cometadata/datacite-titles-descriptions-related-identifiers huggingface dataset:
DOI: 10.17870/bathspa.13013840
title: Plastic Vanitas and Amani Vanitas: 300 Word Statement

description: Emerging from residencies at the Museum of Design in Plastics and Amani, an abandoned post colonial science research centre in Tanzania, the Vanitas works question what constitutes an archive and how responses to it might forge new connections, shedding light on our anthropological heritage, sustainability and our relationship to the environment.<br>This item contains a 300 word statement on <b>Plastic</b> <b>Vanitas and Amani Vanitas </b>by Mariele Neudecker.
DOI: 10.17870/bathspa.13013849
title: Plastic Vanitas and Amani Vanitas:Research Questions and Timeline

description: Emerging from residencies at the museum of Design in Plastics and Amani, an abandoned post colonial science research centre in Tanzania, the Vanitas works question what constitutes an archive and how responses to it might forge new connections, shedding light on our anthropological heritage, sustainability and our relationship to the environment.<br>This item contains Research Questions and a Research Timeline for <b>Plastic Vanitas and Amani Vanitas</b> by Mariele Neudecker.
DOI: 10.17870/bathspa.13013849.v1
title: Plastic Vanitas and Amani Vanitas:Research Questions and Timeline

description: Emerging from residencies at the museum of Design in Plastics and Amani, an abandoned post colonial science research centre in Tanzania, the Vanitas works question what constitutes an archive and how responses to it might forge new connections, shedding light on our anthropological heritage, sustainability and our relationship to the environment.<br>This item contains Research Questions and a Research Timeline for <b>Plastic Vanitas and Amani Vanitas</b> by Mariele Neudecker.
DOI: 10.17870/bathspa.13019123
title: Plastic Vanitas and Amani Vanitas: Some Things Happen All At Once, Zeppelin Museum, Friedrichschafen, Germany, 29th January - 3rd April 2016.

description: Emerging from residencies at the Museum of Design in Plastics and Amani, an abandoned post colonial science research centre in Tanzania, the Vanitas works question what constitutes an archive and how responses to it might forge new connections, shedding light on our anthropological heritage, sustainability and our relationship to the environment.<br><br>This item contains an exhibition press release, 7 exhibition views and a scale model of the exhibition.<br><br>This item documents the inclusion of Neudecker's<b> Plastic Vanitas</b> series of works in <b>Some Things happen All At Once</b>, a solo survey exhibition at the Zeppelin Museum . <b>Plastic Vanitas </b>is 49 photgoraphic artworks developed in response to the plastics collection at the Design of Plastics Museum in Bournemouth during Neudecker's residency. Using a specific form of still life, developed in 16th and 17th century Flanders, the objects are re presented in the photographs as Vanitas paintings, acting as allegories for environmental threat and future sustainability.<br><br><b>Photography: Courtesy of the artist and the Zeppelin Museum. Used with permission. </b><br><br><b>The work is under copyright and may not be used without permission. Use of this repository acknowledges cooperation with its policies and relevant copyright law</b>.<br>
DOI: 10.17870/bathspa.13014077
title: Plastic Vanitas and Amani Vanitas: Plastic Vanitas, HTW Berlin, Germany, 27th October - 25 November 2016

description: Emerging from residencies at the Museum of Design in Plastics and Amani, an abandoned post colonial science research centre in Tanzania, the Vanitas works question what constitutes an archive and how responses to it might forge new connections, shedding light on our anthropological heritage, sustainability and our relationship to the environment.<br><br>This item contains a press release, an exhibition poster, 4 images of the <b>Plastic Vanitas</b> photoworks and an animated video of Neudecker's process of constructing them.<br><br>This item documents the exhibition of 40 of the photographic works from Neudecker's <b>Plastic Vanitas</b> series at the University of Applied Science in Berlin on 27th October until 25th November 2016. <b>Plastic Vanitas</b> is an installation of 49 photographic works developed in response to the plastics collection at the Design of Plastics Museum in Bournemouth during Neudecker's residency. Using a specific form of still life, developed in 16th and 17th century Flanders, the objects are re presented in the photographs as Vanitas paintings, acting as allegories for environmental threat and future sustainability.<br><br>As result of this exhibition Neudecker was invited to participate in the 2019 Plastics Heritage Conference in Lisbon, convened by Maria Elvira Callapez Callapez.<br><br>Plastics Heritage: History, Limits and Possibilities Congress, May 29-31 2019 at Museu da Famácia (Pharmacy Museum) in Lisbon, Portugal.<br><b>http://plasticsheritage2019.ciuhct.org/program/<br></b><b><br>Video courtesy of Arts University Bournemouth.<br></b><b><br>Photography courtesy of the University of Applied Science, Berlin. Used with permission.<br></b><b><br>The work is under copyright and may not be used without permission. Use of this repository acknowledges cooperation with its policies and relevant copyright law.</b>
DOI: 10.17870/bathspa.13014077.v1
title: Plastic Vanitas and Amani Vanitas: Plastic Vanitas, HTW Berlin, Germany, 27th October - 25 November 2016

description: Emerging from residencies at the Museum of Design in Plastics and Amani, an abandoned post colonial science research centre in Tanzania, the Vanitas works question what constitutes an archive and how responses to it might forge new connections, shedding light on our anthropological heritage, sustainability and our relationship to the environment.<br><br>This item contains a press release, an exhibition poster, 4 images of the <b>Plastic Vanitas</b> photoworks and an animated video of Neudecker's process of constructing them.<br><br>This item documents the exhibition of 40 of the photographic works from Neudecker's <b>Plastic Vanitas</b> series at the University of Applied Science in Berlin on 27th October until 25th November 2016. <b>Plastic Vanitas</b> is an installation of 49 photographic works developed in response to the plastics collection at the Design of Plastics Museum in Bournemouth during Neudecker's residency. Using a specific form of still life, developed in 16th and 17th century Flanders, the objects are re presented in the photographs as Vanitas paintings, acting as allegories for environmental threat and future sustainability.<br><br>As result of this exhibition Neudecker was invited to participate in the 2019 Plastics Heritage Conference in Lisbon, convened by Maria Elvira Callapez Callapez.<br><br>Plastics Heritage: History, Limits and Possibilities Congress, May 29-31 2019 at Museu da Famácia (Pharmacy Museum) in Lisbon, Portugal.<br><b>http://plasticsheritage2019.ciuhct.org/program/<br></b><b><br>Video courtesy of Arts University Bournemouth.<br></b><b><br>Photography courtesy of the University of Applied Science, Berlin. Used with permission.<br></b><b><br>The work is under copyright and may not be used without permission. Use of this repository acknowledges cooperation with its policies and relevant copyright law.</b>
DOI: 10.17870/bathspa.13014224
title: Plastic Vanitas and Amani Vanitas: Traces of The Future, Nunnery Gallery, London January 27th - March 26th 2017.

description: Emerging from residencies at the Museum of Design in Plastics and Amani, an abandoned post colonial science research centre in Tanzania, the Vanitas works question what constitutes an archive and how responses to it might forge new connections, shedding light on our anthropological heritage, sustainability and our relationship to the environment.<br><br>This item contains a press release, 4 exhibition views, 2 video works and 4 of the 11 exhibited photoworks.<br><br>This item documents the inclusion of 11 photo works and 2 videos from Neudecker's Amani Vanitas series in T<b>races of the Future, </b>at the Nunnery Gallery in London in 2017<b>. </b>The works were created during the artist's historical-anthropological research at Amani Hill Research Station, Tanzania, as part of an artists residency project, ‘<i>Memorials and remains of medical science in Africa’</i>, funded by the Economic and Social Research Council (ESRC), forging new collaborations between art and anthropology. Together with photographs by Russian artist Evgenia Arbugaeva<strong>, </strong><b>Traces of The Future</b> highlights the fragility of scientific progress. The exhibition is curated by Greer Crawley.<br><br><b>Photography: Rob Harris. Images used with permission courtesy of the photographer and the Nunnery Gallery.<br></b><b><br>The work is under copyright and may not be used without permission. Use of this repository acknowledges cooperation with its policies and relevant copyright law.</b>
DOI: 10.17870/bathspa.13014224.v1
title: Plastic Vanitas and Amani Vanitas: Traces of The Future, Nunnery Gallery, London January 27th - March 26th 2017.

description: Emerging from residencies at the Museum of Design in Plastics and Amani, an abandoned post colonial science research centre in Tanzania, the Vanitas works question what constitutes an archive and how responses to it might forge new connections, shedding light on our anthropological heritage, sustainability and our relationship to the environment.<br><br>This item contains a press release, 4 exhibition views, 2 video works and 4 of the 11 exhibited photoworks.<br><br>This item documents the inclusion of 11 photo works and 2 videos from Neudecker's Amani Vanitas series in T<b>races of the Future, </b>at the Nunnery Gallery in London in 2017<b>. </b>The works were created during the artist's historical-anthropological research at Amani Hill Research Station, Tanzania, as part of an artists residency project, ‘<i>Memorials and remains of medical science in Africa’</i>, funded by the Economic and Social Research Council (ESRC), forging new collaborations between art and anthropology. Together with photographs by Russian artist Evgenia Arbugaeva<strong>, </strong><b>Traces of The Future</b> highlights the fragility of scientific progress. The exhibition is curated by Greer Crawley.<br><br><b>Photography: Rob Harris. Images used with permission courtesy of the photographer and the Nunnery Gallery.<br></b><b><br>The work is under copyright and may not be used without permission. Use of this repository acknowledges cooperation with its policies and relevant copyright law.</b>
DOI: 10.17870/bathspa.13013858.v1
title: Plastic Vanitas and Amani Vanitas: Sediment, Limerick City Gallery of Art, Limerick, Ireland 6th September - 17th November 2019.

description: Emerging from residencies at the museum of Design in Plastics and Amani, an abandoned post colonial science research centre in Tanzania, the Vanitas works question what constitutes an archive and how responses to it might forge new connections, shedding light on our anthropological heritage, sustainability and our relationship to the environment.<br><br>This item contains 1 press release and 16 installation views and documents the inclusion of Neudecker's <b>Plastic Vanitas</b> series in her solo survey show <i>Sediment</i> at the Limerick City Museum and Art Gallery 2019. <b>Plastic Vanitas</b> is an installation of 49 photographic works developed in response to the plastics collection at the Design of Plastics Museum in Bournemouth during Neudecker's residency. Using a specific form of still life, developed in 16th and 17th century Flanders, the objects are re presented in the photographs as Vanitas paintings, acting as allegories for environmental threat and future sustainability.<br><br><b>Photography: Benjamin Jones. Images used with permission courtesy of the photographer and Limerick City Gallery of Art.<br></b><b><br>The work is under copyright and may not be used without permission. Use of this repository acknowledges cooperation with its policies and relevant copyright law.</b>
DOI: 10.17870/bathspa.13013858
title: Plastic Vanitas and Amani Vanitas: Sediment, Limerick City Gallery of Art, Limerick, Ireland 6th September - 17th November 2019.

description: Emerging from residencies at the museum of Design in Plastics and Amani, an abandoned post colonial science research centre in Tanzania, the Vanitas works question what constitutes an archive and how responses to it might forge new connections, shedding light on our anthropological heritage, sustainability and our relationship to the environment.<br><br>This item contains 1 press release and 16 installation views and documents the inclusion of Neudecker's <b>Plastic Vanitas</b> series in her solo survey show <i>Sediment</i> at the Limerick City Museum and Art Gallery 2019. <b>Plastic Vanitas</b> is an installation of 49 photographic works developed in response to the plastics collection at the Design of Plastics Museum in Bournemouth during Neudecker's residency. Using a specific form of still life, developed in 16th and 17th century Flanders, the objects are re presented in the photographs as Vanitas paintings, acting as allegories for environmental threat and future sustainability.<br><br><b>Photography: Benjamin Jones. Images used with permission courtesy of the photographer and Limerick City Gallery of Art.<br></b><b><br>The work is under copyright and may not be used without permission. Use of this repository acknowledges cooperation with its policies and relevant copyright law.</b>
DOI: 10.17870/bathspa.13014317.v1
title: Plastic Vanitas and Amani Vanitas: Amani-Traces of a Colonial Research Centre, MAARK, Museum am Rothenbaum, Hamburg,Germany 19th September 2019 - April 2020.

description: Emerging from residencies at the Museum of Design in Plastics and Amani, an abandoned post colonial science research centre in Tanzania, the Vanitas works question what constitutes an archive and how responses to it might forge new connections, shedding light on our anthropological heritage, sustainability and our relationship to the environment.<br><br>This item contains 8 images of the 11 exhibited Amani photoworks, 2 of the 3 exhibited videos and 1 of the 2 stereoscopic photographs.<br><br>This item documents the inclusion of works made by Neudecker during a research residency at Amani, an abandoned post colonial research centre in Tanzania, once the gem of German colonial science. In this exhibition Neudecker and the other participating artists examine the traces of this colonial and post colonial legacy at Amani. The exhibited works resulting from her Amani research consists of 3 videos, and 11 photographic works, as well as 2 specially commissioned works that take the form of Stereoscopic viewers, <b>Your Head Is Younger Than Your Feet (Blackfly)</b>, and <b>Your Head Is Older Than Your Feet (Mosquito). F</b>unded by the Faculty of Social and Behavioural Sciences at the University of Amsterdam these commissioned works were based on John Raybould's collection of insects developed at Amani and then donated to the Natural History Museum in London.<br><br><b>Amani-Traces of a Colonial Research Centre</b>, was a group exhibition curated by Prof Wenzel Geissler from the University of Oslo.<br><br>Wenzel Geissler co-convened the 2013 workshop in Finse, Norway, on the work of remote Tropical and Arctic research stations, that was the starting point for Neudecker's Vanitas works.<br><br><b>Photography : Courtesy of the artist and MAARK.</b><b>Used with permission.</b><br><br><b>The work is under copyright and may not be used without permission. Use of this repository acknowledges cooperation with its policies and relevant copyright law.</b>
DOI: 10.17870/bathspa.13014317
title: Plastic Vanitas and Amani Vanitas: Amani-Traces of a Colonial Research Centre, MAARK, Museum am Rothenbaum, Hamburg,Germany 19th September 2019 - April 2020.

description: Emerging from residencies at the Museum of Design in Plastics and Amani, an abandoned post colonial science research centre in Tanzania, the Vanitas works question what constitutes an archive and how responses to it might forge new connections, shedding light on our anthropological heritage, sustainability and our relationship to the environment.<br><br>This item contains 8 images of the 11 exhibited Amani photoworks, 2 of the 3 exhibited videos and 1 of the 2 stereoscopic photographs.<br><br>This item documents the inclusion of works made by Neudecker during a research residency at Amani, an abandoned post colonial research centre in Tanzania, once the gem of German colonial science. In this exhibition Neudecker and the other participating artists examine the traces of this colonial and post colonial legacy at Amani. The exhibited works resulting from her Amani research consists of 3 videos, and 11 photographic works, as well as 2 specially commissioned works that take the form of Stereoscopic viewers, <b>Your Head Is Younger Than Your Feet (Blackfly)</b>, and <b>Your Head Is Older Than Your Feet (Mosquito). F</b>unded by the Faculty of Social and Behavioural Sciences at the University of Amsterdam these commissioned works were based on John Raybould's collection of insects developed at Amani and then donated to the Natural History Museum in London.<br><br><b>Amani-Traces of a Colonial Research Centre</b>, was a group exhibition curated by Prof Wenzel Geissler from the University of Oslo.<br><br>Wenzel Geissler co-convened the 2013 workshop in Finse, Norway, on the work of remote Tropical and Arctic research stations, that was the starting point for Neudecker's Vanitas works.<br><br><b>Photography : Courtesy of the artist and MAARK.</b><b>Used with permission.</b><br><br><b>The work is under copyright and may not be used without permission. Use of this repository acknowledges cooperation with its policies and relevant copyright law.</b>
DOI: 10.17870/bathspa.14291468.v1
title: Plastic Vanitas and Amani Vanitas: Contextual Workshop, Residency, and Publication.

description: Emerging from residencies at the Museum of Design in Plastics and Amani, an abandoned post colonial science research centre in Tanzania, the Vanitas works question what constitutes an archive and how responses to it might forge new connections, shedding light on our anthropological heritage, sustainability and our relationship to the environment.<br><br>This item contains documentation of an exploratory workshop in Finse Norway in 2013 on the <i>Anthropology of Tropical and Arctic Field Stations,</i> co convened by Wenzel Geissler, which was the starting point for Neudecker's Vanitas works. It also documents the artist's 2014 residency in Amani, an abandoned research station in Tanzania, including a pdf of her Amani photoworks. Neudecker's brief essay <i>Echo, </i>written about her experience in Amani can also be viewed in this item. It was included in the publication <i>Traces of The Future: An Archeology of Medical Science In Africa </i>which was edited by Professor Paul Wenzel Geissler, Guillaume Lachenal, John Manton and Noemi Tousignant. It was published by the University of Chicago Press in 2017.<br><br><b>Photography courtesy of the artist and used with permission.</b><br><br><b>The work is under copyright and may not be used without permission. Use of this repository acknowledges cooperation with its policies and relevant copyright law.</b>
DOI: 10.17870/bathspa.14291468
title: Plastic Vanitas and Amani Vanitas: Contextual Workshop, Residency, and Publication.

description: Emerging from residencies at the Museum of Design in Plastics and Amani, an abandoned post colonial science research centre in Tanzania, the Vanitas works question what constitutes an archive and how responses to it might forge new connections, shedding light on our anthropological heritage, sustainability and our relationship to the environment.<br><br>This item contains documentation of an exploratory workshop in Finse Norway in 2013 on the <i>Anthropology of Tropical and Arctic Field Stations,</i> co convened by Wenzel Geissler, which was the starting point for Neudecker's Vanitas works. It also documents the artist's 2014 residency in Amani, an abandoned research station in Tanzania, including a pdf of her Amani photoworks. Neudecker's brief essay <i>Echo, </i>written about her experience in Amani can also be viewed in this item. It was included in the publication <i>Traces of The Future: An Archeology of Medical Science In Africa </i>which was edited by Professor Paul Wenzel Geissler, Guillaume Lachenal, John Manton and Noemi Tousignant. It was published by the University of Chicago Press in 2017.<br><br><b>Photography courtesy of the artist and used with permission.</b><br><br><b>The work is under copyright and may not be used without permission. Use of this repository acknowledges cooperation with its policies and relevant copyright law.</b>
DOI: 10.3886/e116126v1-82360
title: Replication data for: Who Is (More) Rational?

description: Revealed preference theory offers a criterion for decision-making quality: if decisions are high quality then there exists a utility function the choices maximize. We conduct a large-scale experiment to test for consistency with utility maximization. Consistency scores vary markedly within and across socioeconomic groups. In particular, consistency is strongly related to wealth: a standard deviation increase in consistency is associated with 15-19 percent more household wealth. This association is quantitatively robust to conditioning on correlates of unobserved constraints, preferences, and beliefs. Consistency with utility maximization under laboratory conditions thus captures decision-making ability that applies across domains and influences important real-world outcomes.
DOI: 10.6084/m9.figshare.13190570.v2
title: Mass Spectrometry analysis of N-glycans from resting and activated Tregs

description: N-glycans from the Tregs were permethylated and analysed by MALDI-TOF mass spectrometry. The data were acquired in the form of [M+Na]+ ions. Peaks representing hybrid and complex glycans were annotated according to the molecular weight and N-glycan biosynthetic pathways. <br>
DOI: 10.17870/bathspa.13019123.v1
title: Plastic Vanitas and Amani Vanitas: Some Things Happen All At Once, Zeppelin Museum, Friedrichschafen, Germany, 29th January - 3rd April 2016.

description: Emerging from residencies at the Museum of Design in Plastics and Amani, an abandoned post colonial science research centre in Tanzania, the Vanitas works question what constitutes an archive and how responses to it might forge new connections, shedding light on our anthropological heritage, sustainability and our relationship to the environment.<br><br>This item contains an exhibition press release, 7 exhibition views and a scale model of the exhibition.<br><br>This item documents the inclusion of Neudecker's<b> Plastic Vanitas</b> series of works in <b>Some Things happen All At Once</b>, a solo survey exhibition at the Zeppelin Museum . <b>Plastic Vanitas </b>is 49 photgoraphic artworks developed in response to the plastics collection at the Design of Plastics Museum in Bournemouth during Neudecker's residency. Using a specific form of still life, developed in 16th and 17th century Flanders, the objects are re presented in the photographs as Vanitas paintings, acting as allegories for environmental threat and future sustainability.<br><br><b>Photography: Courtesy of the artist and the Zeppelin Museum. Used with permission. </b><br><br><b>The work is under copyright and may not be used without permission. Use of this repository acknowledges cooperation with its policies and relevant copyright law</b>.<br>
DOI: 10.25345/c5622t
title: MassIVE MSV000087118 - Phenolic standard compounds by direct-infusion negative ESI tandem MS
title: This dataset consists of fragmentation data (MS2, MS3) obtained from a set of 14 standard compounds. The standards were measured in 2017 in negative ESI mode at collision energies (CID, N2) from 10 to 40. Each MS/MS spectrum was obtained by averaging 150 scans. For some product ions, also MS3 were acquired. See the connected manuscript for further details.