D. Compaeetti, Leggi antiche delta città di Gortyna, Firenze, 1885 F. Bücheler and E. Zitelmann, Rheinisches Museum N. F. Bd. 40 J. and T. Baunack, Die Inschrift von Gortyn, Stuttgart, 1886H. Lewy, Stadtrecht von Gortyn, Berlin, 1885Museo Italiano di Antickità classiche, edited by D. Comparetti, Florence, 1885 sqq. Vols. i, ii.

Bull-leaping has become one of the most emblematic activities of Minoan Crete and has recently received renewed attention with the BBC/british Museum radio series, A History of the World in 100 Objects. One of the featured objects, a Minoan bronze group of a bull and acrobat, was brought to life in a television advertisement using a modern bull and leaper. This act of translation is at the heart of the dialogue this paper seeks to address: the interaction between current (...) human attitudes toward nonhuman animals and their depictions, and those of the Bronze Age. It suggests that the animal practices of the past were shaped by material and social circumstances far removed from those of modernity. The mutual affordances of bulls and humans have resulted in similar interactions, or bull games, in different societies, but modern archaeologists have tended to downplay the relationship between bull and leaper in Bronze Age Crete by regarding bull-leaping in purely symbolic terms. An archaeological account informed by Human-Animal Studies can instead bring to the foreground both the familiarity and distinctiveness of past human-animal relationships. (shrink)

During the past thirty years, museums of all kinds have tried to become more responsive to the interests of a diverse public. With exhibitions becoming people-centered, idea-oriented, and contextualized, the boundaries between museums and the “real” world are eroding. Setting the transition from object-centered to story-centered exhibitions in a philosophical framework, Hilde S. Hein contends that glorifying the museum experience at the expense of objects deflects the museum's educative, ethical, and aesthetic roles. Referring to institutions ranging from art (...) museums to theme parks, she shows how deployment has replaced amassing as a goal and discusses how museums now actively shape and create values. (shrink)

The educational use of museums offers diverse learning opportunities for social knowledge, as well as for the development of democratic citizenship. Therefore, in this study, we investigate the conceptions and practices of primary school teachers regarding the use of these cultural spaces to teach and learn social knowledge. This research, ethnographic and qualitative, has involved 81 teachers who have been interviewed The results show a broad appreciation of museums as educational resources; however, there are limitations that hinder their (...) use, such as a lack of teacher training, the shortage of materials and resources to guide teaching work or the difficulty of organizing outings outside the school context to visit these places. The conclusion is that it is necessary to improve teacher training and strengthen a more effective integration of museum collections into educational practice. (shrink)

History in times of crisis is practical: future action depends on historical framing. Moving beyond “human scales” to include the evolutionary and the geological, and beyond humans to include other species, demands different approaches and new “archives” like ice-cores. This paper considers history in the Long Now, and particularly how museums and big public arts institutions develop new sorts of history through practical story-telling, taking seriously the notion that “the central role of museums [is] both an expression of (...) cultural identity and … a powerful force for human development and education.” The museum has a particular value as “slow media”, deepening news stories in times of rapid change. The new epoch of Earth, the Anthropocene, where humans have become a geological force, poses challenges for exhibitions, but also reshapes museums themselves. Crucial to managing stories, collections and objects in Anthropocene times is the capacity to change course, to remain open to new developments, using performances, events and “pop-up” exhibitions alongside traditional museum offerings. New Museology regards stories as the fundamental unit of museums. Thus, the curation of stories is central work. No longer are museums defined solely by objects: the artistic and the ephemeral are all part of story-telling. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Museums in Transition:Thoughts from an EmpiricistSean UlmerIn March 2005 Daniel Siedell, curator of the Sheldon Memorial Art Gallery and Sculpture Garden at the University of Nebraska in Lincoln, approached me with an invitation to participate in a symposium for the Journal of Aesthetic Education that he was guest editing. He said that the symposium would be dedicated to curatorial and educational issues and suggested that each of the (...) contributors could use David Carrier's forthcoming book as a starting point for their essays. At that time, I did not know of Carrier's thoughts but had a number of thoughts myself on issues related to curatorial and educational strategies within the museum setting. My experience in a variety of positions in three—now four—institutions had provided me with a number of perspectives about different facets of the museum and its curatorial and educational missions.In Carrier's book, Museum Skepticism, released in May 2006, the author posits a number of thought-provoking observations regarding the birth, evolution, and decline of the museum. Tracing this development from the French Revolution and the opening of the Louvre, through the Isabel Stewart Gardner Museum, the Boston Museum of Fine Arts, Albert Barnes's collection and foundation/museum, and finally the J. Paul Getty Museum, Carrier looks at specific examples to support claims he makes in his intriguing opening and concluding chapters. While there are too many worthwhile observations to explore in great detail here, I will address some of the issues that piqued my interest, coming at the question from a different point of view, that of a working museum professional.Let me begin by stating that I am no theorist. Instead, I am an unapologetic pragmatist.1 My entire career has been shaped by actual work within a museum, seeing the institution—or "organism" as I usually refer to it—from a number of different vantage points.2 These varied experiences have given me the opportunity to see the museum—at least a Kunsthalle, two university museums, and a public museum—from several different vantage points. [End Page 4]In his introductory chapter, Carrier asks his primary question: "What is it like to lead the life of a work of art?"3 This is a very interesting question, and one with which many of us rarely consider in our day-to-day work within the museum's walls. In order to answer the question fully, Carrier suggests that "we need to understand museums."4 Indeed. In actuality, museums (and there are many different types) are just one component that must be considered. For a full consideration of the life of the work of art, one must start with the artist. What were his or her motivations? What was he or she trying to accomplish with the work? How was it first shown? In a gallery? In a museum show? How did the artist intend the work to be shown? What was the role of the patron or commissioner, if there was one? We know that the Catholic Church was an important originator of a number of great works of art and many were destined for church interiors, and some still are in situ. One cannot deny, however, that many of the world's great works of art ("great" simply deemed so by consensus) have found their way into museums. Museums are much more complex beasts than Carrier—or anyone for that matter—can cover within the confines of a single, publishable book. So many factors must be considered, especially when considering today's museums, as they continue to evolve and grow: the role of the collector, the patron, the board, the director, the curator, the education staff, the guards, and the public, to name just a few individuals who require consideration when analyzing museums. Such an interesting mixture of different individuals, each with a unique perspective (and agenda), coming together in one place makes for this complexity. And while the author uses this question of the life of a work of art as a starting point, he finds in the progress of the text a number of other stimulating and thoughtful observations. There is much more contained within... (shrink)

박물관은 지금까지 주로 과거를 저장하고 전시하는 수동적인 공간으로 인식되어왔다. 따라서 박물관을 현재 그리고 미래와의 연관성 안에서 이해하는 연구는 부족한 실정이다. 특히, 박물관, 그 중에서도 추모 박물관들이 다수 존재함에도 불구하고, “두 번 다시는(Never Again)”의 메시지는 박물관 공간 안에서만 공허하게 울릴 뿐 전시된 과거의 끔찍했던 인권탄압은 전 세계적으로 반복되고 있다. 본 연구는 바로 이러한 추모 박물관의 과거와 현재 사이에 부재하는 연결고리에 집중하여 현대사회에서 박물관이 어떻게 소비되고 있는지 논의하고, 이를 통해 박물관 분석에 관한 새로운 접근방식을 모색하고자 한다.BR과거를 전시하는 박물관을 현재에 위치시키기 위해 본 (...) 연구는 과거와 현재의 다리 역할을 하는 방문자들의 경험을 쫓아 박물관을 탐색한다. 기존 박물관 연구는 전시와 그 전시를 기획한 배경 그리고 인물들에 관심을 집중한 반면 방문객들의 경험에 대해서는 무관심한 경향이 있다. 따라서 현재를 살고 있는 방문객들이 과거의 공간인 박물관을 어떻게 경험하는지 살핌으로서 과거에 머물러 있던 박물관에 대한 논의를 확장하여 현대사회에서 박물관이 어떠한 위치에 있으며 영향을 주는지 살펴보고자 한다. 다시 말해, 지금까지의 박물관 연구가 박물관 자체에 머물러 있었다면, 본 연구는 사회라는 넓은 틀 안에서 박물관의 역할을 분석함으로써 박물관에 대한 논의를 확대시키고자 하며 이를 통해 박물관의 사회적 역할을 재조명하려고 한다.BR이를 위해 추모 박물관은 두 갈래로 논의된다. 첫 번째로, 보드리야르(Jean Baudrillard)의 시뮬라크럼(Simulacrum) 이론을 통해 박물관 전시와 방문객들의 경험을 분석하고, 그의 현대 소비사회에 대한 이론을 바탕으로 추모 박물관이 소비사회 중심에 살고 있는 방문객들에 의해 어떻게 즐겁게 소비되고 있는지 논의한다. 두 번째로, 사라 아메드(Sara Ahmed)의 행복함(Happiness)에 대한 이론을 통해 추모 박물관이 어떻게 인권유린의 역사를 해피엔딩이라는 “완벽한 결말”로 왜곡시킴으로서 현재까지 지속되고 있는 사회갈등을 의도치 않게 감추는지 논의한다. (shrink)

This chapter delves into the museological side of ‘the way forward’ to conservation for planetary health bioethics. Specifically, it highlights the crucial role that museums play – their curatorial or exhibition interventions, conservation operations, development policies, or practices – which present or represent the vital relationship between human and planetary health. While it is not new to stress the significance of museums’ link to the environment and environmental education, it is necessary to re-examine recent cases in light of (...) the rapid changes brought about by climate change and the constant call for sustainability. We thus offer a review of some recent literature that appraises the museum’s role in bioethically considering the health of our living planet. Learning this role taps into relatively new themes such as ecomuseums and architectural heritage, or critical eco-museology. (shrink)

In 2020, TICCIH published its thematic study on oil heritage, the first global assessment of the heritage of petroleum production and the oil industry, and of the places, structures, sites, and landscapes that might be conserved for their historical, technical, social, or architectural attributes. In many cases, the petroleum production sites and historical infrastructures, situated in corrosive and fragile landscapes, are costly to conserve, challenging to re-use, and pre-function considering their contribution to climate change. TICCIH also included the proposals for (...) criteria to evaluate this heritage and priorities for conserving the most important sites, ensembles, and landscapes, from regional inventories up to World Heritage sites. In this report, the heritage of the petroleum industry is defined as ‘the most significant fixed, tangible evidence for the discovery, exploitation, production, and consumption of petroleum products and their impact on human and natural landscapes’. While the importance of the historical evidence for the oil industry as a tangible cultural heritage is self-evident, it is also challenging to define an integrated and holistic strategy from a conversation point of view. For achieving holistic and methodological re-use strategies, it is required to reconsider various factors such as national policies and economic systems. (shrink)

Since the 1960s, many artists have incorporated ecological concerns into their work, an endeavor that has required new strategies in art-making. To explore recent American manifestations of these interests, the David and Alfred Smart Museum commissioned new projects from artists Mark Dion, Peter Fend, and Dan Peterman, each focusing on interrelationships between particular organisms—human beings-and a specific group of sites—a museum building, a river landscape, and a university campus. The results, exhibited at the Smart Museum during the summer of 2000, (...) evoke the varied scales, from the microscopic to the global, at which human actions affect the environment. This catalog documents each of the artists' projects through an array of images and words: Smart Museum Associate Curator Stephanie Smith provides an introduction and brief overviews of the three projects, each of the artists contribute statements, and photographers Susan Anderson and Tom van Eynde document—in over 100 images—the processes and projects that comprise the exhibition. (shrink)

Review of James J. Sheehan’s Museums in the German Art World: From the End of the Old Regime to the Rise of Modernism (New York: Oxford University Press, 2000).

1891. The recovered manuscript of Aristotle's Constitutional History of Athens, now for the first time given to the world from the unique text in the British...

Bhabha, Georges Didi-Huberman, David Morgan and Lee Siegel, as well as a series of focused contributions by Yve-Alain Bois, Wendy Doniger, Kenneth Frampton, Martin E. Marty, John Hallmark Neff, Annemarie Schimmel, and Helen Tworkov consider how rapture resonate's both in a cultural context and within the experience of a single human being.

This special issue of Centaurus brings together historians from Latin America and Europe to trace the history of some scientific collections and museums, in order to reassess their significance and to draw a more nuanced international geography of the sciences. Our dossier focuses on “provincial” natural history and archaeology museums and collections. For the sake of simplicity, we use the term “provincial” to qualify these “peripheral” spaces that encompassed colonial and post-colonial territories as well as the European provincial (...) regions, but the label is only a convention as some of these collections were sometimes displayed in national capitals. Focusing on objects, people, or institutions, with case studies from Mexico, Uruguay, Peru, Brazil, Northern Italy, Catalonia, and Switzerland, the articles gathered here reveal the scholarly practices and sociability of the many collectors, brokers, and go-betweens acting in the “provinces,” especially those of the amateurs. These essays show the relevance of the history of provincial collections to the wider history of scientific museums. Indeed, the shift of focus from the major institutions of the metropolitan capitals to the many collections and museums created in less central cities and regions sheds light on many issues that have remained in the background within the more centrally focused historiography. (shrink)

According to Aristotle, the household was one of the constituent parts of the state. He defined the household in its complete form as consisting of slaves and freemen. Within the household he discerned three primary relationships: those between master and slave, husband and wife, and father and child.

A Late Byzantine nature study in a fifteenth-century manuscript now in the library of London's Natural History Museum is here identified as Sedum rupestre L. or Sedum sediforme (Jacq.) Pau. But the plant depicted, labeled aeizōon to amaranton, has no antecedents in earlier manuscripts; indeed, the name aeizōon to amaranton is unconnected to the ancient botanical tradition, and appears only in Late Byzantine botanical lexica. The picture considered here appears to be a novel creation of the fifteenth century, and may (...) be the product of collaboration between a Latin-speaking scholar of botany and a painter trained in the Byzantine tradition; stylistic analysis establishes the painter's Byzantine training. He or she may have begun life in Constantinople or in a Frankish or Venetian territory such as Crete. This novel nature study may have served as a frontispiece displaying the Byzantine artist's skills of observation and representation. (shrink)

Despite the age-old longing for peace, and the long history of peacemaking—and the necessity in the nuclear age to abolish war—peace museums are still relatively rare, certainly when compared with war museums. War and violence are dominant themes in school history books and war heroes are glorified in monuments and memorials. Peace and anti-war narratives are little known and forgotten and often even censored and repressed. Peace museums are an important instrument to make peace visible and contribute (...) to peace education and the development of a culture of peace—providing a necessary counterpart to the dominant culture of war and violence. (shrink)

A persistent tradition existed in antiquity linking Caria with the island of Crete. This central theme of regional history is mirrored in the civic mythologies, cults and toponyms of southwestern Anatolia. This book explains why by approaching this diverse body of material with a broad chronological view, taking into account both the origins of this regional narrative and its endurance. It considers the mythologies in the light of archaeologically attested contacts during the Bronze Age, exploring whether such interaction could (...) have left a residuum in later traditions. The continued relevance of this aspect of Carian history is then considered in the light of contacts during the Classical and Hellenistic periods, with analysis of how, and in which contexts, traditions survived. The Carians were an Anatolian people; however, their integration into the mythological framework of the Greek world reveals that interaction with the Aegean was a fundamental aspect of their history. (shrink)

In this study, I will analyse the position of the Orthodox Church(es) towards the ecumenical dialogue in accordance with the documents approved by the Synod of Crete (2016), but also with the social document For the Life of the World of the Ecumenical Patriarchate (2020). After a brief presentation of the important moments of the historical journey for the meeting of the Synod, I will present the most important internal and reception issues of it. In the following, I will (...) present the reason for the publication of the social document and the relation with the Synod of Crete. In the last part of the study, I will deal critically with a theological synthesis on the following topics: ecclesiological self-identity, Trinitarian baptism, the quality of being a Christian, the Orthodox Church and the Churches, ecumenism for dialogue, for witnessing, and cooperation. Of course, in the end, I will present the most important conclusions. (shrink)

Early in Aeneid 3 Aeneas visits Delos and approaches the temple of Apollo with a request for advice on the destination for which the refugees should head. There is an immediate response to his questions : uix ea fatus eram: tremere omnia uisa repente, liminaque laurusque dei, totusque moueri mons circum et mugire adytis cortina reclusis.

Those who have attended any Hegel congress in Stuttgart in the past may remember disappointment on seeing the house in which Hegel was born. I well remember my own embarrassment, a few years ago, taking a group of Italians to the 400 years-old house at No. 53 Eberhardstraße. We found nothing to remind us of the philosopher but a miserable plaque. Worse, the ground floor of the building was apparently occupied by a firm specializing in bathroom equipment. This sad and (...) unsatisfactory situation was all the more surprising, given that this house was among the few old buildings not destroyed during World War II. (shrink)

As an essential institution of social public aesthetic education, the art museum has always undertaken the primary function of social aesthetic education. The digital art museum expands the role it is not able to play based on the space constructed by the physical art museum. Although the digital construction of domestic art galleries has been carried out for many years, its special significance and unique advantages are difficult to show under the usual operation and exhibition mode. The sudden epidemic has (...) changed people's life track and way of thinking to a certain extent, which will undoubtedly provide a significant development opportunity for the digital art museum. Based on the broad background that the country adheres to building morality and cultivating people, attaches great importance to aesthetic education, and vigorously carries forward the spirit of aesthetic education, this article compares and combs the current digital development achievements of art museums at home and abroad, and it considers the construction and potential problems of the cloud model of digital art museums in China's postepidemic era. This article attempts to provide a theoretical basis for accelerating the renewal of the educational model and ways of contemporary social aesthetic education. (shrink)

Public education in museums has the interdisciplinary nature of STEAM education contemporary learning. In the contemporary learning process of the public, digital museums can rely on mobile terminals to provide people with opportunities for mobile learning. Especially since the global outbreak of COVID-19, many offline museums have been forced to close their doors or impose restrictions. How to use digital museums to better carry out the learning experience of visitors is a problem worthy of attention. Effective (...) dissemination of visual information can help digital museums conduct educational activities more efficiently. The purpose of this study was to explore a research method for visual evaluation of visitors’ learning experiences in digital museums. The visual evaluation of visitors in the digital museum learning experience involves the layout of exhibition content, the form of exhibition space, and the way of display of exhibits. Through eye-tracking engineering experiments, we obtain and analyze the visual data of visitors during the educational experience of the digital museum to form an accurate evaluation. This method can be used to assess the visual satisfaction of visitors with the educational experience of a digital museum in mobile learning. This kind of evaluation research can provide strong data support and design optimization direction guidance for the development of digital museum public education. (shrink)

We discuss the evolution of the World Logic Prizes Contest. In a first section, we describe how this contest developed, on the on hand by the creation of the Universal Logic Prize starting in 2005 at the 1st World Congress and School on Universal Logic in Montreux, Switzerland, on the other hand by the creation of the Newton da Costa Logic Prize in Brazil in 2014. These two projects joined in 2018 by the organization of the 1st World Logic Prizes (...) Contest at the 6th World Congress and School on Universal Logic in Vichy, France. In a second section, we talk about the organization of the 2nd World Logic Prizes Contest to take place in April 2022 at the 6th World Congress and School on Universal Logic in Crete, Greece. We explain that there will be 15 contestants from 15 different countries with a good geographic distribution. In a third section, we discuss how this project can develop in the future with the creation of more logic prizes, the creation of similar prizes in other fields and the organization of a World Scientific Prizes Contest. (shrink)

Starting from the investigation of the documents issued by the Bishops who participated in the Holy Pan-Orthodox Council held in June 2016 in Crete, the author speaks in this research about the way in which ecumenism is understood from the perspective of this important event. The article tries to answer the question 'How did the event influence the Orthodox attitude towards ecumenism?' analysing documents, Mission of the Orthodox Church in Today's World and Relations of the Orthodox Church with the (...) Rest of the Christian World, he shows that the dialogue entailed by ecumenism is perceived nowadays, according to the documents of the World Council of Churches, like a pilgrimage of justice and peace, and he highlights the main topics of this perception. Therefore, he shows that, according to the documents, a real and fruitful dialogue with other Christian faiths must be based on the Trinitarian witness, the Bible, the Tradition, the Creed and the teaching of the Seven Councils and that, among its main topics, one must definitely mention the witness, love, dialogue, the fight against discrimination or the care for the future of the Earth. The relevance of the ecclesiological background and of its understanding for the future of this dialogue is also mentioned. The documents are investigated in a deductive and comparative-analytic way by the author. If before the Council there was no official general attitude of the Orthodox space regarding ecumenism, nor an official document on this topic - although between 1968 and 1998, all the Orthodox Churches were members of the WCC - after this event, there is an official position and a list of main topics that could be developed and principles that should be respected for a fruitful dialogue in the future, at least for the Churches that took part in the Council. By analysing the aforementioned topics, by correlating them with other texts dedicated to the Council of Crete, and also by emphasising the perception of the Orthodox Church about ecumenical dialogue and its developments starting from the aforementioned event, the research brings into attention a sensitive topic and highlights some of its important, but not enough highlighted, aspects. (shrink)

Exlibris der Ägyptenrezeption und Ägyptomanie: Zur Sammlung des Gutenberg-Museums in Mainz. By Kirsten Konrad. Philippika, vol. 90. Wiesbaden: Harrassowitz Verlag, 2015. Pp. 488, illus. €78.

The stage-like “exhibitionary space,” which members of the public visit, has received more scholarly scrutiny than the pedagogical and curatorial activities that take place in the back rooms of museums. This essay draws attention to the behind-the-scenes places in university museums as a pedagogic site where students learn through the close examination of artefacts. It addresses the social context of learning through the study of incomplete objects, which may involve handling them. This process of using artefacts to engage (...) with different groups of people (collectors, curators, teaching staff and students) contributes to the physical and intellectual development of academic disciplines. It enhances the museum's institutional mission and survival as an incorporated body that is embedded in a greater whole, the university itself. The Ashmolean Museum, in the University of Oxford, and the Balfourian and Sibbaldian Museums, in the University of Edinburgh, were founded in the seventeenth century. But whereas the Ashmolean survived as an institution, the first Edinburgh collections did not. These historical antecedents serve as a backdrop to a discussion of how one particular example, the Cambridge Museum of Archaeology and Anthropology (CUMAA), trains new generations of learners to evaluate empirical evidence and by working with different communities of users—students and the wider public—it ensures its survival. (shrink)