Safety day online materials 3 8

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Safety Day Chicago – ASA/CSC March 8, 2011 Free Spanish-language Information Available Online from CPWR Mary Watters

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[object Object],[object Object],[object Object],[object Object],[object Object],Mi Trabajo Seguro

Check it out! Questions? Mary Watters [email_address] Thank you for listening.

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Resources for Spanish students

ruacaballero

Essay Topic WHO OWNS THE PAST? Cultural patrimony (an object with cultural, historic, or traditional importance to a certain group or nation) is an ongoing subject of debate with culturally significant works of art collected in museums across the globe and far from their place of origin. Works of art have long been prized during wars and colonization as the rightful reward of the victors and most often without the consent of the vanquished. Do these circumstances of ownership become part of the history of an object thus endowing it with universal significance or do individual countries have the right to have works returned on the basis of national identity? Click here for an excellent introductory discussion of cultural heritage found on the Khan Academy website. Countries seeking the return (or repatriation) of their cultural patrimony have done so with and without success. Ideas of ownership have changed over time and since the 1970’s organizations like UNESCO (click here to go to their website) have established international laws to protect works of art and antiquities from looting and destruction. Nevertheless, cases that predate these rules are often difficult to prove. Once a work has been in a museum collection for centuries should it be considered a part of a greater world heritage despite the unsavory means with which it might have been collected? Or do the national interests of individual countries and their feelings of injustice outweigh this consideration, thus giving primacy to a specific cultural inheritance over a universal one? This topic will ask you to explore these questions, among others, in a 3-4 page essay discussing the case of the Parthenon sculptures – aka The Elgin Marbles – that were taken from Greece in the 18th century and now housed in the British Museum. They have been the subject of heated debate between Greece and Great Britain for decades with Athens set on their eventual return to a state-of-the-art facility built with this goal in mind. In this essay you will discuss the history of the case and lay out the argument for or against the return of the sculptures to Greece. Your argument will be based on scholarly research using the online databases on the library website as well as relevant books in the collection. You will also want to go to the websites of the British Museum and the Parthenon Museum for information about these works and how each museum discusses them in relationship to their heritage. Using the library databases, the entry on Thomas Bruce (Lord Elgin) in Oxford Art Online is also a good place to start. Here you will find a bibliography of further readings to research. General web searches including Wikipedia are highly discouraged since the authors of these sites are not vetted. All outside sources must be cited in footnotes (not parenthetical documentation) according to the Chicago style manual and must include a separate bibliography to receive full credit. FORMATT.

Essay Topic WHO OWNS THE PASTCultural patrimony (an obje.docx

debishakespeare

FoCAS Newsletter Issue Five

FoCAS Initiative

As a result of digitisation of analogue holdings and working processes, more and more material from audiovisual archies is being made available online. This marks a transformative shift, as archives and users are now sharing the same information space. Once digital and part of an open network, objects from audiovisual archives can be shared, recommended, remixed, embedded, cited, referenced to and so on. It is a far cry from several years ago, when users were obliged to visit brick and mortar institutions to access collections. This shift towards digital enables archives to fulfil their pubic missions better; crossing geographical boundaries, using new channels for content distribution, engage with user groups and use new technologies to make work processes more efficient and allow for new access points to collections. It also introduces fundamental challenges, forcing audiovisual archives to [1] rethink their role and function in the value chain of media production and modern society at large, [2] assess which activities and competences are vital to succeed in a digital context. We envision the future audiovisual archives to be smart, connected and open; using smart technologies to optimise workflows for annotation and content distribution. Collaborating with third parties to co-design and co-develop new technologies in order to manifest themselves as frontrunners rather than followers. Being connected to other sources of information (other collections, contextual sources), to a variety of often niche user communities, researchers and the creative industries. To embrace the use of standards defined by external instances rather than by the cultural heritage communities themselves. Fully embrace ‘open’ as the default to have maximum impact in society: applying open licences for content delivery, using open source software and open standards wherever possible. Promote open access to publications and so on. This keynote examines how the public mission of archives (i.e. supporting a myriad of users to utilize collections to learn, experience and create) can be achieved in a digital context. It addresses the challenges related to the role and function of institutions and provides practical insights in how archives can establish a culture of innovation to manage challenges they face today. It addresses some of the major questions audiovisual archives are faced with today.

Towards more smart, connected and open audiovisual archives

Johan Oomen

The UCT OpenContent project recently celebrated a year of sharing online and open educational materials (OER) from the University of Cape Town. In this presentation we share some of our experiences in leading the initiative, discuss some of the significant events and achievements, and demonstrate how we are using web analytics and social media to enhance experiences for people sharing and accessing online resources.

365 Days of Openness: A behind the scenes look at the UCT OpenContent Initiative

Michael Paskevicius

Call for papers (iafie) (1)

David Jimenez

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Essay Topic WHO OWNS THE PASTCultural patrimony (an obje.docx

FoCAS Newsletter Issue Five

Towards more smart, connected and open audiovisual archives

365 Days of Openness: A behind the scenes look at the UCT OpenContent Initiative

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