Documentary Value Research Articles

Appraisal of documentary heritage objects value in scientific library, archives, museum: topical problems of theory and practice

The article is devoted to the topical problems of theory and practice of appraisal of documentary heritage objects value in scientific libraries, archives, museums taking into consideration functional and stock specifics of these institutions. Its goals and tasks, principles and axiological criteria are described. It is shown that the main goal of such appraisal is determining the place of documentary heritage objects as the objects of the appraisal in the system of cultural values of modern society, establishing the belonging of these objects to cultural heritage objects of world, national, regional, local significance. Appraisal of documentary heritage objects is analyzed as one of important areas of scientific and administrative activities which to a large extent ensures the functioning, improvement of information potential and accordingly the image of the library, archives, museum. The Ukrainian experience of the recent decades is highlighted in many aspects, namely: regulation, organization and appraising documentary heritage objects at the state, interdepartmental and departmental levels, at the level of the profile institution fund-holder. The features of the appraisal, the objects of which are archival heritage objects and book heritage objects, are revealed. It is emphasized that the appraisal of value of the existing funds and collections of documentary heritage objects is the basis for the development and implementation of modern individual concepts and integrative projects for libraries, archives and museums, which provides for the coexistence and interrelation of material expositions and various forms of virtual information.

Portrait Drawings of Karpo Trokhymenko for the Painting “Meeting of the Presidium of the Academy of Sciences of the USSR in Ufa” (1941–1944)

The purpose of the article is to introduce into scientific turnover the little-known drawings of the outstanding Ukrainian realist painter of the mid-20th century, professor of the Kyiv State Art Institute, Karpo Demianovych Trokhymenko, made during the evacuation to Ufa in the period of the Great Patriotic War. The methodology of the work is based on the principles of art history, figurative and stylistic, systematic and comparative analysis, as well as historical and contextual methods. The scientific novelty of the work lies in the definition of the role of drawing in the creative heritage of Karpo Trokhymenko of the period 1941-1944. In the portrait sketches made by Karpo Trokhymenko for the picture “Meeting of the Presidium of the Academy of Sciences of the USSR in Ufa”, the difference in relation to the expressive means of art destroyed at the time of the avant-garde and finally formed social realism are clearly traced. The point, line, and plane as the leading artistic elements of the avant-garde are losing their significance, remaining to a certain extent only in the arsenal of graphic artists. Tone, light and shade gradations and energy of light acquire a special significance in the drawing of the easel painters. Conclusions. By analyzing the figurative and stylistic structure and technique of the portrait works, the peculiarities of drawing in the artist’s asset, in particular, the attention to creating an air environment, are revealed. In the drawings of Karpo Trokhymenko, the line has no intrinsic value and is perceived only as of the part of light and shadow, dissolving in the overall tone spot. The color plays an important role in the drawings of Karpo Trokhymenko. The works made within the complex warmth and coolness of colored paper, silver graphite pencil, colored pencils and chalk and acquire the significance of independent works. A set of portraits of outstanding Ukrainian scientists - academicians, artists, writers created by Karpo Trokhymenko, has not only documentary, historical and cultural value, but is a significant monument of Ukrainian easel drawing of the Great Patriotic War period.

Impressions after reading a fascinating book: Bayreuth – Oraș al Festivalurilor. Prezențe românești [Bayreuth – City of Festivals. Romanian presences

Abstract Published in 2019 by Ecou Transilvan Publishing House, the volume Bayreuth – Oraș al Festivalurilor. Prezențe românești [Bayreuth – City of Festivals. Romanian Presences] , signed by the musicologist Gheorghe Mușat has an immeasurable documentary value. From the challenge launched by the title, which is accentuated with the discovery of the differentiated perspectives for approaching the complex issue – Bayreuther-Festspiele and Internationales Jugend Festspieltreffen – to the precious details regarding the sessions, courses, seminars, concerts, conferences of artists from East and West, who had the extraordinary chance to collaborate in the last decades of the last century. In essence, the book focuses on the generation of musicians confident in the nobility of ideals to perfect themselves in the performing arts, to sing unique pieces from various stylistic repertoires and, especially, to listen, to learn from each other, to communicate at a high level about the multiple manifestation hypostases of the sound phenomenon.

ワークショップ（1）「8mm動的映像のもつ資料価値を採掘する：その現状と展望」報告

ワークショップ（1）「8mm動的映像のもつ資料価値を採掘する：その現状と展望」報告

Vampiros Narcisistas: en los límites de la representación fotográfica

Antes de las redes sociales, de Instagram y de Pinterest, de la sobreexposición de nuestra cotidianeidad (ya sea en directo o manipulando el espacio-tiempo), el valor documental de una imagen era objeto de miedos, debido a la novedad del invento, y admiración, a causa de la magia de la captura instantánea. Al igual que ocurría con los retratos pictóricos en los que se plasmaban sobre lienzos a monarcas, bodegones, hazañas bélicas o escenas mitológicas, las reacciones ante una imagen fotográfica siempre han dependido de la utilización de la foto y de la época en la que se ha realizado. Pero, la aparición de la cámara fotográfica supuso un cambio en las formas de ver, mirar y proyectar. Las imágenes capturadas se democratizaron, sólo era necesario una cámara. Por ello, el avance histórico que supuso la fotografía como elemento científico y documental todavía hoy es evidente, palpable, observable. Y es que, la fotografía, nos ayuda a mostrar cómo vemos lo que vemos, nos aporta reconocimiento y conocimiento, memoria e identidad. Valiéndonos del ensayo de Joan Fontcuberta, El beso de Judas: Fotografía y verdad (2002) como eje de la investigación, realizamos un breve repaso histórico y semiótico de los usos específicos que se la ha dado a la fotografía desde el daguerrotipo hasta ahora y su influencia en la educación visual de la sociedad.

A tények megjelenítése a fotográfia médiuma segítségével – megrendezett és manipulált képek

"In the history of photography, we come across many staged and manipulated photographs. Most of these are press photos that would be intended to show as accurately as possible the recording of an event, for those who could not be there and only learn about everything that happened based on the image. The most important requirement of press ethics forums for press photos is to be as objective as possible in presenting the event. The photographer may not use any intentional image modification or manipulation to take the image. After it became clear that many of the images, we were dealing with are staged or manipulated photos, despite a lot of controversies, the reputation of the images was slightly tarnished, making the image incidental to questions about the documentary value. The photograph has become a symbol, the symbols have their own truth, believes Hans-Michael Koetzle. These cases prove that even in the case of many iconic works or photographs, the image becomes so symbolic that it adds to the background, background history and behind-the-scenes of the making of the images. They are unable to deduct anything in retrospect from the value of the work. I consider it important to examine the changes brought about by the digital revolution, both in the field of photography and in the way a press photographer works. The fundamental difference between analogue and digital images stems from the fact that although it is possible to manipulate analogue photos, we rarely encounter this, while in the case of digital images, image manipulation is the default."

Der Kaiser mit der Tiara. Spiegelungen und Wandlungen des ersten Romzuges Friedrichs III. in der italienischen Kunst

The journey to Rome which Frederick III undertook for his coronation as emperor was portrayed in a number of works of art, which were conceived along the route through Italy. However, these works of art were meant to serve as propaganda for the emperor only indirectly. As a matter of fact, those commissioning the works considered the symbolic power of the events and the authority of the Imperator Romanorum far more important in terms of ‘self-portrayal’. These works of art were indeed commissioned to celebrate the numerous promotions to the aristocracy or to a higher position within the aristocracy that Frederick III performed during his journey. Through the images depicted on medals and on illuminated manuscripts, the ennobled ones, who commissioned these works, aimed at associating their personal image and their memoria with the emperor. Particularly noteworthy are the panels of two cassoni, where Frederick’s two-day journey, his stay in Florence and the crowning ceremonies in Rome are depicted in multiple scenes. The cassoni were commissioned by the Medici family for Orlando de Medici, upon whom a knighthood was conferred by the emperor and who most likely participated in the crowning ceremony in Rome. However, a differentiated approach must be adopted in order to analyse the realistic representation of the pictures: on the one hand, these pictures have an important documentary value, whereby the topographical factors are also taken into account. On the other hand, they deviate significantly from the historical facts. One of the most striking differences lies in the central motif of the crown used by the pope during the ceremony, which does not reflect the standard type of the emperor’s crown but is portrayed as a variation of the papal tiara. The real intention behind this kind of choice remains unknown, but it does illustrate the cultural clashes related to the public’s perception of this ceremony which was to be the last coronation of an emperor performed in Rome by a pope.

Obrazovanje konzervatora-restauratora na akademijama i fakultetima umetnosti

Cultural goods are recorded, valorised, processed, preserved, conserved and restored because of the artistic, cultural-historical and documentary values attributed to them. In addition to these, they have other values and functions that must be taken into account. For example, the religious value of a cult object, the emotional value of a certain object in personal ownership, material value and others. A wide range of materials and artistic techniques requires specific knowledge that must be possessed by experts in the field of conservation and restoration. The subject of interest in this paper is education in the field of conservation and restoration of works of fine and applied arts. How are those who will deal with conservation and restoration of such values educated in the modern world? What knowledge and skills do they need and what training models are there? Do conservators of works of art stand out among conservators of different specialisations? What is the tradition of conservation education in Serbia? How can academies and faculties of art be places of quality education for conservators-restorers? The paper analyses different European models of conservation education, as well as the changes that have occurred with the shift of conservation as a craft to a defined profession which requires higher education. It is also discussed how such changes, through university education reforms, have affected the level of skills and knowledge conservators need, as well as whether these changes have led to the recognition of conservation and restoration of cultural heritage as a science. Among the various possibilities for the education of conservators at higher education institutions in Serbia, master academic studies in Conservation and Restoration of Works of Fine and Applied Arts at the Academy of Arts in Novi Sad is analysed as a case study.

France Marolt’s Endeavours to Sound Document Folk Music

The paper presents France Marolt’s endeavours spanning many years to acquire the recording devices that he planned to use for documenting folk music in the field, as well as for his research work and various forms of educational and cultural activities. The main focus is on researching the circumstances in which sound recordings on gramophone records were made in collaboration with Radio Ljubljana, and on the first sound collection of the Institute of Ethnomusicology ZRC SAZU, which consisted of these records. The records have a special documentary value and, combined with archival documents, convey Marolt’s view of folk music.

Epigraphic Squeezes: Digitisation, Publication, and Enhancement

"Epigraphic squeezes are a key tool for research and teaching. They also have historical and documentary value. They are reliable copies of inscribed text and become the only evidence that remains if inscriptions are lost or destroyed. This paper describes the Venice Squeeze Project for the preservation and enhancement of epigraphic squeezes in the Department of Humanities at Ca’ Foscari University of Venice. For the initial phase of the project, the Ca’ Foscari University collection of epigraphic squeezes was published in the digital ektypotheke E-stampages. The current phase involves developing a web application to digitise epigraphic squeezes according to the metadata architecture of E-stampages. The first part of this paper describes the background of the Venice Squeeze Project and methodological issues, which fostered the partnership with E-stampages. The second part describes the relational database that was set up to digitise the Ca’ Foscari collection. The third part introduces the project initiatives to promote a network of Italian institutions interested in digitizing their collections of epigraphic squeezes. Keywords: Greek epigraphy, squeezes, database architecture"

Adela Crooke en dos versiones: de la pintura a la fotografía y viceversa

Es objeto de este artículo analizar y difundir las obras pictóricas y fotográficas de la intelectual y coleccionista Adela Crooke y Guzmán, XXIV condesa de Valencia de Don Juan, fundadora del Instituto3 de ese nombre junto a su esposo, el diplomático Guillermo de Osma. El estudio se centra, por su especial interés, en el uso que Crooke hizo de sus fotografías para elaborar dibujos y acuarelas, poniendo de manifiesto su valor documental y creativo en el periodo coincidente con el esplendor impresionista. Las obras forman parte de los originales conservados en el Instituto, fechados entre los años 1880 y 1910, y compuestos por cerca de trescientos dibujos, un centenar de acuarelas y unas cuatro mil fotografías, lo que nos indica su ingente producción y su interés por el arte.

The Animated Document: Animation’s Dual Indexicality in Mixed Realities

Animation has become ubiquitous within digital visual culture and fundamental to knowledge production. As such, its status as potentially reliable imagery should be clarified. This article examines how animation’s indexicality (both as trace and deixis) changes in mixed realities where the physical and the virtual converge, and how this contributes to the research of animation as documentary and/or non-fiction imagery. In digital culture, animation is used widely to depict both physical and virtual events, and actions. As a result, animation is no longer an interpretive visual language. Instead, animation in virtual culture acts as real-time visualization of computer-mediated actions, their capture and documentation. Now that animation includes both captured and generated imagery, not only do its definitions change but its link to the realities depicted and the documentary value of animated representations requires rethinking. This article begins with definitions of animation and their relation to the perception of animation’s validity as documentary imagery; thereafter it examines indexicality and the strength of indexical visualizations, introducing a continuum of strong and weak indices to theorize the hybrid and complex forms of indexicality in animation, ranging from graphic user interfaces (GUI) to data visualization. The article concludes by examining four indexical connections in relation to physical and virtual reality, offering a theoretical framework with which to conceptualize animation’s indexing abilities in today’s mixed realities.

Marie Høeg’s worldmaking photography: a photo essay

Marie Høeg, who lived from 1866–1949, was a Norwegian photographer and activist for women’s rights. In this photo essay, the authors feature six photographs depicting Marie Høeg in gender transgressive scenes. These photographs are a few of more than 30 that were recovered in the 1980s from a property where Høeg once lived with her female partner, Bolette Berg. Standing out from the traditional landscapes and portraits that were common for the professional studio of Berg & Høeg, these photographs provide a glimpse into Høeg’s playful self-expression at the onset of the 20th century. This photo essay explores not only the documentary value of these images, but also the important considerations of visibility, privacy, and the ethics of circulation that they elicit.

Modny „pan władza”. O strojach funkcjonariuszy MO w polskiej powieści milicyjnej lat 1956–1989

Creation of the militiaman — treated as a representative figure for the specific type of literary character typical for militia literature — was functionalised in such a way to present militiamen as heroes on and off duty. This is why they used their inconspicuous appearance as a “weapon” for fighting against criminals. The worldly gentleman allowed the creation of the image of an “ideal mil-itiaman”. These two strategies were supposed to evoke trust towards the investigative and policing organs, overused during the Stalinist period. In that way, “the supermen in blue uniforms” (a term created by Stanisław Barańczak) (re)gained their humanity becoming appealing to the readers; all in compliance with the ideological premises, however, due to different reasons than the national policymakers wished. Thus, the reconfigurations of the image of the militia official in “neo-militia literature”, having a demystifying tone, show to what extent the image created by the writers of militia literature remained artistically prominent. However, nowadays not only this demystifying notion, but also militia literature is regaining its popularity, the proof being the activity of its readers on the internet. The reason why these stories — very often full of propaganda — are interesting for readers may be their documentary values. It seems, however, that it is especially the depiction of the heroes perceived not as represent-atives of the policy, but as single units coping with the everyday struggles of living in the PRL (The Polish People’s Republic), that has the greatest influence on the popularity of this genre.

THE ‘MASSERIA ROTA’ IN NAPLES (ITALY). A VERNACULAR HERITAGE TO PRESERVE

Abstract. The ‘Masseria Rota’ in Cercola, near Naples, is one of the best-preserved examples of the important vernacular architectural heritage of the Vesuvian area. Built in the 17th century upon more ancient pre-existences, the farm is an extraordinary example of the construction capabilities typical of the Neapolitan area and the dual vocation, productive and residential of the Vesuvian ‘masserie’. The production area for slaughter and winemaking – located on the basement floor and still in good condition – coexists with the residential part with a sober decorative apparatus, enriched by the nineteenth-century transformations. Its planimetric U-shaped layout denounces a development for subsequent integrations that is also evident from the mensiochronological analysis of the walls. Unfortunately, despite the its indisputable historical, architectural and documentary value, the ‘Masseria Rota’ is in a serious state of abandonment, suffocated by contemporary buildings often devoid of specific values. The contribution to be presented illustrates the results of a teaching experiment that aims to propose methodological guidelines for the drafting of a restoration project aware and respectful of the identity of the aforementioned 'Masseria', and intends to provide a contribution of knowledge for the preservation and enhancement of a vernacular building heritage present on the slopes of Vesuvius, guiltily forgotten and abandoned in recent decades, which, instead, represents one of the most interesting and important of the settlement and construction modes of a territory inhabited since antiquity – despite the cyclical destructions caused by the volcanic activity of Vesuvius – for its environmental and landscape characteristics.

Perspectiva histórica y visión de futuro de los archivos de la radio de servicio público en México

El artículo ofrece la revisión histórica y perspectiva de futuro de los archivos de la radio pública en México resultado de investigación cualitativa basada en estudios de caso y el análisis de documentación de emisoras de servicio público. Se establece la tipología de radio pública y se identifican algunos de los más destacados archivos de la radio de servicio público con el propósito de presentar importantes colecciones radiofónicas con valor documental. Además, se da cuenta de iniciativas de preservación que se han emprendido en emisoras de radio de servicio público. Con ello, se ofrece el panorama del estado de preservación de las colecciones radiofónicas de la radio de servicio público en México y la situación de vulnerabilidad de este patrimonio.

La fotografía artística como referente en la visualización del espacio escolar


 En este articulo la fotografía artística se presentará como enfoque metodológico para el concepto visual de la educación fundamentalmente de dos formas: en primer lugar, propondremos la validez e influencia de la infor­mación estética por encima de la información documental en las investiga­ciones educativas basadas en imágenes; en segundo lugar, a través de un en­sayo visual, propondremos diversas composiciones visuales acerca de cuatro temas fundamentales para la construcción del concepto de educación. Los ar­tistas visuales en fotografía han tratado el ámbito escolar de forma recurren­te, produciendo una amplia colección de imágenes educativas que trasciende el valor documental de la fotografía. Nuestra hipótesis es que éstas imágenes pueden ser determinantes en nuestras intuiciones e ideas acerca de la escue­la y la educación. En el trabajo que presentamos a continuación, distinguimos entre fotografía artística y documental fundamentalmente para señalar la decisiva influencia que puede tener el uso explícito de la información estética por encima del recurso al realismo referencial del que hace uso la fotografía documental. La más clara evidencia la muestra el impacto que han tenido las imágenes de los artistas a lo largo de la historia de la educación. Por otro lado, nuestro discurso visual se estructura en base a cinco foto-ensayos, organi­zados en base a dos fotografías del autor con dos citas visuales de la historia de la fotografía. Estos han sido compuestos fotoensayos contraponiendo los cuatro principales temas que la fotografía ha preferido tradicionalmente: el espacio escolar, el alumnado, el profesor y las interacciones entre ellos. En los fotoensayos que presentamos a continuación, proponemos lecturas cru­zadas entre estos cuatro temas. El resultado de estas interferencias visuales y asociaciones libres propone algunas conclusiones visuales de nuestro estudio.

AlmaMater: património bibliográfico e identidade na Universidade de Coimbra

A AlmaMater é a biblioteca digital de fundo antigo da Universidade de Coimbra, apresentada publicamente em julho de 2010. A AlmaMater congrega várias coleções digitais representativas da Biblioteca Geral da Universidade de Coimbra, das bibliotecas de diferentes unidades orgânicas e, também, bibliotecas temáticas, como é o caso da República Digital, História da Ciência ou Mapas Nabais Conde, que assinalam acontecimentos ou factos importantes diversos e que constituem, no seu conjunto, um repositório bibliográfi co de grande valor histórico, bibliográfi co e documental. A Alma- Mater resultou de um propósito muito claro da Universidade de Coimbra, que foi o de promover e facilitar o acesso aos fundos antigos das suas bibliotecas, aos investigadores e ao grande público, e de os disponibilizar através de uma plataforma na Internet, dando a conhecer o importante património bibliográfico da Universidade e reforçando a sua identidade. Os recursos digitais disponibilizados na AlmaMater abarcam um conjunto diversifi cado de documentos – livros, jornais, revistas, fotografias, mapas, gravuras – que vão do Séc. XIII ao séc. XX, sendo possível percorrer todo este intervalo de tempo, de forma ágil e intuitiva. Neste texto, pretende-se abordar os aspetos mais significativos desta biblioteca digital, fazendo referência à sua estrutura e organização, aos fundos bibliográficos que a constituem, aos aspetos e funcionalidades desenvolvidas e às melhorias implementadas ao longo do tempo. Reconhece-se que a experiência adquirida no tratamento do património bibliográfico da Universidade de Coimbra, o acompanhamento dos processos de digitalização, o desenvolvimento de plataformas digitais e a integração de objetos digitais foram fatores determinante para o sucesso deste projeto. Conclui-se, afirmando que a AlmaMater é um projeto de grande importância estratégica, com impacto na divulgação do valioso património cultural da Universidade de Coimbra junto de investigadores nacionais e internacionais, e também junto dos cidadãos, cumprindo deste modo com uma importante função universitária, a de suscitar a curiosidade de novos públicos.

Los empeños de un impreso. Camila Henríquez Ureña y la revista Lyceum

Este artículo analiza la colaboración de Camila Henríquez Ureña como directora y autora de la revista trimestral Lyceum (1936-1939) en su primera época, publicada por la sociedad el Lyceum Club Femenino de La Habana. Para ello se explica el origen de la revista en relación con el fenómeno de las sociedades femeninas fundadas a inicios del siglo XX y, específicamente, la importancia cultural y social de esta institución de carácter privado en Cuba, lo cual representó un espacio fundamental para el encuentro intelectual de la sociedad habanera, de los intelectuales del exilio español y de la comunidad internacional. Por su alto valor documental, los 14 números que constituyen el corpus de la revista Lyceum en este período representan una fuente imprescindible para conocer los principios programáticos que alentaron la publicación y sus alcances, desde la labor intelectual de Camila Henríquez Ureña, quien además de emprender un intenso activismo feminista, colaboró en otros proyectos con Fernando Ortiz y José María Chacón y Calvo, entre otros.

Study guides and Australian documentary: The role of bridging materials in building educative, cultural and economic value

The use of documentary, and in turn the value of documentary, is well established in formal education contexts. In addition to an established pedagogical value, this article examines the cultural and economic value of documentary in education through both national legislative reviews (the Australian Law Reform Commission’s (ALRC’s) Copyright and the Digital Economy) and a specific learning resource in the form of study guides. Within this research, study guides function as a means to explore the plurality of ways in which documentary may be valued through several stakeholders invested in sustaining educational engagement with the form. Most notably among these stakeholders is copyright collection agency Screenrights, which bridges the valuing of documentary between screen and education sectors alongside national funding agency Screen Australia and the Australian Teachers of Media (ATOM), an independent, non-profit, professional association promoting the study of media in education. ATOM in particular is synonymous with the creation of study guides for documentary films. Investigating the educative, cultural and economic value of study guides offers a discrete albeit valuable study of the ways in which documentary functions within Australian education contexts.