyalty between the Nordic countries based on the common history has also appeared and in the years after 1945 formal organisations have been established to promote cooperation in various fields of common interest.
Esko Aaltonen (1893-1966) – a lifetime of local history
Authors: Lahtonen Hannu 
Published: August 2018

Last year was one of celebration, not only of Finland's entry into the European Union but also manifestly of Finnish culture. It was one hundred years since the foundation of the country's first local history society at Lohja. A year before that, on March 9. 1893 a boy who was baptised with the very Finnish name of Esko, was born into the family of a weaving mill worker. Later Esko was to become a major force and pioneer in the local history movement.