El texto completo de este trabajo no está disponible en el Repositorio Académico UPC por restricciones de la casa editorial donde ha sido publicado. / This chapter discusses some of the challenges faced by tribal libraries. Considering the information provided throughout the rest of this volume, it is clear that some of the core issues-such as poor broadband availability, difficulties in achieving economies of scale, and barriers to collaboration-are shared between tribal institutions and rural libraries throughout the United States. The chapter presents a brief review of the literature on tribal libraries, establishing how they compare with rural public libraries in the United States. The remainder of the chapter is designed as a conversation piece, with responses from interviews with librarians from two tribal libraries detailing how the challenges faced by these outlets parallel those faced by America's rural libraries. • Tribal libraries face obstacles that are common among nontribal rural public libraries, such as poor broadband Internet availability, lack of funding, and geographic barriers that limit patron access. • Although public libraries exist in some tribal communities, other forms of libraries and cultural heritage institutions often fill the service roles that public libraries occupy in nontribal communities. • Public-oriented information institutions in tribal communities commonly preserve and promote tribal heritage, often as one of their primary purposes. Considering that this is often achieved on limited budgets, further documentation of these efforts could be useful for guiding nontribal rural public libraries that wish to do more to preserve and promote their local cultural heritage. This study creates bridges between rural public libraries in the United States and tribal libraries, which are commonly studied as two separate phenomena. Although the authors document how these types of institutions differ from each other in significant ways, barriers of broadband access, geographic isolation, and lack of funding are common across both rural and tribal libraries. The information provided in this chapter shows that both types of institutions need solutions for similar problems.

No / The use of non-cultivated plants in a daily diet based on local cuisines is potentially of considerable interest to nutritional scientists, because of the plants' role as local products and their potential as sources of novel nutraceuticals. In many Mediterranean regions these traditions are at risk of disappearing, hence the urgent need to study such knowledge systems. Accordingly, an ethnobotanical survey was carried out among the 850 inhabitants of the village of Castelmezzano, in central Lucania, which is located in the inland southern Italy. Seventy-five taxa of non-cultivated and semi-cultivated local food plants and mushrooms were documented, and uncommon food uses of a few species were reported for the first time. These include Bellavalia romana, Lepista nebularis and Onopordum illyricum. Most of the recorded non-cultivated food plants and mushrooms are cooked in oil or fat. Very few are consumed raw. This article discusses in detail the traditional culinary uses of these plants, their seasonality, ethnoecology, and their economic and nutritional potentials. The article also demonstrates how food agro-biodiversity is inextricably connected with cultural 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

Thesis (M.Arch.)--University of Hong Kong, 1994. / Includes special report study entitled : Conservation of old structures. Includes bibliographical references. Also available in print.

<p>The materials and working method of a painting can reveal important information about our cultural history, as well as lend the conservator the necessary knowledge for treatment options. The removal of a cross-section sample reveals the three-dimensional (3d) structure of the painting and can be used to identify materials. However, cross-section samples are destructive and provide only local information. Nonlinear optical ultrafast pump-probe microscopy, originally developed for biomedical imaging, can provide high resolution 3d images with chemical contrast. In this dissertation, I adapt pump-probe microscopy to multiple materials and applications in cultural heritage research. Pump-probe dynamics were found to be sensitive to the ratio of the two chromophores present in the precious blue pigment lapis lazuli and its synthetic analogs, ultramarines blue and violet. Virtual pump-probe cross-sections were combined with nonlinear fluorescence contrast to study differences between the interactions of paper supports with inorganic crystalline pigments and organic dyes. Multiple early Italian paintings (The Crucifixion by Puccio Capanna, The Martyrdom of St. Alexander and The Body of Christ Supported by Angels attributed to Lorenzo Lotto) were imaged in-situ, in conjunction with traditional conservation science methods, as a part of a technical case study. Thus, pump-probe microscopy offers an important new tool for gaining fundamental insights into our cultural heritage.</p> / Dissertation

Daguerreotypes, nineteenth century photographs made entirely of metal, tarnish easily when exposed to atmosphere or other corrosive environments. The removal of such corrosion products has always been a controversial issue due to the irreversibility and potential damage inflicted by the treatment process. When performed using the proper technique and tools, electrochemical cleaning has been shown to remediate daguerreotype corrosion without causing damage to the object. This investigation explores in detail the effects of electrochemically treating daguerreotypes to better comprehend the physical, chemical, and aesthetic changes which occur during tarnish remediation. Such analysis includes understanding the extent to which tarnish is removed from the object, whether the microstructure and surface roughness are altered, and whether deposits are formed on the surface as the result of cleaning. Before characterizing the effects of treatment, a reliable and consistent electrochemical cleaning method was optimized on modern, custom-made daguerreotype coupons. These coupons were tarnished in controlled settings to create silver sulfide or silver oxide, two commonly found daguerreotype corrosion products. They were then treated by the optimized electrochemical cleaning process, which involved immersing the object in a 0.1 M NaNO3 electrolyte and connecting it to a platinum counter electrode, an Hg/Hg2SO4 reference electrode, and a potentiostat. Tests were executed to determine the most effective voltage for removing each corrosion product. Full characterization of the modern coupons was performed prior to corrosion, after corrosion, and after electrochemical remediation to provide full understanding of the treatment effects. Characterization techniques include scanning electron microscopy/energy dispersive x-ray spectroscopy, Raman spectroscopy, atomic force microscopy, x-ray photoelectron spectroscopy, and Fourier transform infrared spectroscopy. The optimized process was also tested on three nineteenth century daguerreotypes, and the changes fully characterized and compared to those of modern samples. Both silver sulfide and silver oxide were noticeably reduced as the result of electrochemical cleaning, while the treatment process did not alter the physical and chemical features of the daguerreotype image particles or silver base layer. The results provide a much better understanding of the electrochemical cleaning process on a chemical and microscopic level, allowing conservators to make informed, scientifically-supported treatment decisions for their clients and institutions.

The interest in heritage tourism is increasing at the same time as the price on flight tickets is decreasing. World heritage has been around since 1972 when UNESCO adopted the convention for protection and conservation of world heritage. Today they are mostly seen as global icons and excellent tourist attractions, making tourists travel from all over the world to crowd around them. But how much do the tourists actually know – and care – about the real purposes of which the world heritages are elected? This thesis aims to examine the relationship between wanting to conserve and protect a world heritage, but at the same time wanting to use it and make it available for tourists. This has been done through a case study on the world heritage of the hanseatic town of Visby and interviews have been held with several of the responsible stakeholders. The result of the study tells us about how the destination Visby see the world heritage as something valuable they want to conserve and protect, but they also see many opportunities for tourism development that either follows from, or is benefitted by, the world heritage status. A recurring view is the importance of having a living city with people not only observing, but experiencing and understanding the history and culture of the world heritage. The importance of sustainable tourism is also discussed since it is considered a key to enable tourism development and still ensure the persistence of the world heritage in Visby.

The unique cultural techniques of the historic building trades of New Orleans are currently at risk of being lost due to a lack of new master craftsmen and the demise of the current generation of master craftsmen. The purpose of this study is twofold: to analyze the historic transmission of the trades in New Orleans through the lens of workforce development and to inventory and analyze current programs that teach the trades. Analysis of historic training in the trades and best practices in workforce development inform an assessment of the strengths of current programs and their ability to enhance the supply of master craftsmen. Additional analysis of workforce development practices and programmatic strengths combine to illustrate room introducing career pathways and intermediaries into the current system of training. This system of training in New Orleans is fragmented and insufficient to truly enhance supply; however, programmatic strengths present opportunities for improvement.

No description available.

While most media-memory research focuses on particular cultural repository sites, memorials, traumatic events, media channels, or commemorative practices as objects of study to understand the construction of collective memory, this dissertation suggests it is our activity, participation, and interaction with digital content through multimodal platforms and social media applications that demonstrate how communities articulate shared memory in the new media landscape. This study examines the discursive interpretations of cultural heritage practitioners and participations from the Getty Research Institute, the Prelinger Archive and Library, and the Willamette Heritage Center to better understand how multimodal platforms are being used, how this use is changing the roles of the heritage practitioners and participants in the construction of meaning, and what types of multimodal memory practices are emerging. This research also underscores a reassessment of what constitutes heritage artifacts, authenticity, curatorial authority, and multimodal participation in digital cultural heritage. My methodological approach for this research takes a multilateral form of data collection, including in-depth interviewing, participant observations, and thematic analysis, informed by the theoretical frameworks of collective memory, remediation, and gatekeeping and unified by the social theories of art practice, social constructionism, symbolic interactionism, and actor-network theory. My primary recommendation from this research is that our digital practices of contributing, appropriating, repurposing, and sharing digital content represent new forms of memory practice in a multimodal context. I propose that these multimodal memory practices of interacting with digital content using different devices across different networks coalesce into platformed communities of memory, where communities are shaped and collective memory is shared by our interaction through social networks. I suggest that we need to think of social media output and metadata as being new forms of cultural heritage artifacts and legitimate social records. I also contend that metadata analysis presents new considerations and opportunities for studying the memory of digital content and institutional memory. It is my hope that these conclusions clarify our contemporary memory practices in the digital era so that we can better understand whose voices will be most prominent in the future articulation of how we remember the past.