Экспозиция документов о самоотверженном труде бойцов из Узбекистана в годы Второй мировой войны 1939-1945 гг.

Museum of Contemporary Art by Artists

Archiving research of scientific and technical documentation is traditionally is considered in scientific and methodological works, as well as training courses as an equal part of general archival studies. But at the same time, the definition of the term “scientific and technical documentation” has not been fixed yet in the regulatory documents, in historiography, as well as in the terminological standards, where we observe different interpretations of this term. Obviously, the main issue in defining the term “scientific and technical documentation” is its cross-system nature, and likewise its polysemantic use in various fields of science. It is typical that different methodological documents and draft regulations include different documentation systems in this concept. At the same time, the terms “scientific and technical document”, “electronic scientific and technical document” are now actively used. The article analyzes the terminological controversies of the archival studies of scientific and technical documentation. The main issue considered by the author is the definition of the terms “scientific and technical documentation” and “electronic scientific and technical document”. The paper scrutinizes the history of the use of the terms, their historiography. The issues of the relationship between management documentation and scientific and technical documentation are also touched upon. The author of the article formulates and justifies the definitions of the terms “scientific and technical documentation”, “scientific and technical document”, “electronic scientific and technical document”.

The article deals with preservation of documentary sources on history of technology, research, and development of technical projects, thus addressing copyright compliance and thereto pertaining wide availability of scientific achievement and also identifying such materials. The process of creating repositories of such materials in the USSR and their functioning in the Russian Federation has been long. As Leningrad/St Petersburg with its hundreds of research institutes, design bureaus, etc. was one of the centers of science, technology, and engineering (and remains so), the archive’s creation was preceded by a lengthy process of the so called “passportization,” that is, data sheet production for scientific and technical documentation, deposited in the course of city organizations’ work. To accelerate this process, in 1967, a special group was created for scientific and technical documentation under the Archival Department of the Executive Committee of the Leningrad City Council. The “passportization” identified over 300 development organizations, storing about 27 million items of scientific and technical documentation. In 1967 proposal about creation of the State Archive of Scientific and Technical Documentation in Leningrad was made to the Executive Committee of the Leningrad City Council and the Chief Archival Directorate under the Council of Ministers of the USSR, but nearly five years had passed before the Leningrad State Archive of Scientific and Technical Documentation was created by order of the Leningrad City Executive Committee no. 75-r of January 19, 1972 to preserve the most valuable scientific and technical documentation of Leningrad project and design organizations and research institutes. During the 1970s, a real team of like-minded archivists was put together and the Archive’s structure was formed, remaining to this day with some minor modifications. The archive staff gained experience of processing scientific and technical documentation and its accounting during internships in departmental technical archives; supervised by chief engineers, chief designers, architects, and leading specialists of developer organizations, they studied the organizations’ structure and main activities: projects, project composition, scientific reports, theses, design and marking of technical documentation, accounting system, etc. At present, the archive holds 463,871 items in 480 fonds of organizations, fonds of personal provenance, and other archival collections.

Argentina's National Museum of History and the National Museum of Fine Arts were created almost at the same time in Buenos Aires, towards the end of the nineteenth century. Many of the artefacts collected in both museums are of the same kind: oil paintings, drawings, engravings, and sculptures, depicting battles, portraits, landscapes, and costumbrista scenes. However, the artefacts in each institution were understood differently: those in the Museum of Fine Arts were considered as ‘art’, while those in the other museum were seen as historical documents. This differentiation between the material of art history and that of history deserves critical examination. The creation of each museum may explain this distinction, as well as offering a point of departure for further reflections about the way in which those artefacts have been exhibited, studied, and preserved.

In the great age of museum institutionalization between 1875 and 1925, museums competed to form collections in newly defined object categories. Yet museums were uncertain about what to collect, as the boundaries between art and anthropology and between art and craft were fluid and contested. As a case study, this article traces the tortured fate of a large collection of folk pottery assembled by New York art patron Emily de Forest (1851–1942). After assembling her private collection, Mrs. de Forest encountered difficulties in donating it to the American Museum of Natural History and the Metropolitan Museum of Art. After becoming part of the Philadelphia Museum of Art, it finally found a home at the Pennsylvania State Museum of Anthropology. Emily de Forest represents an initial movement in the estheticization of ethnic and folk crafts, an appropriation that has since led to the establishment of specifically defined museums of folk art and craft.

The history of art museums is commonly considered to be a history of collections intertwining institutional history and the biographies of diverse museum actors. In China, museums of art and history followed a historical trajectory from the former Soviet model to the current one dedicated to ancient art and cultural relics. This art museum model, in practice, adopts several derivatives, varying between the disciplines of archaeology, anthropology, art history, and history. Rather than foregrounding the historical-archaeological significance of artefacts or reinforcing state-centric nationalist narratives, this article presents a comprehensive perspective that elucidates the evolving exhibitionary culture in China’s official museums since the end of 1980s, and illustrates how museum narratives are generally devoted to the renewing of traditional local culture in a global-local dialectic. The work, of a qualitative nature, examines the Suzhou Museum (Suzhou), one of the most iconic Chinese museums of art and history where the traditional and the cosmopolitan coexist, as an empirical case study. The article argues that the transforming museum narratives of the Suzhou Museum over time carries trifold connotations: abstract aesthetics remain important through ideological shifts; shifts in political power are embodied in the exhibitionary complex; and visitors form a continuous point of engagement.

Current research largely tends to ignore the drug-testing model that was developed in the "Second World" as an explicit alternative to the randomized controlled trial. This system can be described as "socialist pharmapolitics," accounting for the specific features of state socialism that influenced the development and testing of experimental drugs. The clinical trials model employed in the "Second World" was heavily influenced by the Soviet Union, which was by far the most influential player in the socialist bloc during the Cold War. Based on extensive archival research, this article presents an empirical case of a late Soviet clinical trial as a pragmatic alternative to the randomized controlled trial model. It accounts for the divergences between the official model prescribed by the Soviet authorities and the messy realities of healthcare practice. It further outlines different factors that ultimately shaped how clinical trials were organized in Soviet institutions "on the ground." Accordingly, this article presents a "real-life" history of "socialist pharmapolitics" and outlines the problems that this system faced in practice. Archival research was conducted at the Russian State Archive of Scientific and Technical Documentation in Moscow. Archival files include scientific, technical, and registration documentation such as biochemical, pharmacological, and clinical descriptions of the experimental drug Meldonium, letters between various hospitals, research institutes and the Soviet regulatory body, as well as 26 reports of completed clinical trials. Manual content analysis was used for the interpretation of results. This article presents an empirical case of a late Soviet clinical trial as a pragmatic alternative to the randomized controlled trial model. It demonstrates some key differences from the randomized controlled trial model. This article also highlights some of the discrepancies between the model that was officially prescribed by the Soviet authorities and the realities of experimental drug testing in the Soviet Union in the late 1980s and early 1990s. In particular, it notes some elements of randomization, double-blinding, and the use of placebo that were present in Meldonium trials despite being formally denounced by Soviet bioethics. The Soviet model for testing experimental drugs differed from the Western one substantially in a number of respects. This difference was not only proclaimed officially by the Soviet authorities, but was for the most part enforced in clinical trials in practice. At the same time, our research demonstrates that there were important differences between the official model and the clinical realities on the ground.

Reviewed by: Dodo by Jeffrey Carpenter et al. Shelby Brewster DODO. Co-created by Jeffrey Carpenter, Gab Cody, Tami Dixon, and Sam Turich. Bricolage Production Company, Carnegie Museum of Art and Carnegie Museum of Natural History, Pittsburgh. October 20 and November 4, 2017. In the late 1890s, famed US industrialist Andrew Carnegie founded the Carnegie Museums of Art and Natural History. Bricolage Production Company’s immersive work DODO, co-created by Jeffrey Carpenter (director), Gab Cody (lead writer), Tami Dixon (director), and Sam Turich (director), gave audiences a dreamlike journey through the public and private spaces of both museums. Through a series of encounters with performers, museum staff, and collections, DODO explored the social and cultural meanings of collecting in light of climate change. Upon arriving at the museums, I joined the small group who would journey through the performance with me. A representative (Fred Frances) of the “National Self-Preservation Society” welcomed us to our “donation process”—what we were donating remained mysterious at this point. He interviewed each of us and based on our answers gave us an object that would determine our path. The first time I attended, I was given a sprig of eucalyptus; the second time, a small bone. We took a service elevator into the art museum, where the Docent (Emilie Sullivan) guided us through the darkened galleries. After asking to see our objects, she directed each of us to contemplate a particular piece of art until she came to retrieve us. While enjoyably meditative, the connection between this first encounter with museum collections and the performance’s framing was unclear. Standing before John McCracken’s sculpture Untitled (Blue Leaning Plank), I wondered exactly how I should respond. Being in the gallery after hours created a delicious sensation of breaking the rules, but the lack of framing left me feeling lost. We crossed into the natural history museum’s polar exhibit: dioramas of Canadian Inuit seal hunting and taxidermied polar bears. The gregarious Explorer (Michael McBurney), a high-society type with a penchant for hunting, regaled us with tales of his exploits. He lamented the loss of his sport as he and his fellows were hunting their prey to extinction. Our engagement with the Explorer brought out questions of the provenance of the museums’ acquisitions: How do the legacies of colonialism continue to play out in contemporary cultural institutions? Across the hall in the Egyptian exhibit, two of my counterparts and I were met by a pensive Yasmine (Watipaso Kumwenda). She described her home in a future where it was difficult to breathe unless you could afford your own climate. Surrounded by funerary boats, she asked us what would be left of humans? (The answer: plastics.) Yasmine sent my companions off, asking me to crawl through a small tunnel behind a sarcophagus. Suddenly, a flashlight interrupted us. A guard scolded me for being in a restricted area, then led me away. On a catwalk above the museum, I entered the nest of an avian couple: Maeve (Kelsey Robinson) and Marvin (Tyler Ray Kendrick). Maeve treated me and another participant to a song on her ukulele. The jovial mood was broken when Marvin announced that they could keep only one of us. He asked me: What makes me keepable? As I dumbly blurted out that I make a good chicken pot pie, he shouted my answers to Maeve. They decided that I was not worth keeping and sent me away. With two other participants, I met a museum scientist preserving the body of a small bird. As we entered her work-room she asked one of us to open a chest freezer and remove a plastic bag containing a specimen. I expected to hand it to her, but instead she asked me to hold the frozen bird in my hands, thawing it. For the next several minutes, as she showed us other specimens and tools of her trade, I held the cold, plastic-wrapped bird between my palms. These encounters drew attention to the ways in which life is circumscribed as worth conserving within the confines of the museum, and the ways that life is deemed valuable (or not) outside of it. Click for larger...

There are, on the basis of materials of the State Archive of the Russian Federation, the Russian State Archive of Economy, the Russian State Archive of Scientific and Technical Documentation, Samara Regional State Archive of Politico-Social History that were partially introduced into scientific circulation for the first time and published sources, opened features of ACS implementation into the national economy of the USSR in the 1960-1970s and considered factors which distributed or made difficulties to the process.

China is one of the world’s earliest civilisations with a written history extending back nearly five thousand years and an accompanying history of over three thousand six hundred years of archival work. The Three-Character Classic of Archival Work, a poem written in a traditional Chinese style, outlines this long history of the development of archival work in China. Through the presentation and analysis of an English translation of the newly revised version of this poem, the authors examine the archival history and practice of China from ancient times to the present day. In explanatory notes and a reflection examining the historical overview the poem provides, the authors consider the formation, change, transition, and development of Chinese archival traditions to demonstrate the multi-faceted impact on archival work today. The article establishes how, over time, some of these traditions have been incorporated into current practice, whereas others have been updated or rejected. Alongside this, the development of Chinese archival education over the past century is also detailed, to illustrate how this has been key to the professionalisation of archival work. The article concludes by arguing that, in the context of rapidly changing society and technology, the experience and tradition of the past will continue to provide a valuable reference point for the future development of archival work in China.

The formation of the patent-licensing system of Ukraine during the second half of the XX century is investigated. It is established that the first funds of technical literature, which was necessary for patent work, were created in the departments of the institutes of the Academy of Sciences of the USSR in the first postwar years. For example, the fund of scientific and technical literature, documentation, patents and inventions began to form in the Institute of Electrical Engineering of the USSR. It was established in 1944. But various special centers for providing information support for the development of the patent and license business were organized a somewhat later. In particular, at the Institute of Electrical Engineering of the Academy of Sciences of the USSR only 20 years later in 1964. Employees were making a preliminary examination of applications for inventions and expanding the funds of scientific and technical documentation, were completing foreign patent documentation from foreign countries.
 A network of special Patent Departments was created on the basis of the higher technical institutions. A small group for the systematization of patent information was created at the Kharkiv Polytechnic Institute in 1967. In 1971, the patent office was also established at the Odessa Polytechnic Institute. In 1974, at the Kyiv Polytechnic Institute an organizational and analytical department was created, it contributed to the development of inventive activities of the Institute. The intensification of inventive search occurred in the 1980s and was aimed at improving quality, which contributed to the creation of prospective, competitive world-class developments and their introduction into industry.
 During this period, the vast majority of scientists took part in patent and licensing activities, a large number of patents were obtained and scientific and technical cooperation was started on a commercial basis with the conclusion of licensing agreements. A number of devices were patented in the following countries: Spain, Italy, England, Switzerland, Japan, Germany, Hungary, Poland, Bulgaria and others. In the early 1990s, the situation with inventive and patent licensing activities changed. A significant reduction in the number of inventions demonstrated the general state of scientific research in the country.

스마트폰의 대중화로 인해 개인별 취향에 따른 생활의 변화와 개인의 맞춤형 서비스에 대한 관심이 증가하고 있다. 이러한 시대적인 변화에 맞춰 공공기관과 박물관 그리고 과학관에 이르기까지 개인별 맞춤형 서비스에 대해 관심이 증가되고 있으며 이를 충족시키기 위한 시스템의 변화가 나타나고 있다. 특히 박물관, 미술관, 과학관은 관람이라는 공통되어진 요소를 가지고 있으며, 단체 관람과 개인별 관람형태로 이루어지고 있다. 박물관과 과학관은 미술관과는 달리 역사와 과학교육이라는 대 국민적인 목적이 담겨져 있으며, 테마파크와는 달리 엔터테인먼트와 교육을 병행해야하는 공공기관으로서의 역할이 있다. 이러한 목적을 달성하기 위해서는 전시물에 대한 충분한 몰입도를 높여야 하며, 그와 병행하여 전시물에 대한 연령대별 설명이 부가되어야 한다. 따라서 본 연구에서는 효율적인 관람 서비스를 제공하기 위해 증강현실을 이용한 엔터테인먼트 기능과 교육을 함께 병행할 수 있는 효율적인 방안에 대하여 연구하고자 한다. Due to the popularity of smart phones based on personal propensities and individual lifestyle changes customerized services is increasing interest in the individual. The system for personalized services make a difference in the public institutions, museum of science and history. In particular, museums and art galleries have a common motivation which is sightseeing. Museum for the history and science education a national purpose that is put, unlikely art gallery. Museum of science and History, unlike the theme parks have a combination of entertainment and education as a public institution is a large consensus. In order to achieve this objective, exhibits raise a sufficient commitment to and the exhibits should be described by age. Using augmented reality combined with effective entertainment and education measures, we propose the effective smart guide service strategies for museum.

In 1960 the Royal Geographical Society published The making of the Broads: a reconsideration of their origin in the light of new evidence. This monograph, the work of an interdisciplinary team, argued that the shallow lakes of the Norfolk Broads in eastern England had their origins in the medieval peat-digging industry. This paper shows how the origins work can be understood in terms of debates and tensions concerning the cultural authority of science over landscape and the nature of local knowledge, and addresses the implications for the currency of the local within studies of scientific knowledge. Drawing on archival work and oral history, the paper shows how local acceptance or rejection of the theory turned on assertions of scientific or non-scientific cultural authority. First publication of the theory in 1953 triggered angry exchanges in the local press over the next decade; the paper reconstructs these debates in terms of their claims to local knowledge, and the constitution of authority over the field. Science and local knowledge are opposed categories for some but mutually constituted for others, such that science itself becomes a matter of local pride. The paper concludes by considering the relationship between the origins research and debates over the past, present and future of the region.

On 24 June, 1971, the Council of Ministers of the European Communities passed a Resolution, which defined basic community- policy for “coordinating the actions of the Member States regarding scientific and technical information and documentation”. In particular, the Council asked the Member States to coordinate their actions in the following areas: (a) the creation and rational development of systems for scientific and technical information and documentation, so that a European Network could be established; (b) the establishment of rules and procedures to ensure the cohesiveness of such a network; (c) training of specialists and the education of users; (d) technological progress in the science and processing of documentation.

Contents: Introduction: from museum critique to the critical museum, Katarzyna Murawska-Muthesius and Piotr Piotrowski. Part I Histories: A very brief history of the art museum in the United States (focusing mainly but not exclusively on the nineteenth century), Alan Wallach 'The contemporary museum is a laboratory of knowledge': the origins of the Museum of Contemporary Art in Russia, Andrzej Turowski Wilhelm R. Valentiner's Reshaping Museums in the Spirit of the New Age (1919) and its reception, Monika Flacke Myth and reality of the White Cube, Charlotte Klonk Jerzy LudwiAski's testing of the dysfunction of the museum: on the Museum of Current Art in WrocA'aw (1966), Magdalena ZioA'kowska. Part II Tools: Objects, Space, Viewing Practices: Masterpieces and the critical museum, Katarzyna Murawska-Muthesius From the White Cube to a critical museography: the development of interrogative, plural and subjective museum discourses, J. Pedro Lorente From the inside looking out: the possibility of a critical establishment, Penelope Curtis Making the National Museum critical, Piotr Piotrowski Historical space and critical museologies: POLIN Museum of the History of Polish Jews, Barbara Kirshenblatt-Gimblett Museums that listen and care? Central Europe and critical museum discourse, Maria Oriskova Towards embodied, agonistic museum viewing practices in contemporary Manchester, England, Alpesh Kantilal Patel. Part III Critique: The context and practice of post-critical museology, Victoria Walsh 'Is the contemporary already too late?' (Re-)producing criticality within the art museum, Jacob Birken Neuromuseology, John Onians. Index.