In today’s increasingly diverse and multicultural societies, the need for inclusive public spaces that bridge cultural boundaries becomes desirable. “Interlace” explores the fusion of Persian and Swedish architectural aesthetics within public space, aiming to foster cross-cultural dialogue and enhance social interaction.  This project seeks to blur the lines between cultures, creating a harmonious atmosphere where diverse communities feel a profound sense of belonging. Interlace delves into the atmospheric qualities of public space, emphasizing inclusivity and unity among individuals from diverse backgrounds. Drawing inspiration from traditional Swedish boat houses and Iranian architectural heritage, the design focuses on seamlessly blending elements while respecting the natural surroundings and existing architectural features. The outcome is an architectural proposal—a public sauna on a deck in the Stockholm archipelago—symbolizing the merge of two distinct cultures. By incorporating Persian geometric patterns and Swedish architectural techniques and local material resources, the design creates a tranquil and contemplative space conducive to social interaction and community engagement. Interlace delves into the atmospheric qualities of public space, emphasizing inclusivity and unity among individuals from diverse backgrounds. Drawing inspiration from traditional Swedish boat houses and Iranian architectural heritage, the design focuses on seamlessly blending elements while respecting the natural surroundings and existing architectural features. Interlace delves into the atmospheric qualities of public space, emphasizing inclusivity and unity among individuals from diverse backgrounds. Drawing inspiration from traditional Swedish boat houses and Iranian architectural heritage, the design focuses on seamlessly blending elements while respecting the natural surroundings and existing architectural features.

This dissertation concerns a certain experienced (sub)reality, a reality which emerged from something “in between”, from a confluence of factors - the project Gender on Stage, a particular actor education programme and myself in the role of observer. The project Gender on Stage started as an interdisciplinary study between the National Academy of Mime and Acting in Stockholm and the Department of Theatre Studies and the Department of Nordic Languages at Stockholm University. It was supported by the Swedish Research Council, and its purpose was to investigate gender in actor education. Actor education is situated between traditional theatre history and trends about the future, between aesthetic ideals and a commercial market. In addition, as was described in the outline of the project, actor education must deal with a long history of male dominance. Actor education could be visualised as the epitome of a cultural production of gender, a site where one has to explicitly deal with discourses of body and language, male and female, self and other, memories and emotions, pleasure and desire. I have stressed gender in actor education as being deeply interrelated with the notion of cultural hegemony, historical discourses of acting as well as gender, myths, and unconscious themes. Beside theories of Simone de Beauvoir, Judith Butler, Sue Ellen Case and Julia Kristeva, the study invokes post-structural notions of “present absence” as well as Freud’s ideas on repression in terms of “the uncanny”. Stanislavsky’s theories of fantasy emotion and the Brechtian concepts of Verfremdung and Gestus were likewise taken into consideration. To resolve problems of confidentiality and ethics, I discuss certain significant observations, considering them to be unique situations, but also representative and symbolic acts. In discussing the gender construction, I put myself into play in the role of observer as a certain persona – a kind of converse representative and a “faceted mirror of the invisible”.

Die Bewahrung des kulturellen Erbes ist eine der wichtigsten Aufgaben der Menschheit. Dennoch leidet Kulturgut an illegalem Handel, wird unrechtmäßig ins Ausland verbracht und nicht an die Ursprungsstaaten zurückgegeben. Mit dem Ziel der Stärkung des Kulturgüterschutzes wird in der Bundesrepublik Deutschland derzeit an einem neuen einheitlichen Gesetz gearbeitet, das alle bestehenden deutschen Gesetze in diesem Problemfeld umfassen soll. Das neue Gesetz soll 2016 in Kraft treten. Der momentan vorliegende Gesetzesentwurf wird in den Medien kontrovers diskutiert. Das neue Gesetz soll unter anderem der besseren Umsetzung des UNESCO-Übereinkommens über Maßnahmen zum Verbot und zur Verhütung der unzulässigen Einfuhr, Ausfuhr und Übereignung von Kulturgut dienen. Dieses Übereinkommen (weiter in der Arbeit auch als UNESCO-Konvention bezeichnet) unterzeichneten die UNESCO-Mitgliedstaaten im Jahr 1970, um das Kulturgut vor illegalem Handel zu schützen. Bis jetzt wurde die Umsetzung der Konvention in Deutschland von der internationalen Gemeinschaft stark kritisiert. Es kam nämlich trotz mehrerer Anträge zur keinen einzigen Rückgabe von Kulturgut an die Ursprungsländer, vor allem wegen des deutschen Listenprinzips (Erfordernis der Eintragung ausländischer Kulturgüter in Listen). Allerdings stößt nicht nur die Umsetzung, sondern auch das UNESCO-Übereinkommen an sich auf Kritik. Die Konvention von 1970, die zur Zeit ihrer Entstehung ein bahnbrechendes Rechtsinstrument war, zog neue Vertragsstaaten allerdings nur langsam an und wies viele Mängel auf. Dennoch bemüht sich die UNESCO mit diversen Mitteln seit mehr als 40 Jahren darum, das Übereinkommen zu reformieren. Viele Hoffnungen auf die Verbesserung dessen Implementierung sind mit der Tätigkeit der Vertragsstaatenkonferenz und des von ihr im Jahr 2012 gegründeten beratenden Ausschusses verbunden.

Täktverksamheter innebär stora ingrepp i miljön. När verksamheten avslutas ska täktområdet efterbehandlas och det finns flera sätt en efterbehandling kan utformas på och vad som måste tas hänsyn till. Gråsjöns skiffertäkt i Jämtland har inte efterbehandlats. Då den är en del av en kulturhistorisk miljö, att området kan vara geologiskt intressant samt att täkten är belägen i fjällmiljö gör det svårt att avgöra hur efterbehandlingen ska ske. Syftet med studien är därför att ta reda på hur skiffertäkten på bäst lämpade sätt ska efterbehandlas med avseende på aspekterna geologiska värden, naturvärden, kulturmiljövärden, estetiska värden samt risk och säkerhet. Detta har gjorts genom kvalitativa semistrukturerade intervjuer samt litteraturgranskning av rapporter om efterbehandling av täkter. Vid efterbehandling kan det vara värdefullt att bevara eventuella intressanta lagerföljder i täkten för forsknings- och utbildningssyften. Den biologiska mångfalden bör gynnas och bergsbranter, blockstensupplag och vattensamlingar kan skapa gynnsamma miljöer. Äldre brottstensytor från historisk brytning ska bevaras och säkerhetsåtgärder bör vidtas så att inte människor som rör sig i området skadar sig i täkten: Detta kan göras genom snedsprängning och släntning eller att en skyddshylla sprängs in i bergväggen. En färdig efterbehandlingsplan som är anpassad och tar hänsyn till alla aspekter går inte att ta fram i dagsläget då det måste göras en inventering av arterna i och runt täkten. Först när det underlaget finns går det att avgöra hur täkten ska efterbehandlas och hur de andra aspekterna kan vävas in i efterbehandlingen. / Quarries result in great environmental interference. When quarrying is completed the area must undergo restoration. There are different ways to design the restoration plan and what must be taken into account. The shale quarry in Gråsjön, Jämtland County hasn’t been restored. Due to cultural heritage in the quarry, the possible geological value and the fact that the shale-quarry is located in an alpine environment makes it difficult to determine the course of action. The aim of this paper is to determine what best way is to restore the shale-quarry due to geological values, nature values, cultural heritage, esthetical values and risk and safety. This was done by qualitative semi-structured interviews and a literature study of reports on restoration of quarries. Upon restoration, it can be valuable to preserve interesting strata in the quarry for research and educational purposes. The biodiversity should be favored and slopes, heaps of stone blocks and pools of water can create favorable environments. Older parts of the quarry that represent a cultural heritage should be preserved and precautions should be taken to prevent people from getting injured in the quarry. This could be done by line out the steep walls in the quarry or blast out a protective step in the stone wall that prevent people from falling down. A restoration plan that is taking into account all the aspects is not possible because a species inventory must be initiated. When the inventory is complete the course of action can be decided and how the other aspects can be part of the restoration plan.

Le 10 octobre 2007, le premier musée de l'immigration en France ouvre enfin ses portes après moult années de militantisme de la part des associations et des universitaires et une prise de conscience progressive des pouvoirs publics. Cette nouvelle institution, qui bénéficie du rare statut juridique de musée national, intitulée musée national de l'histoire et des cultures de l'immigration s'insère dans le cadre d'une structure organisationnelle qui dépasse le simple cadre du musée, la Cité nationale de l'histoire de l'immigration, un établissement pluridisciplinaire sous la quadriple tutelle des ministères de la Culture, de l'Education, de la Recherche et de l'Intégration. L'objet de notre thèse consiste à déterminer comment s'opère la construction médiatique des identités du musée national de l'histoire et des cultures de l'immigration. Cette analyse commence par une interrogation sur les outils conceptuels intéressants pour ce sujet. A partir du postulat d'aborder le musée comme espace de communication symbolique (Davallon, Schiele, Lamizet, Dufrêne, Regourd), elle envisage les préalables épistémologiques des sciences humaines et sociales, l'identité comme construit (Claude Lévi-Strauss) et l'identité narrative (Paul Ricoeur), les fondements en muséologie (les modèles muséologiques) et en médiation culturelle (les notions de dispositif de médiation et d'espace public). Notre analyse se poursuit par une étude de la superposition des médiations selon les différentes temporalités du musée, celle du musée imaginé (les récits de l'utopie au travers des documents préparatoires) et celle du musée réalisée (médiation architecturale, muséographique, du site), ce qui nous amène à une interrogation sur les conflits des médiations à l'œuvre au sein du musée tant du point de vue de la forme que du fond : récit colonial et récit républicain, récits historiques, artistiques et anthropologiques, récits historiques et mémoriels, récit d'unité de la nation et récit de diversité du patrimoine des migrants. Le constat d'une polyphonie énonciative et d'une pluralité d'identités du musée national de l'histoire et des cultures de l'immigration nous conduit à sont tour à une réflexion sur le discours républicain à l'épreuve des mémoires et à l'émergence d'un nouveau modèle muséal : voit-on se dessiner un musée de l'innovation sociale à partir de la structure musée/réseau ? Dans quelle mesure la réflexion sur la diversité culturelle et l'interculturalité qui traverse l'espace public contemporain affecte t-elle le musée à l'heure de la mondialisation ? Peut-on parler de l'émergence d'un prototype muséal hybride entre musée républicain et musée de voisinage, universalisme et communautarisme ?

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<p>Is there such a thing as unadulterated nature? All that surrounds us is culturally modified by man somewhere along our past. But culture is only a fictitious conception itself, created in an attempt to break the world into controllable objects.</p><p>So in what do we find culture? In everything? In the objects or the stories they embrace? Who chooses what’s worth saving and how to save? Choosing what is culture is made from personal, ingrained dichotomies of what’s important and what is not. A selective eye creates a distorted truth, which could have unintentional long-term effects.</p><p>This thesis will give a historical account of the archaeological discipline’s development in tending to our cultural heritage. By demonstrating its many complications, with examples of forest remains, I will argue for the need of innovation, communication and documentation. Only then can we get a broader, more varied and slightly less modified picture of the culture we choose to keep.</p>

Throughout history, the direct or indirect choice of preservation has resulted in the successful incorporation of tangible products of the human past into modern cultural environments. Within the current American historic preservation system, "significance" is used as a delimiter for identifying historic properties that are determined beneficial to the heritage of the American people. As defined under U.S. law, however, "significance" is attributed only to places and objects whose importance is limited within an historical or scientific framework. This thesis proposes that the significance of historic properties transcends the boundaries of these limited frameworks of importance, and demonstrates that the public benefits of preservation are maximized when history is reified through the modern-use of these places and objects as cultural resources for the current and future generations of the American people.

It is 50 years since the development of the first computer game and digital games now have an unprecedented influence on our culture. An increasingly popular leisure activity, digital games are also permeating other aspects of society. They continue to influence computer technology through graphics, animation and social networking; an influence which is also being felt in other media, in particular film and television. They are a new art form and they are seen to be influential on children s learning and development. However, despite their pervasiveness and apparent importance within our society and culture, they are still largely ignored as part of our cultural heritage. Dismissed as disposable, entertainment products, they have not specifically been addressed in most of the academic literature on digital preservation which represents a serious omission in past research. This was justification for an exploratory study into the preservation of digital games and the aim of this study has been to explore the value of digital games, their significance in our culture, and the current status of their preservation. Investigating the relationship of games to culture; reviewing current preservation activities and drawing conclusions about the value of digital games and the significance of their preservation were the study s objectives. These have been achieved through interviews with key stakeholders the academic community, as potential users of collections; memory institutions, as potential keepers of collections; fan-based game preservation experts; and representatives from the games industry. In addition to this, case studies of key game preservation activities were explored. Through this research, a clearer picture of attitudes towards digital games and opinions on the need for preservation of these cultural products has been established. It has become apparent that there is a need for more coherent and collaborative efforts to ensure the longevity of these important aspects of digital heritage.

Barriers like financial constraints and travel logistics prevent Indigenous people from accessing their cultural heritage objects held by national, state, and local institutions. This can be overcome using photogrammetry to create 3D models of cultural heritage objects and housing them in virtual museums accessible via Internet-capable devices. This pilot project, working with the White Earth Band of Ojibwe on the White Earth Reservation in Minnesota, followed appropriate museology and communities of practice approaches to meet the concerns, desires, and budget of the tribal members to provide them unfettered access to cultural heritage objects. Because this approach presents cultural objects as 3D models, which can be 'manipulated' as if physically held, it offers visitors more meaningful engagement than they would have with single-dimension, restricted access museum displays. This project focusing on ten cultural heritage objects serves as a foundation on which similar digital museum projects initiated by Indigenous communities can build. / May 2017