Podcasts about University museum

In the past few days, UK firefighters have been tackling wildfires across the UK. As global temperatures rise, fires are likely to increase in strength and number. We hear from Rory Hadden, Professor of Fire Science at the University of Edinburgh, and Aidan McGivern, meteorologist and weather presenter from the Met Office.Presenter Marnie Chesterton has been behind the scenes at Cambridge's Natural History Museum with Assistant Director of the University Museum of Zoology Jack Ashby.Also, the woman who came third in the Brighton marathon in the middle of her hen weekend. We hear from Dr. Ann-Kathrin Stock, neuroscientist at Dresden University Clinics and member of the international Alcohol Hangover Research Group about the science behind hangovers and why it might not be such a good idea to run a marathon whilst hungover.And science journalist Caroline Steel has been scouring the science journals.Presenter: Marnie Chesterton Producers: Clare Salisbury, Dan Welsh, Jonathan Blackwell Editor: Martin Smith Production Co-ordinator: Jana Bennett-Holesworth

When you really think about it, sex to make babies is WEIRD! You take an outie that has to get stuck inside an innie that links into a production line of eggs to assemble a perfect tiny being. It's so damn complicated!So why does it work like that?Join us at What the Duck for the first episode of a series where we figure out how living things went from splitting ourselves in half to double the population, to periodically feeling compelled to copulate in such a vigorous, sometimes highly embarrassing, manner.Earth - this is your sexual history!Please note that this program contains adult themes and explicit language. Parental guidance is recommended. This is a summer repeat of Episode One -  please find the rest of the "Sex is Weird" series here.Featuring:Emeritus Professor David Siveter, University of Leicester, UK.Assistant Professor Emily Mitchell, University of Cambridge, UK and curator of non-insect invertebrates, University Museum of Zoology, Cambridge, UK.Dr Marissa Betts, geologist and palaeontologist at the University of New England, Armidale, Australia. Dr Emily Willingham, biologist, journalist and author.Associate Professor Patty Brennan, Mount Holyoke College, Massachusetts, US. Production:Ann Jones, Presenter / Producer.Petria Ladgrove, Producer.Additional mastering: Isabella Tropiano and Russell Stapleton.Thanks also to Will Ockenden, Belinda Smith, Corey Hague and Joel Werner. If you want to hear more "What the Duck?" episodes- please like and subscribe here.This episode of What the Duck?! was first broadcast in September 2024 and is produced on the land of the Wadawarrung and Kaurna people.

When you really think about it, sex to make babies is WEIRD! You take an outie that has to get stuck inside an innie that links into a production line of eggs to assemble a perfect tiny being. It's so damn complicated!So why does it work like that?Join us at What the Duck for the first episode of a new series where we figure out how living things went from splitting ourselves in half to double the population, to periodically feeling compelled to copulate in such a vigorous, sometimes highly embarrassing, manner.Earth - this is your sexual history!Please note that this program contains adult themes and explicit language. Parental guidance is recommended. Featuring:Emeritus Professor David Siveter, University of Leicester, UK.Assistant Professor Emily Mitchell, University of Cambridge, UK and curator of non-insect invertebrates, University Museum of Zoology, Cambridge, UK.Dr Marissa Betts, geologist and palaeontologist at the University of New England, Armidale, Australia. Emily Willingham, biologist, journalist and teacher.Associate Professor Patty Brennan, Mount Holyoke College, Massachusetts, US. Production:Ann Jones, Presenter / Producer.Petria Ladgrove, Producer.Additional mastering: Isabella Tropiano.Thanks also to Will Ockenden, Belinda Smith, Corey Hague and Joel Werner. This episode of What the Duck?! was produced on the land of the Wadawarrung and the Kaurna people.

Dr. Janet Laidla shares her work on charting the roles and contributions of women at the University of Tartu from the early days of the Estonian Republic, and what it means today. Baltic Ways is a podcast brought to you by the Association for the Advancement of Baltic Studies, produced in partnership with the Baltic Initiative at the Foreign Policy Research Institute. The views and opinions expressed in this podcast are those of the authors and do not necessarily reflect the official policy or position of AABS or FPRI.Read more: * Estonia's first female doctorates were educators and physicians | News | ERR * Eesti esimestest naisdoktoritest said eeskätt arstid ja õpetajad | Ajalugu | ERR* Laidla, Janet; Anepaio, Lembi (2024). Esimesed doktorikraadiga naised tänapäeva Eesti aladelt [The First Female PhDs from the Present-day Estonian Area]. Õpetatud Eesti Seltsi aastaraamat / Annales Litterarum Societatis Esthonicae, 28−67. https://oes.ut.ee/publikatsioonid/TranscriptIndra Ekmanis: Welcome to Baltic Ways, a podcast bringing you interviews and insights from the world of Baltic studies. I'm your host, Dr. Indra Ekmanis. Today, we listen to a conversation with Dr. Janet Laidla, lecturer in Estonian history at the University of Tartu. Dr. Laidla's recent research has focused on the history of women at the university and the essential roles they have played in both academic and non academic work. Stay tuned.Thank you so much for joining us on Baltic Ways. Perhaps you can start with a bit about your background and how you came to be involved in Baltic studies.Janet Laidla: Thank you so much for inviting me. It's a bit of a long story. So bear with me, because I have a bit of an unconventional academic career path. It started out conventional enough. So I did my BA and MA in history at the University of Tartu in Estonia, and then right after went straight to PhD also in history, also at the University of Tartu.But in my fourth year of PhD, in early modern chronicles, I got a bit stuck. So instead of graduating, I went out to look for a job. And eventually I was hired by the University of Tartu Museum. And there I worked in different positions and for several years I was the head of the Old Observatory. I enjoyed that a lot.But instead of history I was promoting astronomy for 10 years, and my research was more concentrated on the history of science [rather] than the history of 17th century chronicles. I still had a small position at the Institute of History and Archaeology as lecturer, and although I always planned to defend my PhD eventually, I got around to it when the university changed the rules and said you now have to have a PhD to be a lecturer.But as I said, my focus had already changed, so after graduating I was moving slowly at first towards the 20th century. And, because I had been working on the early modern period, I now also had to seek out new networks. And I had been aware, through a lot of my colleagues, of the Association for the Advancement of Baltic Studies. But, well, a few years ago, I decided now it's time because I was working in similar topics that my colleagues who were members were now working on.IE: Maybe you can tell us a little bit about that transition from studying early modern historiography, and then you went into history of astronomy and sciences, and now your focus is on studying women in academia. Perhaps you can trace that path for us a little bit.JL: Well, the University Museum is not only about history of science, it was also about the history of university, and I had been interested in the history of university, especially women students for a while, specifically the period of the 1920s and the '30s, the interwar period.And for the university centenary in 2019, where we celebrated the hundred years of Estonian-language university, we were preparing an exhibition at the National Archives on academic women. And we were so surprised that there was so little research on that subject. So basically, this is how I ended up with the topic that I'm really passionate about. However, my first research paper I did in my first year of university was actually on the position of women in Greek society. So in a way I was going back to the roots.IE: A full circle sort of a journey then. Well, can you tell us a little bit about your current work, looking at women, studying and working at the University of Tartu? You mentioned that you started looking at the interwar period. Maybe you can tell us a bit about the role of the university during those first years of the Estonian Republic and how it developed and how it came to admit women also into different fields of study.JL: The University of Tartu has a long and illustrious history going back, well, almost 400 years. So it already played a role in the national awakening in the 19th century of Estonian and also Latvian and many other nations of the Russian Empire. And of course it was important for the young republic. Its official name was the University of Tartu of the Republic of Estonia. So the state was literally in the name. Also, there was the political decision, to change the language of instruction to Estonian that we celebrated. So Estonian at the time was not a language of scholarly use. The secondary education had mostly been in German or Russian.And so the university was tasked, alongside other organizations, to create the vocabulary needed for research. And the university also concentrated on Estonian culture, Estonian history, literature, but also Estonian geography and nature, natural resources, instead of the whole Russian Empire, or the world.It was not as provincial as it sounds, of course, there were still world renowned scholars like Ernst and Armin Öpik, Ludvig Puusepp, Johann Villip, Walter Andersson, and others. But when we talk about women — women had been admitted as auditors since 1905 and full students since 1915, which is much later than in the US or the UK, for example.But in the Russian empire, and also, in fact, Germany, the struggle for female higher education had been going on over the 19th century. Many women also from Estonia went to Switzerland and there were the higher courses in Tartu, but also in St. Petersburg and Moscow, and some of them are kind of like women's colleges. But this is like a topic that I plan to have a closer look at in the future.So the university in 1919 did not reverse the decision to admit women — it was already admitting women, it had been admitting women for, for some years already. And I think it would have been an unpopular decision if they had decided to no longer admit women, but I mean, not everybody was in favor as well. It was like not 100 percent that all the male academics were like, “Yes, let all those women come in.”IE: Maybe you can share a little bit about how the career paths of women in these academic positions at University of Tartu evolved over time — some of the trends that you saw.JL: So, even before you had some women working as assistants in the university clinics, or assistant assistants at the astronomical observatory, Maria Orlova, for example. But, in 1919, they started with a temporary lecturer of English. She was called Jenny Leidig, and she had been appointed already in 1905 [edit: 1906]. But then the state said, the government said, “No, no women in academia, in the staff positions, I mean, we don't even have them as students, so what were you thinking?”So in 1919, you had Jenny Leidig. You had some assistants in the clinics, and there was this young woman, Lidia Poska-Teiss, who also applied to become an assistant in — first she was working at the Faculty of Mathematics and Natural Sciences, but then sort of moved into medicine. And, over the period of the 1920s and the '30s, you could say that the number of and the percentage of female staff grew steadily.By 1938, it was around 16 percent of the whole staff. That includes all of the clerical, the secretary positions and the libraries and so on. But we can say that perhaps around 13 percent of the staff were doing at least some research and teaching. And over time, some women rose from junior to senior assistants.The first woman to be invited to become a professor was in 1939. She was, however, not appointed, again by the state. For different reasons, gender had probably less to do with it. So Alma Tomingas basically became the first auxiliary professor in 1940. And she was a pharmacologist.IE: In your work, you also speak a little bit about the challenges facing women in their career progression. And those challenges — one being dealing with gender and patriarchal society, but also other social and economic and political factors. Can you tell us a little bit about those and their impact on women at the University of Tartu?JL: Basically, it was as complicated as it is now, in a sense. A fair part of the society still saw women's place at home. Single women, and also men in Estonia, in the marriageable age were frowned upon.IE: In terms of coming into the university?JL: Well, sort of basically coming to university because either you were there to find a husband or you were there to sit in a cafe and, you know, waste your life.And also the fear that if you had a higher education, you would not marry because that myth stayed around for quite a bit of time. However, there were still many working mothers — also at the university. So economically, it made sense in many cases that both of the parents worked, except right after the Great Depression, where, especially in civil service, only one of the spouses was supposed to work.It could be the woman, but of course more often it was the man. So, and also the university — all this apparent progress aside, the steady rise of women and staff numbers — there is no question of the fact that the university and the state saw research as mainly as a male profession, because the graduate research scholarships that are listed in the staff lists were given almost exclusively to men.Vera Poska-Grünthal, she was a specialist in social law, is a notable exception. This of course, led women to search for alternative opportunities, for example, through the International Council [edit: Federation] of University Women. Hilda Taba, who worked in the US, is a very good example. But this also needs a little bit of a deeper investigation.A lot of women were working in temporary, low paying positions at the university. If you see that there's a job opportunity in, say, high school, or you can become a barrister, or open your own practice in medicine, work for a hospital, you figure that this will perhaps give me a higher salary. But definitely it might give you more financial security. The Baltic German women went to have careers in Germany. So there were a lot of issues at play here. So it was quite complicated. And of course there were stay at home moms and wives, it's just that I'm interested in professional women.IE: Of course. Can you speak a little bit more about these sorts of non-academic roles that women held and how they played into the overall culture at the university?JL: Yeah, interestingly, women had worked for the university long before they were admitted as students. From the first part of the 19th century, you had the midwives working for the university. From the second part, you had the housekeepers at clinics, you had the first secretaries. And the beginning of the 20th century, as I mentioned, the assistants at the Astronomical Observatory and the clinics. In the 1920s and '30s, there were also a lot of women working as secretaries in the offices, also at different libraries and with collections.And some of these women working especially in the collections might have also pursued research and they also could have done some teaching. I think the archaeologist Marta Schmiedehelm is a good example of this. So in my opinion, the line between academic and non-academic is blurred. And this is why I don't want to dismiss the non-academic positions from my research as many other scholars have done.IE: Yeah, absolutely. The work and the history of women at the university extending far beyond what we think of as formal academic roles. That's an important point to make. I wonder if you can tell us about the overall situation, and some of the key takeaways that you're finding in your research or areas perhaps that you want to continue to explore.JL: Well, some of the things that I have found from study of the University of Tartu during the interwar period, when I sort of engage them with the previous research on the subjects done in the US, the UK and Germany — then, in some places, the women were engaged in the so called feminine fields, such as home economics, for example. But in Tartu there were no clearly defined feminine fields because they did not have the home economics department for starts. But there are definitely non-female fields. So the faculties of theology, agriculture, and law were dominantly, if not exclusively, male fields. So women were more numerous in the faculties of medicine, veterinary medicine, mathematics and natural sciences.But it's sort of interesting because I think that the factor here is also the hierarchy, like how many levels of positions you have. For example, in humanities, you have lecturers, docents and professors. So in humanities, women only have the lower positions, at least until 1939. But in these other areas where you have the temporary assistants and junior assistants, senior assistant, docent, if you have more layers, then you actually can see women sort of starting from the bottom and going up.Of course, men also start from the bottom and go up and sometimes they linger in the lower positions and sometimes they are similarly demoted or leave the university. So I think that I need to do some more data analysis to really understand how the sort of the restructuring or the structure or the hierarchy of the position works for women at the time and perhaps how it works for women now.Also, the preliminary survey of the social status also suggests a more varied social background for the academic women in Estonia, in comparison to some other Western European countries. several are indeed from lower and upper middle class, but there are also a fair number of working class women and farmer's daughters.Now, farmer's daughters, there is a range, so they could be quite wealthy in Estonia, or relatively poor. So there's other factors as well. And, in many places, marriage ended the academic career. So academic women were single, but there's a significant number of married couples working at the university, such as Elfriede and Vilhelm Ridala, Elisa Käer-Kingisepp and Georg Kingisepp, Gerhard and Natalia Rägö, Salme and Ilmar Vooremaa, and so on. Many others were also married, just not to fellow academics, including Lidia Poska-Teiss, that I mentioned earlier. And of course there are fathers and daughters. So we get to mothers and daughters only in the 1940s.That said, there are several women students who remember being told that if they are serious about their research, they should not marry. One by Professor Gustav Suits, whose wife Aino worked at the university as a lecturer for over 15 years.IE: Oh, a bit ironic then!JL: Yeah, sort of, I know that this discussion took place before Aino took up the position of lecturer, so maybe he changed his mind when he, because Aino was also a mother, she was a working mother, they had children and so she had to somehow cope with everything. IE: It's interesting that you talk about this kind of range of economic backgrounds with the women who entered into these roles. Do you have any inclination as to why there is that type of access, that range?Janet Laidla: So I think it has something to do with Estonia, being the young republic, that sort of, sort of declared itself classless or where class wasn't as prominent. Also for many of these women, the secondary education, and also the university education was a way of social mobility. And they were out there to get a job, because the university education was costly, and they thought that it would be an easier way to work for the university while studying at the university. So they sometimes weren't motivated so much by the sort of idea of an academic career, they didn't see it as entering academia, as perhaps we sometimes do now that you have this career path ahead of you. It was just a job as any other. But this was a preliminary study and I would need to go further in order to make any kind of more profound arguments based on this. But it was interesting to see. But it was also expected, thinking about Estonian history, and what the Estonian state declared in the beginning it was about to do. I think that was one of the things that perhaps makes the Estonian state and probably some other similar case studies stand out on the background of the Western European situation.IE: I wonder what you think of all this work that you're doing — the study of the interwar period — how do you think it translates into today? How can it impact the way that we are thinking about women in academia now? I'm thinking a little bit about a study that I recently read about the United States, where there are fears of a “demographic crisis” regarding too many women in comparatively, in academia. The argument was that there's not necessarily a balance anymore. And I wonder what it's like in Estonia. And at the same time, keeping in the back of our mind that there are plenty of areas where we are not seeing parity or equity. So, curious about your thoughts on that.JL: Well, it's also a complex issue. Yes, I actually heard that argument recently. When we had the women in science days, one of the discussants was saying that soon we will be talking about the lack of men in university, so they will become a minority. Not yet in Estonia.Of course, things have changed where in 1940, we had one professor. And now we have around 30 percent of professors at the University of Tartu are women. So we're getting closer to balance. Thinking about recent research, Michelle Ryan wrote a paper in Nature in 2022 saying that one of the misconceptions we have is that we overestimate the progress.So perhaps, perhaps it was based on statistics, perhaps it was another overestimation of the representation of women. And I'm thinking perhaps partly we underestimate the number of women working at the university in the past. So we overestimate now because we think that there has been this huge progress.And then you might say, and that, yes, that's the numbers, but their positions and their contributions in comparison today were insignificant. But nowadays we understand research much more as teamwork, as a collaborative effort. So perhaps, the women of the past their contributions were not as insignificant. I mean, the records did not file themselves, the notes and manuscripts did not type themselves at the time. And we also know these later controversies concerning, for example, Rosalind Franklin or Jocelyn Bell Burnell. And I'm not saying that we'll find something like that here in Tartu as well, but still.Coming back to the overestimation or the fact that women are becoming dominant, that there's a fear that women might start to dominate academia some — well, it then tells you something about academia. Because the IT sector used to be a female area in the beginning, because the computers and it all started from the universities. It started from Harvard University where the computations and also the glass plates the astrographs were making were analyzed by a group of women, called the Pickering Harem. And also Tartu had its own sets of women computers and they were called computers.It's the whole “Hidden Figures” story at NASA and so on. So in the beginning, these sort of computer programs and computing, well, not in the beginning, but at some point this was women's work. And then it started to pay something. It started to be prominent. It started to be, you know, the salaries got higher. And then for some reason it became a dominantly male field. And now we're looking to include women in STEM, but also IT. So maybe we should do some soul searching and see if the working positions in academia are then not highly paid or prestigious enough that men are no longer interested.So it's not about women taking over. What I see when I look at professional women is that they are often stuck into low prestige, low paying jobs. So if, you know, if they're overflowing the academia, it says something about academia in the future. But well, at least in Tartu, we're a fair bit away from that.And it's also sort of about numbers. It's another thing that Michelle Ryan said that it's not the percentage of staff, you have to look at the positions. And I mean, are the sort of the heads of, you know, these Ivy League universities and colleges, the top positions, are they being taken over massively by women? Or is it just that you have women in administrative positions, the low paying the teaching positions. Is the overall percentage more than 50 or are you having women in the higher positions?IE: Yeah, absolutely. And you speak really well to that idea of those hierarchies and also the unrecognized labor that really does support broader academic achievement. Filing. Typing. Being a sounding board. It is important and significant to recognize that labor as well.Perhaps you can tell, tell us a little bit more about the future of your work.JL: The Tartu example is very interesting and also there is a lot of material because the University of Tartu collected masses of information on its staff and students — so, much more than many other institutions around the world, so you can do different things with the material. But I would also like to do some comparative history. For example, Zane Rosīte is doing similar studies, for her Ph.D. at the University of Latvia. I am looking to compare the Tartu case with Latvia because they are so close. But I'm also looking to compare my Tartu case with the universities in Finland, New Zealand, and Australia. And now you might be wondering why these countries.Well, the obvious factor, of course, is the early vote for women. But also the size of population, the number of universities, the empire factor is also there, and in a way, all four countries trying somehow to redefine themselves before the Second World War. Two of them becoming independent, and two of them sort of becoming definitely more autonomous within the empire. So I think it would be interesting to compare these. I don't think many people would agree Estonia and Finland as being a frontier in the 20th century, but somehow sort of these frontier, co-educational institutions in these four countries to see what else comes out from this comparison.IE: We will certainly look forward to seeing the results of that future work from you as well. You know, this has been such a fascinating discussion. And I think it's such an interesting and significant topic. It's really necessary to understand our histories, the histories of our institutions, the role of women throughout the course of those institutions, which has so often been undervalued or understudied at the very least. And this is making a significant contribution to that work. So I appreciate the discussion very much — especially in this time where we're seeing slow and incremental, but still important progress. I often think of the Baltics as one of those key regions that advances the visibility of women in leadership positions — thinking very much about those strong women Kaja Kallas, Vaira Vīķe-Freiberga, Dalia Gribauskaite — so it's interesting to have this perspective as well.Janet: Yes, because sort of we assume that the position of women, especially in the 20th century, has been linear, sort of progressive, but it hasn't actually. Also in academia, it hasn't. And there is a PhD thesis on the University of Washington in the US, for example, where she starts out in the 19th century and ends in, I think, 1970s. And she so shows how it has been up and down. It hasn't been this linear progress that I'm showing and, and here the fact that it's linear is really interesting.But of course in Estonia, there's a different kind of break in the 1940s. And this apparent understanding that in the Soviet Union, the gender question had been solved. And, I don't know if I'll really go into the Soviet period as well, but, well. It isn't as easy as that, definitely. So even if we are making progress at the moment, I think, especially in the US, you're feeling that when women's rights in general are in question. And then it's definitely sort of if you have reached some level, it's not, “Yes, we can also only go forward from here.” No, you can actually go back.I think it's something that needs to be kept in minds — every victory we have won is not certain.IE: It is certainly not a guarantee for that progress to be guaranteed. That's such an important point. Well, again, I am so thankful for the opportunity to be in discussion with you. Thank you so much, Dr. Laidla for joining us on the podcast. We certainly look forward to your future workJL: Thank you for having me. Thank you so much. IE:Thank you for tuning in to Baltic Ways, a podcast from the Association for the Advancement of Baltic Studies, produced in partnership with the Baltic Initiative at the Foreign Policy Research Institute. A note that the views and opinions expressed in this podcast are those of the authors and do not necessarily reflect the official policy or position of AABS or FPRI.I'm your host, Indra Ekmanis. Subscribe to our newsletters at AABS dash Baltic studies dot org and FPRI dot org slash baltic dash initiative for more from the world of Baltic studies. Thanks for listening and see you next time.  This transcript has been slightly edited for clarity. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit fpribalticinitiative.substack.com

University of Arkansas Museum's Laurel Lamb speaks about artifacts and objects available in the University Museum and the new activities available for families, children and the public.

Season 5: Episode 3 Title: The Libros/arte and Cartonera exhibit: What is a book? In this Episode, UAlbany student Claudia Piqué discusses the exhibition “Libros/Arte: Handmade Books from Latin America & the Caribbean” at the University Art Museum, which is the first bilingual exhibit at the University at Albany Museum. This exhibit is unique as it breaks the tradition of what we typically view as a book, not only because of the communal creation process but also the experimental formatting it uses. The Libros/Arte and Cartoneras show a story of resistance from communities in Latin America and the Caribbean as to who owns knowledge and how it is passed. The creation of this exhibit is due to the hard work and dedication of LLC Librarian Jesus Alonso Regalado, who collected books from all over Latin America for over a year, and the curators Dr. Ilka Kressner and Dr. Alejandra Bronfman. Thank you for creating this beautiful exhibit. The Libros/Arte: Handmade from Latin America and the Caribbean exhibit is showcased at the University Museum until the end of the Fall 2023 semester. Go check it out, you won't regret it! Museum Hours: Monday – Friday, 11am – 4pm Open Select Saturdays 11am – 4pm: 9/23, 9/30, 10/14, 10/21 Open Select Evening Hours 6pm – 8pm: 11/8 Closed: 9/4, 10/9, 11/10, 11/23, 11/24   Warning Explicit Language Time Stamps: 0:00- Introduction 0:30- The Libros/ Arte Exhibit 1:40- The unique process of the Libros/Arte exhibit 6:05- What is a book? 8:03-Behind the scenes of creating the exhibit 9:47- Libros/Arte is resistance 11:39-Yerbas Poderosas 14:39 - The start of Libros Cartonera in Argentina 21:26- Environmental consciousness of Cartoneras 23:27- Everyone owns knowledge 29:24 - A global Cartonera community 32:02- What would our Cartonera look like? 36:10-The roots of Claudia's favorite Cartonera 40:30- Go visit the University Museum for the Libros/Arte exhibit     Contributors: Claudia Piqué (StoryTeller),  Ryan Pare (Host, Editor),  Sophia Smith (Host), Bianca Zazzarini-León (Host/Marketing) Carmen Serrano (Editor/Executive Producer). UAlbany Student Stories, Season 5, Episode 3 [podcast]. Music from El Pañuelo de Pepa by Javier Colina and Pepe Rivero. José Cruz, Executive Producer. Funding provided by the UAlbany Faculty Research Awards Program (FRAP). Special thanks to Ryan C. Clow, Digital Scholarship Center Training Specialist, for allowing us to use the equipment and recording studio. Email Carmen Serrano: cserrano4@albany.edu    Interested in supporting future podcast programming? Please donate to LLC and specify “UAlbany Student Stories.” Click on the following link: https://securelb.imodules.com/s/1642/18-giving/form.aspx?sid=1642&gid=2&pgid=399&cid=1042&bledit=1&dids=156.157.158.159.160.241.177.178&sort=   --- Send in a voice message: https://podcasters.spotify.com/pod/show/ualbanypodcastteam/message

In April of this year, the Museums of Tomorrow Roundtable brought nearly two dozen museum directors from around the world together in Silicon Valley to discuss the evolving role of technology in museums. As dialogs between museum directors and technology leaders in Silicon Valley evolved, it became apparent that planning for the use of artificial intelligence had become a critical need.On today's episode, I'm honored to be joined by four museum executives who are an active part of these conversations about the future of museums:Thomas P CampbellDirector and CEO of the Fine Arts Museums of San Franciscohttps://www.famsf.org/Seb ChanDirector & CEO at the Australian Centre for the Moving Image in Melbourne, Australiahttps://www.acmi.net.au/Amanda de la GarzaDirector General of Visual Arts at the National Autonomous University of Mexico in Mexico City and head of its University Museum of Contemporary Arthttps://muac.unam.mx/acerca-de-nosotros?lang=enSuhanya Raffel Executive Director, M+ Museum in Hong Konghttps://www.mplus.org.hk/en/

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Jack Ashby discusses with Ivan six things which should be better known. Jack Ashby is the Assistant Director of the University Museum of Zoology, Cambridge. His zoological focus is on the mammals of Australia, but his work more broadly centres on engaging people with the natural world, chiefly through museums, and exploring the colonial biases that museums often exhibit. His books, Platypus Matters: The Extraordinary Story of Australian Mammals and Animal Kingdon: A Natural History in 100 Objects combine these scientific and social stories. From 2022-23 he was an Art Fund Headley Fellow. He is a trustee of the Natural Sciences Collections Association, an Honorary Research Fellow in UCL Science and Technology Studies, and formerly sat on the Council of the Society for the History of Natural History. Platypuses https://www.amazon.co.uk/Platypus-Matters-Extraordinary-Australian-Mammals/dp/0008431477/ Ali from Sarawak https://theconversation.com/i-am-ali-wallace-the-malay-assistant-of-alfred-russel-wallace-an-excerpt-85738 Biases in natural history museum displays https://www.nhm.ac.uk/discover/news/2019/october/more-male-than-female-specimens-in-natural-history-collections.html Stockholm's Biologiskamuseet https://www.atlasobscura.com/places/biologiska-museet Tasmanian devils https://www.nationalgeographic.com/animals/mammals/facts/tasmanian-devil Gran Paradiso National Park https://www.cicerone.co.uk/five-ways-to-enjoy-italys-gran-paradiso-national-park This podcast is powered by ZenCast.fm

Submarines, robots and even artificial intelligence are some of the tools scientists will use to identify new species in the ocean. Ocean Census, launched on April 27, aims to identify 100,000 marine species in the next decade. “Well, at the moment, our knowledge of where life is in the ocean, how much of it there is, is very limited. And without that knowledge, we can't modify our human activities to conserve that life for future generations,” says Professor Alex Rogers, director of Ocean Census, who will participate in the organization's first mission, in the Arctic. Founded by Nekton, a UK-based research institute, and The Nippon Foundation, a Japanese non-profit, Ocean Census is an alliance of scientific organizations wanting to accelerate the discovery of marine species. “People are too focused on outer space, however, little is known beneath our feet - the ocean. That's why it's so important to bring attention to the ocean through these new discoveries,” says Yōhei Sasakawa, chairperson of The Nippon Foundation. And the clock is ticking. Talking during a Nekton mission in 2022, Aya Naseem, co-founder of Maldives Coral Institute said: “We're moving to a 1.5 degrees rise in global temperatures by 2030, and at that rate, corals of the world will be reduced by more than 90%. So unless we can drastically reduce global carbon emissions, coral reefs will not survive.” Ocean Census aims to be the “largest program in history to discover new marine life.” It'll be based in Oxford, U.K., at the University Museum of Natural History, which houses specimen finds dating back to the time of Charles Darwin. “It is an ambitious endeavor, but ambition is what we need at the moment,” says Professor Steve Widdicombe, director of science at Plymouth Marine Laboratory, who isn't associated with Ocean Census or its partners. This article was provided by The Associated Press.

#SIUDAY The SIUC Day of Giving is coming up on Tuesday March 28, 2023. Please support Library Affairs with your investment in Morris Library, the Special Collections Research Center, the SIU Press, and the University Museum.

Kicking off Series 3, in this episode, Zofia interviews Dr Barbara Winter to discuss how indigenous artifacts have traditionally been collected and displayed in western Canada. This discussion touches on the arguments historically used to keep acquired material culture outside of minority communities (by colonial powers), and in large museum collections. To challenge these historic narratives made by caretakers of cultural heritage, we explore the ways in which repatriation reconnects individuals and communities to pre-colonial pasts and helps build confidence for future generations.Dr Barbara Winter worked at Simon Fraser University, British Columbia, for over thirty years as the curator for the Museum of Archaeology and Ethnology at the university. She worked in the Canadian Museum of History in Quebec, and the Prince of Wales Northern Heritage Centre in Yellowknife, Northwest Territory. The University Museum link:http://www.sfu.ca/archaeology/museum.htmlTo get in touch and find out more:Find us on InstagramSupport us through Patreon Buy our merch on RedbubbleExplore more resources and topics about the ancient world on ArchaeoArtistMusic by the wonderfully talented Chris SharplesImage credits: cover illustration by Zofia GuertinIf you'd like to get in touch, email at twofriendstalkhistory@gmail.com. 

In this episode, Xavier Bonilla has a dialogue with Jack Ashby about the wonderful mammals of Australia. They talk about the distinctions between monotremes, marsupials, and placentals and where they are located around the world. They mention the ways in which the rest of the world discusses Australian mammals. They describe the features of the platypus, along with their mating and reproduction characteristics. They also talk about the features of the echidna including the males four-headed penis. They talk about the features of marsupials and some of the reproductive features of Tasmanian Devils. They mention the extinct Australian animals and the recent discussion of some trying to "resurrect" the thylacine. They talk about working in tandem with various Indigenous people groups in Australia and how to best understand Australian mammals.  Jack Ashby is a scientist and author. Currently, he is the Assistant Director of the University Museum of Zoology at the University of Cambridge. He has his PhD in Zoology from the University of Cambridge and was previously the museum manager at the Grant Museum of Zoology at University College London. He is a trustee of the Natural Sciences Collections Association, an Honorary Research Fellow in UCL Science and Technology Studies, and sits on the Council of the Society for the History of Natural History. He is the author of the latest book, Platypus Matters: The Extraordinary Story of Australian Mammals. You can find his work here. Twitter: @jackdashby

Every quality community has quality cultural offerings, and mid-Michigan is no different. Joining Chris to discuss the long history and current offerings of the Michigan State Museum and Science Gallery is its Director, Devon Akmon!

Every quality community has quality cultural offerings, and mid-Michigan is no different. Joining Chris to discuss the long history and current offerings of the Michigan State Museum and Science Gallery is its Director, Devon Akmon!

Interview with the University Museum of Zoology in Cambridge about their Bridging Binaries tours. These tours look at the contributions that LGBTQ+ perspectives have made to natural history, and highlight ways in which nature is more complex than simple binaries.   Full show notes here

For more than 90 years, the Fleming Museum of Art at the University of Vermont has showcased artifacts and paintings from around the world. Now, at the urging of staff, it's undergoing a transformation. The museum is confronting its role in perpetuating racism and oppression. And instead, it hopes to become a platform for BIPOC art and anti-racism work.

“Wait on or create your own platform” is one thing artist Linda Simien Kellywanted to leave the ICW audience with. We have a choice as to what we do with our lives. We can wait on others to decide for us or like Linda, we can plan our path, and make it happen for ourselves. Check out this week's episode for more. If in Houston, check out Linda's pieces at Max's Wine Driveon Washington. About Artist Linda Simien Kelly The Louisiana native is a proud Bachelor Science in Accounting graduate of Southern University, A & M in Baton Rouge and a member of Delta Sigma Theta Sorority. She has over 20 years of accounting experience in the oil and gas industry. Linda Simien Kelly also is a primarily self-taught, abstract expressionist artist who has been pursuing her craft on a full-time basis for over a decade. Black identity, cultural solidarity and ethnic perception have been important themes in her work. The artist lives in Houston with her husband and is the mother of three sons. Her considerable professional accolades include first-prize honors in the Museum of Fine Arts Houston's 17th Annual Citywide African American Artists Exhibition at the Glassell School of Art and recognition as a prize winning artist at the Lawndale Art Center's “The Big Show” annual juried exhibition. Her work has been featured in Citywide Artists Juried Exhibitions at the University Museum at Texas Southern University, The Community Artists' Collective Gallery, Project Row Houses, The Assistance League of Houston Artists Exhibition at Williams Tower Gallery, The Art on The Avenue Juried Exhibition, the Archway Gallery, the Gallery Jatad and the “M” Gallery. Artist Profile: For over decade, Linda Simien Kelly has been an advocate for Sickle Cell Disease and Trait using her artworks as the platform to help bring awareness of the disease and trait. The annual event was held at the Ensemble Theatre. Exhibits: The MFAH's ''Citywide African American Artists - Exhibition' held at the Community Artists Collective, Museum of TSU & MFAH Glassell. First Place Winner of the 17th MFAH Citywide African American Artists Exhibition. Lawndale Statewide “The Big Show” Artists Exhibition - First Place Winner 2015. Participant of six (6) MFAH's ''Citywide African American Artists - Exhibitions'. Women's Work, Mind, Body and Spirit Exhibit, Community Artists' Collective Archway Gallery Ninth Annual Juried Exhibition Art On The Avenue Annual Juried Exhibition Collectors Club Exhibits, Project Row Houses Creative Women United Annual Citywide Exhibitions Annual Art League Citywide Exhibit, Williams Tower Gallery Hurricane Harvey Artist Exhibit, Community Artists' Collective Gallery Artist Exhibit Jatad Gallery Artist Exhibit M Gallery in the Heights Annual Artist of the Month Exhibit, The Breakfast Klub Exhibiting Artist Exhibition, Lucille's Restaurant Exhibiting Artist Exhibition, Bohemeo's Cafe Exhibiting Artist Exhibition, Urban Eat's Exhibiting Artist Exhibition, Max's Wine Dive Ways to Connect Call or Text (713) 417-8261 of Email: lindasimienkelly@icloud.com Instagram: lindakelly6116 and Twitter: lindasimienkelly@gmail.com WATCH + LISTEN + SUBSCRIBE + SHARE Let's #Soar and #ElevateWOCVoices #IntimateConversationWOC

Saluki Stories continues our summer wanderings off the path of pure alumni interviews. Don't worry we will be back on track beginning fall semester with Season 3. But summers are for fun. This week and next are dedicated to the Saluki Story of world renowned sculptor, Richard Howard Hunt. Here is the story behind this week's Saluki Story. Last year a gentleman who is in the process of creating a catalog of all of Mr. Hunt's work reached out to the Art and Design department trying to locate Running Hybrid, a piece he donated to the University Museum in 1970. Mr. Hunt was on campus as a visiting artist at the time. The Museum later acquired a larger piece, Starwalk, that stands in the Museum's sculpture garden. In this episode Mr. Hunt talks about his time on campus and his place among the many creative people at SIU at the time. Next week, listen to episode 2 to hear more about Richard Hunt, his art and his life. Thanks to Mark Musich for making this happen.

There is a now a new curbside service out there to help if you're into composting.....and Texas Southern University has a new partnership that's going to give a big boost to its' University Museum

A native of Loretto, Pennsylvania now living in Pittsburgh, Ron Donoughe is best known for his spirited realistic landscape paintings of Western Pennsylvania. He has a B.A. in Art Education from Indiana University of Pennsylvania and has studied at the California College of Arts and Crafts in Oakland, California.Like many painters he has held a variety of odd jobs – landscaper, gravedigger, chicken catcher, art teacher, museum installer, graphic designer, and college instructor.He works full time now as a professional artist/painter. His work can be found in many corporate and private collections as well as the Southern Alleghenies Museum of Art, The Westmoreland Museum of American Art and The University Museum at Indiana University of Pennsylvania.Ron's interest in plein art painting led to the formation of The Plein-Air Painters of Western Pennsylvania. The group meets informally to paint Pittsburgh from April through November. In addition, his work has appeared in 12 films which were shot in the Pittsburgh region.

A panel discussion as part of the 'Trinity and the Changing City' Series in partnership with Trinity Long Room Hub. For centuries, religions travelled with people who moved across the globe – in search of work, food, safety or freedom. But religion also moves people: literally, when going on pilgrimages and mission; and emotionally, when religion provides an anchor for building a new life, or when it triggers emotions of hate and hostility. Astonishingly, research on migration to Europe has long underestimated religion as a factor. The expectation was that people and their religions would soon “go home” again; notions of Europe as a Christian occident or a homogenous culture where religion is a private matter had to be challenged in many ways. This evening focuses on how we as a society respond to the increased mobility and the pluralisation of worldviews we witness. We want to face the challenge, on one hand, not to “religionise” migration and the people and conflicts that may be involved but yet, on the other hand, include religion as an important element of cultures and identities that come together in a fast-changing world. About the Speakers Dr Peter J. Bräunlein has done extensive fieldwork on cultures of pain and Christian rituals that connect Europe and the Philippines; he was the curator of the University Museum of Religions in Marburg, Germany and specialises in questions of religion and media, expositions and the uncertainties of modernity. He will speak about the project ‘The Materiality of (Forced) Migration' in Göttingen where he explores migration through the lens of “things” that people carry, lose or find. Through this lens – the emotional and practical connection people have with their objects – Peter will shed light on the role that religion plays for some who made the long journey to Europe. materialitaet-migration.de… As a political scientist, Dr Gizem Arikan was trained in Turkey and the USA. She focuses on political psychology in a comparative perspective and is interested in how people's religiosity and political behaviour interact. For our evening, Gizem will shift the perspective: from the migrating people to the societies where they arrive. Not only does the experience of Muslim migrants shape their democratic norms; also, their identity affects the political attitudes of the majority population. blogs.lse.ac.uk… Rory O'Neill will share his experiences in his work as Integration Projects Manager for the Irish Refugee Council and how he encounters religion both as a resource and a marker of distinction. As a photographer and an anthropologist he documented the Direct Provision system and the issues people face when they try and enter the housing market and seek employment and an independent life. Rather unexpectedly, Rory works a lot with inter-faith groups and religious institutions and will talk about their role in the integration process. www.irishrefugeecouncil.ie… Satwinder Singh is a researcher and community activist who not only shares the experience of many who moved to Ireland and enrich the religious landscape of Dublin, but also holds a degree in anthropology from the Dublin Institute of Technology and studied the Dublin-based Sikh community he is part of. His work at the Centre for Socially Engaged Practice-Based Research developed insights into the history of the Sikh community and the diverse strategies developed by its members when finding their place in Irish society and coping with the challenges this includes. arrow.tudublin.ie…

It's no bigger than four decks of cards stacked one on top of the other — a tiny box raided from an Irish church. In Ireland, the box held the holy remains of a saint. What a mound of sand, some leftover nails and the box itself tell us about the Viking raiders who stole it — and what they did with it when they brought it back to Norway. Our guests for this episode were Aina Heen-Pettersen, a PhD candidate at NTNU, and Griffin Murray, who is a lecturer in the Department of Archaeology at University College Cork. The reliquary itself is at NTNU's University Museum in Trondheim. You can see it virtually if you register to view the museum's Online Collections and search for “shrine”. A transcript of today's show is available here.Here are some of the academic articles on the reliquary research: Heen-Pettersen, A. (2019). The Earliest Wave of Viking Activity? The Norwegian Evidence Revisited. European Journal of Archaeology, 22(4), 523-541. doi:10.1017/eaa.2019.19 Pettersen, Aina Margrethe Heen. (2018) Objects from a distant place: transformation and use of Insular mounts from Viking-Age burials in Trøndelag, Central Norway. Anglo-Saxon Studies in Archaeology and History. vol. 21.Pettersen, Aina Margrethe Heen; Murray, Griffin. (2018) An Insular Reliquary from Melhus: The Significance of Insular Ecclesiastical Material in Early Viking- Age Norway. Medieval Archaeology. vol. 62 (1).Pettersen, Aina Margrethe Heen. (2014) Insular artefacts from Viking-Age burials from mid-Norway. A review of contact between Trøndelag and Britain and Ireland. Internet Archaeology. vol. 38.And here are the books that are mentioned in the podcast:Brunning, S. (2019). The Sword in Early Medieval Northern Europe: Experience, Identity, Representation. Boydell & Brewer. doi:10.1017/9781787444560 Etting, V. (2013) The Story of the Drinking Horn: Drinking Culture in Scandinavia During the Middle AgesVolume 21 of Publications from the National Museum / Studies in archaeology & history: Publications from the National Museum, ISSN 0909-9506 Lowenthal, D. (2015). The Past is a Foreign Country — Revisited. Cambridge University Press. doi:10.1017/CBO9781139024884A transcript of today's show is available here. See acast.com/privacy for privacy and opt-out information.

The HCC Northeast Art Gallery and Student Life Department commemorate Black History Month with an exhibit titled Resurrection featuring Houston artist Kentra Gilbert. Gilbert’s work features geometric pattern paintings on canvas and wood with various types of acrylic paint. She uses colors and shapes to create optical illusions and what she describes as a beautiful deception. After earning degrees at Southwestern Christian College and the University of Houston, Gilbert graduated from Houston Baptist University with a Master of Fine Art in 2017. During her time as a student and afterward, Kentra showed her artwork in numerous group shows and juried exhibitions; however, this is her first one-person-show in a Houston gallery. While at HBU, she received 2nd place in 2017 Rockport's Center for the Art's "Rising Eye of Texas." Among her achievements are becoming a finalist at the "Biennial: Origins in Geometry" (2017) and a recent participant of the "Fresh Look: Selection of Women Artists in the MADI Collection" and "Artist of the Month" for October at the Museum of Geometric and MADI Art (2019). She was selected multiple times as a participant in the "Citywide African American Artists Exhibition," a collaborative exhibit put together by Texas Southern University's University Museum and the Museum of Fine Arts Houston.

This week on Out of Office: A Travel Podcast, Ryan shares more of his favorite Mexico City restaurants, museums, and neighborhoods–including Little Tokyo–plus he’ll reveal how to get into a secret, super exclusive club that even Bushwick-dweller Ryan deems “too cool for its own good.” Things we talked about in today’s podcast: Our first Mexico City episode: https://outofofficepod.com/podcast/episode-18-ryans-12-favorite-mexico-city-spots/ Pizza Felix https://www.facebook.com/pages/category/Pizza-Place/Pizza-F%C3%A9lix-456656661458954/  Sud 777 http://sud777.com.mx/ Comedor Jacinta http://comedorjacinta.com/ CDMX’s Little Tokyo https://www.architecturaldigest.com/story/mexico-city-little-tokyo-neighborhood  Le Tachinomi Desu https://edokobayashi.com/index.php/le-tachinomi-desu/ Emelia https://travesiasdigital.com/mexico-travel/emilia-mexico-city  Tokyo Music Bar https://edokobayashi.com/index.php/tokyo-music-bar/  Casa Guillermo Tovar de Teresa https://www.mexicoescultura.com/recinto/68297/casa-museo-guillermo-tovar-de-teresa.html Museo Jumex https://www.fundacionjumex.org/en  The University Museum of Contemporary Art https://muac.unam.mx/  UNAM Sculpture Garden http://cdmxtravel.com/en/attractions/unam-sculpture-space-espacio-escultorico-de-la-unam.html US Tourism is on the decline, according to Hannah Sampson https://www.washingtonpost.com/travel/2019/09/06/more-people-are-traveling-world-than-ever-number-coming-america-is-dropping/  Hyman Bloom at the MFA https://www.mfa.org/exhibitions/hyman-bloom-matters-of-life-and-death  Listen to past episodes at: https://outofofficepod.com/ Follow us on Instagram at: https://www.instagram.com/ooopodcast/

Is taxidermy a craft or art? Can natural history specimens be an artwork? Who made this putty-nosed monkey? And while we're here, can a fox snarl? Jack Ashby, Museum Manager at the University Museum of Zoology, tackles taxidermy and its inclusion in Artist: Unknown. This podcast series is part of an exhibition titled Artist: Unknown at Kettle's Yard in Cambridge. In collaboration with the University of Cambridge Museums, it brings together works of art from across the University’s collections from July to September 2019.

Is taxidermy a craft or art? Can natural history specimens be an artwork? Who made this putty-nosed monkey? And while we're here, can a fox snarl? Jack Ashby, Museum Manager at the University Museum of Zoology, tackles taxidermy and its inclusion in Artist: Unknown. This podcast series is part of an exhibition titled Artist: Unknown at Kettle's Yard in Cambridge. In collaboration with the University of Cambridge Museums, it brings together works of art from across the University’s collections from July to September 2019.

Ann Messner is a NY based multi-disciplinary artist. Her work has examined fault lines between the individual and the larger social body as encountered within public realm discourse, investigating the incongruities between notions of private life/space and public/civic engagement and experience. Her 1970's performative work, interventionist in strategy, took place 'unofficially' within the context of the urban street, and survives as super 8 film and 35mm photos. Messner's first solo exhibition, an ongoing public performance (Franklin Furnace 1978), utilized a crudely over-amplified typewriter with outside speakers projecting the pounding of keys well beyond the parameters of the interior building space. It was not till later, in 1995, that these early performances were critically considered together in the exhibition 'subway stories and other shorts, Ann Messner: photographs and film 1976-1980' (Nina Felshin, Dorsky Curatorial Projects). A hit and run strategy developed into more permanent, but still intentionally temporary, public projects, activating impersonal urban sites with an intimate object-based encounter. Meteor (Public Art Fund 1986), sited at Times Square, was one such project. These works, eschewed the monumental, echoing in scale an early commitment to experience as perceived through the individual psyche in relationship to the body. In 2005 Messner directed 'disarming images', an open-call project produced by the collective Artists Against the War. Screenings of 'disarming images', accompanied by public discussion, took place, notably, at Yale University, School of Visual Arts, The New School, Hunter College, Carnegie Mellon and Casa delle Cultura (Rome). The gesture of individual action within the context of both a larger collective and far-reaching socio-political intention exemplifies this project. Three recent works continue a commitment to engagement: 'The Real Estate Show and Other Histories', presented at Creative Time's Summit 2013: Art, Place, and Dislocation in the 21st-Century City; 'the underground potato' (in collaboration with activist/artist Laurie Arbeiter), a food vending media cart, installed in the Essex Street Market Cuchifritos Gallery in conjunction with 'The Real Estate Show: Was Then: 1980; What Next 2014?'; and 'DuBois_the FBI files', commissioned for Du Bois in Our Time, University Museum of Contemporary Art, UMASS, Amherst. The free library and other histories 2018 tabloid, second edition of 2,000, distributed free to the public through the Lower Manhattan Network of New York Public Libraries NYPL DuBois_the FBI Files 2013 a public project for the exhibition Du Bois in Our Time University Museum of Contemporary Art, UMASS Amherst, MA removal of all redactions from the William E. B. DuBois FBI Files, a 530 page scroll (approx 600 running ft); table dimensions 240 x 36 x 25 inches; audio script plays through speakers imbedded in table DuBois_the FBI Files 2013 a public project for the exhibition Du Bois in Our Time University Museum of Contemporary Art, UMASS Amherst, MA removal of all redactions from the William E. B. DuBois FBI Files, a 530 page scroll (approx 600 running ft); table dimensions 240 x 36 x 25 inches; audio script plays through speakers imbedded in table

This week we chat with Kiara Hill, one of the curators of “5 Takes on African Art,” an exhibition at the University Museum of Contemporary Art (UMCA) at the University of Massachusetts. I talked about the exhibition with Amy Halliday in last week’s episode. Kiara Hill was one of the five curators, her exhibit [WOMB]AN explores the saliency of femininity and womanhood in West African cosmology. Kiara holds an M.A. in Women Studies from the University of Alabama and is currently pursuing a doctoral degree in Afro-American studies at the University of Massachusetts. Our conversation begins at 3:40. Listen to us talk about gender, power, race, and knowledge production: … More Ep33. A conversation with Kiara Hill on African art, black womanhood, knowledge production, and more

Episode 32 features a conversation with Amy Halliday, director of the Hampshire Gallery at Hampshire College. Amy works at the intersection of curation, education, arts administration and management. She holds an M.A. in Art History from University College London and an M.A. in teaching from Smith College. We talk about contemporary African art and "5 Takes on African Art," an exhibition at the University Museum of Contemporary Art (UMCA) at the University of Massachusetts. Our conversation begins at 2:34. … More Ep32. A conversation with Amy Halliday on contemporary African art

This week Kara Nichols talks about the exhibition Fringe Elements at Kent State University Museum which runs from July 2017 to July 2018. Follow the DecArts podcast on Twitter @DecArtspodcast EXHIBIT: https://www.kent.edu/museum/event/fringe-elements MUSEUM COLLECTION: https://www.kent.edu/museum/online-collection CALUSARI: https://www.youtube.com/watch?v=Tb3WxG3zCkM CALUSARI: https://www.youtube.com/watch?v=VM7lTvNWH8o&list=FLry7ZaoJkpU9Ey1JokeZcuQ

Guest Petruda Lipan, Director of Museums and Galleries at Saint Louis University Museum of Art, details the history of the venues under her charge and shares her observations of the many ways art has improved St. Louis over the years.

A talk hosted by Kellogg College and the Centre for Evidence-Based Medicine at the University Museum of Natural History, as part of the University's Alumni Weekend. Presented by Carl Heneghan, Jeff Aronson, Deb Cohen, Ben Goldacre, chaired by Sharon Mickan. Is it surprising that individual and institutional self-interests in research, combined with increased global competition, undermine scientific integrity? Regulatory systems that aim to underpin health research are under considerable strain. Keeping track of, and explaining why research goes wrong, is an important priority for delivery of sustained health outcomes, and support of the conduct of high quality research. Deb Cohen’s investigative work has highlighted that revision rates for hip joints are at least double that of other materials. Despite earlier reports from Australia that the implant was causing problems, the metal on metal hip continued to be widely used. Ben Goldacre believes medicine is broken. “And genuinely believes that if patients and the public ever fully understand what has been done to them – what doctors, academics and regulators have permitted – they will be angry.” Jeff Aronson has spent a lifetime researching adverse drug reactions, and perceives there is considerable room for improvement in our understanding. Whilst, Carl Heneghan has shown that the regulatory framework for drugs is so lax, it is not surprising that devices over time have proven to be deadly.

In this podcast, Christian Cloke sits down with Brian Rose, the James B. Pritchard Professor of Archaeology in the Department of Classical Studies at the University of Pennsylvania, and Curator-in-Charge of the Mediterranean collection of University Museum of Archaeology and Anthropology. Professor Rose is a Trustee of the American Academy in Rome, the English-language editor of Studia Troica, former Vice President of the American Research Institute in Turkey, and former President of the Archaeological Institute of America, a position he held from 2007 to 2011. Currently he is the AIA’s 2012/2013 Joukowsky Lecturer, which brought him back to Cincinnati, where he taught in UC’s Classics department from 1987 to 2005.

Annual Elizabeth Colson Lecture 2012. Lecture by Professor Alessandro Monsutti (Graduate Institute, Geneva) recorded on 6 June 2012 at the University Museum of Natural History, Oxford. This lecture explored how refugees are defined as people who have lost the protection of their state origin and therefore fall under the responsibility of the international community, represented by the United Nations High Commissioner for Refugees. They are situated at the interstice of national and international sovereignty. Building on the Afghan case, one of the most massive forced displacements of population since World War II, the lecture will examine the growth of a global bureaucracy linked to the action of international and non-governmental organizations, philanthropic foundations, think tanks, and even private security contractors. They promote new forms of transnational governmentality that involve benevolence and welfare programmes but also coercion and repression; they may by turns support or challenge the more familiar territorialised expressions of state authority.

This footage was shot during two excavation seasons at Gordion, Turkey in 1951 and 1957. The Midas Mound was opened in 1957 by an archaeological team headed by Rodney Young who appears at the beginning of the film and makes a brief appearance as he pieces together decorative wall moldings. The footage from 1951 shows men from a local village building a mud brick house at the site. The workers used mules to haul away debris during excavation. Also captured on film are the first images of the opening of the Tomb of King Midas. Footage includes shots of King Midas skeleton, cauldrons, belts, safety pins, and metal bowls strewn about the grave. The footage from 1957 was shot by Samuel B. Eckert (1884-1973), who served as a member of the Board of Managers of The University Museum from 1943-1973.

This is some of the earliest color footage of Machu Picchu in Cuzco, Peru taken in June and July of 1950. The film begins at a railroad station with people in a cattle car and men on the roof playing instruments. A woman spins at a busy marketplace. The camera pans a narrow steep gorge approaching Machu Picchu revealing terrace farming on side of steep mountain, the valley at base of Machu Picchu, sunrise over terrace farms and ruins, and water coming out of " princess" quarters. Inca stone buildings amid terrace forms on high steep side of mountain near the peak. The camera tracks the view from the plane back to Lima looking southeast toward the mountains. All rights are reserved by the University Museum of Archaeology and Anthropology (Penn Museum). Any use of the footage in productions is forbidden unless rights have been secured by contacting the Penn Museum Archives at 215-898-8304, or emailfilms@museum.upenn.edu. This film and all of the films in the Penn Museum collection are copyrighted by the Penn Museum, and are not in the public domain. Full length footage can be seen at http://www.archive.org

Pilar García, Exhibition Curator, MUAC-Museo Universitario de Arte Contemporáneo, Mexico City, began by describing the facilities of the centre. Officially opened in 2008, it has Mexico’s most important contemporary art collection and forms part of the UNAM. The majority of the museum’s visitors are students (74%), who are the target audience for its curatorial programs – temporary exhibitions that are made up of works from the permanent collection. The MUAC media library sees its archives as university heritage, and as such they are immutable and dedicated to research. One of the essential roles of the media library is to provide access, to favour consultation of the holdings, and to allow for other ways of studying them.

Mit dieser Dissertation wird ein bedeutender Beitrag zur Grundlagenforschung der Altorientalistik geleistet. Ihr Ziel war es, herkunftsbestimmte und datierte Denkmäler einer künstlerischen Gattung zu sammeln, die es uns ermöglicht, ein chronologisches Gerüst zum Verständnis der achaimenidenzeitlichen Kunst zu schaffen. Die Glyptik schien dafür, wie keine andere Gattung, besonders geeignet. Sie begegnet uns in Gestalt von Siegelabrollungen bzw. -abdrücken auf zahllosen gesiegelten Tontafelurkunden, die sowohl herkunftsbestimmt wie datiert sind, bislang aber niemals systematisch ausgewertet wurden. Die wohl bedeutendsten Fortschritte und Erkenntnisse der Dissertation konnten in den folgenden Themenbereichen erzielt werden: (1) Im einführenden Kapitel der Dissertation wurden erstmals grundlegende kunsttheoretisch-konzeptionelle Gedanken zum Begriff, zur "Persönlichkeit" wie zur Genese der achaimenidischen Kunst entwickelt. Der weitverbreiteten graecozentrischen Interpretation wurde eine neue iranozentrische Interpretation gegenübergestellt. Eine analytische Skizze der Forschungsgeschichte der achaimenidischen Glyptik, ihrer Etappen, Fundorte und Chronologie erwies sich als unumgänglich und wurde hier das erstemal überhaupt publiziert. Ebenso eine kritische Würdigung der Benennung und Definition der wichtigsten achaimenidenzeitlichen Siegelstile. (2) Unentbehrliche Grundlage und Ausgangspunkt aller Überlegungen der Dissertation war die Schaffung eines, bislang ja noch nicht verfügbaren, Denkmälerkorpus. Es sollten unter den Tontafelurkunden aus dem Babylonien der Achaimenidenzeit alle diejenigen erfasst werden, die gesiegelt sind. Der Publikationsstand ihrer Siegel sollte geklärt werden, noch unpublizierte gesiegelte Tontafeln sollten ermittelt werden, die Zahl auch ihrer Siegel geklärt werden. Als Ergebnis einer systematischen Durchsicht einiger Zigtausend Tontafeln, die in über 100 Museen und Privatsammlungen weltweit aufbewahrt werden, konnte das überhaupt erste Korpus herkunftsbestimmter, datierter gesiegelter Tontafeln aus dem Babylonien der Achaimenidenzeit erstellt werden. Die Tontafelfunde aus den einzelnen Archivfundorten wurden in Kapitel II beschrieben, die Ergebnisse in den analytischen Bibliographien, synoptischen Analysen und Übersichten des Kapitels XVIII.2 und .3 festgehalten. In einem Katalog der gesiegelten Tontafeln sind mehr als 1300 Tontafelurkunden in chronologischer Abfolge ihrer Ausstellungsdaten, nach Regierungszeiten der Achaimenidenherrscher und Herkunftsorten geordnet, aufgelistet. Dieser Tontafelkatalog ist Grundlage und Ausgangspunkt der vorliegenden Dissertation wie für alle weiterführenden Forschungen, enthält er doch auch Hinweise auf die zahlreichen noch unpublizierter Siegel vieler publizierter und noch unpublizierter Tontafeln. Davon ausgehend konnte das überhaupt erste Korpus herkunftsbestimmter, datierter Siegel aus dem Babylonien der Achaimenidenzeit geschaffen werden. In einem zweiten Katalog, dem Siegelkatalog, wurden 1127 Siegel (Cylindersiegel, Stempelsiegel und Ringe) nach ihren Bildinhalten, in einer festgelegten Abfolge von Motivthemen, nach Szenen- und Einzelmotivthemen getrennt, aufgelistet. Dem Korpus ist eine umfangreiche photographische (und zeichnerische) Dokumentation von 2042 Abbildungen beigefügt. Etwa drei Viertel der Katalogsiegel sind bisher noch unpubliziert und werden in dieser Dissertation überhaupt das erstemal in Makrophotos bekannt gemacht bzw. werden hier in verbesserter Form neu publiziert. Eine bedeutende Anzahl von bisher nicht bzw. in unbrauchbarer Form publizierten Siegeln der Tontafeln des Murašû-Archivs aus Nippur, die im University Museum zu Philadelphia, Pa., aufbewahrt werden, und von Siegeln der UET IV-Texte aus Ur, die sich im Irak-Museum, Baġdâd, befinden, insgesamt über 850 Siegel, sind hier überhaupt zum erstenmal publiziert. Damit konnte der bislang verfügbare Denkmälerbestand ganz wesentlich erweitert werden. Beiden Katalogen ergänzend zu Seite gestellt wurde in Kapitel XVIII.3 ein bibliographischer Katalog, der alle Monographien, Aufsätze und Kataloge von Museen und Privatsammlungen auflistet, die die Glyptik der Achaimenidenzeit zum Thema haben. Er ist als Beitrag zu einem Korpus der Glyptik der Achaimenidenzeit insgesamt zu sehen. Er hilft uns, unter den Denkmälern nicht nur Babyloniens, sondern auch der anderen achaimenidischen Reichsprovinzen, systematisch zu unterscheiden zwischen denen mit gesicherter Provenienz und denen, die über den Kunsthandel bekannt geworden sind. (3) Zentrales Anliegen der vorliegenden Dissertation, die sich als Beitrag zur achaimenidischen Kunstforschung sieht, ist die Ikonographie. Um eine erfolgversprechende Annäherung an motivtypologische Fragestellungen erst möglich zu machen, um die Beschreibung von Siegelbildinhalten im Text des Siegelkataloges und der einzelnen Kapitel, sowie in synoptischen Übersichten überhaupt in leicht handhabbarer und platzsparender Weise zu ermöglichen, um die motivtypologischen Merkmale von Siegeln in abgekürzter Schreibweise darstellen zu können, erwies es sich als unumgänglich ein Notationssystem zuschaffen, das sich einer abgekürzten Notationsweise bedient. Auch hier mußte Neuland betreten werden. Bislang existierte kein System vergleichbarer Art. Das vom Autor in dieser Dissertation erstmals präsentierte Notationssystem ist im Laufe langjähriger Studien entstanden und hat sich im privaten wissenschaftlichen Gebrauch als sehr effizient bewährt. Es ist in Kapitel III ausführlich beschrieben. Es macht eine Verständigung über die Siegelbildtypologie in kurzer, präziser und hinreichend anschaulicher Form möglich. Es ist in seiner Handhabung weder auf eine einzelne Denkmälergattung noch auf eine Periode der altorientalischen Kulturgeschichte beschränkt und gleichzeitig leicht modifizierbar. (4) Die Katalogsiegel wurden In den Kapiteln VII-XIV, nach Motivthemen, Motivthemenvarianten und Motiven geordnet, auf ihre motivtypologischen Merkmale hin untersucht. Dabei wurden 21 Motivthemen mit 64 Themenvarianten und über 200 Motivgruppen unterschieden, die ihrerseits wiederum zahlreichen Motivtypengruppen zugeordnet werden konnten. Die ikonographische Analyse der Katalogsiegel erfolgt dabei jeweils in zwei Schritten: Es galt in einem ersten Schritt zunächst die geographische Verbreitung der Siegelbildmotive, -motivtypen und -motivtypengruppen zu beschreiben. Ausgehend von den herkunftsbestimmten und durch ihre Textbindung datierbaren Katalogsiegeln aus Babylonien wurden auch herkunftsbestimmte Siegel aus den anderen Reichsprovinzen in die Diskussion mit einbezogen, insbesondere solche, die durch ihre Textbindung, ihre Fundumstände oder antiquarische Merkmale (ihre Flügelringtypen) Datierungshinweise liefern. Sie sind in Kapitel XVIII.7-14 nach Motivthemen, Motiven und ihren motivtypologischen Merkmalen, sowie nach ihren Herkunftsregionen und -orten geordnet, in synoptischen Analysen aufgelistet. Dort sind auch alle übrigen Basis-Daten jedes Siegels erfaßt. Dabei wurde die neu entwickelte abgekürzte Notationsweise verwendet. So konnte eine erste, bislang nicht verfügbare, umfangreiche "motivtypologische Grammatik" achaimenidenzeitlicher Siegel geschaffen werden, in der in paradigmatischer Weise die Motive, Motivtypen und Motivtypenvarianten der Siegel in ihrer Struktur erfaßt und nach Motivtypengruppen geordnet werden, und aus der ihre geographische wie chronologische Verbreitung und ihre Stilzugehörigkeit ersichtlich wird. Sie macht die Merkmale der Siegel in ihrer komplexen Fülle erst wirklich bewußt und transparent. Diese strukturelle Analyse ist Grundlage und Ausgangspunkt für alle weiterführenden ikonographischen Studien. Es bleibt die Aufgabe, vergleichbare motivtypologische Grammatiken auch für die Denkmäler der anderen Achaimenidenprovinzen zu erstellen. In einem zweiten Schritt wurde dann die Frage nach der Chronologie der Siegel gestellt. Siegellaufzeiten, die sich aus den Ausstellungsdaten der gesiegelten Tontafeln ablesen lassen, datierbare Antiquaria der Siegelbilder, insbesondere deren geflügelte Ringe, geben Aufschluß über die relative Chronologie der Siegel, d.h. ihren Verwendungszeitraum, und damit schließlich über ihre absolute Chronologie, d.h. ihre Entstehungszeit. Die Identität der Siegelinhaber wurde gleichzeitig angesprochen. Siegelbildlegenden auf den Siegeln selbst bzw. Siegelbildbeischriften, die deren Abrollungen bzw. Abdrücken auf den Tontafeln beigefügt wurden, geben uns Auskunft über die Identität der Siegelinhaber. Die Katalogsiegel ließen sich mehreren Stilgruppen zuordnen. Neben Siegeln einheimischen babylonischen Stils begegnen Siegel des persischen (Hof-)Stils der neuen Leitkultur und Siegel, die Merkmale der "graeco-persischen" Stilgruppen der achaimenidenzeitlichen Kunst Kleinasiens/Anatoliens zeigen. Aussagen über die Verbreitung der Siegelstile unter den Siegeln von Individuen unterschiedlichster Ämter, Funktionen, sozialer Stellung, ethnischer wie religiöser Zugehörigkeit wurden möglich, die in den einzelnen Regionen Babyloniens zu den Regierungszeiten der einzelnen Achaimenidenherrscher lebten. (5) In den Kapiteln V und VI wurde die Frage nach der Form und Typologie sowie der ikonographischen Deutung der königlichen Kidaris und des Flügelringsymbols gestellt und die Möglichkeit ihrer generellen Datierbarkeit diskutiert. Eine chronologische Abfolge der Kidarentypen ließ sich nicht feststellen. Die Kidaris der Achaimenidenkönige ist eine dynastische Krone und eben keine persönliche Krone. Es gelang aber termini a quibus für die Verwendung bzw. termini ad quos für die Entstehung von 8 Flügelringtypen zu definieren. Dies hat Konsequenzen für die Datierung der Achaimenidenreliefs. Darüberhinaus konnte eine neue Deutung des achaimenidischen Flügelringsymbols gefunden werden. (6) In Kapitel XV wurde schließlich ein chronologisches Resumé gezogen, das die Siegel aller Motivthemen der Kapitel VII-XIV zusammenführt. Es entstand damit eine erste, bislang nicht verfügbare, chronologische Übersicht herkunftsbestimmter, datierter achaimenidischer/ achaimenidenzeitlicher Glyptik.