Past Meets Present: Archaeologists Partnering with Museum Curators, Teachers, and Community Groups

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National Park Service "Links to the Past". Alexandria Archaeology Museum. Anthropology on the Internet for Grades K Archaeological Institute of America Education Pages. Forensic Detectives: Archaeologists at Work. Institute of History, Archaeology, and Education. Smithsonian for Educators. Society for American Archaeology Resources for Educators. The Stone Wall Initiative -- Lesson plans. What Artifacts Reveal about the Past. Karolyn E. Smardz and Shelly J. Altamira Press.

The Archaeology Workbook , Steve Daniels and Nicholas David. Philadelphia: University of Pennsylvania Press. The Next Archaeology Workbook , Nicholas David and Jonathan Drive. Margo Muhl Davis, editor. Boston: The Archaeological Institute of America. Cleary, Marie, and Mark J. Jameson, John H. The First Peoples of the Northeast , Esther K. Braun and David P. Archaeology for the Public - Fun for all Ages.

Dig —The Archaeology Magazine for Kids. The Mesoamerican Ball Game. National Park Service — Archaeology for Kids. Smithsonian Kids. Careers, Opportunities, and Jobs in Archaeology. Robert S. The Beaty Biodiversity Museum BBM , home to the University of British Columbia's UBC biological research specimens, has embraced a mission to inspire an understanding of biodiversity, its origins and importance to humans, through collections-based research, education, and community outreach.

This mission carries with it the challenge of supporting academic interests whilst providing meaningful community outreach. A diverse body of university students working with the museum bridge these spheres, providing cultural depth and scientific context to community outreach. In their interactions with museum visitors, students engage the public through their studies and research, providing a unique account of the museum's collections.

Through this exchange, the museum becomes a shared place of teaching and learning for students and the broader public. This poster highlights two outreach projects that have allowed the BBM to reach beyond the academy through student volunteer and employment opportunities, highlighting that these students provide a novel opportunity to strengthen connections between university museums, research collections, and the general public. She has worked in museums and botanical gardens around the world.

Her research interests focus on the role of natural history collections in learning. In the current context of the European recession, "cultural economy" is a key issue in addressing European development policies. This also holds true for countries that are affected by economic crisis, such as Greece. While cultural education in Greek university museums suffer from serious under-funding, formal and non-formal educational activities have increased over time.

The Museum of Casts is 90 years old and hosts an important collection of about casts of ancient sculptures, the originals of which date from Minoan to Byzantine times. In addition, the archives of the Museum include more than photographs of sculptures. Despite the dramatic decrease in its budget during the past decade, the Museum as an academic institution that organises non-formal educational and other cultural programmes has expanded its range of effectiveness by cooperating with numerous public institutions primary, secondary, and higher educational institutions.

As a result, external both European and private sources of funding have complemented the paltry budget. Her research interests include: Greek and Roman sculpture, architecture, and topography; organising collections, periodic exhibitions, archives, writing museum catalogues; organising and implementing educational programmes. Her research interests include: Greek and Roman sculpture, architecture, town planning and topography; re-organizing the display of the museum's collections, periodic exhibitions, academic lectures and colloquia, organising the archives, and writing museum catalogues.

Her research interests include: Greek sculpture, architecture and topography; organizing periodic exhibitions and research programmes. Her research interests include: pottery, jewelry, weaponry, funerary archaeology, identity, landscape, and biography; AUTH Excavations at Vergina; organising collections, periodic exhibitions; organising and implementing educational programmes. The University of Seville presented a poster at the Universeum conference held in Athens in with different types of heritage academic heritage in its broadest sense, including university collections, museums, archives, libraries, and university buildings of historical, artistic and scientific significance.

Subsequently, for the meeting held in Amsterdam in we presented the connnections established between the different collections.

Past Meets Present

After working together we co-authored a book about the collections and museums of the University of Seville. At the conference held at the University of Belgrade in , we presented a poster about The Fine Art School, its collections and heritage, and their functions.

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  3. Archaeologists Partnering with Museum Curators, Teachers, and Community Groups!

Thus, at Universeum, held at the University of Glasgow, we can show how we are evolving and have expanded our contacts. During these years we have worked together, not only within the university campus, but also beyond, collaborating with other cultural heritage organisations, with other communities, and with society at large.

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We are not only interested in the conservation of our collections, but we know that our mission is to develop cultural experiences that link society with our University heritage. Some of these projects are particularly interesting and include coursework, final degree projects, doctoral theses, and work in research groups. We are prepared to present the methodology for these and evaluate it. The Science and Technology Museum of Patras University carries out a number of co-curation initiatives that bring the museum together with different outside groups to jointly produce a mutually valued outcome.

Their key goal is to bring the perspective and voices of the three degrees of the educational community, as well as the cultural, arts, and scientific communities, into the museum using interaction practices. One initiative invites school groups to interpret science using arts and to develop educational material through networks and competitions.

In another, research groups, student groups, and university departments develop demonstration experiments, temporary exhibitions or educational programs, animating activities, writing communication material through internship, volunteering, or special projects. Other cultural, arts, and scientific groups are involved in developing additional activities. In order to successfully implement co-curation, a participatory structure based on a widely adaptable model has been developed.

Most activities have been successful because all parties have clear roles and expectations, with the museum having a leading role in respecting the interests and creativity of others. Despite the clear structure, sometimes co-curation faces obstacles due to misunderstanding of rules or hidden personal expectations.

Regular discussions play a part in minimizing such situations. Coexistence brings a unique mix of ideas to the museum that in turn gives new impetus to its activities, deepens its importance as a public resource, and strengthens it as a reliable forum of scientific literacy. He is interested in condensed matter physics, teaching physics, and the history and philosophy of science.

The University of Manchester's taught Master's degrees include programmes in three fields — science communication and public engagement, history of science, technology and medicine, and medical humanities — working in close co-ordination, sharing teaching and student opportunities. The most striking outcome of efforts to develop commonalities between the three fields has been increasing focus on material culture, object studies, and use of local collections in several ways: as teaching aids, primary sources for student research, and public engagement resources.

Past Conferences, Workshops, and Other Initiatives

This has led to growing interaction with several collections whose institutional contexts are interestingly varied: they include the Manchester Museum, based within the University and the inheritor of its natural history research collections; the Museum of Medicine and Health, a curated collection with no permanent public displays, but offering rich opportunities for event-based engagement; and the Museum of Science and Industry, now institutionally separate from the University, but developed partly from its precursors' technical education and commemorative efforts.

In this presentation, a member of staff and two recent graduates will compare their experiences of teaching, learning, research, and public engagement, and discuss the opportunities arising as these collections-based activities become routinized on the programmes and inspire new responses from the next generation of students. His research covers the history of applied science, technical education, and information cultures, and he is involved in several public engagement initiatives.

Her Master's dissertation drew on her experience with the materia medica collection of the Manchester Museum and she has long-term volunteering experience with the Museum's collections, particularly the Herbarium. Francesca Elliott is a graduate of the Master's in Science Communication, now working towards a PhD on model and showpiece powered machinery at the Museum of Science and Industry and its precursors. Her Master's research included a visitor evaluation study on attitudes to models and specimens at the Manchester Museum. Marek Bukowski, Gdansk University, Poland. The main subjects are: the history of MUG and general history from a history of science perspective.

An integral part of each lesson is discussion with students. Through numerous lessons we made some significant observations. This, in our opinion, is particularly worrying and problematic. Thus, after careful consideration, we modified our lessons with the intention of restoring the confidence of students and to support them during their time of study. Museums can use objects as a way in which to talk about medicine and the profession more broadly.

In this manner, university museums turn from their "clear" functions of collection and exhibition focused organisations, to act more as multi-activity cultural centres. We also observed that students are more willing to have initially informal meetings followed by students' clubs or other defined forms of meetings. He is also vice-chairman of Polish University Museums Association. His main fields of interests are the history of pediatric surgery and history of science. Katariina Pehkonen, Helsinki University, Finland.

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The agricultural collection of the University of Helsinki was infested with mold in The disaster was due water damage in the Museum of Agriculture, closed to the public since To save the objects the Helsinki University Museum started a huge project in collaboration with a conservator, a hired team of museum professionals, insurance and construction companies and other museums. Because some objects were originally collected for teaching, part of the collection was saved in Helsinki University Museum according to its collection policy.

Sarka - The Finnish Museum of Agriculture offered a home for another part. In accordance with TAKO, a Finnish project for coordinating collaboration in matters related to acquisitions, documentation and collections, some objects were also transferred to Lusto - The Finnish Forest Museum. A disaster isn't always the end of the world but instead can be a new possibility. Sarka is building a new exhibition hall for transferred objects, due to open in The experience of working safely in a moldy environment and the techniques used to clean objects made of different materials have been sought-after subjects for lectures.

Thanks to this collaboration the cultural heritage value of the collection is now secured for generations to come. Katariina Pehkonen worked as a coordinator of the hired team of museum professionals during the conservation project in Now she works as a curator in the Helsinki University Museum. Research interests: history of Finland, 19th century history. Despite there being possible sources of confusion, partnerships, co-creation and co-curation will be here discussed in relation to their ordering potential, as strategic assets when parts of the university heritage slip into chaos.

The case-study stems from the decision of the University of Bologna to dismiss its biggest depot for rationalising expenditures. Initially meant as storage for the new acquisitions of the museum of physics, with a size of more than 2. In , the University Museum Network, the office coordinating University Museums and Collections, took charge of solving the puzzle by extracting all the objects with a museological interest.

The presentation reflects on the moment when "safeguarding heritage" means primarily "creating order" and "developing visions" by mobilising a network of actors and connoisseurship inside and outside the University. Co-curations for enhancing existing collections with the new identified objects, partnerships for figuring out new displays outside the University, and experts consulting for evaluation will be offered as specific examples.

Eugenio Bertozzi is an adjunct professor for the history of physics and scientific collaborator of the University Museum Network of the University of Bologna. In museum and archives collections, fungi are a critical factor of biodeterioration. Infections are mostly airborne. Poor ventilation and non-homogeneous temperature can produce water condensation points and local micro-climates. These circumstances favour some fungal species' activity in specific museum areas. Typical fungal infections in museums, colonizing paper made documents, are caused by species of slow-growing Ascomycetes as well as mitosporic xerophilic fungi of the genera Aspergillus, Paecilomyces, Chrysosporium, Penicillium and Cladosporium.

In this study, a non-invasive method of biodeterioration diagnosis was applied to selected paper artefacts using contact plate sampling. Two fungal species belonging to different genera were isolated from the in-case environment. Aspergillus niger appeared to be the most dominant fungus with maximum number of colonies on SDA medium. Teaching staff, undergraduate students, and postgraduate students have been involved in the project, which furthered both the students' academic education and the museum's collection care.

Her research interests include the analysis of organic materials in works of art with chromatographic techniques. He is the principal author in a great number of scientific papers, and has coordinated many Greek and International research projects. Research into our University's history is a very important part of curating our collections as it provides us with important background information.

The first histories of the University of Tartu have been written by only one professor published in , , and In the 20th century, the concept changed and it was again for the th jubilee of the University in that it was decided to compile a profound history of the university in three volumes as a collective piece of work. As preparation for this big history, a series of publications started in titled "Questions of the University of Tartu history".

The following year, the University of Tartu Museum was created. The Museum organised regular conferences and later published the presentations. In 42 years the museum has published 46 volumes with a total of pages , with approximately authors who have written papers. This is a very important contribution to the history of the University and the history of Estonia. As the University does not have a special professorship for university history or the history of science, this series has played an important role as the promoter and organiser of research in university history up until today.

Her main research interests are university history, scientific history, and biographies of scientists. The collections of the Belgrade University Faculty of Medicine, as well as many other European university collections, have not been documented up to the present day. During WWII some of them were completely or partially destroyed. In the post-war decades many of the surviving collections were considered old-fashioned, impractical, and ultimately unnecessary.

Fortunately, some of them were not physically removed but stored in a warehouse. In the last decades, their cultural and historical significance has been recognized. Using the example of cooperation between the Institute of Anatomy and the Museum of Science and Technology, the parent institution for the protection of the scientific and technical heritage of the Republic of Serbia, we present the activities that are being carried out with that goal. The expected outcomes are: better connectivity of the Faculty of Medicine with the community; promotion of the Faculty, medical profession, and scientific work; improvement of teaching in the fields of anatomy and history of medicine; fostering a culture of remembrance and creating a new place on the cultural map of the city.

She is the curator of two permanent and six thematic exhibitions at the Museum of Science and Technology. He coordinates the restoration of the oldest part of collections, as well as organizes the improvement of different kinds of teaching collections. We've worked together with our audiences to reflect on, challenge and reshape how the Museum 'engages' and constructs identity. Through ongoing consultation, we've identified a need to adapt how we collaborate and shape identities within the Museum: resultantly, we've altered our public engagement practices to create a change.

Through partnership working with diverse groups, the public engagement team have co-created a flexible methodology supporting and empowering co-producers to be real decision makers within the Museum, taking ownership of our spaces and defining for themselves the shape of the partnerships they want to build with PRM, and to direct the resulting outputs. This work has been rewarding but challenging. We've faced, and still face, obstacles and we'll discuss our experiences and invite the audience to reflect with us. Most rewardingly we've found that challenging ourselves with the guidance of communities has made us braver, more reflexive and as feedback has shown, more relevant to an increasingly diverse range of stakeholders.

Sherene Baugher

Jozie Kettle has a background in anthropology and museum ethnography and has worked at Pitt Rivers Museum since , currently leading on Public Engagement with Research. Beth McDougall has worked at Pitt Rivers Museum since and currently leads on family and community programming. This jointly delivered paper will highlight examples of innovative collections-based research practice, fostered through initiatives designed to develop increased academic engagement with the University collections.

In , Teresa became one of the first supervisors of a 'practice as research' PhD supported by the University's Collections-Based Research programme. Drawing on her own research expertise in theatre and filmmaking this led to opportunities to pioneer new practice-led methodologies and approaches to impact and engagement for collections as well as research. The collaboration between researcher and collections professionals helped to identify and exploit strategies for enabling a wider audience to engage more effectively with archives, resulting in two mixed-media projects, The First World War in Biscuits and War Child.

The latter web-based resource is a digital 'mixed-media book' incorporating audio-material, video-footage, photography, and inter-layered textual narrative. In collaborating on both projects, Teresa has developed inter-disciplinary, dialogic methodologies; from this, we suggest that working-models for democratizing heritage and for generating new personal, curatorial and institutional intersections might be extrapolated.

Teresa will discuss her practice-as-research process and the potential application of working models for future creative collaborations and impact. She uses archival materials, artefacts and oral testimony as part of her creative practice and collaborates with museums and galleries, and theatre and film practitioners, in order to make and publicly show her mixed-media projects.

Kate Arnold-Forster has worked in the museums, archives and libraries sector as a volunteer, curator, consultant and director. She is responsible for the University of Reading's museums and special collections, where she has led major capital re-development and programmes to promote academic and wider community engagement with collections. The Hunterian designed its first digital strategy, approved by its Strategic Development Board in January , as a result of collaboration between different teams and consultation within and beyond the University of Glasgow.

Our strategy is a tool to help us identify different digital technologies to support our strategic aims and ambitions, including the development of the collections and engaging audiences through building and sharing knowledge. In this process, one of our objectives was to strengthen co-curation and co-creation, initially by collaborating more closely with the Library and Collections Services and related academic departments and by integrating relevant initiatives in teaching at different levels, but also by extending and strengthening collaborations with organisations and communities beyond the campus.

As digital has drastically changed the way we work, underpinning all our activities, some cultural organisations are now questioning whether they still need a digital strategy. The paper will discuss how we designed our strategic document to guide our work and prepare a platform for the future, seeing it as a living document and a dynamic process to support our internal conversations and external consultations. We will also examine some parameters that organisations thinking how digital can best support their work should consider.

Lizzie O'Neill is Digital Collections Manager at The Hunterian Museum with responsibility for the development of the Collections Management System and integration of this into teaching and knowledge sharing. She worked previously in local authority museum services in Scotland. The Centre for Research Collections CRC at the University of Edinburgh, is developing innovative ways to carry out conservation work and engage with the student population. This paper will outline a two-day crowdsourcing event, the first of its kind ever held at the CRC, in which 30 students aimed to rehouse section II of the Laing manuscripts — the University's most important written collection.

Laing's collection of charters and other papers is of national importance. It is an essential resource for the 18th century, however, it was in poor condition due to its current housing in unsuitable upright boxes and folders. Rehousing this collection was necessary to improve the condition of the collection and aid access to it.

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The benefits of crowdsourcing this work are twofold. Firstly, it drastically reduces the amount of time needed to rehouse the collection. Secondly, we can significantly increase the number of people who can gain quality conservation experience at the CRC. The presentation will describe the event, provide an evaluation of it, and discuss the challenges faced and ethical points considered.

It will also give useful tips and advice for other institutions who are considering holding a similar event. It is hoped that this paper will spark discussion and information sharing about how to help non-conservators engage with conservation treatment in a meaningful way whilst still meeting the need for an ethical approach. After completing an undergraduate degree in History of Art at the University of Glasgow, she undertook an MA degree in Conservation of Fine Art, specialising in works of art on paper at Northumbria University. For this purpose, the Museum invited ten contemporary artists to create artworks and give their own interpretation on the banner of the Athens University made by N.

Gyzis , the 19th century Greek pioneer of the Jugendstil art movement. The exhibition process involved the coordination of different institutions Centre for Culture of the Bank of Greece, National Gallery, Library of Hellenic Parliament, etc. The greater challenge for the AUHM was the expectation of the contemporary artworks made especially for the exhibition and the new interpretations that were given to the artistic banner. One of our main gains, among others, was the new audiences that attended the exhibition and became acquainted with the museum and its permanent collections.

This paper examines new practices and new collaborations adopted by our museum, that have proven to be beneficial for museums in general, by providing new communication bridges with their existing and new audiences. Research interests include: museum as a medium, museum communication, university museums, and contemporary art.

Research interests include: preventive conservation, collection management, collections in historic buildings, museum's building history, and creation of an oral history archive of the building's previous tenants. In this paper, we discuss the potential and arising issues of interdisciplinary co-curation, university collection re-interpretation, as well as the exchanges between partner institutions.

To achieve this, we take as a case study our interdisciplinary international project entitled "Replica Knowledge: An Archaeology of the Multiple Past". We discovered the relevance of such academic collections for the history of archaeology, European political history, identity, and industrial history, as well as the interdependence of academic collections with visual art, film, and theatre. After discussing these processes of co-curation, we advocate the usefulness of combining interdisciplinary approaches, both within and beyond the university, institutional collaborations, and sensitivity to political and epistemological issues.

Since , he has been developing exhibitions and aesthetic practices about natural and cultural objects in collections. Textiles and fashion related studies have been part of the educational activities at The Glasgow School of Art GSA since its establishment in , as a branch of the Government School of Design.

Today, this annual event presents undergraduate fashion and textile students' designs for fundraising purposes.

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This presentation centers on a collaborative project between GSA's Department of Fashion and Textiles, Archives and Collections, and Alumni Relations, which resulted in a small-scale exhibition and alumni event. The project aimed to identify Fashion Show related material held by GSA Archives and Collections; locate and accession other relevant artefacts and insights from GSA alumni; construct a history of the event; examine the Fashion Show as pedagogical approach; establish areas for further investigation from studying this local event.

The presentation will focus on the project methodology, which is potentially transferable to other creative arts contexts. Methods include historical and archival enquiry, documentary and visual analysis, and participant engagement towards exhibition curation. The project findings, lessons learnt from working together on the project, and areas for further investigation will be discussed.

Research encompass aspects of contemporary and historical textile design, including investigation surrounding creative practitioner utilisation of archive resources; the impact of digital technologies on printed textile design; textiles pedagogy; linkages between research, practice, scholarship and teaching; practice-based research methodologies. Research interests include the use of archives by creative practitioners and the role of historical resources in higher education.

Rich curated metadata and reproductions unlock a potential for research, teaching, and outreach, embedded within the collections since the enlightenment days of the university's foundation. The key to achieving this strategic goal has been the collaboration between interlinked levels on campus and beyond coordinated at the Centre for Collections Management. Software development and data conversion, both specific to the collections' needs, is overseen by a steering group and carried out in teams from the State- and University Library SUB , the Zentrale Kustodie and the Common Library Network GBV , in collaboration with external software providers.

Provided in this way with a central collections database and web publication viewer, data curation lies in the hands of the collections curators and faculty who collaborate in on-campus and external research projects. The Zentrale Kustodie provided funding for photographers and student assistants, specifically training and supporting them in object handling, cataloguing and digitisation techniques.

At the same time, a set of official guidelines for open access publication was worked out in close dialogue with the university's presidential board and governance. The talk will structurally, but briefly, unfold this process with a focus on community building and pointing out facilitators as well as bottlenecks. Trained as art historian and information scientist Humboldt University Berlin he specialized in architectural drawings and scientific imagery, especially diagrams as epistemological tools.

Digitization and IT-services for the humanities are a continuous line in his activities. This question was posed to two groups of people: seven experts who work with heritage collections at the Vrije Universiteit Amsterdam, and seven non-experts 'guest-curators' randomly selected from a pool of interested volunteers at the university.

The participants were invited to select their favourite object from the heritage collections, with the experts providing guidance for the guest-curators. The fourteen selected objects were then displayed in an advent-calendar style exhibition: each week two objects were revealed, and the expert curator provided a short class on their chosen object.

Their stories were published online and displayed in the exhibition, accompanied by a picture of the guest-curator. The project involved experts, employees, and students from ten different departments, with subjects ranging from climate change and university history to the "klapschaats" and WWII escape maps. The enthusiasm of the guest-curators, combined with an active social media campaign and weekly events, created a lively exhibition with a small budget the monetary costs totalled less than 50 euros. There were many return visitors, and the advent-style of presenting the objects created an intimate and enticing exhibition.

This concept could easily become a yearly event. Liselotte Neervoort is Curator of Academic Heritage at Vrije Universiteit Amsterdam, and was project leader for the invention of potential heritage collections at the VU. Neervoort graduated with a master's in Modern History, with a specialization in the presentation of heritage, from University of Groningen.

Their rich history has been documented, but what is completely missing is the narrative of those communities whose own heritage these objects represent. Multaka Revisited is a fresh start to change the way we display, interpret, and curate these collections. Funded by a major grant it will create inclusive volunteering experiences for people from refugee and local communities to improve confidence, support community integration, and enhance the collections by developing multi-layered interpretation.

Forced migrants, other volunteers, and museum staff will work alongside each other in order to develop the role of community curators and guides, to learn from their different perspectives, and to share their skills, knowledge, and experiences. Dr Silke Ackermann is the Director of the Museum of the History of Science in Oxford and the first female director in any of the Oxford University museums since their founding in With her team she is currently working on Vision , an ambitious strategy for the Museum's th centenary.

Communities in North Cambridge, one of the most disadvantaged areas of the city, are among the most infrequent visitors to the University of Cambridge Museums. Addressing this, a co-curated programme, 'Open House', was established in Lead by Kettle's Yard, the University's modern art gallery, 'Open House' welcomes contemporary socially-engaged artists to co-create new work with residents in North Cambridge.

The artwork is inspired by the local area, its residents, and the collections of the University of Cambridge Museums. Artists are selected by and work in consultation with a Community Panel to develop a programme of activity engaging the wider community and creating a new artwork. The first residency in was the research subject of Dr. Karen Thomas, Community Officer at Kettle's Yard, introduces 'Open House', its target groups, and how community members participate in the co-curation of the programme and the co-creation of the artwork.

Sarah Plumb will introduce the Taking Bearings toolkit, used at Community Panel meetings for discussion, and the application of Janet Marstine's concept of Shared Guardianship in anthropological collections to a contemporary art context through 'Open House'. She develops and delivers community engagement activity with a focus on working with communities in North Cambridge, and manages the Open House project. Sarah Plumb is a researcher and critical friend to Open House.

Her research explores the mediating roles of galleries and the ethics of collaborative and socially engaged practice, with a particular focus on community participants' experiences. Sarah previously worked as a gallery educator specialising in working with marginalised groups and individuals. The Science Showcase at The Hunterian is a small gallery space for engaging with current research in the sciences at the University of Glasgow which has since staged a series of modest object-led exhibitions generated through a collaborative exploration of University research groups' lab, field and office practices.

Putting things on show has been a prompt for considering how and if to collect the contemporary, as per The Hunterian's commitment to collect material associated with research and teaching in the sciences at the University. Candidate and sometimes unexpected objects for accessioning have often only arisen through this process, and time spent with researchers in their workplace has constructively revealed techniques and forms of knowledge not captured by the merely material: the tacit and the embodied, for instance.

Finding partners who wish to collaborate and not just disseminate or do science outreach takes time and tact; co-curators also need to know from the outset what commitments will be expected of them. Nicky Reeves , since Curator of Scientific and Medical History Collections at The Hunterian, has curatorial responsibility for a large number of 19th and 20th century instruments stored in a variety of glamorous North Glasgow locations. He has published on 18th-century astronomy and more recently on making museum collections practices figuratively and literally transparent.

The academic heritage at the University of Antwerp does not only contain objects used for research and education at the university through the years, but also scientific instruments that have been donated. Although they do not stem from an academic background these instruments provide much information about the research and knowledge centre Antwerp has been since the nineteenth century. When in the Agfa- Gevaert archives in Mortsel near Antwerp were disbanded, the university helped, in close cooperation with a. The photographic equipment was donated to the FotoMuseum, while the scientific instruments and the historic computer equipment became part of the university's heritage collection.

In this paper we would like to stress the importance of both cooperation on a regional scale with different partners and the welcoming of non-academic scientific objects into heritage collections to underscore the role of the university in regional history. He completed his PhD dissertation on Middle Dutch multi-text codices in Museums are embracing their potential of becoming democratic arenas through processes of co-production and participation. The production of exhibits relating to complex socio-scientific issues such as scientific racism gives the opportunity to develop more nuanced understandings of the relationship between past and present research as well as on the interactions between science, culture, and politics.

However, such exhibits require broad collaborations within museums, between different institutions, and groups both within and outside the academia. In this paper, we focus on two related exhibits on historical and contemporary research on human biological diversity at the Norwegian Museum of Science and Technology and at the Museum for the University and Science History University of Oslo.

We discuss how university collections and archives have brought together museum professionals, academics, designers and youths in diverse networks. These two examples will show that co-curation, or co-production, should be understood as a spectrum of activities that includes bringing together the diverse museum disciplines and external partners around museum objects. They are processes of looking inwards and outwards simultaneously.

Such projects increase ownership, knowledge and confidence in handling socially relevant and sensitive topics, but also require institutional support for the open-endedness of several of their aspects. Kyllingstad PhD is an associate professor and historian focusing on the history of science, knowledge and academic institutions, and especially on research and ideas on race, ethnicity, culture and the nation.

Lefkaditou PhD is a historian of science writing on the history of physical anthropology, race and racism. Her interests include the development of museum theory, methods and practices. Anne Vaalund, Oslo University, Norway. In recent years, the Museum of University History at the University of Oslo has used most of its very limited resources to build collections from chaos in different departments in the Faculty of Mathematics and Natural Sciences.

The original plan was to finish a pilot project in one of the departments, and expand with similar projects in other departments based on our experiences. When we suddenly lost our Collection Manager before this pilot was even on track, this nearly became the end of our initiative to save the material history of science at the faculty. The main reason we continued, was all the contacts we made within two of the departments. We felt that if we didn't deliver, all goodwill would evaporate. It was now or never. From that point we tried to be everywhere at once, and we made sure to learn from all our experiences.

I would like to share how our increasing hands-on knowledge of the different faculties made an interdisciplinary perspective natural, and to what extent our perspectives are being considered relevant when the future uses of the old faculty buildings are being sketched out. Our work in the basements has made it easier to participate with our historical perspectives in key processes connected to public outreach.

Anne Vaalund is responsible for establishing and documenting collections of scientific instruments and teaching objects. Since she has administered a photo database of university history. She holds a Masters in University History where she studied botany as a research field in the University of Oslo, University of Aberdeen staff curated an exhibition about five local collectors who travelled to Latin America in the late nineteenth to early twentieth centuries as explorers, doctors, miners and missionaries.

An exhibition of particular interest to local visitors from Aberdeenshire, and a research workshop on global collecting and local networks. Message: Collaborative work by multiple partners from different disciplines adds new meaning to old collections. She designs and delivers the University Museums' exhibitions programme, working on co-curated projects with academic researchers and students on topics ranging from archaeology to zoology.

The aim of the project is to determine whether, and in what respect, the genesis of the academic disciplines in the late 18th century was stimulated and developed by actively using the university collections in research and teaching. The exhibition will demonstrate the process of research done in the project by using ethnographic methods. For this purpose, collaboration and co-curation will be manifold, involving the actual curators of the items which are now held now in different university collections as well as source communities in Alaska and one other region from which the ethnographic items originate.

We plan to experiment with participative curatorship that includes indigenous actors in addition to indigenous knowledge concepts. The idea is to present the different disciplines their representatives and actions as "academic tribes". The challenge will be to negotiate our ideas and conceptions with completely different groups of participants in an open way. Gudrun Bucher studied Cultural Anthropology. She focuses on 18th century ethnographic collections mainly Arctic and South Pacific , the history of ethnography as a discipline and research instructions.

The historian Susanne Wernsing curated several exhibitions in Vienna and Dresden focusing on body, mechanisation, performativity and racialism. Chalmers won medals for her textiles and established Tuar Fabrics , producing designs for over twenty years. Smith gained the prestigious Newbery Medal for her diploma studies and worked in education. An exhibition, Pioneers of Post-War Pattern showcased the newly created products alongside archive material and operated as a retail space for the new products.

The project provided the opportunity to investigate and promote the work of Day, alongside her lesser-known Scottish-based contemporaries, resulting in further collaborative opportunities. Alan Shaw is Industry Coordinator for the Centre for Advanced Textiles, involved with all aspects of the digital design and printing process, collaborative research and knowledge exchange projects, consultancy and management. Research includes enquiry which facilities designers and makers to integrate digital technologies into their practice, addressing perceptions of technology.

The project aims to develop our local community audience, to widen access to our collections, and support teaching learning and research impact. This project takes its inspiration from the Inside Outside exhibition currently on display in the University Art Collection which explores the lives of seven women who have current or recent experience in different parts of the sex trade, from street prostitution to escorting, brothels and saunas.

The women talk of their backgrounds, routes into the sex industry, and their struggles to leave. They also talk about their hopes and their dreams for lives outside the sex industry. Inside Outside aims to be innovative in its approach to improving literacy, to removing barriers to learning and to promote a learning culture within the prison and in the local community. Sections of the exhibition are now on display at Cornton Vale and participants, both within the prison and in the local community, will be encouraged to create artwork in response to the exhibition. This participatory work from the project will be on display in the University Art Collection between April and August Pia Vuorikoski, Helsinki University, Finland.

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  • Rodents (Discover Series).
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  • Past Meets Present: Archaeologists Partnering with Museum Curators, Teachers - Google книги;
  • Sherene Baugher | Anthropology Cornell Arts & Sciences.
  • The project partnership involved: the Department of University Communications that partly adopted the project by marketing and funding it; a famous Finnish writer, an alumna of the university, who wrote the manuscript for the drama; the museum's curator who collected facts about the theme; museum's head of exhibitions who produced the play; a professional freelance actress; and a guide. The drama was a fascinating and attractive way to tell the audience stories from the past by mixing fact and fiction. It also promoted the museum to new audiences.

    The drama was seen by persons. The museum increased sales, got new customers via wider publicity, and made contacts with theatre circles. Every university may have educated a talented, famous artist who is willing to co-operate with her alma mater at low costs. Museum guides may have a lot of potential for different projects. An academically trained actress can do more that act: she can also direct and dramatize.

    Marketing with the professionals of the University's own organization is very effective. Pia Vuorikoski is an art historian and has worked in the Helsinki University Museum since She has worked earlier with museum collections, exhibitions, and education. Her main research interests are history of the University of Helsinki, history of education and science in Finland, art history, student-life, museum pedagogy, and accessibility. The three partners came together with a vision to take the Barber's fine art collection out of the gallery and into the streets. The project addresses the aims of our current audience development strategy.

    We commissioned three contemporary urban artists to select a work from the Barber collection. As part of the Birmingham Weekender festival the artists created a live response to the artwork on one of the busiest shopping streets in the city centre on a Saturday. Having just one day to make their response the pressure was on! This public art spectacle engaged passers-by from all diverse walks of life, many of whom had never visited the Barber or the University campus before.

    It was an inspirational, accessible and democratic learning experience for everyone involved. This project aimed to share the Barber's fine art collection with new audiences on a mass-participation scale, raising awareness of the venue, the collection and our engagement programme. We sought to create new interpretations of the collection by commissioning three contemporary artists to create their own 'take' on their chosen works which would speak to Birmingham's diverse communities.

    She has ten years' experience working in learning in gallery and museum settings. At the Barber, Jen oversees the Learning and Engagement programme which engages wide-ranging audiences.

    Events | The Museum of Archaeology and Anthropology, Cambridge

    Jen co-created the Barber's new audience development strategy with a particular focus on developing innovative student and academic engagement. Action research, reflective practice, and creativity are all central to Jen's approach. Engaging with contemporary art and social-history objects within an art museum context positively enhances the emotional and social wellbeing of participants living with dementia.

    The program encourages social interaction, which stimulates ideas and narratives. We explore how the memories contribute to the historical record. Collection collaboration provides a broader range of content and sensory experience, allowing deeper levels of engagement.

    The program offers inventive ways to utilise campus collections and work together. New perspectives revitalise collections and curators, whilst knowledge-sharing between participants, program facilitators, students and researchers informs collection use, research, and exhibition planning into the future. Enhancing the university profile and reputation, the program delivers a much needed community service, whilst embedding the program within the multi-disciplinary learning, teaching and research framework ensures ongoing growth and sustainability.

    Participant benefits can include improved behavior; communication; socialisation; augmenting stimulation; and reduction of chemical intervention. The AOE program supports collaborative approaches to diverse collections, research, and curatorial practice, providing a meaningful way to give back to a growing, and in many ways marginalised, audience. Her research interests include: education and outreach design including museum memory programs for clients with Dementia ; multi-disciplinary primary, secondary, and tertiary education object integration with learning, teaching and research; exploring the social responsibility and impact of museums in the community.

    Her research interests include: history and impact of the Central Street Gallery to Australian art since the s; contemporary art and dementia programs; developing dynamic exhibitions that stimulate different ways of thinking; exploring the intersections between art, science, history, philosophy, media, music and culture.

    Her research interests include: arts-based learning as a way to develop creativity and innovation with groups - from pre-school to the elderly; developing thought-provoking multi medium exhibitions of contemporary art. This case study examines how an artist residency at an aquaculture institute within a university creates value on campus and beyond. We find that the residency, initially regarded as 'risk-taking' by both artist and institute, created unexpected opportunities stemming from the synergies between art and science.

    We find that 'new ways of seeing' aquaculture science resulted in the creation of aesthetic, emotional, environmental, educational and social values embracing the intrinsic, instrumental, and institutional, on both personal and organisational levels. The lack of available time from academic staff and financial support for the artist, however, need to be addressed in order to achieve the residency's full potential.