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In a society where split-second decisions about the value of things are grounded on how they look, museum visitors are often drawn to visually striking or iconic objects. This book investigates the question of the treatment of items on display in museums which are less conspicuous but potentially just as important as the striking objects, arguing that it is important to show that all objects illustrate potentially interesting cultural contexts and content. The authors explore the disciplines of architecture, design, cognitive science and museology and offer a methodology by which the quality of museum exhibitions can be judged from a visitor-centred perspective. They provide new insights int...
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This book presents a selection of the best contributions to GIREP EPEC 2015, the Conference of the International Research Group on Physics Teaching (GIREP) and the European Physical Society’s Physics Education Division (EPS PED). It introduces readers interested in the field to the problem of identifying strategies and tools to improve physics teaching and learning so as to convey Key Competences and help students acquire them. The main topic of the conference was Key Competences (KC) in physics teaching and learning in the form of knowledge, skills and attitudes that are fundamental for every member of society. Given the role of physics as a field strongly connected not only to digital competence but also to several other Key Competences, this conference provided a forum for in-depth discussions of related issues.
This book outlines the development currently underway in the technology of new media and looks further to examine the unforeseen effects of this phenomenon on our culture, our philosophies, and our spiritual outlook.
Bridging the theory and practice of monetary policy, this book presents aspects of the New-Keynesian theory of monetary policy and its implications for the practical decision-making of central bankers. It also outlines important lessons for policymakers.
A comprehensive overview of the causes, processes and consequences of wrongdoing and misconduct across all levels of an organization.
Museums and Archaeology brings together a wide, but carefully chosen, selection of literature from around the world that connects museums and archaeology. Part of the successful Leicester Readers in Museum Studies series, it provides a combination of issue- and practice-based perspectives. As such, it is a volume not only for students and researchers from a range of disciplines interested in museum, gallery and heritage studies, including public archaeology and cultural resource management (CRM), but also the wide range of professionals and volunteers in the museum and heritage sector who work with archaeological collections. The volume’s balance of theory and practice and its thematic and geographical breadth is explored and explained in an extended introduction, which situates the readings in the context of the extensive literature on museum archaeology, highlighting the many tensions that exist between idealistic ‘principles’ and real-life ‘practice’ and the debates that surround these. In addition to this, section introductions and the seminal pieces themselves provide a comprehensive and contextualised resource on the interplay of museums and archaeology.
In Spaces of Connoisseurship, Alison Clarke explores the ‘who’, ‘where’ and ‘how’ of judging Old Master paintings in the nineteenth-century British art trade. She describes how the staff at family art dealers Thomas Agnew & Sons (“Agnew’s”) and London’s National Gallery took advantage of emerging technologies such as the railways and photography. Through encounters with pictures in a range of locations, both private and public, these art market actors could build up the visual memory and necessary expertise to compare artworks and judge them in terms of attribution, condition and beauty. Also explored are the display tactics adopted by both commercial outfit and art museum to showcase pictures once acquired. In a time of ever-spiralling art prices, this book tackles the question of why some paintings are preferred over others, and exactly how art experts reach their judgements.