Presentation to the 9th International Conference of the International Association
for the History of Transport Traffic and Mobility: Transport and Mobility on Display
Iwona took part in individual volunteering project in frame of European Solidarity Corps Programme. She was volunteering in Associação Académica da Universidade
da Madeira, Funchal, Portugal
Εργαστήριο λιθαναγλύφων στο πλαίσιο δραστηριοτήτων του προγράμματος αδελφοποίησης του Πρότυπου Γυμνασίου Ζωσιμαίας Σχολής με το γυμνάσιο St Stephan του Augsburg.
Παρουσιάστηκε από την κ Φιλιπποπούλου Μάγδα, ασκούμενη φοιτήτρια του Τμήματος Εικαστικών Τεχνών και Επιστημών της Τέχνη Ιωαννίνων υπό την επίβλεψη του Επόπτη πρακτικής άσκησης, καθηγητή Εικαστικών Γιάννη Ζωγάκη.
Το εργαστήριο βασίστηκε στο: Γιάννης Ζωγάκης, «λιθανάγλυφα παραδοσιακών οικισμών», Εικαστική Παιδεία, Τεύχος 30,2014, σελ133-136, ISSN 2241-6757
Iwona took part in individual volunteering project in frame of European Solidarity Corps Programme. She was volunteering in Associação Académica da Universidade
da Madeira, Funchal, Portugal
Εργαστήριο λιθαναγλύφων στο πλαίσιο δραστηριοτήτων του προγράμματος αδελφοποίησης του Πρότυπου Γυμνασίου Ζωσιμαίας Σχολής με το γυμνάσιο St Stephan του Augsburg.
Παρουσιάστηκε από την κ Φιλιπποπούλου Μάγδα, ασκούμενη φοιτήτρια του Τμήματος Εικαστικών Τεχνών και Επιστημών της Τέχνη Ιωαννίνων υπό την επίβλεψη του Επόπτη πρακτικής άσκησης, καθηγητή Εικαστικών Γιάννη Ζωγάκη.
Το εργαστήριο βασίστηκε στο: Γιάννης Ζωγάκης, «λιθανάγλυφα παραδοσιακών οικισμών», Εικαστική Παιδεία, Τεύχος 30,2014, σελ133-136, ISSN 2241-6757
Martyna took part in individual volunteering project in frame of European Solidarity Corps Programme. She was volunteering in Pi Youth Association, Izmir, Turkey
Communicating through objects and collections belgradeNicholas Poole
A presentation to the Serbian museum community as part of their 'Reshaping the Museum' project - addressing questions of the social purpose of museums, and the implications of new models for Collections Management.
Webinar 1: The Power of Cultural Storytelling and Place-Based NarrativeMuseWeb Foundation
MuseWeb Foundation project director Selwyn Ramp and digital curator Heather Shelton talk about cultural storytelling and how it differs from traditional storytelling. Selwyn provides examples of stories that exemplify powerful cultural storytelling in addition to talking about how museums and other cultural organizations can use "geolocation" to enhance their stories. Geared to cultural organizations, museum professionals and teachers. Part of a series of 4 webinars in conjunction with the "Be Here: Main Street" story-collecting initiative. Read more: http://www.museweb.us/be-here-main-street/
Webinar 2: Cultural Storytelling: The Good, the Bad, and the UglyMuseWeb Foundation
Part of MuseWeb Foundation's series about cultural storytelling, this presentation was given to a group of teachers who were recruiting students to collect local community oral histories, with the ultimate goal of producing audio and video projects. This "Youth Access Grant" project is sponsored by the Smithsonian's Museum on Main Street program. Museum on Main Street sends Smithsonian traveling exhibitions into small towns across the nation.
It's no secret that technology is dramatically altering transportation in the modern world. But while big companies like Google, Tesla, and Uber get the headlines, there is a quiet revolution happening beneath the surface. Open source software and open data standards are expanding our access to information and creating new multi-modal mobility networks in the process.
Gudrun Uranitsch'in 7 Nisan 2011 günü Sürdürülebilir Ulaşım 2011 Kocaeli'de yaptığı sunum.
Presentation done by Gudrun Uranitsch on 7 April 2011 during Sustainable Transport 2011 Kocaeli, Turkey
Martyna took part in individual volunteering project in frame of European Solidarity Corps Programme. She was volunteering in Pi Youth Association, Izmir, Turkey
Communicating through objects and collections belgradeNicholas Poole
A presentation to the Serbian museum community as part of their 'Reshaping the Museum' project - addressing questions of the social purpose of museums, and the implications of new models for Collections Management.
Webinar 1: The Power of Cultural Storytelling and Place-Based NarrativeMuseWeb Foundation
MuseWeb Foundation project director Selwyn Ramp and digital curator Heather Shelton talk about cultural storytelling and how it differs from traditional storytelling. Selwyn provides examples of stories that exemplify powerful cultural storytelling in addition to talking about how museums and other cultural organizations can use "geolocation" to enhance their stories. Geared to cultural organizations, museum professionals and teachers. Part of a series of 4 webinars in conjunction with the "Be Here: Main Street" story-collecting initiative. Read more: http://www.museweb.us/be-here-main-street/
Webinar 2: Cultural Storytelling: The Good, the Bad, and the UglyMuseWeb Foundation
Part of MuseWeb Foundation's series about cultural storytelling, this presentation was given to a group of teachers who were recruiting students to collect local community oral histories, with the ultimate goal of producing audio and video projects. This "Youth Access Grant" project is sponsored by the Smithsonian's Museum on Main Street program. Museum on Main Street sends Smithsonian traveling exhibitions into small towns across the nation.
It's no secret that technology is dramatically altering transportation in the modern world. But while big companies like Google, Tesla, and Uber get the headlines, there is a quiet revolution happening beneath the surface. Open source software and open data standards are expanding our access to information and creating new multi-modal mobility networks in the process.
Gudrun Uranitsch'in 7 Nisan 2011 günü Sürdürülebilir Ulaşım 2011 Kocaeli'de yaptığı sunum.
Presentation done by Gudrun Uranitsch on 7 April 2011 during Sustainable Transport 2011 Kocaeli, Turkey
Some critics may have you believe that computer game studies lack theoretical rigor, that games cannot afford meaningful experiences. I agree with them, sometimes, but I also believe that a richer understanding of computer games is possible, and that this understanding can shed some light on related issues in the wider field of Digital Humanities.
My main area of research has been designing and evaluating how contextually appropriate interaction can aid the understanding of cultures distant in time, space, and in understanding to our own. This field is sometimes called Virtual Heritage. In Virtual Heritage, tools of choice are typically virtual reality environments, and the projects are very large in scale, complexity, and cost, while my projects are often prototypes and experimental designs. I have many challenges, for example, morphing technological constraints into cultural affordances, and avoiding possible confusion between artistic artifice and historical accuracy, all the while evaluating intangible concepts in a systematic way without disturbing the participants’ sense of immersion. To help me judge the success or failure of these projects I have shaped some working definitions of games, culture, cultural understanding, cultural inhabitation, and place. However, these concepts and definitions are not enough. I also have to now tackle the issues of simulated violence, artificial “other” people, the temptation of entertainment masquerading as education, and the difficulties inherent in virtually evoking a sense of ritual.
My lecture, then, is a discussion into how game-based learning, and the study of culture, heritage and history, might meaningfully intersect.
Time to create the best museum in history, right in your own classroom! You'll develop an exhibit that illustrates one of the civilizations you read about earlier in this lesson.
Register to explore the whole course here: https://school.bighistoryproject.com/bhplive?WT.mc_id=Slideshare12202017
Erik Champion, Curtin University PISA 9 SEPTEMBER 2014
heritage visualisation and serious game design
• major concepts and issues in the field
• learning from game design
• problems that arise when entertainment, heritage,
history and education collide
Exploring the Past: Unveiling the Hidden Treasures of Museumsjaafarshaikh
Museums stand as bastions of our shared cultural legacy, preserving and presenting artefacts that serve as windows into bygone eras. Beyond serving as mere repositories of history, museums are dynamic institutions where visitors can embark on immersive journeys of discovery, encountering hidden treasures that offer profound insights into our collective human experience.
Similar to Steven Lubar keynote presentation: Transport and Mobility on Display (20)
Presentation to American Precision Museum Board of Advisors, August 2013. Technology museums have a long history, and each era creates a museum that is useful to it. As museums change "from being about something to being for someone," how does the American Precision Museum carry out its mission?
LeGrand Lockwood, born in Norwalk, Connecticut in 1820, went on to make a fortune in the railroad business. He was an enthusiastic adopter of the new technologies of his day. This talk, delivered at the Lockwood-Mathews Mansion Museum, considers how Lockwood and his contemporaries thought about the future of technology.
Hear the presentation at http://youtu.be/9A-KCQJ-GPI
2024.06.01 Introducing a competency framework for languag learning materials ...Sandy Millin
http://sandymillin.wordpress.com/iateflwebinar2024
Published classroom materials form the basis of syllabuses, drive teacher professional development, and have a potentially huge influence on learners, teachers and education systems. All teachers also create their own materials, whether a few sentences on a blackboard, a highly-structured fully-realised online course, or anything in between. Despite this, the knowledge and skills needed to create effective language learning materials are rarely part of teacher training, and are mostly learnt by trial and error.
Knowledge and skills frameworks, generally called competency frameworks, for ELT teachers, trainers and managers have existed for a few years now. However, until I created one for my MA dissertation, there wasn’t one drawing together what we need to know and do to be able to effectively produce language learning materials.
This webinar will introduce you to my framework, highlighting the key competencies I identified from my research. It will also show how anybody involved in language teaching (any language, not just English!), teacher training, managing schools or developing language learning materials can benefit from using the framework.
Operation “Blue Star” is the only event in the history of Independent India where the state went into war with its own people. Even after about 40 years it is not clear if it was culmination of states anger over people of the region, a political game of power or start of dictatorial chapter in the democratic setup.
The people of Punjab felt alienated from main stream due to denial of their just demands during a long democratic struggle since independence. As it happen all over the word, it led to militant struggle with great loss of lives of military, police and civilian personnel. Killing of Indira Gandhi and massacre of innocent Sikhs in Delhi and other India cities was also associated with this movement.
Instructions for Submissions thorugh G- Classroom.pptxJheel Barad
This presentation provides a briefing on how to upload submissions and documents in Google Classroom. It was prepared as part of an orientation for new Sainik School in-service teacher trainees. As a training officer, my goal is to ensure that you are comfortable and proficient with this essential tool for managing assignments and fostering student engagement.
Read| The latest issue of The Challenger is here! We are thrilled to announce that our school paper has qualified for the NATIONAL SCHOOLS PRESS CONFERENCE (NSPC) 2024. Thank you for your unwavering support and trust. Dive into the stories that made us stand out!
The Indian economy is classified into different sectors to simplify the analysis and understanding of economic activities. For Class 10, it's essential to grasp the sectors of the Indian economy, understand their characteristics, and recognize their importance. This guide will provide detailed notes on the Sectors of the Indian Economy Class 10, using specific long-tail keywords to enhance comprehension.
For more information, visit-www.vavaclasses.com
Ethnobotany and Ethnopharmacology:
Ethnobotany in herbal drug evaluation,
Impact of Ethnobotany in traditional medicine,
New development in herbals,
Bio-prospecting tools for drug discovery,
Role of Ethnopharmacology in drug evaluation,
Reverse Pharmacology.
The Roman Empire A Historical Colossus.pdfkaushalkr1407
The Roman Empire, a vast and enduring power, stands as one of history's most remarkable civilizations, leaving an indelible imprint on the world. It emerged from the Roman Republic, transitioning into an imperial powerhouse under the leadership of Augustus Caesar in 27 BCE. This transformation marked the beginning of an era defined by unprecedented territorial expansion, architectural marvels, and profound cultural influence.
The empire's roots lie in the city of Rome, founded, according to legend, by Romulus in 753 BCE. Over centuries, Rome evolved from a small settlement to a formidable republic, characterized by a complex political system with elected officials and checks on power. However, internal strife, class conflicts, and military ambitions paved the way for the end of the Republic. Julius Caesar’s dictatorship and subsequent assassination in 44 BCE created a power vacuum, leading to a civil war. Octavian, later Augustus, emerged victorious, heralding the Roman Empire’s birth.
Under Augustus, the empire experienced the Pax Romana, a 200-year period of relative peace and stability. Augustus reformed the military, established efficient administrative systems, and initiated grand construction projects. The empire's borders expanded, encompassing territories from Britain to Egypt and from Spain to the Euphrates. Roman legions, renowned for their discipline and engineering prowess, secured and maintained these vast territories, building roads, fortifications, and cities that facilitated control and integration.
The Roman Empire’s society was hierarchical, with a rigid class system. At the top were the patricians, wealthy elites who held significant political power. Below them were the plebeians, free citizens with limited political influence, and the vast numbers of slaves who formed the backbone of the economy. The family unit was central, governed by the paterfamilias, the male head who held absolute authority.
Culturally, the Romans were eclectic, absorbing and adapting elements from the civilizations they encountered, particularly the Greeks. Roman art, literature, and philosophy reflected this synthesis, creating a rich cultural tapestry. Latin, the Roman language, became the lingua franca of the Western world, influencing numerous modern languages.
Roman architecture and engineering achievements were monumental. They perfected the arch, vault, and dome, constructing enduring structures like the Colosseum, Pantheon, and aqueducts. These engineering marvels not only showcased Roman ingenuity but also served practical purposes, from public entertainment to water supply.
4. the people in this room,
curators, museum educators,
interpreters, experts
the other, the past, us in the
past, the “community”, the
object of display
the audience, readers, historic
site and museum visitors,
tourists
5.
6. ( )
The first task of every museum is “adding to the happiness, wisdom, and
comfort of members of the community.”—John Cotton Dana, Director,
Newark Museum, 1917
7. ( )
The museum must remain “firmly in the control of a trained elite [to]
maintain standards of quality independent of the contingent values of daily
life.” Museums “must direct public taste…and not be dictated [to] by it.”—
Paul J. Sachs, Director, Harvard Museum Studies Program, 1920s
8. ( )
Museums should foster “the ability to live productively in a pluralist society and … contribute to
the resolution of the challenges we face as global citizens… In every aspect of their operations and
programs, museums must combine a tradition of intellectual rigor with the inclusion of a broader
spectrum of our diverse society.” Every aspect of their work should be “supported both by rigorous
scholarship and by respect for the many cultural and intellectual viewpoints that museum
collections stand for and stimulate.” —American Association of Museum’s Excellence and Equity,
1992
9. (
)
“Preserve, interpret and create passion for Auburn, Cord and Duesenberg automobiles and their
heritage of innovation, influence, design and competition”
Mission statement of the Auburn Cord Dusenberg Automobile Museum
10. ( )
“A spotlight on days gone by – reawakening memories, rekindling emotions and conjuring up that
typical gurgly chugging sound that a Beetle boxer engine makes.”Volkswagen AutoMuseum
11. ( )
“Developing educational materials and conducting programs to increase the public's understanding
of, and involvement in, the development of aviation and spaceflight” —from the National Air and
Space Museum mission statement
12. ( )
“The museum works in collaboration with the Native peoples of the Western Hemisphere to protect
and foster their cultures by reaffirming traditions and beliefs, encouraging contemporary artistic
expression, and empowering the Indian voice.”
National Museum of the American Indian
13. “Commitment to produce unparalleled entertainment experiences based on the rich legacy of
quality creative content and exceptional storytelling.”
Disney
14. ( )
“I believe that museums have the potential to undergo a similar (r)evolution
as that on the web, to transform from static content authorities to dynamic
platforms for content generation and sharing. I believe that visitors can
become users, and museums central to social interactions.”
Nina Simon, Museum 2.0, 2006
35. Yesterday’s News
Current day, too recent,
for my parents
not history yet
“ol skool”
“Back in the day”
Too Old, not relevant, Old of date
not interesting Classic
Retro
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Good morning. Thanks to Hans for his invitation to speak today.
The basic questions - things that museums need to think about as we consider the future, or, for that matter, our work today. Who are we? Who are we doing our work for? Who is our work about? / What is the subject matter of our work, what is its content? / What time period seems to be of interest to us, and to our audiences? / Where do we locate our work? Is it local? Is it in cyberspace? / And why do we do it? Why do our varied funders think this is a good way to spend their money? And why do our audiences participate.
A simple set of categories for consider the “who” in public history. (show definitions) We need to think about all of these - one of the problems is that we tend to focus on one at a time. And we need to dissect these, complicate them, more than we often do. “us” is complicated - something students have a hard time understanding- not just worksite politics - “community” is my favorite - too easy to make simple assumptions… “Them” for many tranportation museum might be better replaced by “it” - a challenge I’ll get to later.
Internet meme on “every talk on museums needs a John Cotton Dana quote” - Dana, head of the Newark Museum in the early 20th century, still one of most useful museum theorists. Museum expertise important - but it’s about the audience, in both senses of the word “about” . I want to contrast this with: Sachs
Sachs - head of the Harvard museum program in the 1920s - it’s all about us - experts. Even “Them” - the subject matter - is really about us. “You,” the audience, is there to listen and learn. (Exaggerated - he was quite good on physical comforts, but museum as lecture)
In the US, the publication of the AAM report Excellence and Equity publication was a milestone… Clearly a committee publication. A very big tent! But one that welcomed the visitor and the subject matter back into the museum -- moved the museum expert out of the center
I mentioned at the start that for many transportation museum, “Them” might be replaced by “it”. Hobbyist museums about the objects - but the museum people, and often the audience, and closely connected to those objects. The strengths and weaknesses of these museums is the close connection of the staff, the audience, and the subject matter. Strength in that it allows for focus; weakness, in that it can allow too narrow a focus.
Again, “them” might be replaced by “it”. The museum’s goal is to sell things by bringing the visit in contact with the object - or in this case, reinforcing memories of the visitor’s past.
NASM is very much top down: We develop materials to teach you. But the Us and them is pretty close: scientifically trained experts - Audience important but not really part of the story -- CONTRAST This with new models
New models - NMAI conciously set out to be a collaborative museum - similar to other museums of indigenous peoples in New Zealand and Australia - but can lose the visitor. Interesting implications for other kinds of museums - in some ways, not that different from some of the hobbyist transportation museums - we tell our story, and we don’t worry too much if you care.
Disney - all about you, the vistor - really no “other,” subject matter - can make it up. The staff is hiding offstage…
Nina Simon’s work has brought the philosophy of web 2.0 into the museum - visitors become creators, Where does that leave us? Are we off to the side as facilitators? Just watching from below? Are we part of the big happy web 2.0 family? Or are we out of the picture? /// And that brings us to the future - what is likely to happen next?
...to our friends us, them and you. Us will certainly shrink (and turn grey)… that’s the budget cuts side of the story.
You is likely to become even more distracted, more confused
And our subject matter has to become more diverse, and we need to find more complexity in it. It keeps get more complicated, more confusing - and more intersting. The “other” is speaking for itself now, and we need to acknowledge and encourage that.
Moving on to What? What’s the subject matter of our field?
What is the proper subject of the transportation museum? Will present this as a series of questions - they might seem like oppostions, but I mean them more as issues to consider when designing an exhibition or experience, or considering a collecting possibility. The trick is finding, for each project, the right balance.
This is a fundamental question for museums - are we about the objects in the collections, or about the human history that they represent? The objects survive, the people are mostly gone. But objects, I’d like to suggest, are more interesting when they tell human stories… which brings we to the next balance:
Start with what kind of exhibits? Stories or things -- realize that a lot of museum exhibits use things to tell stories, and it’s not always a good fit. Things have stories, but they’re often hard to elicit - as museum people like to say, artifacts don’t speak for themselves. And so -- here’s an opposition that I intend rather as a balancing act - we build exhibits around our stories - and end up with mannequins - fake things, telling accurate but fake stories…. The right balance here is the key to good exhibitions
Especially true in transportation - do you focus on cars, a model, a type, or do you cross modes of transportation?? Even bigger - is it about transportation, or about history, seen through the lens of transportation?
debate about whether museums become more important because they have the real thing or less important because we’re just showing a picture of it? // The question of course will be the balance of the two… this line will get fuzzier.
debate about whether museums become more important because they have the real thing or less important because we’re just showing a picture of it? // The question of course will be the balance of the two… this line will get fuzzier.
Goes to museum 2.0 - this the fundamental question. Do we tell people things they should know, or do we ask them to participate in a conversation? Moving on to what kind of objects?
Authentic or accurate - original, showing its history, or a reproduction that is like the thing the axe who’s handle has been replaced twice and whose head’s been replaced once… Do we show the survivor from the past, “the pice of the true cross,” even if it’s not very good at telling us about that past - or do we make good reproductions? -- Fascinating that so many historic village museums are going to reproductions
Sometimes it’s pretty clear -- The Henry Ford has pushed traditional museum style in using objects - charge for a ride a Model T. Historic house museums talk about the “Rembrandt rule” - that everything is equally precious. Transportaion museums have had a more flexible set of rules - locomotives operated, airplanes flown…
Speaks for itself - is it about the everyday or about the
Moving on now to context For years the holy grail of museums has been context. Put things back into the setting they came from. Now we say, put them into the community that cares about them today. What balance?
For years the holy grail of museums has been context. Put things back into the setting they came from by means of labels, or diaramas… . Now, especially in the world of anthropology museums, we say, put them into the community that cares about them today. What balance? .
they might seem like oppostions, but I mean them more as issues to consider when designing an exhibition or experience, or considering a collecting possibility. The trick is finding, for each project, the right balance.
We can imagine a time line
What still seems interesting? What seems relevant? How far back? How recent? Where does history begin? Fascinating to me to think about the number of ways that people can say that history is boring. Length of connections to make. Yesterday's discussion on climate change: do we put a label next to Newcomen's steam engine saying this is the beginning of global warming?
For transportation museums, the key question is how much we use the past to talk about the present. Too many museums have drawn strict lines between these - kept these apart. I’d like to suggest that we will be better off if we stop drawing these distinctions. The transportation museum should focus on today and tomorrow, and suggest the way the decisions of the past shape them. Need to bring yesterday closer to today (CLICK) and today closer to tomorrow! CLICK
How do we talk about larger geographies in a particular place? How do we combine these? Local history museums are about local things but are dealing with global issues.
A challenge for every museum right now. A bit about the evidence: the more your collections are online, the more they’re used. The more the museum is online, the more visitors it gets. Expectations for internet experience drive museum experience… participation, interactivity, social networking…
Charles Wilson Peale wants the museum to be useful to the nation - and that’s still a very strong urge in much of our work. AOTM: we wanted to help shape transportation policy -na scene from “Going Global” BMW museum - wants to sell cars. Henry Ford Acadmy - part of a large movement in industrial museums to do job training, econony. And then there’s the cultural tourism, the way many small towns think - or thought that a scenic railroad might attract tourists - leading to some interesting challenges to history as they get dependent on tourists. NO PICTURE - but also a sense that historic transportation can help make for better future transportation - streetcar lines, for example…
Good for you in that it will make you a better person, -- the basic idea of many of the great 19 th century museums - here. The Wagner Free Institute of Science in Philadelphia. Not all that different from the grand hall of the NASM… Good for you in many ways:
Goes back to the other great root of the museum business - Barnum. What exactly it means to entertain our visitors changes over time - x2… but something we worry a lot about…