Search results for: museum of Sousse

Authors: Camilla Marini, Deborah Agostino

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Cultural institutions provide more than service-based offers; indeed, they are experience-based contexts. A cultural experience is a special event that encompasses a wide range of values which, for visitors, are primarily cultural rather than economic and financial. Cultural institutions have always been characterized by inclusivity and participatory practices, but the upcoming of digital technologies has put forward their interest in collaborative practices and the relationship with their audience. Indeed, digital technologies highly affected the cultural experience as it was conceived. Especially, museums, as traditional and authoritative cultural institutions, have been highly challenged by digital technologies. They shifted by a collection-oriented toward a visitor-centered approach, and digital technologies generated a highly interactive ecosystem in which visitors have an active role, shaping their own cultural experience. Most of the studies that investigate value co-creation in museums adopt a single perspective which is separately one of the museums or one of the users, but the analysis of the convergence/divergence of these perspectives is still emphasized. Additionally, many contributions focus on digital value co-creation as an outcome rather than as a process. The study aims to provide a joint perspective on digital value co-creation which include both museum and visitors. Also, it deepens the contribution of digital technologies in the value co-creation process, addressing the following research questions: (i) what are the convergence/divergence drivers on digital value co-creation and (ii) how digital technologies can be means of value co-creation? The study adopts an action research methodology that is based on the case of WORTHY, an educational project which involves cultural institutions and schools all around Europe, creating a virtual collaborative museum. It represents a valuable case for the aim of the study since it has digital technologies at its core, and the interaction through digital technologies is fundamental, all along with the experience. Action research has been identified as the most appropriate methodology for researchers to have direct contact with the field. Data have been collected through primary and secondary sources. Cultural mediators such as museums, teachers and students’ families have been interviewed, while a focus group has been designed to interact with students, investigating all the aspects of the cultural experience. Secondary sources encompassed project reports and website contents in order to deepen the perspective of cultural institutions. Preliminary findings highlight the dimensions of digital value co-creation in cultural institutions from a museum-visitor integrated perspective and the contribution of digital technologies in the value co-creation process. The study outlines a two-folded contribution that encompasses both an academic and a practitioner level. Indeed, it contributes to fulfilling the gap in cultural management literature about the convergence/divergence of service provider-user perspectives but it also provides cultural professionals with guidelines on how to evaluate the digital value co-creation process.

Keywords: co-creation, digital technologies, museum, value

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Authors: Nikolaus Wilke, Boaz Paz

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Museum staff, conservators, restorers, curators, registrars, art handlers but potentially also museum visitors are often exposed to the harmful effects of biocides, which have been applied to collections in the past for the protection and preservation of cultural heritage. Due to stable light, moisture, and temperature conditions, the biocidal active ingredients were preserved for much longer than originally assumed by chemists, pest controllers, and museum scientists. Given the requirements to minimize the use and handling of toxic substances and the obligations of employers regarding safe working environments for their employees, but also for visitors, the museum sector worldwide needs adequate decontamination solutions. Today there are millions of contaminated objects in museums. This paper introduces the results of a systematic investigation into the reduction rate of biocide contamination in various organic materials that were treated with the humidity and temperature controlled ICM (Integrated Contamination Management) method. In the past, collections were treated with a wide range, at times even with a combination of toxins, either preventively or to eliminate active insect or fungi infestations. It was only later that most of those toxins were recognized as CMR (cancerogenic mutagen reprotoxic) substances. Among them were numerous chemical substances that are banned today because of their toxicity. While the biocidal effect of inorganic salts such as arsenic (arsenic(III) oxide), sublimate (mercury(II) chloride), copper oxychloride (basic copper chloride) and zinc chloride was known very early on, organic tar distillates such as paradichlorobenzene, carbolineum, creosote and naphthalene were increasingly used from the 19th century onwards, especially as wood preservatives. With the rapid development of organic synthesis chemistry in the 20th century and the development of highly effective warfare agents, pesticides and fungicides, these substances were replaced by chlorogenic compounds (e.g. γ-hexachlorocyclohexane (lindane), dichlorodiphenyltrichloroethane (DDT), pentachlorophenol (PCP), hormone-like derivatives such as synthetic pyrethroids (e.g., permethrin, deltamethrin, cyfluthrin) and phosphoric acid esters (e.g., dichlorvos, chlorpyrifos). Today we know that textile artifacts (costumes, uniforms, carpets, tapestries), wooden objects, herbaria, libraries, archives and historical wall decorations made of fabric, paper and leather were also widely treated with toxic inorganic and organic substances. The migration (emission) of pollutants from the contaminated objects leads to continuous (secondary) contamination and accumulation in the indoor air and dust. It is important to note that many of mentioned toxic substances are also material-damaging; they cause discoloration and corrosion. Some, such as DDT, form crystals, which in turn can cause micro tectonic, destructive shifting, for example, in paint layers. Museums must integrate sustainable solutions to address the residual biocide problems already in the planning phase. Gas and dust phase measurements and analysis must become standard as well as methods of decontamination.

Keywords: biocides, decontamination, museum collections, toxic substances in museums

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Authors: Renata P. Lopes

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The current art exhibit scenario presents a multitude of visualization features deployed in experiences that instigate a process of art production and design. The exhibition design through multimedia devices - from the audiovisual to the touch screen - has become a medium from which art can be understood and contemplated. Artistic practices articulated, during the modern period, the spectator's perception in the exhibition space, often challenging the architecture of museums and galleries. In turn, the museum institution seeks to respond to the challenge of welcoming the viewer whose experience is mediated by technological artifacts. When the beholder, together with the technology, interacts with the exhibition space, important displacements happen. In this work, we will analyze the migrations of the exhibition space to the digital environment through mobile devices triggered by the viewer. Based not on technological determinism, but on the conditions of the appearance of this spectator, this work is developed, with the aim of apprehending the way in which technology demarcates the differences between what the spectator was and what becomes in the contemporary atmosphere of the museums and galleries. These notions, we believe, will contribute to the formation of an exhibition design space in conformity with this participant.

Keywords: exhibition, museum, exhibition design, digital media

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Authors: Maria Ledinskaya

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This paper is part case study and part literature review. It seeks to introduce Agile, Lean, and Hybrid project management concepts from business, software development, and manufacturing fields to museum conservation by looking at their practical application on a recent conservation project at the Sainsbury Centre for Visual Arts. The author outlines the advantages of leaner and more agile conservation practices in today’s faster, less certain, and more budget-conscious museum climate where traditional project structures are no longer as relevant or effective. The Morris Collection Conservation Project was carried out in 2019-2021 in Norwich, UK, and concerned the remedial conservation of around 150 Abstract Constructivist artworks bequeathed to the Sainsbury Centre by private collectors Michael and Joyce Morris. It was a medium-sized conservation project of moderate complexity, planned and delivered in an environment with multiple known unknowns – unresearched collection, unknown conditions and materials, unconfirmed budget. The project was later impacted by the COVID-19 pandemic, introducing indeterminate lockdowns, budget cuts, staff changes, and the need to accommodate social distancing and remote communications. The author, then a staff conservator at the Sainsbury Centre who acted as project manager on the Morris Project, presents an incremental, iterative, and value-based approach to managing a conservation project in an uncertain environment. The paper examines the project from the point of view of Traditional, Agile, Lean, and Hybrid project management. The author argues that most academic writing on project management in conservation has focussed on a Traditional plan-driven approach – also known as Waterfall project management – which has significant drawbacks in today’s museum environment due to its over-reliance on prediction-based planning and its low tolerance to change. In the last 20 years, alternative Agile, Lean and Hybrid approaches to project management have been widely adopted in software development, manufacturing, and other industries, although their recognition in the museum sector has been slow. Using examples from the Morris Project, the author introduces key principles and tools of Agile, Lean, and Hybrid project management and presents a series of arguments on the effectiveness of these alternative methodologies in museum conservation, including the ethical and practical challenges to their implementation. These project management approaches are discussed in the context of consequentialist, relativist, and utilitarian developments in contemporary conservation ethics. Although not intentionally planned as such, the Morris Project had a number of Agile and Lean features which were instrumental to its successful delivery. These key features are identified as distributed decision-making, a co-located cross-disciplinary team, servant leadership, focus on value-added work, flexible planning done in shorter sprint cycles, light documentation, and emphasis on reducing procedural, financial, and logistical waste. Overall, the author’s findings point in favour of a hybrid model, which combines traditional and alternative project processes and tools to suit the specific needs of the project.

Keywords: agile project management, conservation, hybrid project management, lean project management, waterfall project management

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Authors: Guo Cyuan Deng

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This study represents how the Soviet-occupied dark memory in Baltic countries were interpreted and represented by examining the way of management of prison heritage. Based on the formulation of a dark-tourism spectrum which Philip Stone proposed, the Patarei prison in Estonia and the Karosta prison in Latvia are compared, and it is thought that both prisons, which had experienced similar colonial history, face different tourism operation in the present. The former is being run by NGO and remain the situation of “empty" by art intervening. However, the Estonia government attempt to get the operation of museum and transform it to anti-Soviet museum in order show national identity. By contrast, the latter is being managed by private company, whom transformed the prison to "dark fun factories" by entertainment activities in order to private capital accumulation. Moreover, it is not only indicated that both prisons exclude the minority's memory, but also the flaws of dark-tourism spectrum which divide the dark and light are discussed. Finally, given the nature and function of dark heritage, the concept "le métro" is used to supplement Stone's spectrum.

Keywords: dark tourism, prison heritage, Post-Soviet, Baltic countries, national identities

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Authors: Mahmoud Abualsoud

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The era of Thutmosis III represents a transitional period between the art of the Thutmoside art and the Amarna period, so we intend to declare that it serves as the cradle of Amarna art. The study will examine the Statues of king Thutmose III that was discovered in Luxor by an Egyptian mission. These Statues have been transferred to the Conservation Center of the Grand Egyptian Museum (GEM) to be conserved and made ready to be displayed at the new museum (the project of the century). We focus on three Statues chosen because they relate to different years of the king's reign. These Statues were all made of granite. The first one is a Kneeling statue representing the god Amun showing king Thutmose III offering to the goddess Hathor. The second is decorated with king Thutmose III with the red crown, between the goddess Hathor and the royal wife, Nefertari. The third shows the king offering NW vessels and bread to the god Seker. Each statue is divided into registers containing a description and decorated with scenes of the king presenting offerings to gods. The proposed study will focus on the development which happened sequentially according to differences that occur in each statue. We will use comparative research to determine the workshops of these statues, whether one or several, and what are the distinguishing features of each one. We will examine what innovations the artisans added to royal art. The description and the texts will be translated with linguistic comments. This research focuses on text analyses and technology. Paleographic information found on these objects includes the names and titles of the king. This research focuses on text analyses and technology. The study aims to create a manual that may help in dating the artwork of Thutmosis III. This research will be beneficial and useful for heritage and ancient civilizations, particularly when we talk about opening museums like the Grand Egyptian Museum, which will exhibit a collection of statues. Indeed, this kind of study will open a new destination in order to know how to identify these collections and how to exhibit them commensurate with the nature of ancient Egyptian history and heritage.

Keywords: archaeological study, Giza, new kingdom, statues, royal art

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Authors: Sarah Alkhateeb

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This research explores the Jordanian traditional dress of women as a form of cultural heritage. The dress of the Jordanian woman expresses her social and cultural functions and reflects the local environment in its social and cultural frameworks and the determinants of the natural formation of climate and terrain, in addition to what is expressed by the person’s social status and position in the social ladder of any society. Therefore, the traditional dress of Jordanian women is distinguished by its abundance and diversity. Few studies have been conducted on the Jordanian traditional dress of women, the lack of studies about the Jordanian traditional dress of women needs highlighting and the characteristics of this dress have to be featured and documented as a part of cultural heritage. The main aim of this research is to contribute or to develop a conservation strategy to save this part of cultural heritage from loss. In this research, the qualitative method approach will be used and will follow the ethnographic method. The data will be gathered from a primary source which is the single focus group discussion with the TIRAZ museum team; the Jordanian traditional dress will be explored across three regions: The North, Middle and South of Jordan, investigating the regional differences and focusing on the details of the individual garment.

Keywords: Jordanian traditional dress, cultural heritage, tiraz museum, ethnographic method

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Authors: Athina Thanou, Eirini Eleni Tsiropoulou, Symeon Papavassiliou

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The problem of museum visitor experience and congestion management – in various forms - has come increasingly under the spotlight over the last few years, since overcrowding can significantly decrease the quality of visitors’ experience. Evidence suggests that on busy days the amount of time a visitor spends inside a crowded house museum can fall by up to 60% compared to a quiet mid-week day. In this paper we consider the aforementioned problem, by treating museums as evolving social systems that induce constraints. However, in a cultural heritage space, as opposed to the majority of social environments, the momentum of the experience is primarily controlled by the visitor himself. Visitors typically behave selfishly regarding the maximization of their own Quality of Experience (QoE) - commonly expressed through a utility function that takes several parameters into consideration, with crowd density and waiting/visiting time being among the key ones. In such a setting, congestion occurs when either the utility of one visitor decreases due to the behavior of other persons, or when costs of undertaking an activity rise due to the presence of other persons. We initially investigate how visitors’ behavioral risk attitudes, as captured and represented by prospect theory, affect their decisions in resource sharing settings, where visitors’ decisions and experiences are strongly interdependent. Different from the majority of existing studies and literature, we highlight that visitors are not risk neutral utility maximizers, but they demonstrate risk-aware behavior according to their personal risk characteristics. In our work, exhibits are organized into two groups: a) “safe exhibits” that correspond to less congested ones, where the visitors receive guaranteed satisfaction in accordance with the visiting time invested, and b) common pool of resources (CPR) exhibits, which are the most popular exhibits with possibly increased congestion and uncertain outcome in terms of visitor satisfaction. A key difference is that the visitor satisfaction due to CPR strongly depends not only on the invested time decision of a specific visitor, but also on that of the rest of the visitors. In the latter case, the over-investment in time, or equivalently the increased congestion potentially leads to “exhibit failure”, interpreted as the visitors gain no satisfaction from their observation of this exhibit due to high congestion. We present a framework where each visitor in a distributed manner determines his time investment in safe or CPR exhibits to optimize his QoE. Based on this framework, we analyze and evaluate how visitors, acting as prospect-theoretic decision-makers, respond and react to the various pricing policies imposed by the museum curators. Based on detailed evaluation results and experiments, we present interesting observations, regarding the impact of several parameters and characteristics such as visitor heterogeneity and use of alternative pricing policies, on scalability, user satisfaction, museum capacity, resource fragility, and operation point stability. Furthermore, we study and present the effectiveness of alternative pricing mechanisms, when used as implicit tools, to deal with the congestion management problem in the museums, and potentially decrease the exhibit failure probability (fragility), while considering the visitor risk preferences.

Keywords: museum resource and visitor management, congestion management, propsect theory, cyber physical social systems

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Authors: Elaine Stavro

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In our present world where acts of incivility, intolerance and anger towards minority communities is on the rise, the ways museum practices cultivate ethical generosity is of interest. Democratic theorists differ as to how they believe respect can be generated through active participation. Allowing minority communities a role in determining what artifacts will be displayed and how they will be displayed has been an important step in generating respect. In addition, the rise of indigenous museums, slave museums and curators who represent these communities, contribute to the communication of their history of oppression. These institutional practices have been supplemented by the handling of objects, recognition stories and multisensory exhibitions. Psychoanalysis, object relations theorists believe that the handling of objects: amenable objects and responsive listeners will trigger the expression of anomie, alienation and traumatizing experiences. Not only memorializing but engaging with one’s lose in a very personal way can facilitate the process of mourning. Manchester Museum (UK) gathered together Somalian refugees, who in the process of handling their own objects and those offered at the museum, began to tell their stories. Democratic theorists (especially affect theorists or vital materialists or Actor Network theorists) believe that things can be social actants- material objects have agentic capacities that humans should align with. In doing so, they challenge social constructivism that attributes power to interpreted things, but like them they assume an openness or responsiveness to Otherness can be cultivated. Rich sensory experiences, corporeal engagement (devices that involve bodily movement or objects that involve handling) auditory experiences (songs) all contribute to improve one’s responsiveness and openness to Others. This paper will focus specifically on slave museums/ and exhibits in the U.K, the USA., South Africa to explore and evaluate their democratic strategies in cultivating tolerant practices via the various democratic avenues outlined above.

Keywords: democratic pedagogy, slave exhibitions, affect/emotion, object handling

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Authors: Ahmed Mamdouh

Abstract:

Introduction: The era of Thutmosis III represents a transitional period between the art of the Thutmoside art and the Amarna period, so we intend to declare that it serves as the cradle of Amarna art. The study will examine the Statues of king Thutmose III that was discovered in Luxor by an Egyptian mission. These Statues have been transferred to the Conservation Center of the Grand Egyptian Museum (GEM) to be conserved and made ready to bedisplayed at the new museum (the project of the century). We focus upon three Statues (GEM numbers 45863, 45864, 45865), chosen because they relate to different years of the king's reign. These Statues were all made of granite. The first one is a Kneeling statue representing the god Amun showing king Thutmose III offering to the goddess Hathor. The second is decorated with king Thutmose III with the red crown, between the goddess Hathor and the royal wife, Nefertari. The third shows the king offering NW vessels and bread to the god Seker. Each Statue is divided into registers containing a description and decorated with scenes of the king presenting offerings to gods. Methodology: The proposed study will focus on the development which happened sequentially according to differences that occur in each Statue. We will use comparative research to determine the workshops of these statues, whether one or several, and what are the distinguishing features of each one. We will examine what innovations the artisans added to royal art. The description and the texts will be translated with linguistic comments. This research focuses on text analyses and technology. Paleographic information found on these objects includes the names and titles of the king. Conclusion: This research focuses on text analyses and technology. The study aims to create a manual that may help in dating the artwork of Thutmosis III. This research will be beneficial and useful for heritage and ancient civilizations, particularly when we talk about opening museums like the Grand Egyptian museum, which will exhibit a collection of statues. Indeed this kind of study will open a new destination in order to know how to identify these collections and how to exhibit them commensurate with the nature of ancient Egyptian history and heritage.

Keywords: archaeological study, Giza, new kingdom, statues, royal art

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Authors: Sifan Guo, Xuesen Zheng

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Visitors as the vital research group have been mentioned in high frequency in the field of museum studies. With the rise of the New Museology Movement, new challenges in the museum appeared, ranging from how to eliminate the cliché class prejudices in museums to how to make visitor-oriented museums more welcome. In line with this new situation, to create a successful visiting experience is the focus of museums in today. National museums as tourist attractions always attract flooded attention, however the local museums may have the different situations. The residents could be one of the main visitors to the local museums how to attract them returned should be considered here. There are various people with different cultural, education and religion backgrounds, it is necessary to keep the balance of the education and entertainment to reach visitors’ expectations. Regarding these questions, a mixed methods research approach has been adopted: observations, tracking and questionnaires. Based on analysing some museums’ cases in the UK, it can be argued that: 1) Audiences’ accessibility support their options and judgments during the visiting. 2) Highly inclusive architecture and narrative expressions could encourage the visitors to proceed deeply understanding and alleviate conflicts. In addition, the main characteristics of the local museums and the interlinks between museums and urban renaissance will be clarified. The conclusion informs not only practical suggestions for reachable characteristic design, but also potential future research subjects.

Keywords: accessibility, challenging visitors, new museology movement, visiting experience

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Authors: Hanaa A. Al-Gaoudi, Hassan Ebeid

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The research investigates the materials and processes used in the manufacturing of an Egyptian polychrome cartonnage mummy mask with the aim of dating this object and establishing trade patterns of certain materials that were used and available at the time of ancient Egypt. This anonymous-source object was held in the basement storage of the Egyptian Museum in Cairo (EMC) and has never been on display. Furthermore, there is no information available regarding its owner, provenance, date, and even the time of its possession by the museum. Moreover, the object is in a very poor condition where almost two-thirds of the mask was bent and has never received any previous conservation treatment. This research has utilized well-established multi-analytical methods to identify the considerable diversity of materials that have been used in the manufacturing of this object. These methods include Computed Tomography Scan (CT scan) to acquire detailed pictures of the inside physical structure and condition of the bended layers. Dino-Lite portable digital microscope, scanning electron microscopy with energy dispersive X-ray spectrometer (SEM-EDX), and the non-invasive imaging technique of multispectral imaging (MSI) to obtain information about the physical characteristics and condition of the painted layers and to examine the microstructure of the materials. Portable XRF Spectrometer (PXRF) and X-Ray powder diffraction (XRD) to identify mineral phases and the bulk element composition in the gilded layer, ground, and pigments; Fourier-transform infrared (FTIR) to identify organic compounds and their molecular characterization; accelerator mass spectrometry (AMS 14C) to date the object. Preliminary results suggest that there are no human remains inside the object, and the textile support is linen fibres with tabby weave 1/1 and these fibres are in a very bad condition. Several pigments have been identified, such as Egyptian blue, Magnetite, Egyptian green frit, Hematite, Calcite, and Cinnabar; moreover, the gilded layers are pure gold and the binding media in the pigments is Arabic gum and animal glue in the textile support layer.

Keywords: analytical methods, Egyptian museum, mummy mask, pigments, textile

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Authors: Suboohi Nasrin, MHD. Shahid, Abduraheem K.

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India is a tropical country, and it is estimated that biological and abiological agents are the major factors in the destruction and deterioration of archival materials like herbarium, paper, cellulose, bookbinding, etc. Silverfish, German Cockroaches, Termites, Booklice, Tobacco beetle and Carpet beetles are the common insect's pests in the museum, which causes deterioration to collections of museum specimens. Among them, silverfish is one of the most notorious pests and primarily responsible for the deterioration of Archival materials. So far, the investigation has been carried to overcome this existing problem as different management strategies such as chemical insecticides, fungicides, herbicides, nematicides, etc., have been applied. Moreover, Synthetic molecules lead to affect the ecological balance, have a detrimental effects on human health, reduce the beneficial microbial flora and fauna, etc. With a view, numbers of chemicals have been banned and advised not to be used due to their long-lasting persistency in soil ecosystem, water and carcinogenic. That’s why the authors used natural products with biocidal activity, cost-effective and eco-friendly approaches. In this study, various concentrations (30, 60 and 90 ml/L) of clove and lemongrass essential oil at different treatment duration (30, 60, 90 and 120-minutes) were investigated to test its properties as a silverfish repellent and insecticidal effect. The result of two ways ANOVA revealed that the mortality was significantly influenced by oil concentration, treatment duration and interaction between two independent factors was also found significant. The mortality rate increased with increasing the oil concentration in clove oil, and 100 % mortality was recorded in 0.9 ml at 120-minute. It was also observed that the treatment duration has the highest effect on the mortality rate of silverfish. The clove oil had the greatest effect on the silverfish in comparison to lemongrass. While in the case of percentage, repellency of adult silverfish was oil concentration and treatment duration-dependent, i.e., increase in concentration and treatment duration resulted in higher repellency percentage. The clove oil was found more effective, showing maximum repellency of 80.00% at 0.9ml/cm2 (highest) concentration, and in lemongrass highest repellency was observed at 33.4% at 0.9 ml/cm2 concentration in the treated area.

Keywords: adult silverfish, oils, oil concentration, treatment duration, mortality (%) and repellency

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Authors: Olympia Nisiforou

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The cultural heritage of each country represents a unique and irreplaceable witness of the past. Nevertheless, on many occasions, such heritage is extremely vulnerable to natural disasters and reckless behaviors. Even if such exhibits are now located in Museums, they still receive insufficient protection due to improper environmental conditions. These external changes can negatively affect the conditions of the exhibits and contribute to inefficient maintenance in time. Hence, it is imperative to develop an innovative, low-cost system, to monitor indoor air quality systematically, since conventional methods are quite expensive and time-consuming. The present study gives an insight into the indoor air quality of the National Byzantine Museum of Cyprus. In particular, systematic measurements of particulate matter, bio-aerosols, the concentration of targeted chemical pollutants (including Volatile organic compounds (VOCs), temperature, relative humidity, and lighting conditions as well as microbial counts have been performed using conventional techniques. Measurements showed that most of the monitored physiochemical parameters did not vary significantly within the various sampling locations. Seasonal fluctuations of ammonia were observed, showing higher concentrations in the summer and lower in winter. It was found that the outdoor environment does not significantly affect indoor air quality in terms of VOC and Nitrogen oxides (NOX). A cutting-edge portable Gas Chromatography-Mass Spectrometry (GC-MS) system (TORION T-9) was used to identify and measure the concentrations of specific Volatile and Semi-volatile Organic Compounds. A large number of different VOCs and SVOCs found such as Benzene, Toluene, Xylene, Ethanol, Hexadecane, and Acetic acid, as well as some more complex compounds such as 3-ethyl-2,4-dimethyl-Isopropyl alcohol, 4,4'-biphenylene-bis-(3-aminobenzoate) and trifluoro-2,2-dimethylpropyl ester. Apart from the permanent indoor/outdoor sources (i.e., wooden frames, painted exhibits, carpets, ventilation system and outdoor air) of the above organic compounds, the concentration of some of them within the areas of the museum were found to increase when large groups of visitors were simultaneously present at a specific place within the museum. The high presence of Particulate Matter (PM), fungi and bacteria were found in the museum’s areas where carpets were present but low colonial counts were found in rooms where artworks are exhibited. Measurements mentioned above were used to validate an innovative low-cost air-quality monitoring system that has been developed within the present work. The developed system is able to monitor the average concentrations (on a bidaily basis) of several pollutants and presents several innovative features, including the prompt alerting in case of increased average concentrations of monitored pollutants, i.e., exceeding the limit values defined by the user.

Keywords: exibitions, indoor air quality , VOCs, pollution

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Authors: F. Saptouw

Abstract:

This paper will examine the digitization process of the |Xam and !Kun notebooks, authored by Lucy Lloyd, Dorothea Bleek and Wilhelm Bleek, and their collaborators |a!kunta, ||kabbo, ≠kasin, Dia!kwain, !kweiten ta ||ken, |han≠kass'o, !nanni, Tamme, |uma, and Da during the 19th century. Detail will be provided about the status of the archive, the creation of the digital archive and selected research projects linked to the archive. The Digital Bleek and Lloyd project is an example of institutional collaboration by the University of Cape Town, University of South Africa, Iziko South African Museum, the National Library of South Africa and the Western Cape Provincial Archives and Records Service. The contemporary value of the archive will be discussed in relation to its current manifestation as a collection of archival and digital objects, each with its own set of properties and archival risk factors. This tension between the two ways to access the archive will be interrogated to shed light on the slippages between the digital object and the archival object. The primary argument is that the process of digitization generates an ontological shift in the status of the archival object. The secondary argument is an engagement with practices to curate the encounters with these ontologically shifted objects and how to relate to each as a contemporary viewer. In conclusion this paper will argue for regarding these archival objects according to the interpretive framework utilized to engage secular relics.

Keywords: archive, curatorship, digitization, museum practice

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Authors: Eleonora Carloni, Michela Arnaboldi

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In academia, the investigation of the relationship between cultural heritage and corporations is ubiquitous in several fields of studies. In practice corporations are more and more integrating arts and cultural heritage in their strategies for disparate benefits, such as: to foster customer’s purchase intention with authentic and aesthetic experiences, to improve their reputation towards local communities, and to motivate employees with creative thinking. There are diverse forms under which corporations set these artistic interventions, from sponsorships to arts-based training centers for employees, but scholars agree that the maximum expression of this cultural trend are corporate museums, growing in number and relevance. Corporate museums are museum-like settings, hosting artworks of corporations’ history and interests. In academia they have been ascribed as strategic asset and they have been associated with diverse uses for corporations’ benefits, from place for preservation of cultural heritage, to tools for public relations and cultural flagship stores. Previous studies have thus extensively but fragmentally studied the diverse benefits of corporate museum opening to corporations, with a lack of comprehensive approach and a digression on how to evaluate and report corporate museum’s performances. Stepping forward, the present study aims to investigate: 1) what are the key performance measures corporate museums need to report to the associated corporations; 2) how are the key performance measures reported to the concerned corporations. This direction of study is not only suggested as future direction in academia but it has solid basis in practice, aiming to answer to the need of corporate museums’ directors to account for corporate museum’s activities to the concerned corporation. Coherently, at an empirical level the study relies on action research method, whose distinctive feature is to develop practical knowledge through a participatory process. This paper indeed relies on the experience of a collaborative project between the researchers and a set of corporate museums in Italy, aimed at co-developing a performance measurement system. The project involved two steps: a first step, in which researchers derived the potential performance measures from literature along with exploratory interviews; a second step, in which researchers supported the pool of corporate museums’ directors in co-developing a set of key performance indicators for reporting. Preliminary empirical findings show that while scholars insist on corporate museums’ capability to develop networking relations, directors insist on the role of museums as internal supplier of knowledge for innovation goals. Moreover, directors stress museums’ cultural mission and outcomes as potential benefits for corporation, by remarking to include both cultural and business measures in the final tool. In addition, they give relevant attention to the wording used in humanistic terms while struggling to express all measures in economic terms. The paper aims to contribute to corporate museums’ and more broadly to arts-based initiatives’ literature in two directions. Firstly, it elaborates key performance measures with related indicators to report on cultural initiatives for corporations. Secondly, it provides evidence of challenges and practices to handle reporting on these initiatives, because of tensions arising from the co-existence of diverse perspectives, namely arts and business worlds.

Keywords: arts-based initiative, corporate museum, hybrid organization, performance measurement

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Authors: Maria Ledinskaya

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This paper examines the Morris Collection Conservation Project at the Sainsbury Centre for Visual Arts in the context of Agile, Lean, and Hybrid project management. It is part case study and part literature review. To date, relatively little has been written about non-traditional project management approaches in heritage conservation. This paper seeks to introduce Agile, Lean, and Hybrid project management concepts from business, software development, and manufacturing fields to museum conservation, by referencing their practical application on a recent museum-based conservation project. The Morris Collection Conservation Project was carried out in 2019-2021 in Norwich, UK, and concerned the remedial conservation of around 150 Abstract Constructivist artworks bequeathed to the Sainsbury Centre for Visual Arts by private collectors Michael and Joyce Morris. The first part introduces the chronological timeline and key elements of the project. It describes a medium-size conservation project of moderate complexity, which was planned and delivered in an environment with multiple known unknowns – unresearched collection, unknown condition and materials, unconfirmed budget. The project was also impacted by the unknown unknowns of the COVID-19 pandemic, such as indeterminate lockdowns, and the need to accommodate social distancing and remote communications. The author, a staff conservator at the Sainsbury Centre who acted as project manager on the Morris Collection Conservation Project, presents an incremental, iterative, and value-based approach to managing a conservation project in an uncertain environment. Subsequent sections examine the project from the point of view of Traditional, Agile, Lean, and Hybrid project management. The author argues that most academic writing on project management in conservation has focussed on a Traditional plan-driven approach – also known as Waterfall project management – which has significant drawbacks in today’s museum environment, due to its over-reliance on prediction-based planning and its low tolerance to change. In the last 20 years, alternative Agile, Lean and Hybrid approaches to project management have been widely adopted in software development, manufacturing, and other industries, although their recognition in the museum sector has been slow. Using examples from the Morris Collection Conservation Project, the author introduces key principles and tools of Agile, Lean, and Hybrid project management and presents a series of arguments on the effectiveness of these alternative methodologies in museum conservation, as well as the ethical and practical challenges to their implementation. These project management approaches are discussed in the context of consequentialist, relativist, and utilitarian developments in contemporary conservation ethics, particularly with respect to change management, bespoke ethics, shared decision-making, and value-based cost-benefit conservation strategy. The author concludes that the Morris Collection Conservation Project had multiple Agile and Lean features which were instrumental to the successful delivery of the project. These key features are identified as distributed decision making, a co-located cross-disciplinary team, servant leadership, focus on value-added work, flexible planning done in shorter sprint cycles, light documentation, and emphasis on reducing procedural, financial, and logistical waste. Overall, the author’s findings point largely in favour of a Hybrid model which combines traditional and alternative project processes and tools to suit the specific needs of the project.

Keywords: project management, conservation, waterfall, agile, lean, hybrid

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Authors: Mohamed Moustafa, Medhat Abdallah, Ramy Magdy, Ahmed Abdrabou, Mohamed Badr

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The scribe box under study dates back to the old kingdom. It was excavated by the Italian expedition in Qena (1935-1937). The box consists of 2pieces, the lid and the body. The inner side of the lid is decorated with ancient Egyptian inscriptions written with a black pigment. The box was made using several panels assembled together by wooden dowels and secured with plant ropes. The entire box is covered with a red pigment. This study aims to use analytical techniques in order to identify and have deep understanding for the box components. Moreover, the authors were significantly interested in using infrared reflectance transmission imaging (RTI-IR) to improve the hidden inscriptions on the lid. The identification of wood species included in this study. The visual observation and assessment were done to understand the condition of this box. 3Ddimensions and 2D programs were used to illustrate wood joints techniques. Optical microscopy (OM), X-ray diffraction (XRD), X-ray fluorescence portable (XRF) and Fourier Transform Infrared spectroscopy (FTIR) were used in this study in order to identify wood species, remains of insects bodies, red pigment, fibers plant and previous conservation adhesives, also RTI-IR technique was very effective to improve hidden inscriptions. The analysis results proved that wooden panels and dowels were identified as Acacia nilotica, wooden rail was Salix sp. the insects were identified as Lasioderma serricorne and Gibbium psylloids, the red pigment was Hematite, while the fiber plants were linen, previous adhesive was identified as cellulose nitrates. The historical study for the inscriptions proved that it’s a Hieratic writings of a funerary Text. After its transportation from the Egyptian museum storage to the wood conservation laboratory of the Grand Egyptian museum –conservation center (GEM-CC), conservation techniques were applied with high accuracy in order to restore the object including cleaning , consolidating of friable pigments and writings, removal of previous adhesive and reassembly, finally the conservation process that were applied were extremely effective for this box which became ready for display or storage in the grand Egyptian museum.

Keywords: scribe box, hieratic, 3D program, Acacia nilotica, XRD, cellulose nitrate, conservation

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Authors: H. A. J. Nguyen, V. A. Pham

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RE:SOUNDING is an ongoing research project and artwork seeking to return the sound and knowledge of Dong Son bronze drums back to contemporary musicians. Colonial collections of ethnographic instruments are problematic in how they commit acts of conceptual, cultural, and acoustic silencing. The collection (or more honestly), the plagiarism, and pillaging of these instruments have systemically separated them from living and breathing cultures. This includes diasporic communities, who have come to resettle in close proximity - but still have little access - to the museums and galleries that display their cultural objects. Despite recent attempts to 'open up' and 'recognise' the tensions and violence of these ethnographic collections, many museums continue to structurally organize and reproduce knowledge with the same procedural distance and limitations of imperial condescension. Impatient with the slowness of these museums, our diaspora led collaborations participated in the opaque economy of the auction market to gain access and begin the process of digitally recording and archiving the actual sounds of the ancient Dong Son drum. This self-directed, self-initiated artwork not only acoustically reinvigorated an ancient instrument but redistributed these sonic materials back to contemporary musicians, composers, and their diasporic communities throughout Vietnam, South East Asia, and Australia. Our methodologies not only highlight the persistent inflexibility of museum infrastructures but demand that museums refrain from their paternalistic practice of risk-averse ownership, to seriously engage with new technologies and political formations that require all public institutions to be held accountable for the ethical and intellectual viability of their colonial collections. The integrated and practical resolve of diasporic artists and their communities are more than capable of working with new technologies to reclaim and reinvigorate what is culturally and spiritually theirs. The motivation to rematriate – as opposed to merely repatriate – the acoustic legacies of these instruments to contemporary musicians and artists is a new model for decolonial and restorative practices. Exposing the inadequacies of western scholarship that continues to treat these instruments as discreet, disembodied, and detached artifacts, these collaborative strategies have thus far produced a wealth of new knowledge – new to the west perhaps – but not that new to these, our own communities. This includes the little-acknowledged fact that the Dong Son drum were political instruments of war and technology, rather than their simplistic description in the museum and western academia as agrarian instruments of fertility and harvest. Through the collective and continued sharing of knowledge and sound materials produced from this research, these drums are gaining a contemporary relevance beyond the cultural silencing of the museum display cabinet. Acknowledgement: We acknowledge the Wurundjeri and Boon Wurrung of the Kulin Nation and the Gadigal of the Eora Nation where we began this project. We pay our respects to the Peoples, Lands, Traditional Custodians, Practices, and Creator Ancestors of these Great Nations, as well as those First Nations peoples throughout Australia, Vietnam, and Indonesia, where this research continues, and upon whose stolen lands and waterways were never ceded.

Keywords: acoustic archaeology, decolonisation, museum collections, rematriation, repatriation, Dong Son, experimental music, digital recording

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Authors: Nongcebo Ngcobo

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This research explores the importance of including a multitude of voices in the cultural heritage narrative, particularly in South Africa. The Mashishing project is an extension of and builds on the existing ‘Biesje Poort project’ which is a rock art project that was funded by the National Heritage Council in 2010 - 2013. Hence, the Mashishing marking memories project applies comparable Biesje Poort project objectives, though in a different geographical area. The wider project objectives are to transfer skills, promote social cohesion and empowerment, and lastly to add to the knowledge base of the Mashishing region and the repository of the local museum in the Lydenburg museum. This study is located in the Mashishing area, in Mpumalanga, South Africa. In this area, there were no present multi-vocal heritage projects. This research assesses the Mashishing marking memories project through the culture-centered approach for communication for social change, which examines the impact that the diverse participants have on the operations of the Mashishing project and also investigates whether the culturally diverse participants facilitates or hinders effective participation within the project. Key findings of this research uncovered the significance of participation and diverse voices in the cultural heritage field. Furthermore, this study highlights how unequal power relations affect effective participation. As a result, this study encourages the importance of bringing the researcher and the participant in a safe space to facilitate mutual learning. It also encourages an exchange of roles, where the researcher shifts from being an authoritarian figure to being in the role of a listener.

Keywords: culture, heritage, participation, social change

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Authors: Zografou Konstantina, Anagnostellis Konstantinos, Brokaki Marina, Kaltsouni Eleftheria, Dimaki Maria, Kati Vassiliki

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Body size is crucial to ecology, influencing everything from individual reproductive success to the dynamics of communities and ecosystems. Understanding how temperature affects variations in body size is vital for both theoretical and practical purposes, as changes in size can modify trophic interactions by altering predator-prey size ratios and changing the distribution and transfer of biomass, which ultimately impacts food web stability and ecosystem functioning. Notably, a decrease in body size is frequently mentioned as the third "universal" response to climate warming, alongside shifts in distribution and changes in phenology. This trend is backed by ecological theories like the temperature-size rule (TSR) and Bergmann's rule, which have been observed in numerous species, indicating that many species are likely to shrink in size as temperatures rise. However, the thermal responses related to body size are still contradictory, and further exploration is needed. To tackle this challenge, we developed the MEIOSIS project, aimed at providing valuable insights into the relationship between the body size of species, species’ traits, environmental factors, and their response to climate change. We combined a digitized collection of butterflies from the Swiss Federal Institute of Technology in Zürich with our newly digitized butterfly collection from Goulandris Natural History Museum in Greece to analyse trends in time. For a total of 23868 images, the length of the right forewing was measured using ImageJ software. Each forewing was measured from the point at which the wing meets the thorax to the apex of the wing. The forewing length of museum specimens has been shown to have a strong correlation with wing surface area and has been utilized in prior studies as a proxy for overall body size. Temperature data corresponding to the years of collection were also incorporated into the datasets. A second dataset was generated when a custom computer vision tool was implemented for the automated morphological measuring of samples for the digitized collection in Zürich. Using the second dataset, we corrected manual measurements with ImageJ, and a final dataset containing 31922 samples was used for analysis. Setting time as a smoother variable, species identity as a random factor, and the length of right-wing size (a proxy for body size) as the response variable, we ran a global model for a maximum period of 110 years (1900 – 2010). Then, we investigated functional variability between different terrestrial biomes in a second model. Both models confirmed our initial hypothesis and resulted in a decreasing trend in body size over the years. We expect that this first output can be provided as basic data for the next challenge, i.e., to identify the ecological traits that influence species' temperature-size responses, enabling us to predict the direction and intensity of a species' reaction to rising temperatures more accurately.

Keywords: butterflies, shrinking body size, museum specimens, climate change

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Authors: Ana Paula Esteves, Diego S. Caetano, Louise L. B. Lomardo

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This paper presents an approach to the performance of the natural lighting, when the use of appropriated solar lighting systems on the roof is applied in cultural buildings such as museums and foundations. The roofs, as a part of contact between the building and the external environment, require special attention in projects that aim at energy efficiency, being an important element for the capture of natural light in greater quantity, but also for being the most important point of generation of photovoltaic solar energy, even semitransparent, allowing the partial passage of light. Transparent elements in roofs, as well as superior protection of the building, can also play other roles, such as: meeting the needs of natural light for the accomplishment of the internal tasks, attending to the visual comfort; to bring benefits to the human perception and about the interior experience in a building. When these resources are well dimensioned, they also contribute to the energy efficiency and consequent character of sustainability of the building. Therefore, when properly designed and executed, a roof light system can bring higher quality natural light to the interior of the building, which is related to the human health and well-being dimension. Furthermore, it can meet the technologic, economic and environmental yearnings, making possible the more efficient use of that primordial resource, which is the light of the Sun. The article presents the analysis of buildings that used zenith light systems in search of better lighting performance in museums and foundations: the Solomon R. Guggenheim Museum in the United States, the Iberê Camargo Foundation in Brazil, the Museum of Fine Arts in Castellón in Spain and the Pinacoteca of São Paulo.

Keywords: natural lighting, roof lighting systems, natural lighting in museums, comfort lighting

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Authors: Ginevra Addis

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The possibility of reproducing physical artifacts in a digital format is one of the opportunities offered by the technological advancements in information and communication most frequently promoted by museums. Indeed, the study and conservation of our cultural heritage have seen significant advancement due to the three-dimensional acquisition and modeling technology. A variety of laser scanning systems has been developed, based either on optical triangulation or on time-of-flight measurement, capable of producing digital 3D images of complex structures with high resolution and accuracy. It is necessary, however, to explore the challenges and opportunities that this practice brings within museums. The purpose of this paper is to understand what change is introduced by digital techniques in those museums that are hosting digital masterpieces. The methodology used will investigate three distinguished Italian exhibitions, related to the territory of Milan, trying to analyze the following issues about museum practices: 1) how digitizing art masterpieces increases the number of visitors; 2) what the need that calls for the digitization of artworks; 3) which techniques are most used; 4) what the setting is; 5) the consequences of a non-publication of hard copies of catalogues; 6) envision of these practices in the future. Findings will show how interconnection plays an important role in rebuilding a collection spread all over the world. Secondly how digital artwork duplication and extension of reality entail new forms of accessibility. Thirdly, that collection and preservation through digitization of images have both a social and educational mission. Fourthly, that convergence of the properties of different media (such as web, radio) is key to encourage people to get actively involved in digital exhibitions. The present analysis will suggest further research that should create museum models and interaction spaces that act as catalysts for innovation.

Keywords: digital masterpieces, education, interconnection, Italian museums, preservation

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Authors: Elhussein Ahmed Elsayed

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An ancient limestone stela dating back to the epoch of the middle kingdom and displayed in the exhibition hall of the middle kingdom, it was discovered in Lisht in Giza, registered with No. 3045 and as a result of its display in an inappropriate display as a result of the use of natural lighting in the display, Represented in sunlight through windows opened day and night. The alternation of these daily changes between the temperature degrees of night and day, both daily and seasonally, causes the expansion and contraction of the rocks and then weakens their cohesion, causing fragmentation. This is indeed the current situation of this stela displayed in the hall, in addition to the damage and fading of colors, as well as the use of a high-viscosity restoration material in the consolidation that led to the attraction of dust and dirt and its adhesion to the surface. The color faded as a result of the lack of lighting control inside the exhibition hall, the remnants of the existing colors were blurred as a result of applying a consolidation material with a high viscosity, which led to the attraction of dust and dirt, and then blurring the colors on the inscription. Examinations and analyzes were carried out on the block, and the results of the examination with a polarized microscope showed that it is of primitive limestone, which contains fossils and microorganisms, which helps to damage. The analysis using the Raman device also showed that the high-viscosity material used in restoration in the past is Paralloid B72. The stone stela was consolidated by using two materials; Nano calcium hydroxide with Nano silica in the form of (Core-shell) at a concentration of 10% and it was applied using the brush.

Keywords: Egyptian museum, stone stela, treatment, nano materials, nano silica

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Authors: Ruel A. Welch

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Since the introduction of ServiceNow, the UK’s Science Museum Group’s (SMG) ICT service desk portal. There has not been an analysis of the tools available to SMG staff for just-in-time knowledge acquisition (knowledge management systems) and reporting ICT incidents with a focus on an aspect of professional identity, namely, gender. This study is conducted in the milieu of UK museums, galleries, arts, academic, charitable, and cultural heritage sectors. Numerous authors suggest that males and females experience ICT usage differently. Therefore, it is important for SMG to investigate the apparent disparities so that solutions can be derived to minimize this digital divide if one exists. It is acknowledged at SMG that there are challenges with keeping up with an ever-changing digital landscape. Subsequently, this entails the rapid upskilling of staff and developing an infrastructure that supports just-in-time technological knowledge acquisition and reporting technology-related issues. This problem was addressed by analyzing ServiceNow ICT incident reports and reports from knowledge articles from a six-month period from February to July. This study found a statistically significant relationship between gender and reporting an ICT incident. There is also a significant relationship between gender and the priority level of ICT incidents. Interestingly, there is no statistically significant relationship between gender and reading knowledge articles. Additionally, there is no statistically significant relationship between gender and reporting an ICT incident related to the knowledge article that was read by staff. The knowledge acquired from this study is useful to service desk management practice as it will help to inform the creation of future knowledge articles and ICT incident reporting processes.

Keywords: digital divide, ICT service desk practice, knowledge management systems, workplace learning

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Authors: Kamilya Khamitova

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This study analyzes the overarching theme of obsession as portrayed through the two protagonists, Humbert Humbert and Kemal, in Vladimir Nabokov's Lolita and Orhan Pamuk's The Museum of Innocence through the lens of Freudian psychoanalytical theory of “transference.” Their obsessions are channeled into various forms of artistic expression following the loss of their beloved Lolita and Füsun. Employing psychoanalytical literary criticism, firmly grounded in the classical era of psychoanalysis, as pioneered by Sigmund Freud, this research explores the characters' psyches, revealing the concealed desires, conflicts, and symbolic manifestations within their relentless obsessions. The aim of this study is to unravel the psychological complexities of obsession, shedding light on the motivations and behaviors of Humbert and Kemal within the context of their respective narratives. Methodologically, this research employs close textual analysis of the novels, dissecting the protagonists' thoughts, actions, and artistic expressions. Through the lens of Freud's fundamental concept of “transference,” this analysis uncovers the protagonists' mechanisms of projecting their desires onto unattainable objects of desire—Lolita and Füsun. Humbert's pursuit of Lolita mirrors his unresolved emotional traumas and attempts to recapture the lost object of his childhood. In contrast, Kemal's fixation on Füsun is a desperate desire to fill an existential void, address a sense of inadequacy, and construct a semblance of immortality through the meticulous preservation of his memories with her. By adopting a psychoanalytic lens, this research provides a richer understanding of the characters, themes, and symbolism inherent in their artistic expressions of devotion.

Keywords: artistic expression, psychoanalysis of obsession, Sigmund Freud, transference

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Authors: Gannouni Sonia, Hammami Asma, Saidi Salwa, Rebai Noamen

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Water resources in Tunisia have experienced quantitative and qualitative degradation, especially when talking about wetlands and Sbekhas. Indeed, the objective of this work is to study the spatio-temporal evolution of salinity for 29 years (from 1987 to 2016). A study of the connection between surface water and groundwater is necessary to know the degree of influence of the Sebkha brines on the water table. The evolution of surface salinity is determined by remote sensing based on Landsat TM and OLI/TIRS satellite images of the years 1987, 2007, 2010, and 2016. The processing of these images allowed us to determine the NDVI(Normalized Difference Vegetation Index), the salinity index, and the surface temperature around Sebkha. In addition, through a geographic information system(GIS), we could establish a map of the distribution of salinity in the subsurface of the water table of Chott Mariem and Hergla/SidiBouAli/Kondar. The results of image processing and the calculation of the index and surface temperature show an increase in salinity downstream of in addition to the sebkha and the development of vegetation cover upstream and the western part of the sebkha. This richness may be due both to contamination by seawater infiltration from the barrier beach of Hergla as well as the passage of groundwater to the sebkha.

Keywords: spatio-temporal monitoring, salinity, satellite images, NDVI, sebkha

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Authors: Arya Farjand

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The Nihewan Basin is a critical region in order to understand the Plio-Pleistocene paleoenvironment and its fauna in Northern China. The rich fossiliferous, fluvial-lacustrine sediments around the Nihewan Village hosted the specimens known as the Classic Nihewan Fauna. The primary excavations in the early 1920-30s produced more than 2000 specimens housed in Tianjin and Paris Museum. Nevertheless, the exact locality of excavations, fossil beds, and the reliable ages remained ambiguous until recent paleomagnetic studies and extensive work in conjunction sites. In this study, for the first time, we successfully relocated some of the original excavation sites. We reexamined more than 1500 specimens held in Tianjin Museum and cited their locality numbers and properties. During the field-season of 2017-2019, we visited the Xiashagou Valley. By reading the descriptions of the original site, utilization of satellite pictures, and comparing them with the current geomorphology of the area, we ensured the exact location of 26 of these sites and 17 fossil layers. Furthermore, by applying the latest technologies, such as GPS, Compass, digital barometers, laser measurer, and Abney level, we ensured the accuracy of the measurement. We surveyed 133-meter thickness of the deposits. Ultimately by applying the available Paleomagnetic data for this section, we estimated the ages of different horizons. The combination of our new data and previously published researches present a unique age control for the Classic Nihewan Fauna. These findings prove the hypothesis in which the Classic Nihewan Fauna belongs to different horizons, ranging from before Reunion up to after Olduvai earth geomagnetic field excursion (2.2-1.7 Mya).

Keywords: classic Nihewan basin fauna, Olduvai excursion, Pleistocene, stratigraphy

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Authors: Charlotte Williams

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Yale University Professor Hiram Bingham’s discovery of Machu Picchu in 1911 spurred an international interest in the Inca Empire, and with it, a dispute with the Peruvian government over who had rightful jurisdiction and curatorship over Inca history. By 2011, the Peruvian government initiated a legal battle for the return of artifacts that Bingham had removed from Machu Picchu, successfully returning them not to the site of Machu Picchu, but to Cusco, employing the rationale that the ancient Inca capital housed descendants of the Inca empire. This conflation of the past and present can be traced to a largely unanalyzed study that accompanied Bingham’s expedition: an ethnographic analysis of Inca descendants, which at the time portrayed indigenous Peruvian Andean peoples as remnants of a lost civilization, using Cusco as an assumed repository for people with 'Inca' characteristics. This study draws from the original Yale Peruvian Expedition archives, the Cusco Library archives, and in-depth interviews with curators of the Inca Museum and Machu Picchu Museum to analyze both the political conflict that emerged as a reaction to the ethnographic study, and how the study articulated with an inflating tourism market attempting to define what it meant to be Inca to an international public. The construction of the modern Inca as both directors of tourism management and purveyors of their archaeological material culture points to a unique case in which modern Peruvian citizens could claim heritage to an Inca past despite a lack of recognition as a legally defined group. The result has far-reaching implications, since Bingham’s artifacts returned not necessarily to a traditional nation-state, but to an imagined one, broadening the conditions under which informal repatriations can occur.

Keywords: archaeology of memory, imagined communities, Incanismo, repatriation

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Authors: Giulia Cardoni, Francesca Fabbrii

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Living archives perform a function of social memory sharing, which contributes to building social bonds, communities, and identities. This potential lies in the ability to live archives to put together an archival function, which allows the conservation and transmission of memory with an artistic, performative and creative function linked to the present. As part of the DARE-UIA (Digital environment for collaborative alliances to regenerate urban ecosystems in middle-sized cities) project the creation of a living digital archive made it possible to create a narrative that would consolidate the cultural memory of the Darsena district of the city of Ravenna. The aim of the project is to stimulate the urban regeneration of a suburban area of a city, enhancing its cultural memory and identity heritage through digital heritage tools. The methodology used involves various digital storytelling actions necessary for the overall narrative using georeferencing systems (GIS), storymaps and 3D reconstructions for a transversal narration of historical content such as personal and institutional historical photos and to enhance the industrial archeology heritage of the neighborhood. The aim is the creation of an interactive and replicable narrative in similar contexts to the Darsena district in Ravenna. The living archive, in which all the digital contents are inserted, finds its manifestation towards the outside in the form of a museum spread throughout the neighborhood, making the contents usable on smartphones via QR codes and totems inserted on-site, creating thematic itineraries spread around the neighborhood. The construction of an interactive and engaging digital narrative has made it possible to enhance the material and immaterial heritage of the neighborhood by recreating the community that has historically always distinguished it.

Keywords: digital living archive, digital storytelling, GIS, 3D, open-air museum, urban regeneration, cultural memory

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