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The book is dense with Susan Andrews's photographs of the exhibition, the visitors, and the post-exhibition journey of the objects. As befits its open-endedness Daniels does not draw one final conclusion as to whether the exhibition was successful or not in transforming the stereotypes that visitors had of Japanese domesticity. i challenges perceptions of contemporary exhibitions by a reversal of power from the curator to the visitor, thus looking at what exhibitions could be - "technologies of the imagination.". [Extracted from the article]

"Entre Líneas: una historia de Colombia en mapas" is a book that explores the cartographic history of Colombia and how the image of its territory became a national icon. The book is divided into five chronological sections, each covering a century, and examines the different maps that shaped Colombia's territorial configuration. The authors analyze the maps not only as descriptions but as deliberate actions that impose a past, present, and possible futures. The book also delves into the diverse geography of Colombia and the various cultures and groups that have influenced its maps. Overall, "Entre Líneas" offers a comprehensive and nuanced understanding of Colombia's history through the lens of cartography. [Extracted from the article]

The article offers information on a special issue of Brontë Studies that focuses on the Brontës and material culture, inspired by the exhibition "Defying Expectations: Inside Charlotte Brontë's Wardrobe." It invites articles that explore various aspects of material culture related to the Brontës, including women as consumers, the Victorian home, archiving, representation of objects in literature, and items owned by the Brontës.

This study presents the background and the evaluation of integrating eXtended Reality (XR) in the permanent exhibition at the Tomato Industrial Museum "D. Nomikos". This paper firstly provides the context of this study by outlining the methodological, technological, and museological approaches undertaken to integrate XR in a quest to enhance visitors' meaningful engagement with the industrial heritage-related exhibition. Storytelling and narration are key elements of the museum's museological design through audio tours and interactive AR-based visualization n of the machinery's role and function. This paper presents and discusses the design of the evaluation methodology employed in the context of pertinent methods and approaches used in related research. This study investigates the effectiveness of XR for audience engagement and the added value that such technologies offer to the user experience as well as possible improvements. The main method adopted for gathering quantitative data is the User Experience Questionnaire (UEQ), and for qualitative data, through semi-structured interviews. Moreover, the findings are analyzed, interpreted, and discussed. Based on a case study, this paper offers a broader discussion of the challenges and prospects connected to the quest of employing emerging technologies and assessing their impact on visitors' museum experience, reaching conclusions for future directions in the field. [ABSTRACT FROM AUTHOR]

This paper discusses the role and agency of the architecture exhibition as a mediated space of discursive spatial narratives. The presented curatorial approach draws on the exhibition entitled Past-forward: Stavros Economou Unarchived (2021) to reflect on the development of a multimedia-enabled reading of the architectural archive. Stavros Economou is one of the most important representatives of modern architecture in Cyprus, yet his work is underdiscussed and under-published. The architectural archive, unlike other collections, consists of representations (such as drawings, models, photographs) of artefacts (buildings) that communicate design processes and final un/built proposals. The curatorial practice focused on a twofold challenge: on one hand, it explored the role architectural representation can play in the production of the multiple and complex (hi)stories of modern buildings, and secondly, it considered ways in which an architecture exhibition can connect with the host city and its local population by addressing contemporary urgencies of spatial inquiry. [ABSTRACT FROM AUTHOR]

This paper addresses the need for local cultural policies targeting cinema exhibition. Portugal evidences extreme dependency upon the central government, including for local movie screening, thus expressing the Portuguese high territorial asymmetry. Our research discusses the importance of noncommercial exhibition for countering this situation, as it is implemented by local agents (not only film societies) with a wider cultural intervention. When reflecting on the European countries policies for cinema and acknowledging the big socioeconomic and historical differences between Portugal and the Nordic countries, the regional-local initiatives of the latter emerged as an important issue for decentralization, especially the Norwegian scheme. [ABSTRACT FROM AUTHOR]

This talk asks what a bibliography of birch bark books might entail and how such research might challenge understandings of paper, print production and circulation, and readership. I take up these questions by examining an array of birch bark books and objects that informed the making and circulation of the Potawatomi writer Simon Pokagon's birch bark booklet titled The Red Man's Rebuke (alternately titled The Red Man's Greeting). Although they are thought by many scholars to have been printed for the Columbian Exposition and World's Fair in 1893, I illuminate a longer history of the booklets' printing and circulation, including multiple editions and evidence of several readers. I ask what methods a bibliography of birch bark requires by reflecting on recent collaborative research with Pokagon Band of Potawatomi archivists and linguists. Attempting a bibliography of the birch bark booklets offers new insights on how Indigenous people acted as readers of periodicals and other printed objects as well as evidence of strategic circulation and archiving, from the nineteenth century to the present. [ABSTRACT FROM AUTHOR]

The purpose of this article is to give an exposition of a proof of the distributional form of the Whittaker Plancherel Theorem. The proof is an application of Harish-Chandra's Plancherel Theorem for real reductive groups and its exposition can be used as an introduction to Harish-Chandra's Plancherel Theorem. The paper follows the basic method in the author's original approach in his second volume on real reductive groups. An error in the calculation of the Whittaker Transform of a Harish-Chandra wave packet is fixed using a result of Raphaël Beuzart-Plessis. [ABSTRACT FROM AUTHOR]

In this paper, we conduct a thorough investigation into holomorphic Riemannian maps from nearly Kaehler manifolds. We determine the necessary and sufficient conditions for these maps to be harmonic. In addition, we explore the scenario where the total manifold admits a Ricci soliton, analyze the properties of the holomorphic Riemannian maps in this context. We also establish several conditions under which the fibers of these maps admit Ricci solitons and trivial Ricci solitons. [ABSTRACT FROM AUTHOR]

Between October 2021 and January 2022 an ambitious combined art and science exhibition presented a unique object-rich cosmological story at the University Library of Leuven, Belgium, as part of the Kunst Leuven KNAL! City Festival 2021 (English: BANG! Big Bang City Festival). To the Edge of Time was a transdisciplinary introduction for general audiences to one of the most famous and complex developments in science, the Big Bang theory. The exhibition presented artworks and science objects as equal partners that through curatorial placement and interpretation could fluidly convey key theoretical moments, materials, philosophical perspectives and ideas. The scientific story focused on how the groundbreaking work of the Belgian priest-astronomer Georges Lemaître bridged the insights of two of the twentieth century's other leading European scientists, German physicist Albert Einstein and the British cosmologist Stephen Hawking. Objects from their lives and archives revealed their specific ideas and processes of thinking and discovery. Artworks from leading international artists brought new material, critical and conceptual dimensions and multisensory encounters. The exhibition was the result of a curatorial collaboration between the author, British contemporary art and transdisciplinary curator Hannah Redler-Hawes, and Belgian cosmologist and former collaborator of Stephen Hawking, Professor Thomas Hertog, of KU Leuven. As guest curators, they worked with Annelies Vogels, Exhibition Coordinator of the university and Wouter Daenen of KU Leuven Libraries, and others to form a closely collaborating curatorial team. To the Edge of Time was not only the first exhibition worldwide to explore Lemaître's work through a transdisciplinary narrative, but also to place Stephen Hawking's work in a broader historical context. In the trans- and interdisciplinary exhibition field, where new commissions and collaborations between living artists and scientists have been increasing, it was somewhat unusual for a cosmology exhibition in its reliance on material culture, concentration on historical art and science objects and its combining of these with presentations of recent contemporary art and advanced theoretical physics concepts. These combinations helped to convey parallel movements of thought where neither the art nor the science were presented as derivative to each other, a key curatorial ambition. This practice-based paper, offering Redler-Hawes's personal reflections, discusses how the narrative evolved to define a shared language between the contributors. It considers, through a narrated walk-through of key objectartwork 'constellations', how the presentation generated new insights into different methods of enquiry, knowledge acquisition and making sense of our place in the cosmos, by bringing major themes in twentieth century science into dialogue with international artists working independently and in collaboration with science during the twentieth and early twenty-first centuries. [ABSTRACT FROM AUTHOR]

The documentation and visualization of ephemeral CH, especially for World's Fairs architecture, remains a neglected endeavor on the global scale. While digital products like 3D models find extensive application in CH, the use of a WebGIS has scarcely been explored in this domain. When a WebGIS is used for CH, it serves to communicate the output of research, not as a tool to support the development of the research itself. Moreover, aspects like procedural development for the creation of a WebGIS platform, its upgrading, and its long-term preservation are key factors for the maintenance of the digital tool, but they have scarcely been considered in the literature. Through the Turin 1911 project, this paper defines a procedure for the creation of a WebGIS for ephemeral architectural documentation, showing how a WebGIS platform can be designed, implemented, tested, and maintained. The novelty of this study lies in the creation of a 2D/3D WebGIS based on a tailored spatial database; the WebGIS is coupled with a dedicated website for the constant updating of the research data documenting the Turin 1911 International Exposition. The discussion emphasizes the transformative role of a WebGIS in not only sharing information but also serving as a dynamic platform for conducting digital humanities studies in 3D environments. [ABSTRACT FROM AUTHOR]

This paper provides an exposition and defence of Lewis' theory of radical interpretation. The first part of the paper explains what Lewis' theory was; the second part explains what it wasn't, and in so doing addresses a number of common objections that arise as a result of widespread myths and misunderstandings about how Lewis' theory is supposed to work. [ABSTRACT FROM AUTHOR]

A wooden shield, made by a once-known Aboriginal person in Western Australia around the beginning of the twentieth century, sits in the Science Museum's London stores. This paper focuses on its life in an East London match factory from about 1928 until 1937, when it was transferred to the Science Museum. The shield stands out among its Aboriginal counterparts now held by museums because curators at the Bryant and May Museum of Fire-Making Appliances (and subsequently at the Science Museum) did not prioritise its links with conflict or ceremony, nor the skill with which it was carved. Instead, unprepossessing marks on its back captured their attention. These saw-marks showed that this was not 'just' a shield: it had sometimes been used to make fire. Valued now as an example of global fire-equipment, it was subsumed into an English collection of fire making technologies. By tracing the shield's early museum life, this paper considers how and why European collecting cultures have marshalled indigenous objects to promote narratives of supposed 'progress'. [ABSTRACT FROM AUTHOR]

In the first part of this paper, we present a unified framework for analyzing the algorithmic complexity of any optimization problem, whether it be continuous or discrete in nature. This helps to formalize notions like "input", "size" and "complexity" in the context of general mathematical optimization, avoiding context dependent definitions which is one of the sources of difference in the treatment of complexity within continuous and discrete optimization. In the second part of the paper, we employ the language developed in the first part to study information theoretic and algorithmic complexity of mixed-integer convex optimization, which contains as a special case continuous convex optimization on the one hand and pure integer optimization on the other. We strive for the maximum possible generality in our exposition. We hope that this paper contains material that both continuous optimizers and discrete optimizers find new and interesting, even though almost all of the material presented is common knowledge in one or the other community. We see the main merit of this paper as bringing together all of this information under one unifying umbrella with the hope that this will act as yet another catalyst for more interaction across the continuous-discrete divide. In fact, our motivation behind Part I of the paper is to provide a common language for both communities. [ABSTRACT FROM AUTHOR]

In an era where an increasing number of people find it challenging to grasp scientifically accurate environmental data, the need for more engaging museum exhibits to convey this information has never been more crucial. This article discusses Daptec Flat Holm which is a data physicalisation technology project on Flat Holm Island, Wales. Flat Holm Island is designated as a site of special scientific interest and is a local nature reserve. This project aims to understand how we might improve people's engagement with environmental data through a multi-sensory museum exhibit. To achieve this, the project team applied a new creative approach to make the presentation of environmental data more engaging to a diverse science museum audience. Employing a user-centered methodology, this study reveals insights derived from three distinct user experience investigations conducted during the summer of 2022. The main contribution lies in how the researchers have extracted the nuances from the audience reactions and then identified potential audience types, their points of engagement, as well as their challenges. In detail, the findings illustrate how the application of a vignette data analysis technique revealed distinct audience types, including passive observers, active users, engaged ambassadors, disinterested participants, critical friends, and enthusiastic collaborators. In summary, the paper offers recommendations into how we might further engage a broader audience in technology mediated environmental museum exhibitions. [ABSTRACT FROM AUTHOR]

Although COVID-19 has commonly been narrated as an impediment to the arts, I argue that it also offered exciting new opportunities to engage audiences with exhibitions focus on public health crises. In this article, I reflect on my experience of curating Picturing the Invisible with students at Technical University Munich (TU Munich) during the COVID-19 pandemic. Organized in memory of the 2011 Great East Japan Earthquake, tsunami and nuclear disaster, the exhibition was shown at the Royal Geographical Society, London (October till December 2021) during the so-called "second wave" and at TU Munich (June 2022) amid the rise of the Omicron Variant. Departing from the common tendency to narrate events as having been successfully organized despite the pandemic, this paper presents the virus as co-creating—perhaps even co-curating—the exhibition. To do so, I provide a brief overview of Picturing the Invisible, before going on to analyze the role that the virus played in calling me to organize this project (as both a researcher and as a lecturer), how it has made it logistically possible, and how it presented new opportunities to engage foreign audiences with the experience of Japan's triple disaster. [ABSTRACT FROM AUTHOR]

The primary aim of this article is to give a more detailed exposition of the cultural, personal, and theoretical contexts in which the Viennese psychoanalyst, Herbert Silberer's theories were born. When assessing the broader picture that this approach offers, it can be concluded that Silberer was an innovative thinker who inspired several of his contemporaries. Recognized in many respects by the society and scholars of this time, he represented quite a different viewpoint that was significantly influenced by several forms of Western esoteric thinking. Yet his main aim was to contribute to the field of psychoanalysis and develop a theory in which rationalistic psychoanalytic interpretations were combined with nonreductive approaches to mystical experiences. Silberer's name is frequently mentioned in a specific context in which his tragic suicide is emphasized rather than his innovations. Upon evaluating the materials recording Silberer's private life, it seems very likely that his suicide was not triggered by the criticism of Freud alone. Silberer's family affairs, his relationship with his father, and his financial and professional struggles could have all contributed to his tragic decision. This paper contends that Silberer's oeuvre deserves greater attention and must be evaluated based upon its own merit. [ABSTRACT FROM AUTHOR]

In 2006 Bonato and Tardif posed the Tree Alternative Conjecture (TAC): the equivalence class of a tree under the embeddability relation is, up to isomorphism, either trivial or infinite. In 2022 Abdi, et al. provided a rigorous exposition of a counter-example to TAC developed by Tetano in his 2008 PhD thesis. In this paper we provide a positive answer to TAC for a weaker type of graph relation: the topological minor relation. More precisely, letting [ T ] denote the equivalence class of T under the topological minor relation we show that 1. | [ T ] | = 1 or | [ T ] | ≥ ℵ 0 and 2. ∀ r ∈ V (T) , | [ (T , r) ] | = 1 or | [ (T , r) ] | ≥ ℵ 0. In particular, by means of curtailing trees, we show that for any tree T with at least one ray with infinitely many vertices with degree at least 3: | [ T ] | ≥ 2 ℵ 0 . [ABSTRACT FROM AUTHOR]

Several recent studies have discussed approaches to planning and implementing digital exhibitions in libraries. However, prominent library organizations such as the American Library Association and IFLA have no published best practices or standards for digital exhibitions. The literature shows that digital exhibitions and digital supplements to in-person exhibits have benefits, including increased accessibility and user engagement. Using interviews with professionals at information institutions, this paper reveals and clarifies the common practices used to create digital exhibitions and the challenges of the design process. Additional interviews with professors of religious studies who utilize digital exhibits and resources in their roles as educators provide insight into the use of digital exhibits as tools for expanding public understanding of important historical and cultural topics. The consensus of creators and users of digital exhibitions is that they are valuable educational resources that reach new users, provide additional context for materials, and increase user engagement. [ABSTRACT FROM AUTHOR]

The Battle of Neretva, directed by Veljko Bulajić is one of the biggest war spectacles produced in Yugoslavia following the famous partisan battle with Axis forces during World War II. The film serves as a useful site from which we can understand the conventions of the Yugoslav war film while its exceptional production and exhibition strategies and reception history signal a critical turning point in the cultural understanding of the war film as a meditator of history. By studying the film's production, exhibition, and reception, aesthetics, and historiographical significance, and drawing upon original archival documents preserved in the Jugoslovenska Kinoteka/Yugoslav Cinematheque in Belgrade, this paper aims to identify, assess, and expose the layered significance of the film The Battle of Neretva, and to further map out its position within (Yugoslav) film history. [ABSTRACT FROM AUTHOR]

In Scotland, experimental and non-commercial art and music practices have long shared physical space, with a great deal of crossover between who is making visual art and music, as well as fluidity between artists and their audiences. Whilst Scotland's—and in particular Glasgow's—DIY scene and its history has been well documented by writers such as Sarah Lowndes and Hans Ulrich Obrist offering art-historical perspective, there has been less focus on the ways in which connections are embodied through music and sometimes experimental writing and publishing practices in these communities. This paper contains two qualitative studies of projects that operate within both visual art and music contexts: The Rhubaba Choir, an experimental choir attached to Edinburgh artist-run organisation Rhubaba and The Grass is Green in the Fields for You a small-press publishing project focused on music culture, run by Matthew Walkerdine. Working with a definition of DIY as an ethic or methodology rather than a style of production, it explores the philosophical overlap between DIY art and music practices as well as their differences and the influence they have had and continue to have on each other. [ABSTRACT FROM AUTHOR]

This paper examines the role of human remains in genocide memorials and museums to evoke and narrate individual experiences of genocide. Understanding that the display of human remains is contested, I suggest that their presence in memorials and museums can play a valuable, but hitherto neglected, role in the development of individualized and evidentiary narratives of genocide. Such narratives, developed through explicit information regarding the provenance of the remains and the forensic analysis conducted, can deepen the engagement with and understanding of the victims of genocide by museum visitors. Based on the Forensics Exhibition in Tuol Sleng, Cambodia, I argue that explicitly displaying and explicating the remains develops a powerful evidentiary narrative complementing those developed in more familiar exhibitions. In so doing, I expand on debates regarding the liminal position of human remains as person and object, arguing that the display of such remains in a forensic and public context supports engagement with the remains as individuals. In so doing, the paper provides an opportunity to consider the management of the dead and human remains in the aftermath of mass violence and genocide, attempting to marry the emotional and social needs of the survivors with the desire for "evidence" articulated in the legal, historical, and pedagogical realms. [ABSTRACT FROM AUTHOR]

This paper interrogates administrative law as organized lawlessness by engaging in the necessary theoretical expositions. The central research question of the work borders on the aptness or logic of depicting administrative law as organized lawlessness. Under a qualitative research design, the study relied on internet materials, book sources, journal articles and other secondary sources of non-numeric data to conduct its interrogations. It traced the source of delineating administrative law as organized lawlessness to Ferdinand Lundberg, an influential American social philosopher, journalist and scholar. The study found immense reason in the thesis of Lundberg. The incidence of administrative tribunals and the embedded practice of administrative adjudication (occasioning apparent detractions from the rule of law ideals) are central to the surrounding issues. Even at that, administrative law has remained an integral and critical aspect of law and administration in contemporary times. Hence, the work recommends the consideration of diverse perspectives in the relevant analyses, and continuing discussions to ensure the nonstop improvement and proper functioning of administrative law within broader legal framework. [ABSTRACT FROM AUTHOR]

On the occasion of this special issue focused on Models and Sitters, I am presenting what Dawn Kanter (in this issue) terms a 'textual account of the sitter'. With this in mind, I revisit a particular era in my life (primarily 1993-1999) when I regularly served as a model, muse, performer, poseur, and sitter. In fact, there was sufficient material to organise 'Used and Amused' (2000), an exhibition focused on ten collaborations, for which I typically self-improvised. Rather than simply detail these events, I've woven various ideas developed by each of this special issue's contributors into this article, so that my narrative here augments their papers. [ABSTRACT FROM AUTHOR]

The present paper aims to research and to present the meanings of the Syriac technical term ܐܬܘܝܦܫ (šapyuta) in the writings of Isaac of Nineveh. Based on the Syriac texts of him, the study deepens the occurrences of šapyuta in diverse ascetical contexts, underlining its semantic and theological content. Isaac's use of šapyuta is also related to the usage made by other Syriac writers like Ephrem, John of Apamea and Joseph Hazzaya. The exposition of the difficulties to render šapyuta in the Greek translation from Mar Saba completes the approach to this key term for the Syriac spirituality, in which several plans of Syriac spiritual theology come together and connect with one another. [ABSTRACT FROM AUTHOR]

While technological progress played a central role in the British Industrial Revolution, statistical evidence on how inventors and entrepreneurs engaged in the process of technological innovation has typically received minor attention. In this paper I use quantitative methods to show that counties with a relatively high number of informal networks −in the form of Freemasonry, friendly societies, libraries, and booksellers− experienced more innovation as measured by new patents and exhibits at the 1851 Crystal Palace World's Fair. Qualitative evidence and propensity score matching suggest that the mechanisms highlighted here were an important part of British technological leadership. Economic factors cannot account for these patterns. [ABSTRACT FROM AUTHOR]

I pp448 i [Papers from the fourth Domitor international conference, held at Université Paris 3 and La Cinémathèque fraçaise, 15-19 December 1996] [Index of names, index of films, list of films projected] Mathews, Nancy Mowll, with Charles Musser, 2005: I Moving Pictures. Films Films: Individual Films Films: Groups or genres Films: Non-fiction Films: Avant-garde or Abstract Films: Animated Films Films: Music and film Films: Sound and film Films: Colour and film Films: Dance and film Filmmaking, processes, styles 11. Films Films: Individual films Arnaud, Diane: I After i La Jetée I : Cine-Photo Albums of the Disaster i . Films: Colour and film Beyfuß, Dr. Edgar, and A. Kosssowsky: I Der sprechende Film und die Farbenkinematographie in ihren Beziehung zum Kulturfilm i . Johnson, Martin L.: I Establishing the Provenance of Early Advertising Films: Film Catalogs and the Creation of the Nontheatrical Market i . [Extracted from the article]

In this paper, for the first time in pass records, we create the fractal fourth-order nonlinear Ablowitz–Kaup–Newell–Segur (FFONAKNS) shoal water wave mold under an unsmooth boundary or in microgravity of space. With the aid of fractal traveling wave variation (FTWV) and fractal semi-inverse technology (FSIT), the fractal variational principle (FVP) is achieved, and then, using He–Weierstrass function, the strong minimum necessary condition is proved. Afterwards, the solitary wave solution is attained by FVP and minimum stationary conditions. Finally, the effect of a non-smooth border on solitary wave is deliberated and demeanors of solutions are displayed via 3D isohypse. The fractal dimension can impact the waveform, but not its apex value. The solitary wave solution (SWS) is given, and the exhibition of the technology used is not only creditable but also significant. [ABSTRACT FROM AUTHOR]

This paper critically explores the pedagogy of Science World in creating disciplined, birthing patients within the sexuality education BodyWorks gallery on display in Vancouver, Canada. Using Multimodal Critical Discourse Analysis, I explore the ways in which power/knowledge circulates to regulate and de-agentalise bodies in a science museum encounter. I consider the regimes of truth that emerge regarding the good/right/correct way to give birth and to be a woman: that is, as White, heteronormative, slender, conforming, always a mother, but and mostly a uterus. In exposing regimes of truth within the encountered curriculum of the science museum, the hope is that sexuality educators might (re)consider space for the unruly and awe-ful within pedagogies of childbirth. [ABSTRACT FROM AUTHOR]

Sound-producing objects, such as musical instruments and sound devices, are a distinct category of museum objects because their museification has deprived them of their primary characteristic: sound. This paper discusses the use of sound as an interpretive tool in exhibitions of sound-producing objects. After reviewing the use of sound as an interpretive medium in contemporary museum exhibitions, the discussion focuses on sound-producing objects and analyses the concerns about their functionality in the museum context. The last section of the paper introduces sonic references, a specific type of sonic practices integrated in contemporary museum exhibitions. The documentation of the interpretive approaches adopted towards sound-producing objects aims to explore the potential of sound in creating meaningful experiences for museum visitors. Finally, the paper seeks to encourage sound-led curatorial strategies that explore more experiential ways to engage visitors with museum exhibitions. [ABSTRACT FROM AUTHOR]

The paper explores how indigenous knowledge and hybridity were displayed at the exhibition to celebrate the fourth centennial of São Paulo city in 1954. The exhibition was curated by the Portuguese scholar Jaime Cortesão, who spent seventeen years exiled in Brazil and actively participated in intellectual controversies about territorial exploration and colonial encounters. Considering Cortesão's mobilities and his dialogues with Brazilian scholars, the paper proposes a critical and decolonial gaze to texts, images and objects selected to depict encounters in São Paulo exhibition. Drawing on sources from the National Library of Portugal and media reports published in the Brazilian press, the paper explored two categories incorporated in Cortesão's curation work to reconcile local, national and colonial identities: Tupi and Bandeirante. By exploring how Cortesão used these categories to reinforce Portuguese colonial agency in Brazilian territorial exploration, this paper suggested that critical studies of hybridism could provide essential insights for contemporary postcolonial and decolonial scholarship. • Highlights the display of encounters and hybridity at São Paulo exhibition in 1954. • Examines mobilities as an essential aspect to investigate Cortesão's curation work. • Explores how local categories were displayed to support national and colonial claims. • Demonstrate how controversies with Brazilian historians were silenced in the display. • Shows that critical studies on hybridisms provide insights for decolonial approaches. [ABSTRACT FROM AUTHOR]

To "theologize," that is, to engage in theological reasoning and exposition when composing oral, written, or multimodal discourse, has been applied continually in Africa ever since the Bible was first introduced to this continent. Whenever God's Word is conveyed in another language and cultural setting, the existential theological barrier must be broken as important scriptural notions and entire propositions must inevitably be reconceptualized semantically and frequently also reconfigured grammatically to be communicated. The focus of the present paper is the crucial activity of Bible translation and the various ways in which those involved in such a multifaceted endeavor always engage in theologizing, to one degree or another, while carrying out their work. This article focuses specifically on the New Testament Study Bible in Chichewa (2017 Bible Society of Malawi). The importance of preparing such locally contextualized, scripturally accurate, and linguistically idiomatic study Bibles is demonstrated through manifold exemplification to be an indispensable means of ensuring the theological vitality and dynamic growth of the Church in Africa. [ABSTRACT FROM AUTHOR]

"Issues of Pragmaticism" (1905) contains the only published version of Peirce's doctrine of "critical common-sensism." One of the claims of that doctrine is that common sense beliefs are invariably vague. In this paper, we seek to explain this claim. We begin by providing a philological reconstruction of the drafts of "Issues of Pragmaticism" and a comparison of Peirce's several, successive expositions of critical common-sensism across those drafts. Then we examine Peirce's theory of vagueness; we show that there is both a "subjectal" and a "predicative" variety of vagueness, and that Peirce construes predicative vagueness according to three distinct models. Finally, we assess in what sense, i.e., according to which of the three models, common sense beliefs may be said to be invariably vague. [ABSTRACT FROM AUTHOR]

Exhibition Review: Japanese Garments from Two Perspectives Kimono Style: The John C. Weber Collection, New York City: Metropolitan Museum of Art, June 7, 2022-February 20, 2023 Dressed by Nature: Textiles of Japan at the Minneapolis [Minnesota] Institute of Art, June 25-September 11, 2022 Ranging from the 18th to the 20th centuries, it includes a large number of period Western garments that borrow Japanese materials or effects, as well as contemporary garments by major Japanese designers, and various other traditional Japanese garments including theatrical costumes and work clothes in addition to the expected kimono. Although made of a natural material, silk kimono was upper-class and ceremonial, whereas this exhibition focused on everyday garments and other types of cloth made of commonplace, locally available materials, such as elm bark, hemp, rice straw, paper, nettle and even fish skin. [Extracted from the article]

With the arrival of the digital age and technology, creation of art and its replication reached a whole new pinnacle. Increasingly, conservators find themselves dealing with editions, copies, and replicas as part of their job. Indeed, the replication of a work of art, be it paper or a 3D printed sculpture, is becoming one of many conservation measures that may serve as a preventive conservation technique, protecting the art from excess levels of light, travel, or handling, or as a tool to better understand the art. Replication of a digitally existing master for each new display may be the artist's intent, or enable simultaneous multiple displays of the same work as per the artist's directive. This article describes the making of an Exhibition Copy of the American artist Mike Kelley's The Wages of Sin, a pile of partly melted wax candles atop a readymade, commercially sourced table. Owned by the Whitney Museum of American Art, New York, the highly complex three-dimensionality and materiality of this iconic work of art posed significant challenges to replicate. The following description illuminates the conceptual aspects considered, why and how the replica was made, and decision-making processes throughout its fabrication, exploring materiality and technical issues. The role of the Whitney's Replication Committee in this project is discussed, including participation of its curators, archivists, and other museum professionals, along with an explanation of the Committee's choice of the term 'Exhibition Copy' to describe the replica. The account of the collaboration and coordination of the project with the Mike Kelley Foundation and external fabricators is central to this comprehensive project. Ramifications for future use of the Exhibition Copy within the museum management, documentation, loans, and wall labels, and its legal and publication consequences conclude this paper. [ABSTRACT FROM AUTHOR]

The paper is an exposition and synthesis of C. S. Lewis's ideas on story as elaborated in his essay "On Stories" in the Charles Williams festschrift (1947). The purpose of Lewis's essay was to flush out of the underbrush of literature what distinguishes true Story (with a capital letter "S") from story as mere entertainment. The paper concludes that a key to Lewis's essay on stories is to be found in his initial vocation as a poet and his ideas about poetic imagination. [ABSTRACT FROM AUTHOR]

Julian of Norwich (ca. 1342-ca. 1416) was a fourteenth-century English mystic. She received sixteen private revelations from God. In the Thirteenth Showing, God revealed that "sin is necessary, but all shall be well." This paper explores and develops the theme of universal salvation in Julian's Revelations of Divine Love. It introduces the readers to her reflections on God's manifestations, with the focus on God's compassion for all creation. In view of the dynamic tension between Julian's visions of all shall be well and the teachings of the Catholic Church on human sin and the eternal fire of hell, two developments are presented. First, reference is made to the thought of St. Augustine of Hippo (354-430) for a deeper comprehension of Julian's reflection on sin, bearing in mind the different contexts of Julian and Augustine. Then, this paper brings Julian's loving and joyful trust in the love of God for all things into dialogue with the contemporary calls of Hans Urs von Balthasar (1905-1988) and Karl Rahner (1904-1984) for Catholics to hope for universal salvation. [ABSTRACT FROM AUTHOR]

The analyses at the core of this essay focus attention on the concepts of "Compearance" and "Exposition" in Jean-Luc Nancy's philosophical reflection. Starting from the analyses carried out by Sartre, Lévinas and Derrida, this paper aims to define and highlight one of the fundamental concepts in Nancy's philosophical work, which is touching. A " corpus of touch " that is a syncopated corpus, interrupted and mixed with other bodies; here the whole sense of compearance and exposition is at stake. [ABSTRACT FROM AUTHOR]

The concept of gamification is to apply game-design elements and game principles in nongame contexts. Applying this concept in interactive exhibitions has enormous potential to attract visitors and improve their fun level, engagement, and learning. The purpose of this paper is to study the effect of the case study in which we applied gamification in two types of physical and online digital interactive exhibitions, both in the form of short events. The case study was conducted using gamified exhibition for both physical and online digital environments. We implemented the Game-trip which consisted of two parts: a physical exhibition of an interactive map and a digital online application. We also carried out a user study at the Chiang Mai International Exhibition and Convention Centre. We evaluated the user study by collecting qualitative and quantitative visitor behavior data from online survey questionnaires, and we also used user behavior data and semi-structured interview. The results suggest that the physical interactive exhibition provides engagement and fun but does not support learning goals. The interview data suggested that we provide more devices for the participants in the physical environment in order to avoid long waiting time. For the online digital interactive application, it also helped visitors to get familiar with the other exhibition in the event. Finally, the gamified exhibition can be used as a design to improve the overall visitor experience in exhibitions. [ABSTRACT FROM AUTHOR]

We describe an organizing principle for online learning materials; we term coherently organized digital exercises and expositions. Larger in scale than individual lessons but smaller than a programme of study, this innovation in instructional practice is increasingly guiding our thinking in the development of university mathematics courses. Essentially we have taken the book and put it inside automatically assessed online quizzes. In doing this, we embrace the potential provided by new technology to implement evidence-based practices such as spaced retrieval practice. This paper discusses details of this innovation, and how we have implemented it. On the basis of these experiences, we believe this innovation has the potential to change the model of education for university mathematics courses in substantial and non-trivial ways. [ABSTRACT FROM AUTHOR]

Epistemological disjunctivists make two strong claims about perceptual experience's epistemic value: (1) experience guarantees the knowledgeable character of perceptual beliefs; (2) experience's epistemic value is "reflectively accessible". In this paper I develop a form of disjunctivism grounded in a presentational view of experience, on which the epistemic benefits of experience consist in the way perception presents the subject with aspects of her environment. I show that presentational disjunctivism has both dialectical and philosophically fundamental advantages over more traditional expositions. Dialectically, presentational disjunctivism resolves a puzzle disjunctivists face in their posture vis-à-vis skeptical scenarios. More systematically, presentational disjunctivism provides an especially compelling view of disjunctivism as an internalist view of perceptual consciousness by explaining the way perceptual presence manifests the subject's rationality in a distinct way. [ABSTRACT FROM AUTHOR]

This paper suggests that layered ontology is important within Kepler's method, and that it developed at least partially in response to a disciplinary and religious crisis. As such, and despite Platonic allegiances, it places him in a longue durée of geometrical constructivism in seventeenth-century Europe. After introducing the pivotal role of Mysterium cosmographicum (1596) and how Kepler's career may be seen in the context of courtly bricolage, the exposition realigns De nive sexangula (1611) with the mathematical communities of its time and argues in Reviel Netz's tradition that its cognitive practices enact a ludic style of demonstration. Kepler's essay on crystallography is an epistemological improvement on previous types of natural jokes. [ABSTRACT FROM AUTHOR]

Holden is arguably the most important vehicle brand in Australian transport history. As a result, it is intimately tied to the cultural, social and economic history of the nation. This paper discusses the tension that emerges, and the issues faced when trying to bring Holden, and all it represents, into the museum space and tell its complex story to a diverse and changing public audience. The task has been magnified, facilitated and made more urgent since the closure of the last Australian Holden manufacturing plant in 2017. Now that Holden is more realistically identified with a defined historical period, this article explores how the National Motor Museum of Australia (NMM) represents that history through thoughtful and appropriate museological practice. [ABSTRACT FROM AUTHOR]

This paper examines the relationship between First World War Centenary commemoration and state-sponsored nationalism in New Zealand. In the national museum's Gallipoli exhibition, commemoration shifts from its traditional emphasis upon military sacrifice for the nation. Film-related special effects technology promotes individual affective identification with suffering and loss, but also extolls the ingenious achievements and talents of both New Zealand soldiers historically, and Gallipoli's producers. National identity is aligned with state promotion of creative and technological innovation as central to economic growth. The national myth-making of Gallipoli locates a technologically sophisticated modern New Zealand in the historical experience of the War. [ABSTRACT FROM AUTHOR]

The article questions received categories of art and craft and examines the history of textile art (or fiber art) within twentieth and twenty-first century art museums. This is the first of two special issues that examine craft from the perspective of exhibition histories, contexts and practices. Despite the ephemerality of exhibitions, this research demonstrates how a wide range of sources can document curatorial approaches to craft, mediate engagement with craft exhibitions, and offer insights into audience responses. [Extracted from the article]