成都市白领阶层休闲体育现状研究

休闲体育作为一种良好的生活方式,越来越受到国人的重视.而白领阶层作为休闲体育的最先实践者,在很大程度上,引领并且体现了当今社会的休闲体育现状以及未来的发展趋势.通过对成都白领阶层休闲体育需求偏好的调查分析,了解和评估白领阶层休闲体育生活方式的现状,并对其影响因素进行深入细致的探讨,提出未来成都休闲体育的几个发展趋势.     

成渝地区体育产业一体化开发的政府合作机制研究

国家发改委下发了<国家发展改革委员会关于批准重庆市和成都市设立全国统筹城乡综合配套改革试验区的通知>,这将对四川、重庆乃至整个西南区域的经济发展构成重大且长远的利益.如何加强川、渝间的体育合作以实现区域体育产业一体化,同样是两地政府必须面对的一个重大课题.从分析区域体育产业一体化实现的体制性障碍人手,探讨了现阶段成渝地区体育产业一体化的路径选择问题,认为区域政府合作是现有体制下实现区域体育产业一体化的理性选择.     

匈牙利自然历史博物馆的历史、设施和活动

匈牙利自然历史博物馆是世界上最早的自然历史博物馆之一,具有独特的传统并在社会中发挥着决定性的文化作用。馆内收藏有丰富的植物学、动物学、人类学、古生物学和地质学的藏品、原生型标本以及藏书,为世界各地研究人员的研究活动提供收藏品和设施。该馆每年举办的展览吸引观众约30万人次,组织近500场教育活动,受众达到了44000人。该馆意识到博物馆当前所面临的挑战与机遇,积极应对诸如气候变化、生物多样性危机、新发传染病、生物入侵等全球性问题,在探索与相关政府部门以及其他科学组织和机构合作方式过程中发挥主导作用。     

成都发明专利与主导产业发展分析

通过对成都市发明专利的调查,分析发明专利与成都主导产业发展的相关性,提出进一步加强发明专利工作的对策建议。     

In Memory of the Czar: A Review of the Memoirs of Witnesses and Contemporaries of Emperor Nicholas II

ABSTRACT

This article surveys the collection devoted to the memory of Emperor Nicholas II held at the Museum of Russian Culture in San Francisco. The author describes the cataloged materials of a unique collection of materials passed on to the Museum by Russian emigrants of the first and second waves, many of whom worked to preserve the memory of Russia’s last Sovereign and also made a significant contribution to the creation of the Museum and its archival collections.     

民国时期交通博物馆史事考

作为中国较早的科技类博物馆,民国时期交通博物馆的研究具有博物馆史和近代科技史的双重意义。交通博物馆筹建于1912年,隶属于交通部,1914年正式对外开放,1928年划归交通大学北平铁道管理学院。其建立与兴衰,折射出中国早期博物馆、早期工业发展的特点和命运。     

探析移动端展览应用的传播实践——以故宫博物院“故宫展览”数字化项目为例

通过移动端推送博物馆展览是博物馆信息化的重要内容,但不少博物馆面临数字化应用无法实现服务质量和用户体验的预期,导致下载量和使用量较低的处境。本文以“故宫展览”数字化项目为例,通过对开发数字产品观念意识、展示设计能力的分析,总结出在设计数字产品中结合博物馆需求与观众需求,结合观众心理习惯与博物馆特色,构建以“物”为核心的展示内容,兼顾知识性与趣味性的展示形式,应用分众化传播策略等方法,探讨借助移动端数字应用对博物馆以教育为目标的传播属性起到的积极作用。     

Finding common ground and inherent differences: Artist and community engagement in cultural material and contemporary art conservation

Comparisons are often made between the conservation of cultural material collections, often described as ethnographic, and contemporary art collections, and indeed there are significant parallels. The stewardship of both of these types of collections can challenge traditional tenets of conservation, requiring conservators to ask themselves ‘What are we preserving?’ as preservation extends beyond the physical. The work must be placed in a broader conceptual context and the conservator must seek out those who are deemed to have the most authority – whether it is the artist, the artist's assistants and estate or the source community – to establish this context. Engagement with constituents creates valuable reciprocal relationships, which can benefit the artist, community, and museum. The relationships and the parallel practice of two seemingly disparate fields are examined using examples from the National Museum of the American Indian (NMAI) and the Yale University Art Gallery (YUAG). Conservators at NMAI, a living culture museum containing archeological, historic, and contemporary art collections, are in the unique position of working with community stakeholders with direct ties to historic collections and contemporary artists whose work is actively acquired by the museum. Conservators at YUAG, an encyclopedic museum with a pedagogical directive, are attempting to establish a more rigorous program of artist engagement to direct preservation and understanding of contemporary art collections.     

Reflections on light monitoring: Evaluating museum lighting options for modern and contemporary art

Spectrometric handheld light meters that can provide adequate data for evaluation of replacement bulbs for contemporary art objects are now commercially available. This approach was taken to assess potential replacements for the incandescent street lamps in Chris Burden's Urban Light at LACMA, Los Angeles, USA. These meters are also useful tools for monitoring and characterizing museum lighting, which are currently done with illuminance (lux) meters. The new spectral light meters will enable conservators to tailor lighting recommendations for individual artworks, when spectral information from these meters is combined with damage function data on artists’ materials. The latter information can be obtained for some materials by a small modification to the microfade testing procedure, as exemplified by microfading colored samples Henri Matisse created during the design phase for La Gerbe.     

Curation,conservation, and the artist in Silent Explosion: Ivor Davies and Destruction in Art

This paper examines the preservation and curatorial approaches explored for the exhibition Silent Explosion: Ivor Davies and Destruction in Art at Amgueddfa Cymru – National Museum Wales (November 2015–March 2016). The collaboration between the artist, curator/researcher, and conservators is considered and the evolving and flexible way in which transient pieces were presented/re-presented is described. The paper offers a case study in the context of this exhibition and argues that regardless of whether it is in traditional media (such as painting) or as time-based media (unstable and open to interpretation), Davies' work challenges a perception of artworks as finished, single-authored objects.