01 - constituting cultural heritage
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Cultural heritage, curation & creatiWeek 01 - Introduction & Constituting Cultural Heritage
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Course structure
Studio-practicum course
Weekly lectures / seminar discussions
Independent projects
Group project
Studio crit presentations
Final project report
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Weekly Lectures
Each week 2 students will work together to present the
readings assigned for discussion that week.
Signup for specific weeks will be available online.
Additional content will be presented by Dr Russell.
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Readings
All readings will be made available digitally via Dropbox.
Additionally readings may be assigned/changed as deemednecessary throughout the course to address any unexpected
trajectories of interest in the class.
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Assignments
There are 4 written assignments - totalling approximately 10
pages.
There are a series of deadlines relating to the independent
projects which will be treated as assignments.
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Independent projectsA project proposal including a statement, project description, academic rationale, timeand outline of final deliverables. The proposal must also include plans address practicissues of health and safety, audience engagement, publicity/communicaiton, executioetc.
An oral presentation to the class in a studio critique format.
A written project report supported by research, evidence and argumentation andaddressing the readings and discussions of the entire course. This must also include aassessment of the critical successes and fails of the project in respect to the initial proproposals stated ambitions, intentions and outcomes. It must also demonstrate anengagement with the perspectives and feedback from the in class studio presentation
A revised project proposal demonstrating critical, practical and professional developmbased on the experience of the executing the project and critical feedback from the in
class studio critiques. The revised proposal should be presented as if it were beingsubmitted to granting body as a professional project.
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Group project
Students will collaboratively conceptualize, develop and
implement a creative cultural heritage project which be featu
in Aprils Gallery Night. All students will be required toparticipate in the development, execution, reflection and
evaluation of the program in both written and oral forms.
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Field trips and film nights
These are designed to enrich and provide practical applicati
of critical thought.
There will be one field trip to Fall River to visit Battleship CovThis will be on a Saturday.
There will be two film nights.
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cultural heritage
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cultural heritage : natural herita
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For the purpose of this Convention, the following shall be considered as
"cultural heritage":
monuments: architectural works, works of monumental sculpture andpainting, elements or structures of an archaeological nature, inscriptions, cdwellings and combinations of features, which are of outstanding universavalue from the point of view of history, art or science;
groups of buildings: groups of separate or connected buildings which,because of their architecture, their homogeneity or their place in the landscare of outstanding universal value from the point of view of history, art orscience;
sites: works of man or the combined works of nature and man, and areas
including archaeological sites which are of outstanding universal value fromhistorical, aesthetic, ethnological or anthropological point of view.
UNESCO CONVENTION CONCERNING THE PROTECTION
OF THE WORLD CULTURAL AND NATURAL HERITAGE
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For the purposes of this Convention, the following shall be considered
"natural heritage":
natural features consisting of physical and biological formations orgroups of such formations, which are of outstanding universal value fthe aesthetic or scientific point of view;
geological and physiographical formations and precisely delineaareas which constitute the habitat of threatened species of animals aplants of outstanding universal value from the point of view of scienceconservation;
natural sites or precisely delineated natural areas of outstanding
universal value from the point of view of science, conservation or natubeauty.
UNESCO CONVENTION CONCERNING THE PROTECTION
OF THE WORLD CULTURAL AND NATURAL HERITAGE
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culture : nature
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heritage
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intangible heritage
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The intangible cultural heritage means the practices,representations, expressions, knowledge, skills as well as th
instruments, objects, artefacts and cultural spaces associatedtherewith that communities, groups and, in some cases,individuals recognize as part of their cultural heritage. Thisintangible cultural heritage, transmitted from generation togeneration, is constantly recreated by communities and groupresponse to their environment, their interaction with nature andhistory, and provides them with a sense of identity and continuthus promoting respect for cultural diversity and human creativFor the purposes of this Convention, consideration will be givesolely to such intangible cultural heritage as is compatible withexisting international human rights instruments, as well as withrequirements of mutual respect among communities, groups aindividuals, and of sustainable development.
UNESCO CONVENTION FOR THE SAFEGUARDING OF THE INTANGIBLE CULTURAL HER
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The intangible cultural heritage, as defined in
paragraph 1 above, is manifested inter alia in thefollowing domains:
(a) oral traditions and expressions, including languaas a vehicle of the intangible cultural heritage;(b) performing arts;(c) social practices, rituals and festive events;(d) knowledge and practices concerning nature anduniverse;
(e) traditional craftsmanship.
UNESCO CONVENTION FOR THE SAFEGUARDING OF THE INTANGIBLE CULTURAL HER
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intangible
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tangible : intangible
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what is heritage?
Things/Objects
Performances
Ideas
Economics (126,700 full-time jobs = 1 in 12 jobs)
Ecologies
Space - social agreements
Legislature
People
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what is heritage?
Exchange relationship between two
Arborescence - family trees and inheritance (grown out of
specific European context)
Lineages and linear temporalities
Who are the inheritors (ethno-politics)
Genetic Kinship
A negotiable concept/relationship
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heritages and group identities
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in everyday life, human beings graspelements of the material world, andconstitute them as evidence for past humapractice archaeology as science is base
on this prescientific way of being attuned tthe world -Julian Thomas 1996
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FREUDS OFFICEMARESFIELD GARDENS, LONDON - HTTP://WWW.FREUD.ORG.UK/
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FREUDS OFFICE - SAXA LOQUUNTUR!MARESFIELD GARDENS, LONDON - HTTP://WWW.FREUD.ORG.UK/
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The two processes are in fact identical, except that the analyst workunder better conditions and has more material at his command to as
him, since what he is dealing with is not something destroyed butsomething that is still alive and perhaps for another reason as well.
just as the archaeologist builds up the walls of the building from thefoundations that have remained standing, determines the number anposition of the columns from depressions in the floor and reconstructthe mural decorations and paintings from the remains found in the
debris, so does the analyst proceed when he draws his inferences frothe fragments of memories, from the associations and from thebehaviour of the subject of the analysis.
Sigmund Freud, Constructions in Analysis in The Standard Edition of the Complete Psychological Works of SigmFreud, Vol. XXIII, James Strachey (ed.). (London: 1964): 257-269.
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all psychoanalytic knowledge must begin with thindividuals relations with others (Greenberg and
Mitchell 1983: 9)
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FREUDS MAYPOLE OF LEADER-FOLLOWER INTERACTIONAFTER VOLKAN 2003
maypole or leader
tethers or leader-follower interaction
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a sustained feeling of inner sameness within oneself
[and] a persistent sharing of some kind of essentialcharacter with others.-Eric Erickson, 1956
the subjective experience of thousands or millions ofpeople who are connected by a persistent sense ofsimilitude
-Vamik Volkan, 2003
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VOLKANS TENT OF LARGE GROUP IDENTITYAFTER VOLKAN 2003
Tent Canvas or Group Intra-Action
(tethers become threads and are
woven together )
Tent Pole or
Leader
(maypole now has additional
role of keeping tent up)
Group exists under tent as protection, keeping pole up (leader in power),
maintaining integrity of canvas and keeping it taught
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VOLKANS MODEL OF LARGE GROUP IDENTITYAFTER VOLKAN 2003
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Relativity of intersubjective relationships
Object about which (or whom) an individual spea
will not necessarily behave in a way that anotherobserver of the same object would confirm(Greenberg and Mitchell 1983)
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VOLKANS MODEL OF LARGE GROUP IDENTITYAFTER VOLKAN 2003
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VOLKANS MODEL OF LARGE GROUP IDENTITYAFTER VOLKAN 2003
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VOLKANS MODEL OF LARGE GROUP IDENTITYAFTER VOLKAN 2003
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despite apparent multiplicity
and intersubjectivity
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Epistemophilia, the lusty search forknowledge of origins, is everywhere
-Donna Haraway 1997, 255
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linearity
hierarchical
progress driven
entrenched in the politics ofverticality
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citizenship and heritage
being ofsomeone/somewhere
(royal/serfdom)
being from somewhere
(nation/blood/ethnological)
being somewhere
(civic/community participation - ecological sensibilitie
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Generalising
Structurally the same acphenomena
Partibility
Boundaries/divisions/sur
Stratification
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MYCELLIA
Universal constants,
but no singular
structural form
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MYCELLIA
A fruiting body the
fruit is not distinctfrom the mycelia
but is a continuation
and is permeatedby it
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MYCELLIA
Biopulping and regeneration
Phanerochaete chrysohiza helps tocrumble a forest log into compost
Symbiotic ecological
process convertsdecay to create fertile
ground for new
possibilities
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MYCELLIA
Shotgun fungus (Piloblus)
feeding and growing uponrabbit dung
Feeds off the decay
of material residues
(past events)
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MYCELLIA
The Silent Stalkers
The predatory movements of
Cordyceps myrmecophila
They can be invasive
and destructive in
their acts of creation
Ergot - caused by the fungus Claviceps purpurea
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MYCELLIA
Impacts across perceived natural
boundaries
Mycological
process and its
performance
have social
consequences
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heritages are constitutional
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1937 B ht hEi
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1937 Bunreacht na hEireann
Act 2 - It is the entitlement and birthright of evperson born in the island of Ireland, which inclu
its islands and seas, to be part of the Irish NatThat is also the entitlement of all persons otherw
qualified in accordance with law to be citizensIreland. Furthermore, the Irish nation cherishesspecial affinity with people of Irish ancestry liv
abroad who share its cultural identity and heritage
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CAROLINE MCCARTHYGREETINGS (1996)
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WILLIAM ORPENTHE HOLY WELL (1916)
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WILLIAM ORPENTHE HERITAGE SERIES (1913-1916)
heritage and inheritors
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heritage and inheritors
... to the noble ends of education there must be, within the scsystem and within the school, an adequate inspiration ... inspir
will ... come from hero-stories of the world, and especially of our
people. ... A heroic tale is more essentially a factor in education th
proposition in Euclid. ... A new education system in Ireland has
more than restore a national culture. It has to restore manhoodrace that has been deprived of it. Along with its inspiration it
therefore, bring a certain hardening. It must lead Ireland back to
sagas.P. Pearse from Back to the Sagas originally part of lecture delivered in the Dublin M
House in December 1912. Reproduced in a pamphlet in 1916
For many people it is the artefact or
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For many people it is the artefact ormonument itself that symbolises theidentity of a people. The images such
as those printed on the front cover ofevery school childs homework copyas a daily reminder of the physicalmanifestation of our heritage are part
ofwhat we are the Ardagh Chalice,the Tara Brooch, the Monasterboice
High Cross and the Borrisnoe Collar. Michael D. Higgins, 1993, then Minister of Arts, Culture and the
Gaeltacht
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if its our heritage, who are the we?
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heritage
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heritages
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heritages are sentiments
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heritages are nonsense
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heritages are about people
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people with things
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people with things in spaces
It turns out that the oldest meaning of the Englishand German word for thing concerns an assembly
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and German word for thing concerns an assemblybrought together to discuss disputed matters ofconcern. Hence the focus on the slogan FROMREALPOLITIK TO DINGPOLITIK, a neologism inventefor the show. This major shift is reflected in theaesthetic of the show, in the ways in which the oveone hundred installations and works of art arepresented, and in the general physical and virtualarchitecture. What we are trying to do is comparemodernist with non-modern attitudes to objects. Ineffect we are moving FROM OBJECTS TO THINGS.
Bruno Latour & PeMaking Things Pu
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the discursive real
Tue GreFrieze Art Fair
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contemporary curat
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constituting publi
RomanGood Feelings in Good Times - Frieze Art Fa
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diverseThe Dublin Multicultural Resource
www.placingvoic
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multi-vocaNorth Dublin Centre Community Action P
www.placingvoic
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collaborativLourdes DaThe Monto,
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constitutiona
www.nsksta
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AlfreOne million replicated Finnish passports
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social sculptur
FrancWhen faith moves mountains
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consensuFranc
When faith moves mountains
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civil rightsStar Ferry Pier Demonst
Hong Kong SAR, China
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integrity
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transgressioSkran
Hamam
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transgressioWest Bank Barrier
i k
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riskDavid Cerny & the Neost
Monument to Soviet tank crews
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running roomCaro
Joesph Beuys Bog Act
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Old I-195, Providence, Rhodewww.iarchitectures.com/roadscor
(un)stable
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PROJECT
DATE CLIENTAPRIL-MAY 2010 JNBC & TAG 2010
ROADSCORE
WITH FIONA HALLINAN
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PROJECT
DATE CLIENTAPRIL-MAY 2010 JNBC & TAG 2010
ROADSCORE
WITH FIONA HALLINAN
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PROJECT
DATE CLIENTAPRIL-MAY 2010 JNBC & TAG 2010
ROADSCORE
WITH FIONA HALLINAN
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PROJECT
DATE 2008-2009 WWW.PLACINGVOICES.COM
unexpectedJewish History M
Clonbrassil Street,
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PROJECT
DATE CLIENTSEPT 2011 - JAN 2012 URBAN CULTURAL HERITAGES & CREATIVE PR
THE POSTCARD PROJECT
WITH BETSEY BIGGS
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PROJECT
THE CURT TEICH
POSTCARD ARCHIVE
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heritage is something we mak
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heritage is something we maktogether
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