Museums are Places that are Quietly SubversiveWest Muse
Has your museum ever tried to engage audiences in controversial topics, moderate discussions about social movements, or introduce inclusive practices only to be stymied by your board or director? Does it feel impossible for your museum to be an advocate for social justice issues? This session is informed by the growing movement of museums and museum professionals working to dispel the myth of institutional neutrality or nonpartisanship, the reality of museum professionals who can’t overtly address controversial topics, and a belief that “museums are places that are quietly subversive.”
Museums are Places that are Quietly SubversiveWest Muse
Has your museum ever tried to engage audiences in controversial topics, moderate discussions about social movements, or introduce inclusive practices only to be stymied by your board or director? Does it feel impossible for your museum to be an advocate for social justice issues? This session is informed by the growing movement of museums and museum professionals working to dispel the myth of institutional neutrality or nonpartisanship, the reality of museum professionals who can’t overtly address controversial topics, and a belief that “museums are places that are quietly subversive.”
A presentation about how to help all kinds of people--visitors, community members, and staff--feel ownership and identity with their museums. Presented by Nina Simon as the keynote at the 2010 British Columbia Museums Association conference in Nanaimo, BC on October 28, 2010.
Circus Conservatory of America Library PresentationRainie Themer
In August of 2014 I visited Portland, ME to see the Circus Conservatory of America and to present a proposal about the Library of the Circus Conservatory of America to a group of librarians. Those in attendance included librarians from University of Southern Maine, Maine College of Art, Portland Public Library, University of New England, Bates College, and Colby. The presentation consisted of a brief overview of circus arts, what types of materials the Library of the Circus Conservatory of America would collect, and a discussion about how the Circus Conservatory of America and the libraries at the presentation could collaborate to create a regional performing arts collection.
Program I created for the storytelling series. As the Event Coordinator, I came up with and organized Explorastory, as it was named, for the series\' initial two years.
An introduction to African American painters and sculptors working in the nineteenth century, including Joshua Johnson, Robert Duncanson, Grafton Tyler Brown, Edward Mitchell Bannister, Edmonia Lewis, and Henry Ossawa Tanner.
Steven Kowalik, Hunter College / CUNY
New York City presentation from VRA 28 Atlanta.
"Transition to Learning Spaces: Redefining Our Space for the Digital World" for the "After the Transition: Planning for Collections Storage & Workspace Changes in the Digital Environment" session.
A presentation about how to help all kinds of people--visitors, community members, and staff--feel ownership and identity with their museums. Presented by Nina Simon as the keynote at the 2010 British Columbia Museums Association conference in Nanaimo, BC on October 28, 2010.
Circus Conservatory of America Library PresentationRainie Themer
In August of 2014 I visited Portland, ME to see the Circus Conservatory of America and to present a proposal about the Library of the Circus Conservatory of America to a group of librarians. Those in attendance included librarians from University of Southern Maine, Maine College of Art, Portland Public Library, University of New England, Bates College, and Colby. The presentation consisted of a brief overview of circus arts, what types of materials the Library of the Circus Conservatory of America would collect, and a discussion about how the Circus Conservatory of America and the libraries at the presentation could collaborate to create a regional performing arts collection.
Program I created for the storytelling series. As the Event Coordinator, I came up with and organized Explorastory, as it was named, for the series\' initial two years.
An introduction to African American painters and sculptors working in the nineteenth century, including Joshua Johnson, Robert Duncanson, Grafton Tyler Brown, Edward Mitchell Bannister, Edmonia Lewis, and Henry Ossawa Tanner.
Steven Kowalik, Hunter College / CUNY
New York City presentation from VRA 28 Atlanta.
"Transition to Learning Spaces: Redefining Our Space for the Digital World" for the "After the Transition: Planning for Collections Storage & Workspace Changes in the Digital Environment" session.
Carolyn Caizzi and Barbara Rockenbach presentation for the "Collaborative Ventures, Collaborative Gains" session at the VRA + ARLIS/NA 2nd Joint Conference in Minneapolis, MN.
Jennifer Friedman presentation at the "How do we shelve it? The place for Vendor-provided electronic titles in art and architecture collections" session at the VRA + ARLIS/NA 2nd Joint Conference in Minneapolis, MN.
Karen Kessel presentation for "More Than Meets the Eye? Retrieving Art Images by Subject" session at VRA + ARLIS/NA 2nd joint conference in Minneapolis, MN.
Hanging Out : preserving an ephemeral print culture in DunedinSarah Gallagher
This paper was delivered on 1/12/10 at the LIANZA 2010 conference in Dunedin New Zealand. It outlines the research I'm engaged in concerning the social history of the named student flats of Dunedin.
An international symposium exploring the role of libraries and archives in the revitalisation of Indigenous language and culture. Indigenous people, librarians, archivists, linguists and museum professionals sharing their experiences of working in the field of language documentation and revitalisation. http://blogs.sl.nsw.gov.au/hidden-gems/
#hiddengems13
VRA 2023 Collections Management in Fashion and Media session. Presenter: Wen Nie Ng
The goal of the paper is to enhance the metadata standard of fashion collections by expanding the controlled vocabulary and metadata elements for Costume Core, a metadata schema designed specifically for fashion artifacts. Various techniques are employed to achieve this goal, including identifying new descriptors using word embedding similarity measurements and adding new descriptive terms for precise artifact descriptions to use when re-cataloging a university fashion collection in Costume Core. The paper also provides a sneak peek of the Model Output Confirmative Helper Application, which simplifies the vocabulary review process. Additionally, a survey was conducted to collect insights into how other fashion professionals use metadata when describing dress artifacts. The survey results reveal 1) commonly used metadata standards in the historic fashion domain; 2) sample metadata respondents use; and 3) partial potential metadata that can be appended to Costume Core, which is relevant to Virginia Tech's Oris Glisson Historic Costume and Textile Collection. The expanded Costume Core resulting from the project offers a more comprehensive way of describing fashion collection holdings/artifacts. It has the potential to be adopted by the fashion collections to produce metadata that is findable, accessible, interoperable, and reusable.
VRA 2023 Adventures in Critical Cataloging session. Presenters: Sara Schumacher and Millicent Fullmer
This paper will cover the results of a research study looking at visual resources professionals' perceptions of the visual canon at their institutions and their actions confronting biases in their visual collections. This research is innovative because the "visual canon" as a concept is often evoked but rarely defined, and there has not been research into perceptions and practices that span different types of cultural heritage institutions. The researchers seek to focus on the role of the visual resources professional as a potential change-maker in confronting bias and transforming the “visual canon.” In our presentation, we will discuss the analysis of our survey and interviews around three key research questions: What barriers do visual resources professionals perceive in remedying the biases in the visual canon? What authorities, past and present, do they identify in shaping the visual canon? How do they approach teaching users to identify and critically confront these issues? We will highlight trends as well as unique concerns and solutions from our research participants and engage our audience with how these issues impact their own collections, policies, and instruction.
VRA 2023 Beyond the Classroom: Developing Image Databases for Research session. Presenter: John J. Taormina
The Medieval Kingdom of Sicily Image Database project collects historic images of the medieval monuments of South Italy, from the so-called Kingdom of Sicily dating from c. 950 to c. 1430, during the Norman, Hohenstaufen, Angevin, and early Aragonese periods. The project was begun in 2011, as part of a 3-year Collaborative Research Grant from the National Endowment for the Humanities, under project investigators Caroline Bruzelius, Duke University, and William Tronzo, University of California, San Diego.
The site features over 8,000 historical images in a range of media, including drawings, paintings, engravings, photographs, and plans and elevations culled from museums, archives, and libraries in Europe and America, often from the Grand Tour, as well as from available publications. The value of the database lies in making accessible to scholars the visual documentation of changes to historical sites because the medieval monuments of South Italy have been damaged, changed, and restored on many occasions, with tombs and liturgical furnishings often destroyed, dismantled, or removed. In fact, many of the 600 monuments no longer exist, often bombed during World War II or destroyed in earthquakes, or obscured by modern buildings and urban sprawl.
VRA 2023 Archives Tools and Techniques session. Presenters: Maureen Burns and Lavinia Ciuffa
The Ernest Nash collection documents ancient Roman architecture in pre- and post-World War II Italy. What made Nash's work significant, beyond capturing the present state of the ancient Roman monuments at a volatile historical moment, was the primacy of the topographical photography and the systematic order he brought to this subject. The American Academy's Photographic Archive contributed Nash's images to an open access, interactive website called the "Urban Legacy of Ancient Rome." It reveals the city in stunning detail and uses geo-referencing to provide the viewer with a better understanding of the overall contextual and spatial logic. These Nash images and metadata are also IIIF compatible. As the Academy continues to digitize and describe the full collection of about 30,000 images, thanks to the generous support of the Kress Foundation, a new partnership has developed with Archivision and vrcHost. Current high quality digital photographs of the same ancient Roman monuments are being added to compare with the historical images documenting architectural changes--whether conserved, restored, altered, reconstructed, re-sited or destroyed. This presentation will provide a progress report about what it takes to move new digital photography into IIIF and the various tools available for close examination and presentation. Finding ways to provide ready access and juxtapose historic and contemporary photography online, builds upon the legacy of Nash's quality curation and scholarship to create 21st century, accessible, online educational resources of great interest and utility to scholars, students, and a wide audience of ancient Roman enthusiasts.
VRA 2023 Exploring 3D Technologies in the Classroom session. Presenter: Amy McKenna
Amy McKenna (Williams College) discusses her project that uses Photoshop and cardboard 3D glasses to recreate the 19th-century spectacle of a historic glass stereo collection.
VRA 2023 Keynote. Presenter: Melissa Gohlke
A historical record that focuses on white, heteronormative society and events obscures many facets of San Antonio history. Peel back the veneer of normalcy and one can find rich, diverse, and unexpected strands of the city’s past. From female impersonators of the early 1900s to queer life in derelict spaces during the 1960s and finally, gay and lesbian bar culture of the1970s and beyond, the hidden threads of San Antonio’s history reveal themselves. In this presentation, LGBTQ Historian Melissa Gohlke explores these hidden histories and stitches together an alternative interpretation of the city’s historical narrative by examining a wealth of primary sources found in archives and personal collections.
About the speaker:
Melissa Gohlke is an urban historian who specializes in San Antonio LGBTQ+ history. For over a decade, Gohlke has been researching queer history in San Antonio and South Texas and sharing her passion for this history through extensive outreach activities such as presentations, media interactions, exhibits, and written work. Gohlke is the Assistant Archivist for UTSA Libraries Special Collections.
About the VRA:
The Visual Resources Association is a multidisciplinary organization dedicated to furthering research and education in the field of image management within the educational, cultural heritage, and commercial environments.
VRA 2023 Beyond the Classroom: Developing Image Databases for Research session. Presenter: Mark Pompelia
Material Order is an academic consortium of material sample collections (including wood, metal, glass, ceramic, polymers, plastics, textiles, bio-materials, etc.—any material that might be used in or considered for art, architecture, and design disciplines) founded by the Graduate School of Design at Harvard University and Fleet Library at Rhode Island School of Design and now comprising several more institutions in the US. It provides a community-based approach to management and access to material collections utilizing and developing standards and best practices. Material Order created the Materials Profile that serves as a shared cataloging tool on the LYRASIS CollectionSpace platform and can be further developed as the different needs of consortium members are identified. Open Web searching across all collections occurs via a front-end discovery portal built with Wordpress at materialorder.org.
The Material Order project was born from the acknowledgment that resource sharing and collaborative catalogs are the most promising approach to exploration and implementation. It was always the intent, now actualized, for partner institutions with different mission and scope to compel the project to consider and accommodate criteria such as material health ecologies, fabrication possibilities, and overlap into adjacent fields such as engineering and archeology. Thus, Material Order represents not just items on a shelf but a knowledge-base of compositions, uses, forms, and properties. No longer in its infancy, Material Order provides a shared and adaptable framework for managing collections across the consortium and optimal facilitation of materials-based research and exploration for art, architecture, and design applications.
VRA 2023 New Frontiers in Visual Resources session. Presenters: Meghan Rubenstein and Kate Leonard
The Art Department at Colorado College is piloting a Personal Archiving program in select undergraduate studio courses that combines visual and digital literacy instruction with personal reflection and professional development. Meghan Rubenstein, Curator of Visual Resources, and Kate Leonard, Professor of Art, will discuss the drive behind this initiative to develop student competencies within a liberal arts setting. We will share our ongoing iterative process as well as select student activities and learning outcomes that may be adopted to various institutions.
VRA 2022 Teaching Visual Literacy session. Presenter: Molly Schoen
Our everyday lives are more saturated in images and videos than any other time in human history. This fact alone underscores the need to implement visual literacy skills in all stages of education, from pre-K to post-grad. Learning how to read images with critical, analytical eyes is crucial to understanding the world around us as we see it represented in the news, social media, advertisements, etc. New technologies have exasperated this already urgent need for visual literacy education. Synthetic media, deepfakes, APIs, bot farms, and other forms of artificial intelligence have many innovative uses, but bad actors also use them to fan the flames of disinformation. We have seen the grave consequences from this age of disinformation, from undermining elections to attempts to delegitimize science and doctors, undoubtedly raising the death toll from the COVID-19 pandemic. What do we need to know about these new forms of altered images made by artificial intelligence? How do we discern between real, human-made content versus fakes made by computers, which are becoming more and more difficult to discern? This paper aims to raise awareness of how new forms of visual media can manipulate and deceive the viewer. Audience participants will learn how to empower themselves and their peers into being more savvy consumers of visual materials by understanding the basics of AI and recognizing the characteristics of faked media.
VRA 2022 Individual Papers Session. Presenter: Malia Van Heukelem
This case study of a large artist archive at a medium sized academic research library will connect the success of the artist serving as his own archivist and the collection's broad research appeal locally, nationally and internationally. Like many artists, there is so much more than his own work represented. There is correspondence, fine art prints, ephemera of other artists and writers hidden in the collection. The foundation of organization is in place; now the focus is on creating online access points through finding aids and image collections. The presentation will explore the use of ArchivesSpace, Omeka, and other software to increase access. It will also demonstrate how a solo archivist can leverage interns, student assistants, and volunteers for collections management projects that benefit both the institutional priorities and desired learning outcomes. This talk will delve into the challenges of 20th century visual resource collections such as copyright and engagement with donors. Featuring a local artist has brought other art and architecture collections to the library, without clear boundaries which has led to questions of sustainability, who and what is collected. There is definitely a need to balance the historical record and yet, there are already more archival collections accessioned than can be responsibly managed by one person. The primary collection does include works by women and artists of color, yet much descriptive work remains to forefront the diversity contained within. As an archivist and librarian at a public university, there are many competing demands for collections management, support of researchers, and instruction plus the added interest for exhibition loans and the desire for other artists and architects to be represented. This artist archive is both interesting and complex.
VRA 2022 Critical Cataloging Conversations in Teaching, Research, and Practice session. Presenters: Megan Macken, Louise Siddons
Prior to the fall of 2020, the historic record of art exhibitions held at Oklahoma State University (OSU) was available only in incomplete, unprocessed archival materials. Students in Louise Siddons’ fall 2020 History of American Art course conducted research in the digitized student newspaper archive to begin documenting OSU art exhibitions since 1960. The resulting database was shared with the public with the intention of building on the project in future courses. Throughout the project both students and faculty engaged in critical cataloging.
Using the exhibition dataset they had created, students completed two analytical assignments: a traditional art history essay in which they considered one exhibition closely, and a critical reflection prompting them to consider their new understanding of the university’s history based on the aggregation of exhibitions. As gaps and surprises in representation appeared, students developed a more nuanced picture of institutional culture in the latter half of the 20th century.
After the course concluded, art history and library faculty standardized the student-generated data in preparation for sharing on other platforms such as Wikidata. Some artists who have exhibited at OSU also have interviews in the OSU oral history collections, and intersections between these projects and the questions raised by surfacing this metadata were explored. In the process issues emerged around artists’ preferred ways of identifying themselves as well as the difficulties of achieving a balance between increased representation of artists on the margins and respect for the privacy of living artists.
VRA 2022 session. Organizer/Moderator: Allan T. Kohl. Speakers: Virginia (Macie) Hall, Christina Updike, Marcia Focht, Rebecca Moss, Steven Kowalik, Jenni Rodda
During the past year, the “Great Resignation” (aka. The “Big Quit”) has roiled the world of employment nationwide in the wake of the COVID-19 pandemic, which had already caused job losses among our membership. While many institutions and individuals now hope for a “return to normal,” others anticipate that the past two years mark a watershed necessitating further transformational changes in the years ahead. These larger employment trends have come on top of quantum shifts in the visual resources field itself, as traditional tasks give way to new responsibilities, and siloed image collections are replaced by interdisciplinary projects.
For several years, our annual conferences have featured the perspectives of newer professionals in “Stories from the Start.” Looking at the opposite ends of their career arcs, this session brings together the perspectives and experiences of two pre-pandemic retirees, two of our members who made their decisions to retire during the past year, and two currently active professionals whose retirements are pending in the near future. When and why did they make their decisions to retire? What was/is the actual process? Concerns? What comes next after we leave our offices for the last time?
VRA 2022 Digital Art History session. Presenters: Melissa Becher and Samuel Sadow
In 2019, the art history program at American University gave its masters students a new option for the capstone project that is the culmination of the degree: create a digital project on an art historical topic using Omeka S or Wordpress. Initially, only a single student chose to complete a digital capstone over a traditional thesis, but within two years there was near parity between the two options, meaning seven digital capstones for the 2021 cohort. To support these projects, a close partnership quickly developed between the University’s library, the visual resources center, and the archives. This session covers how three campus units coordinate that support for these innovative digital humanities projects, including administration of the platforms, instruction, technical support, preservation, and access to the final projects. The session will also showcase examples of student work to demonstrate the variety and creativity of projects that can be accomplished using these platforms, as well as their contributions to the field of art history. The outcome of this initiative is clear: the best of digital humanities, weaving design and technology with rigorous art historical research, and finished projects that have already resulted in successful job applications in the field.
VRA 2022 Material Objects and Special Collections session. Presenters: Allan T. Kohl and Jackie Spafford
Materials-based collections represent a challenging new mode of information management in terms of subject specialization, physical description and accommodation, and institutional mission. Building upon the successful introductory meeting of this Group in Los Angeles at the 2019 Conference, the goal of this SIG is to provide a forum for open discussion of Material and Object Collections and their relationship to various library/visual resources tasks. The Material and Object Collections SIG provides an opportunity for individuals working with a variety of materials and objects collections – including those that support art and art history courses, those that support architecture and design courses, and those in cultural heritage organizations – to share ideas, issues, and potential solutions in regard to tasks similar to common library/visual resources activities (including cataloging, documentation, staffing, outreach), as well as more specialized concerns relating to the management of physical objects (security, storage and retrieval, the design of user spaces, etc.).
By continuing to offer an opportunity for participants to share brief introductions and profiles of their collections, we hope to encourage networking and exchange information about sources for specialized items; to display sample items and share surplus samples with other collections; and to provide examples of successful solutions to typical problems. Our long-range goal is to maintain an ongoing support group that can be of particular benefit to those professionals who are in the beginning stages of building or organizing physical collections.
VRA 2022 Digital Art History session. Moderator: Otto Luna
Exploration of visualization tools in the Digital Humanities/Digital Art History realm. Presenter: Catherine Adams
Assessing the use of Qualitative Data Analysis Software (QDAS) by Art Historians and Archaeologists. Presenter: Kayla Olson
Supporting Art History Students’ Digital Projects at American University. Presenters: Samuel Sadow and Melissa Becher
VRA 2022 Digital Art History session. Presenter: Kayla Olson
This paper discusses a study (completed in the spring of 2021) which explores how common the use of Qualitative Data Analysis software (QDAS) is among two kinds of object-based researchers: art historians and archaeologists. Surveys were disseminated in a snowball fashion and contained open and closed questions. The questions sought to give participants a platform to describe if, why, and how they use programs like Atlas.ti, NVivo, Dedoose, and MAXQDA throughout their research process. While not QDAS, the image management application Tropy was also included. The author hopes that the anonymized responses will prompt discussion among professionals in academic librarianship and visual resources management about the possible impact of these digital tools on researchers in these disciplines. The question remains on whether researchers in art and material culture disciplines would benefit more from QDAS if participants were aware of: 1) Their existence and 2) Their ability to help organize artifact data and to assist in performing image-based analysis.
VRA 2022 Critical Cataloging Conversations in Teaching, Research, and Practice session. Presenter: Ann M. Graf, Assistant Professor of Library and Information Science, Simmons University
In the field of information science, we strive to provide access to information through the most efficient means possible. This is often done through the use of controlled vocabularies for description of subjects, and, in the case of art objects, for the identification of styles, processes, materials, and types. My research has examined the sufficiency of controlled vocabularies such as the Art and Architecture Thesaurus (AAT) for description of graffiti art processes and products. This research is evolving as the AAT is responding to warrant for a broader set of terms to represent outsider art communities such as the graffiti art community. The methods used to study terminological warrant by examining the language of the graffiti art community are helpful to give voice to artists who work outside the traditional art institution, allowing the way that they talk about their work and how they describe it to become part of the common discourse. It is hoped that this research will inspire others who design and supplement controlled vocabularies for use in the arts to give priority in descriptive practice to those who have been historically underrepresented or made invisible by default use of terminology that does not speak to their experiences.
VRA 2022 Session. Presenter: Douglas Peterson
In 2021, the National Archives of Estonia engaged Digital Transitions’ Service division, Pixel Acuity, to build an Artificial Intelligence (AI) tool to analyze part of its historic record. The objective was to use this tool to enhance their collection with descriptive metadata that identified persons of interest in a collection of over 8,000 photographic glass plate negatives, a task that would ordinarily take years of human labor. In this presentation, we discuss our approach to accurately detecting and identifying human subjects in transmissive media, our initial findings using commercially available AI models, and the subsequent refinements made to our workflow to generate the most accurate metadata. In addition to working with commercially available AI models, we developed strategies for validation of AI-generated results without additional human supervision, and explored the benefits of building bespoke, heritage-specific AI models. By combining all of these tools, we developed a highly customized solution that greatly expedited accurate metadata generation with minimal human oversight, operated efficiently on large collections, and supported discovery of novel content within the archive.
VRA 2022 Community Building Session. Presenter: Dacia Metes
Queens Memory is an ongoing community archiving program that engages with our local communities in our two-fold mission to (1) push local history collections out to the public through programming and online resources, and (2) pull new materials into our collections from the diverse communities of Queens, NYC. The COVID-19 pandemic forced us to close our buildings, cease all in-person work and programming and shift our work to the virtual world. Our team quickly modified our processing workflow and asset tracking with the high volume of crowd-sourced donations coming through new online submission forms, set up in a rapid response to capture the stories coming from the pandemic’s first epicenter in the U.S. In my proposed conference session, I will discuss how we planned and managed the shift to fully online collection development. I will talk about our virtual outreach efforts to engage with the community and get them to contribute their materials, and how we developed the online tools and processes that allowed us to collect photographs, oral history interviews and other audio/visual materials, while also capturing the necessary metadata and consent forms. New internal communications channels, roles for volunteers, and triage processing for publication resulted from these efforts and are now essential parts of the team’s practices.
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.
A Strategic Approach: GenAI in EducationPeter Windle
Artificial Intelligence (AI) technologies such as Generative AI, Image Generators and Large Language Models have had a dramatic impact on teaching, learning and assessment over the past 18 months. The most immediate threat AI posed was to Academic Integrity with Higher Education Institutes (HEIs) focusing their efforts on combating the use of GenAI in assessment. Guidelines were developed for staff and students, policies put in place too. Innovative educators have forged paths in the use of Generative AI for teaching, learning and assessments leading to pockets of transformation springing up across HEIs, often with little or no top-down guidance, support or direction.
This Gasta posits a strategic approach to integrating AI into HEIs to prepare staff, students and the curriculum for an evolving world and workplace. We will highlight the advantages of working with these technologies beyond the realm of teaching, learning and assessment by considering prompt engineering skills, industry impact, curriculum changes, and the need for staff upskilling. In contrast, not engaging strategically with Generative AI poses risks, including falling behind peers, missed opportunities and failing to ensure our graduates remain employable. The rapid evolution of AI technologies necessitates a proactive and strategic approach if we are to remain relevant.
Palestine last event orientationfvgnh .pptxRaedMohamed3
An EFL lesson about the current events in Palestine. It is intended to be for intermediate students who wish to increase their listening skills through a short lesson in power point.
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.
Synthetic Fiber Construction in lab .pptxPavel ( NSTU)
Synthetic fiber production is a fascinating and complex field that blends chemistry, engineering, and environmental science. By understanding these aspects, students can gain a comprehensive view of synthetic fiber production, its impact on society and the environment, and the potential for future innovations. Synthetic fibers play a crucial role in modern society, impacting various aspects of daily life, industry, and the environment. ynthetic fibers are integral to modern life, offering a range of benefits from cost-effectiveness and versatility to innovative applications and performance characteristics. While they pose environmental challenges, ongoing research and development aim to create more sustainable and eco-friendly alternatives. Understanding the importance of synthetic fibers helps in appreciating their role in the economy, industry, and daily life, while also emphasizing the need for sustainable practices and innovation.
Model Attribute Check Company Auto PropertyCeline George
In Odoo, the multi-company feature allows you to manage multiple companies within a single Odoo database instance. Each company can have its own configurations while still sharing common resources such as products, customers, and suppliers.
3. ARLIS/NA Internship Award The ARLIS/NA Internship Award provides financial support for students preparing for a career in art librarianship or visual resources curatorship. The award grants $2,500.00 to support a period of internship in an art library or visual resources collection. 2011 Internship Award – Bailey Diers will complete her internship at the Metropolitan Museum of Art
4. GerdMuehsam Award Established to honor the memory of GerdMuehsam (1913-1979), distinguished scholar, teacher, and art bibliographer, whose support of and dedication to ARLIS/NA was an inspiration to her colleagues and students. Given annually to recognize excellence in a graduate student paper or project on a topic relevant to art librarianship.
6. The Melva J. Dwyer Award Gerald McMaster Inuit Modern
7. The Melva J. Dwyer Award Tim Pitsiulak, Composition (Whales Feeding), 2009, coloured pencil and graphite on paper, 238.8 x 121.9 cm
8. The Melva J. Dwyer Award Nelson Takkiruq, Mother Delousing Child, 1992, whale bone, ivory, stone, horn, 58.8 x 35.0 x 25.2 cm
9. The Melva J. Dwyer Award ManasieAkpaliapik, Respecting the Circle, 1989,whale bone, ivory, stone, antler, baleen, horn, 52.0 x 71.4 x 40.0 cm.
10. Worldwide Book Award for Publications Richard Minsky The Art of American Book Covers: 1875-1930
11. Worldwide Book Award for PublicationsHonorable Mention Kristen Regina Special Issue of: Slavic and East European Information Resources—Visual Works on Paper in the Washington DC Area
12. Worldwide Book Award for Electronic Resources Samantha Deutch Archives Directory for the History of Collecting in America
13. H.W. Wilson Foundation Research Grants Robert Craig Bunch Librarian Hamilton Middle School Collage and Assemblage in Texas: The Interviews
14. H.W. Wilson Foundation Research Grants Hillary Veeder Assistant Librarian Louisiana State University Histories of the Periodical Literature for Art and Design
40. VRA Distinguished Service Award Leadership Service Presentations and Publications Innovation Mentoring
41. Eileen Fry. Publications Colleagues, We are pleased to inform you that around 10,000 new repositories' records (museums, universities, etc.) records are now available in ULAN. Thanks very much to contributor Eileen Fry of Indiana University for her hard work. Patricia Harpring, PhD Managing Editor Getty Vocabulary Program
42. IU Fine Arts Slide Library / VRC 1975-2011 Betty Jo Irvine Tony White Jennifer Hehman Nicole Beatty Theresa Rohrabaugh Julie Simic Jeffrey Erickson RebeccaMoss Brenda Mitchell Nancy Alexander
48. MNW’s Top 10 List 10. Margaret possesses a keen sense of humor. 9. She is an experienced hiker. 8. She speaks and reads German fluently. 7. She is a famous cook. No potluck gathering at Cornell was complete without Margaret’s famous Plum Tart. 6. She embodies the gold standard of “professional mentor.”
49. MNW’s Top 10 List 5. Appreciates a well-organized cocktail party with friends. 4. She throws a great party – either at the office or at her home. 3. She is an avid gardener. 2. Globe trotter – she has more stamps in her passport than Rick Steves. 1. Perhaps one of the most modest, down to earth, common-sensical, individuals you are lucky enough to meet, work with or call your friend!
Editor's Notes
Presented by Karin Whalen, Reed College.The Nancy DeLaurier Award recognizes significant leadership, research, and service to the visual resources profession and honors an individual who has shown “distinguished achievement in the field.“ Renate Wiedenhoeft has been documenting historic art and architecture for the purpose of teaching art history for the past forty-five years and is one of our field’s great contributors. For decades, Renate has played a significant role in the lives of curators, librarians, customers, vendors and colleagues. Saskia, Ltd. Cultural Documentation, which she co-founded with the late Ron Wiedenhoeft, and her more recent venture, Scholars Resource have made a monumental impact on the visual resources community. Saskia’s core archive is comprised of images from the world’s most renowned museums. Students and scholars who in the past have been unable to examine these masterworks in person are now able to study them in detail on computers, in dorm rooms and in the classroom. From the days of selling slides door-to-door back in Saskia’s formative years to serving millions of students and hundreds of institutions today, Renate was there. Saskia’s images were among the first commercially available for license as digital records, and they provide the foundation upon which many of our local digital collections are built. Our expectation of quality, service, and cost-effectiveness were met and exceeded by images made available in new digital formats. Renate’s charm and intellect sealed our fate and we have been irrevocably smitten by the lush color images that we can supply to our faculty and curators. When asked where we were able to obtain such beautiful surrogates of paintings from the Louvre or Dresden or temples in Turkey when previously we had only been able to offer grainy black and white images or harshly colored reproductions, Greg Most sagely smiled and responded, “Why from Saskia, of course!” “The first time one of Renate’s digital images was projected on a screen at the Institute of Fine Arts,” said JenniRodda, “there were gasps of surprise and ‘WOW’s’ heard around the room.” Margo Ballentyne didn’t have a separate budget from her art department, but she still wanted Saskia original slides for her collection, even if she could only have a few. “They were my treasures,” she commented. As a content provider, Andrew Gessner has experienced a similar level of quality with Scholars Resource. Together with Todd Keener, Renate has represented the Metropolitan Museum of Art’s digital images in an art historically sensitive and intelligent way. The sets provide creative ways to access the images, allowing for individual or bulk image selection. “Saskia and Scholars Resource,” writes Andrew, “are long lasting and profitable small businesses that consider thoughtfully and sensitively the needs of academic and cultural heritage image collections.” When Ann Woodward was introduced to the visual resources profession in the 1970s at her first VRA conference, it was apparent that Renate and her team would shepherd Ann and her collection into the digital age. Renate and her team have always been annual VRA conference colleagues, presenting papers and organizing panels that make the conference a success, and Renate’s valuable, sensible suggestions have made vendor participation in the conference meaningful and effective. Renate generously supports fellowship activities at the conferences, giving us all truly memorable evenings in fantastic settings, particularly in Portland, Miami, and Baltimore. Renate also has advocated for the visual resources profession by sponsoring conference travel awards for international members. When Vicky Brown from the University of Oxford was selected to receive the Saskia International Award, she immediately wrote to Renate to introduce herself and thank her for the opportunity. Now a fully-fledged member for the past four years, Vicky writes “I have learned so much from being a part of this organization and Renate is for the large part responsible for that.” Today, as more and more visual resources centers become digital, Renate remains dedicated to the community she serves. She is determined to ensure client satisfaction and strives to maintain the goodwill her company earned during its first forty years. “Renate has contributed to the visual resources field in significant ways,” said Kathe Albrecht, “by establishing an efficient mechanism to distribute high quality and hitherto unavailable European art images to the educational community, and then by forging new avenues for that distribution in the digital format. Renate stands with fellow vendors and her visual resources colleagues, in efforts to enhance and advance the field as it has evolved. The legacy of art images and cultural documentation that she helped create so many years ago will certainly continue to enrich the entire cultural community for years to come.” We congratulate Renate Wiedenhoeft, recipient of the 2011 Nancy DeLaurier Award.