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Copyright of Retos: Nuevas Perspectivas de Educación Física, Deporte y Recreación is the property of Federacion Espanola de Asociaciones de Docentes de Educacion Fisica and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Arxiu d'Etnografia de Catalunya is the property of Universitat Rovira I Virgili and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revista de Estudios de la Administración Local y Autonómica is the property of Instituto Nacional de Administracion Publica and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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]

Against the background of museological theory, this paper questions new trends in current museum exhibition displays, focusing on universities as institutions of higher education and as preservers of cultural heritage. The first part of this paper provides an overview of university heritage, its scale and scope and the labels of heritagisation that can be linked to it. In the second part of the paper, select examples of university exhibitions are introduced – each of which dealing with a specific university heritage. These examples are all part of the Coimbra Group network of universities, which includes some of the oldest universities in Europe. The exhibitions are analysed in terms of their forms of presentation, the way in which they deal with objects as evidence for university history and the communication modes they use. [ABSTRACT FROM AUTHOR]

Incorporating the two leaves within the "canon" of the other accepted Book of Mormon manuscript leaves offers yet another piece to the puzzle of the original manuscript of the Book of Mormon manuscript. This paper has not stressed any one particular aspect of the Chicago leaves of the Book of Mormon manuscript - instead relying on a varied approach to understand the totality of the manuscript. Archivists at Chicago had undertaken their own analysis of the leaves in the early 1980s and felt that the handwriting matched other verified samples from Oliver Cowdery, the principal scribe for both the original and the printer's manuscripts of the Book of Mormon. [Extracted from the article]

Copyright of Italian Journal of Health Education, Sport & Inclusive Didactics is the property of Edizioni Universitarie Romane and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Eye tracking technology is now mature enough to be exploited in various areas of human–computer interaction. In this paper, we consider the use of gaze-based communication in museums and exhibitions, to make the visitor experience more engaging and attractive. While immersive and interactive technologies are now relatively widespread in museums, the use of gaze interaction is still in its infancy—despite the benefits it could provide, for example, to visitors with motor disabilities. Apart from some pioneering early works, only the last few years have seen an increase in gaze-based museum applications. This literature review aims to discuss the state of the art on this topic, highlighting advantages, limitations and current and future trends. [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]

Copyright of Arte, Individuo y Sociedad is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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]

In this paper, we present a comprehensive methodology to support the multifaceted process involved in the digitization, curation, and virtual exhibition of cultural heritage artifacts. The proposed methodology is applied in the context of a unique collection of contemporary dresses inspired by antiquity. Leveraging advanced 3D technologies, including lidar scanning and photogrammetry, we meticulously captured and transformed physical garments into highly detailed digital models. The postprocessing phase refined these models, ensuring an accurate representation of the intricate details and nuances inherent in each dress. Our collaborative efforts extended to the dissemination of this digital cultural heritage, as we partnered with the national aggregator in Greece, SearchCulture, to facilitate widespread access. The aggregation process streamlined the integration of our digitized content into a centralized repository, fostering cultural preservation and accessibility. Furthermore, we harnessed the power of these 3D models to transcend traditional exhibition boundaries, crafting a virtual experience that transcends geographical constraints. This virtual exhibition not only enables online exploration but also invites participants to immerse themselves in a captivating virtual reality environment. The synthesis of cutting-edge digitization techniques, cultural aggregation, and immersive exhibition design not only contributes to the preservation of contemporary cultural artifacts but also redefines the ways in which audiences engage with and experience cultural heritage in the digital age. [ABSTRACT FROM AUTHOR]

Copyright of Revista de Ensino em Artes, Moda e Design is the property of Universidade do Estado de Santa Catarina and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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]

Copyright of Sociedade e Estado is the property of Sociedade e Estado and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Millars: Espai i Història is the property of Millars: Espai i Historia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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]

"The Great Exhibition of the Industry of all Nations", held at the Crystal Palace in London in 1851, hosted an array of objects that testified to both artistic and technical virtuosity, while their display served as a spectacle for the public. This paper takes up the rich history of mechanical technologies in the service of art using the example of the machine for reproducing sculptures, which was presented as a cutting-edge innovation at the Great Exhibition. Drawing on the history of early photography and in particular the historical context of various techniques of three-dimensional reproduction (such as the 'photo-sculpture' introduced later in 1862), the process of reproducing and displaying works of art on a small scale will be explored. The study of mechanically minded sculptors, who celebrated the almost magical qualities of their machines and the demonstration of the production processes, reveals their ambition to join the ranks of the great inventors, alongside the situation of the pioneers of early photography. The presentation of sculptures, reliefs and objets d'art in the milieu of technical knowledge, industry and manufacture at the universal exhibition of 1851 is thus put up for discussion, also with a view to subsequent international exhibitions. [ABSTRACT FROM AUTHOR]

The rapid development of exhibition tourism has led to a sharp increase in the amount of data in the tourism and exhibition industry. Through in-depth mining and application of exhibition tourism data, it can intuitively show its potential relevance and produce much valuable knowledge. The huge value of exhibition tourism data can better meet social needs. Through the analysis of exhibition tourism data, it has certain use-value and significance for the development of the industry. Scene classification in the field of computer vision is a research hotspot. However, there are far few research-related algorithms on mice tourism scene classification. Therefore, based on in-depth learning, this paper studies behavior recognition, and mice tourism scene classification, applies computer vision technology to mice tourism scene classification, collects many visual data, and speeds up the rapid development of the field of vision. In this paper, the scene classification algorithm based on a self-attention generation countermeasure network is constructed to deal with the problem of convention and exhibition tourism. The test results show that the accuracy of the classification results of this algorithm is as high as 99.12%, which is the highest compared with the classification results of other models, which fully proves that this algorithm can accurately classify conventional and exhibition tourism scenes. [ABSTRACT FROM AUTHOR]

Mega-events imply several city transformations at different scales that could be challenging to be identified and documented. The impacts of such events like Universal Exhibitions are difficult to be identified and tracked in space and over a long period of time. This paper discusses the use of open-source geospatial technologies as innovative tools in support of urban planning and management of digital cities, analysing in particular the case of an international exhibition in the urban landscape. A GIS-based approach is used to design a spatially enabled database, which is essential for implementing advanced analytics in modern smart cities. The pilot project proposes the design and implementation of such georeferenced database for monitoring the urban transformations of the area used for Expo 2015 Milano (Italy). The potential of GIS environment in the consultation process, which allows to obtain different interactive views and to make selections and queries of the data, is explored. The paper also discusses the possibility of publishing such prototype on a shared platform, allowing a larger non-technical audience to follow the urban evolution of the area in a diachronic perspective. [ABSTRACT FROM AUTHOR]

Documentation of CH is paramount to preserve its memory and allow its study, especially when CH is meant to be dismantled, as for the architectures of World's Fairs. Very few efforts are undertaken to achieve this goal and national and international institutions rarely adopt innovative digital technologies. Digital technologies and products like 3D digital models are successfully and largely applied in CH domains, while webGIS is less explored for CH. Nevertheless, 3D digital models are rarely adopted to accompany digital archives and Digital Humanities studies. Very few cases use 3D models for World's Fairs' study and documentation. WebGIS is not used for World's Fairs, and are scarcely adopted and not fully exploited by Digital Humanities and digital archives for sharing data and information about CH. Turin 1911 is the first digital project aimed to virtually document, recreate, and study an entire World's Fair. Combining digital technologies (geo-DB, 3D digital reconstruction, and 3D webGIS) with cataloging standards, Turin 1911 is a pioneering initiative that applies these innovations to Digital Humanities in order to share information online. In this paper, dedicated webGIS applications are developed for the Turin 1911 needs, reporting the designed procedure, challenges in the development phase, and potentialities for Digital Humanities research. Finally, BIM models are also integrated in webGIS apps, making visible no more visible architectures. The paper discusses how webGIS apps could become a way for sharing information and data, but also a working environment for Digital Humanities studies where the research takes place in 3D environments. [ABSTRACT FROM AUTHOR]

Analysis on trends and factors that are influencing visitor attendances in museums is not a straightforward task to do. The importance of these examinations stems from the fact that museums, as part of cultural tourism, have a significant social and economic impact on the regions that they represent. Guided by this idea, the aim of this paper is to identify the main elements that may affect the success of museums in general and to highlight and examine specifically one element that is likely to have an impact on the development of visitor numbers. The paper will analyze issues such as: features that can be taken into account when organizing exhibitions, museum popularity and popular exhibitions and the possible examination on whether the number of days that an exhibition lasts has an influence on the total number of attendances. [ABSTRACT FROM AUTHOR]

This paper examines how and to what effect recent trends regarding the use of violent imagery in exhibitions on Nazi mass atrocities transpire online. Analysing 87 web exhibitions by the three internationally most influential museums on the Shoah, it becomes evident that these museums avoid displaying graphic images of violence. However, an analysis of imagery that exhibitions produce linguistically unearths apparent dissonances. On the one hand, the aim of restoring the dignity of victims and giving them a voice marks a central feature of all examples. On the other hand, online exhibitions on the Shoah largely rely on stereotypes in gendered perceptions and narratives of extreme violence. The paper traces the impact of tropes that invoke gendered concepts of power and agency and argues that they limit curators' ability to explain and analyse the pretext and events of the Shoah. [ABSTRACT FROM AUTHOR]

Copyright of Documentación de las Ciencias de la Información is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In 2005 Rev. Michael Roden, the vicar at Church of England church of St Mary's in Hitchin (a small town about 30 miles north of London) was invited to India to give a series of sermons to Indian Church of England congregations. He was struck during his visit by the scars in Indian society that he thought were the remnants of Partition's aftermath. His visit set him thinking about the ways in which Partition has shaped British as well as Indian and Pakistani society, and about how little people in the UK know about the calamitous results of British policy at the time of decolonization. In particular, he wondered about why it was the case that Partition had never been taught in schools in the UK, and why children were coming out of school with no understanding of the forces which had created a multi-cultural society in the UK over the course of the twentieth century. Reverend Roden contacted the University of Cambridge's Centre of South Asian Studies and set in train a series of events that would lead to Partition being included in the curriculum of all Church of England schools in England and Wales. This process was to engage politicians, academics, playwrights, television companies and members of the general public. It would lead to more than teaching in the classroom – a swathe of television documentaries, for example, were broadcast around he 70th anniversary of Partition in 2017, providing information about a part of the shared UK/South Asian past which has been largely neglected in Britain. Alongside this process, the Centre of South Asian Studies also prepared an exhibition of materials from its own archive collections which ran from August 2017 and drew in thousands of visitors. This paper will examine the ways in which the process of presenting Partition to the people of the UK was fashioned and followed, and the nature of the output which resulted from it, looking at the ways in which academe can interact with public opinion and public knowledge in meaningful and positive ways. [ABSTRACT FROM AUTHOR]

Drawing from the precepts and constructs of Langran and DeWitt's critical place-based inquiry, this paper aims to propose alternative learning activities and performance tasks that advance the potential of media and information literacy as a social practice of situated learning, engaged scholarship, and media activism. Specifically, this set of expositions and propositions adopts and applies the four elements of Langran and DeWitt's critical place-based inquiry, namely: "(1) reading the world, (2) understanding how place matters, (3) leveraging technology, and (4) telling stories from multiple perspectives" in the process of formulating and designing community-based, youth-oriented, and ecologically conscious media and information literacy textbook learning activities and performance tasks. Consistent with the critical place-based inquiry's inherent activist and transformative stance, the proposed student tasks in this paper take into full account the place's prior history and continuing experience of exploitation and exclusion, with the consummate end-goal of engendering a liberating experience for both the learners and their co-learners from the campus and surrounding communities. [ABSTRACT FROM AUTHOR]

Ever since the first pieces of Great Moravian jewellery were found in early medieval burial grounds, which began to be intensively and extensively explored mainly in Moravia after 1948, it was clear that these were not only elite goods related to the highest social class in Great Moravia of that time, but also exhibition objects that bear the hallmark of exclusivity. Their artistic beauty, the expensive material from which they were made, as well as the craftsmanship with which they were created, were and still are a sure guarantee for the exhibitor that they will interest the public in some way. The paper focuses mainly on large exhibition events, which from the 1960s presented Great Moravian jewellery not only to the Czech, but also to the foreign audience. At the same time, it briefly outlines the future, which is connected with presentation of these exceptional archaeological finds, and which is in the hands of the Moravian Museum in Brno. [ABSTRACT FROM AUTHOR]

Copyright of Information Library Magazine 'INFOLIB' is the property of National Library of Uzbekistan named after Alisher Navoi and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The paper adopts a transmedial and multidisciplinary perspective to present and analyze the project Stranger than Paradise by Slovenian artist Mark Požlep, which ran from 2014 to 2016, covering the initial concept, its execution, and the subsequent presentations in various media: exhibitions and performances. The documentary material presented at the exhibition as a documentation of the original event is compared with the later performance of the same name with different collaborators working on the production. The paper focuses on the issue of hybrid genres in contemporary performance practices and examines how the performance of this play contributes to the modes and strategies of documentary theater, i.e., performance, while demonstrating that it can be placed in the context of post-documentary theater as it represents the so-called transition from directorial to authorial work. [ABSTRACT FROM AUTHOR]

Here we highlight a neglected contribution of Alexander Sutherland (1852-1902) to Australian health economics. Sutherland read a paper on health insurance at the Melbourne Social Science Congress that was organised in the context of the International Exhibition of 1880-1881. He proposed combining life and health insurance into a single product and to require those who are insured to obtain regular medical check-ups. The aim was to provide the insurer with information on the behaviours of the insured and to promote healthy lifestyles. These proposals were not well received at the time and have been largely forgotten, but may be relevant today. [ABSTRACT FROM AUTHOR]