Museum Hall Research Articles

Room corners and how they influence the memory of visual information arranged on walls

In formal and informal learning settings corresponding information units are often arranged in the space around the viewer. For example, teachers pin task relevant information on classroom walls, or museum curators arrange exhibits in museum halls. Often learners and visitors are expected to see meaningful relationships between these information units. Theoretically, Gestalt Psychology has been examining the effects of connecting and separating elements in visual information displays, leading to the question of whether these findings also hold in three-dimensional environments. Does the mostly rectangular form of our rooms also either highlight or downplay relations between information dispersed across a room? Three experiments using virtual rooms showed that the matching pairs of pictures were memorized better if both pictures were arranged on the same wall instead of across two adjacent walls: that is, the presence of a room corner between matching pairs decreased memory (Experiments 1–3). Additionally, the findings showed that the participants’ orientation of their central field of view during learning influenced the effect of corners on memory. When initially looking around in rooms, participants most often oriented the center of their field of view toward the middle of a wall (Experiments 1 and 2); however, if they were restricted to orienting their field of view toward corners, the corner effect on memory vanished (Experiment 3). These findings suggest that room characteristics influence the exploratory behavior of viewers, thereby also affecting their memories of the presented information.

Исследования характеристик пожарной опасности паркетов исторических объектов с массовым пребыванием людей

Introduction. To find out the influence of historical parquet floor on the safe evacuation of people in cultural heritage objects, it is necessary to carry out a mathematical modelling of fire hazard propagation with the initial parameters of the existing combustible load. The purpose of the article is to consider the experimentally derived fire hazard characteristics of historical wood compared to the required values for flooring on evacuation routes and in museum halls. To compare the values of the smoke-developed index and the net heat of combustion with those available in the reference literature. M aterials and methods . To study the fire hazard characteristics of historical floor coverings, the dies of existing parquet floor with a service life of about 160 years in the halls of the Winter Palace at the State Hermitage Museum were selected as specimens. Experimental determinations of the indicators were carried out on the appropriate test equipment using standard methods. Results and discuss ion. Analysis of the results of the research shows that the fire hazard characteristics of historical wood do not meet the legally established requirements for floor coverings in halls in terms of their smoke-forming capacity and flammability, and in corridors and foyer halls in terms of their smoke-forming capacity . The smoke-forming capacity values obtained experimentally differ from the reference values used to calculate the dynamics of the build-up of the DFF in the buildings of museums and exhibitions. In addition, the values of the net heat of combustion obtained in the study differ from those given in the reference literature. Conclusions. An estimation of the results of the carried out research and the available indexes in the reference literature allows to assert necessity of carrying out of scientific experiments for definition of characteristics of fire hazard of wood of historical objects with the purpose of formation of the reference database of characteristics of fire hazard of materials, used in museums, located in palaces — objects of cultural heritage. The use of refined reference data will improve the accuracy of calculations of individual fire risk on historical objects.

Sosialisasi Pemanfaatan Museum Sebagai Sumber Belajar Sejarah Lokal Pada Guru Sejarah Se Kota Pontianak

SOCIALIZATION OF THE USE OF MUSEUMS AS A SOURCE OF LOCAL HİSTORY LEARNİNG FOR HİSTORY TEACHERS İN PONTİANAK CİTY. Based on the team's observations that have been stated above, the team feels it is important to carry out socialization activities regarding the use of museums as a source of learning local history to history teachers. So that this museum can be one of the interesting learning experiences in history learning. The expected objectives of this program are as follows: (1) The history of the establishment of the West Kalimantan Museum. (2) Implementation of the use of the West Kalimantan Museum as a source of local history by history teachers throughout the city of Pontianak. And (3) To find out the efforts of the museum and teachers in utilizing the West Kalimantan Museum as a source of learning local history by history teachers throughout the city of Pontianak. The target community involved in the implementation of this activity are all teachers of history subjects in the city of Pontianak. The location for the implementation of the activity is planned in the West Kalimantan Museum Hall in Pontianak City. This activity is carried out through lecture and discussion methods. As a result of this activity, participants consisting of history teachers were able to understand the material regarding the use of museums as a source of learning local history in improving student learning activities in history subjects. The understanding of the participants (teachers) was shown through their enthusiasm in discussing and asking questions about the socialization material.

The forgotten museum of Hong Kong: a place of unfulfilled ambitions (1869–1933)

ABSTRACT This article aims to shed light on the little-known history of the Hong Kong City Hall Museum. Housed in the old City Hall between 1869 and 1933, the museum was intended as a place of entertainment and education for the residents of the British colony, including Chinese people. Dedicated to research and seeking the dissemination of knowledge through scientific displays of natural history specimens and artefacts, it was to be an emblem of Hong Kong's modernity and embody a certain degree of ‘civilization’. However, the City Hall Museum never lived up to the expectations it initially had raised, and its collections remained disappointing and inconsistent. This failure was perceived as a stigma for the colony. This paper intends to offer an understanding of why this institution, during its more than sixty years of existence, failed to gather sufficient organisation and resources to support itself and ended up disappearing from memory.

ILLOC

LoRaWAN is a narrowband wireless technology for ubiquitous connectivity. For various applications, it is desirable to localize LoRaWAN devices based on their uplink frames that convey application data. This localization service operates in an unobtrusive manner, in that it requires no special software instrumentation to the LoRaWAN devices. This paper investigates the feasibility of unobtrusive localization for LoRaWAN devices in hall-size indoor spaces like warehouses, airport terminals, sports centers, museum halls, etc. We study the TDoA-based approach, which needs to address two challenges of poor timing performance of LoRaWAN narrowband signal and nanosecond-level clock synchronization among anchors. We propose the ILLOC system featuring two LoRaWAN-specific techniques: (1) the cross-correlation among the differential phase sequences received by two anchors to estimate TDoA and (2) the just-in-time synchronization enabled by a specially deployed LoRaWAN end device providing time reference upon detecting a target device's transmission. In a long tunnel corridor, a 70 x 32 m2 sports hall, and a 110 x 70 m2 indoor plaza with extensive non-line-of-sight propagation paths, ILLOC achieves median localization errors of 6 m (with 2 anchors), 8.36 m (with 6 anchors), and 15.16 m (with 6 anchors and frame fusion), respectively. The achieved accuracy makes ILLOC useful for applications including zone-level asset tracking, misplacement detection, airport trolley management, and cybersecurity enforcement like detecting impersonation attacks launched by remote radios.

Advanced NOMA-Based RRM Schemes for Broadcasting in 5G mmWave Frequency Bands

A relevant solution for the high demand for new multimedia applications and services is millimeter wave (mmWave) frequency band in 5G. However, in order to face the technological challenges of the present and those that will appear in the short-term future, it is necessary to improve the spectral efficiency of 5G systems. In particular, the Radio Resource Management (RRM) module is considered an essential component. Nevertheless, resource allocation techniques that combine orthogonal multiplexing (OMA) schemes, such as Time Division Multiple Access (TDMA), with Non-Orthogonal Multiple Access (NOMA) techniques have not been studied in-depth. Therefore, this article designs and evaluates different RRM models that combine TDMA with NOMA for innovative applications in the 5G mmWave frequency bands. To this end, the advantages and challenges associated with mmWave frequency bands and potential future applications are introduced. An innovative use case has been designed to test the RRM models. The use case is based on the on-demand distribution of multimedia content in high-density environments, such as museum halls. The on-demand content aims at offering Augmented Reality (AR) services to unicast users in order to provide personalized services. The models have been evaluated in terms of throughput, capacity, and availability. According to the results, the combined RRM techniques offer up to 50% more capacity than the single multiplexing technology models and can provide video-on-demand service to practically the entire cell.

Monetizing online museum products: Mechanisms, strategies, and examples

The quarantine and post-quarantine restrictions have forced museums to pay close attention to digital content. Initially, this was done to maintain their audience and public interest, and after that, they began to think about monetizing these products. Monetizing digital content can help them recover lost revenue. Monetization of online museum products refers to the process of converting free or paid online products and services developed by museums themselves or in collaboration with developers. In this article, the author identifies mechanisms and strategies for monetizing museum online products that can also apply to museums in modern times. The case study was the main method of analysis. Four possible methods for monetizing museum online products were identified as a result of the study. Several factors should be considered before developing museum online products. In addition, six strategies for monetizing virtual initiatives were identified, whose development must take into account such factors as time, human and material resources of the museum as well as the uniqueness and quality of the content. Therefore, we can conclude that the introduction of monetization was a difficult process for museums, accompanied by a number of problems related to the distribution of time and significant human resources, as well as financial costs; lack of motivation for museum staff; using outdated software; the dual nature of the online product, which works both outside the museum and draws visitors directly into the museum halls.

ЕКСПОЗИЦІЙНІ МАЙДАНЧИКИ ДЛЯ ТВОРІВ ВІЗУАЛЬНОГО МИСТЕЦТВА В ІВАНО-ФРАНКІВСЬКУ У ХХ – НА ПОЧАТКУ ХХІ СТОЛІТТІ: ЗДОБУТКИ, ВТРАТИ, ПЕРСПЕКТИВИ

The exhibition spaces of Ivano-Frankivsk, where works of visual art are exhibited, are considered in the work. The activity of the most significant sites in the artistic life of the city is covered, including gallery and museum halls, premises of educational institutions, libraries, shops, public catering facilities, open city squares and spaces. The purpose of the scientific research is to reveal the potential of exhibition locations for the exhibition of visual art works in Ivano-Frankivsk and to trace the specifics of their functioning in chronological terms. The dynamic process of both gains in the exposition activity of the city and losses of exhibition premises, which at one time became important for the cultural life of the city, where world-class creative events took place, is considered. The problem of lack of exhibition premises in Ivano-Frankivsk museums is studied. The work traces the searches for new exhibition areas in connection with the changing role and functions of art, as well as, in particular, in connection with the shift of emphasis and focus in the perception and retransmission of contemporary art works. It was found that the purpose of the appearance of new exhibition spaces in the city at the beginning of the XXI century was to form a more pronounced impact of artifacts on the viewer, depriving a certain outrage,the desire to make this space more open to communication and discussion. The following methods are used in the article: empirical that help to identify individual facts, observation of individual exhibitions and art locations, etc.; analytical with the help of which important processes in the exposition activity of the city are traced; systematization and generalizations that help to make reasoned conclusions about the state, problems and prospects of the exhibition industry of the regional center.

Numismatics of the Roman Era and the Place of Some Sculptural Works in Antiquity

One of the great innovations of Roman monetary art was the introduction of the idea of “landscape”, of rendering buildings, public spaces or even complex scenes unfolded in a more or less elaborate setting. This innovation made some of the monetary issues of the Roman era veritable postcards of antiquity. Greco-Roman statues, lingeringly admired now in museum halls, were originally made to be placed in buildings and public spaces, as their integral parts. But rarely have ancient statues been discovered on their originally intended place (in situ). This short presentation aims to discuss the relationship between numismatics and the possibility of establishing the initial or conjunctural historical location of some sculptural works of antiquity.

Pre-Sabine Room Acoustic Guidelines on Audience Rake, Stage Acoustics, and Dimension Ratios

Prior to Sabine’s work on the Fogg Art Museum and Boston Symphony Hall, several numerical guidelines had been developed and applied to the design of rooms with specific acoustic demands such as theatres, concert halls, and opera houses. Previous papers have discussed guidelines based on the following principles: voice directivity, which was employed in the design of at least 11 rooms; “echo theory”, which quantifies the perception threshold between direct sound and first order reflections in order to prevent echoes from occurring, aiding in the design of at least 7 rooms and leading to the first known use of an acoustic scale model; and notions of reverberation, which influenced the design of at least 14 rooms. This paper discusses three additional pre-Sabine numerical guidelines that were used in room acoustic design: (1) audience rake, (2) stage acoustics and proscenium design, and (3) length, width, and height ratios. The origin of these theories, as well as examples of rooms in which they were applied, are discussed and compared to current practices in room acoustic design.

Effect of Surface Finish Reflectance on Energy Consumed by Lighting

Abstract Efforts from both spatial and energy engineers were conceived in order to reduce the total running costs of electric consumption in buildings. An often-overlooked energy and money saving opportunity for the built environment lies in lighting. This study investigates the effect of room interior finish on electrical lighting energy consumption. Walls, ceiling, and floor finish, in accordance to light reflectance values, were taken at low reflectance model (LRM), medium reflectance model (MRM), and high reflectance model (HRM). Various occupied spaces were classified in accordance to physical dimensions and capacity in order to cover a wide range of space usage and standard illuminance requirements. It was found that the HRM reduced power consumption in lighting by about 40.62 % compared to the LRM in the case for medium museum halls, with energy saved rating at about 2.32 GWh annually; other occupied spaces show a saving potential between 22.00 % and 40.00 %.

India in Situ: Textile History and Practice, a Team Approach

Five textile specialists from various backgrounds came together to explore shared interests in Indian fabrics, histories, and architectural patterns. Guided by Rahul Jain’s extraordinary scholarship and generosity, we visited weaving workshops producing exquisite fabric and metallic yarn in our quest to understand the naqsha system for drawloom patterning. In Cholapur and Varanasi, we studied drawlooms set up to weave velvet, lampas, and samite, and a distinguished naqshaband demonstrated the making of a naqsha that provides the design for drawloom lifts. We examined rare historic textiles in New Delhi’s National Museum, Ahmedabad’s Calico Museum of Textiles, Varanasi’s Bharat Kala Bhavan Museum, and private collections. In Jaipur, we visited the Indian Institute of Crafts and Design, Nila House, Anokhi Farm, City Palace Museum, and Prince Albert Hall Museum, and in Ahmedabad, the National Institute of Design and the Kasturbhai Lalbhai Indigo Museum. At Patola House in Patan, we observed the preparation and weaving of double ikat. Our diverse perspectives resulted in a most enjoyable interdisciplinary traveling seminar. Come with us as we share our adventure in collaborative textile research.

ИСТОРИЯ СОЗДАНИЯ И ФУНКЦИОНИРОВАНИЯ ИСТОРИКО-КРАЕВЕДЧЕСКОЙ ЭКСПОЗИЦИИ «ПО РЕКЕ ВРЕМЕНИ» В МУЗЕЕ Г. СЕВЕРСКА

The Exhibition Hall Museum of Seversk was opened on December 24, 1987 as an exhibition hall. In the first years of its existence, it hosted temporary exhibitions from abroad, central museums of the Soviet Union, as well as exhibitions of local artists and the Children’s Art School. In the early 1990s, the government ceased to financially support traveling exhibitions. The museum faced the problem of how to fill its space. The archaeological excavations conducted by the Tomsk State University and the Seversk Archaeological Inspectorate, which were well known to the Seversk Administration, suggested the idea of creating a Department of Archeology and Ethnography at the museum. This Department was created in 1993. PhD of History P.E. Bardina, E.A. Vasilyev and L.M. Pletneva, came to the Department from the Tomsk State University. From the very beginning, they made it their goal to open a local history exhibition in a few years. In order to create its own collection, the museum needed to undertake archaeological and ethnographic expeditions. It developed a clear plan to excavate already known monuments and, with significant financial support from the Seversk Administration (then known as the City Council of People’s Deputies), brought this plan to life. The museum actively collected ethnographic materials in the surrounding villages. After each year of work, it presented exhibitions. At the same time, the museum developed a Scientific Concept and a Thematic Exposition Plan. In 1997, both documents were approved by the Scientific and Methodological Council of the museum. The Thematic Exposition Plan consisted of three sections: archeology, history of the first Russian settlement on the site of the future city, and ethnography. The exposition as a whole covers the ancient history, the Middle Ages, modern and contemporary times. The archaeological section presents exhibits dating back to the Stone, Bronze, Early Iron, and Middle Ages. The historical section demonstrates documents from archives on the history of the Virgin MaryAlekseevsky Monastery, religious items, photographs of churches from the surrounding villages and priests, a copy of a fragment of the S.U. Remezov’s map. A model of a Russian log cabin with three walls, a front corner and a Russian stove is the central part of the ethnographic exposition. Agricultural and haymaking tools, tools for handicrafts, such as cooperage and blacksmithing, as well as for women's handicrafts, are presented on the outer wall of the log cabin. At a certain distance from the log cabin, there is a hunting hut with tools for hunting, fishing and pine nut harvesting. The exposition is continually updated and supplemented. A particularly large update took place in 2009. In subsequent years, considerable attention was paid to the introduction of innovative technological developments into the exposition. Using the exposition, the museum provides guided tours, classes for schoolchildren and senior kindergarten groups on the basis of museum research and educational programs.

India in Situ: Textile History and Practice, a Team Approach

Five textile specialists from various backgrounds came together to explore shared interests in Indian fabrics, histories, and architectural patterns. Guided by Rahul Jain’s extraordinary scholarship and generosity, we visited weaving workshops producing exquisite fabric and metallic yarn in our quest to understand the naqsha system for drawloom patterning. In Cholapur and Varanasi, we studied drawlooms set up to weave velvet, lampas, and samite, and a distinguished naqshaband demonstrated the making of a naqsha that provides the design for drawloom lifts. We examined rare historic textiles in New Delhi’s National Museum, Ahmedabad’s Calico Museum of Textiles, Varanasi’s Bharat Kala Bhavan Museum, and private collections. In Jaipur, we visited the Indian Institute of Crafts and Design, Nila House, Anokhi Farm, City Palace Museum, and Prince Albert Hall Museum, and in Ahmedabad, the National Institute of Design and the Kasturbhai Lalbhai Indigo Museum. At Patola House in Patan, we observed the preparation and weaving of double ikat. Our diverse perspectives resulted in a most enjoyable interdisciplinary traveling seminar. Come with us as we share our adventure in collaborative textile research. Themes of inquiry:• Understanding the naqsha harness for the Indian drawloom • Examining relations between textiles and architecture • Using symmetry analysis to recognize pattern repeats • Considering fashion in India, an evolving tradition • Learning about the revival of natural indigo in India • Observing craft traditions preserved through development and sustainability Our team: • Annin Barrett—textile artist and designer; instructor, fashion history and sustainable design • Carol Bier—curator, The Textile Museum (1984-2001); research associate (2001-2020); research scholar, Center for Islamic Studies, Graduate Theological Union • Anna Jolly—curator of textiles 1500-1800, Abegg-Stiftung, Riggisberg, Switzerland • Louise Mackie—curator emerita, Textiles & Islamic Art, the Cleveland Museum of Art, Royal Ontario Museum, and The Textile Museum • Barbara Setsu Pickett—associate professor emerita, Department of Art, University of Oregon

Concert Hall, Museum, Cinema, and Theater Attendance: What Difference Do Audience Motivations and Demographics Make?

Given the ubiquity of art in almost all human societies, why is it that participation in the arts is so diverse? To address this question, the present study examined demographic and motivational variables as predictors of arts attendance in a sample of 480 participants, and whether any significant differences appear among attendees at different venues. The ordinal logistic regression identified income, entertainment, and art interest as predictors of arts attendance, with income leading to greater attendance at several art forms. Subsequent analyses also unveiled significant differences in demographic and behavioral characteristics among concert hall attendees, museum visitors, cinema goers, and theater audiences. Taken together, these findings illustrate that audience behavior is selective and incited by conscious awareness of a person’s unique needs. From an applied perspective, adequate knowledge of human functioning will enable arts managers to attract new audiences, without neglecting their responsibility towards art, culture, and education.

ИМАТРА И ПЕННАЯ «РЕКА ЗАБВЕНЬЯ» В ЭКФРАСИСАХ НАЧАЛА XX ВЕКА

The article discusses the possible influence of the optical effects of the painting by F. Matveyev “Imatra Falls in Finland” on the imagery of Russian poetry from I. Annensky to B. Pasternak. It is shown that although Imatra was the closest natural landmark to St. Petersburg, the imagery associated with it could be not just an ekphrasis of the picture, but a “complex ekphrasis”, which included the features of the museum hall in which the picture was exhibited. The focus is on how the poetics of ekphrasis changes when other types of movement are taken into account, apart from the simple revitalization of still images. The analysis of the movement in this picture and the use of sources relevant to Russian Symbolist and world classic poetry, primarily Ovid and Verlaine, make it possible to clarify the specifics of some futuristic images of Russian poetry, such as a comparison of sea and beer in B. Pasternak’s “Themes and Variations”.

Micro-climatic investigation and particulate detection in indoor environments: the case of the historical museum of Bersaglieri in Rome

Museums, historical buildings mainly located in urban centers, may be seriously affected by pollution and other critical urban atmospheric conditions. In addition to museums, there are many other different cultural heritage indoor environments each having different characteristics, mainly depending on the type of preserved materials that are sensitive to pollution and urban conditions. In this contribution we report an investigation of the indoor air quality and some considerations about the conservation of historical artifacts located inside the Historical Museum of Bersaglieri in Rome. Specifically, we show the feasibility in the exhibition rooms of a microclimatic characterization to evaluate the air quality, a critical issue for many of the artifacts exposed in confined spaces. The work we carried out is the monitoring of the behavior of temperature and relative humidity and the presence of airborne pollutants inside the museum halls. Taking into account the regulations in force that control and protect the Italian museums, these measurements have been carried out by using a customized and flexible system based on low-cost multi-parameter sensors allowing the monitoring of several environmental parameters. In spite of the limitation of this preliminary test study, on the basis of the results and according to the different preserved materials, a set of indications, criteria and tools have been provided to the museum managers to implement an effective conservative strategy.

The Ideological Concept of the Monograph “Theatrical and Dramatic Collections of the World”

This monograph presents the first comprehensive study of museums and private collections of theatrical and dramatic profile. Addressing the origins of the creation and the process of formation of collections, the author focuses on the peculiarities of works and objects displayed in the exhibitions and stored in the collections of theatre museums of the world. The author devotes attention to the most interesting and significant collections of different countries. The presented rarities range from the rarest, unique things and works of art acquired in the time of the creation of the museum funds to the monuments of theatrical culture coming to museums these days. The author considers the specifics of theatrical collections, classifying them by type: theatre museums, museums in theatres, private theatrical collections, and dramatic museums. The majestic and chamber architecture of the museums located in the central squares and old streets of the cities leads the readers to the museum halls, where they can get acquainted with the theatrical heritage, touch the expressive and picturesque nature of the theatre language reflected in documentary photos, portraits, sketches of costumes and scenery, personal belongings of artists, written sources, and other materials. The monograph is written in the genre of review with extensive use of illustrative and reference tools, providing analytical conclusions for each chapter. The study is based on the use of art materials, archival documents in private collections, domestic and foreign museums, as well as catalogues of various collections and exhibitions.

Texas Women and Ranching: On the Range, at the Rodeo, and in Their Communities ed. by Deborah M. Liles and Cecilia Gutierrez Venable

Reviewed by: Texas Women and Ranching: On the Range, at the Rodeo, and in Their Communities ed. by Deborah M. Liles and Cecilia Gutierrez Venable Elyssa Ford Texas Women and Ranching: On the Range, at the Rodeo, and in Their Communities. Edited by Deborah M. Liles and Cecilia Gutierrez Venable. College Station: Texas A&M University Press, 2019. ix + 164 pp. Illustrations, map, table, contributors, index. $32.00, cloth. Texas Women and Ranching is an edited collection that came out of a series of conferences and academic conversations centered on the long role that women have played in the Texas ranching industry. The book brings together scholars and writers from various disciplines, but most are historians from Texas. The introduction explains that it has been difficult in Texas to overcome the continued focus on men, not women, in ranching histories. The masculine nature of much of Texas history is true, and this book does not stand alone in its endeavor. It joins other recent work by Sara Massey, Jane Clements Monday, Carmen Goldthwaite, and Rhonda Lashley Lopez. The nine chapters highlight different women, ranching regions, and times, from the eighteenth to twenty-first centuries. It is a lot to accomplish, and the book would benefit from a thesis or themes to connect the chapters. The introduction divides the women into three categories—elite ranching women, women on smaller ranches, and rodeo women—while the title separates them differently: women on the range, at the rodeo, and in their communities. Despite these various divisions, most chapters examine women on the ranch. One chapter, Renee Laegreid's piece on Kathryn and Nancy Binford, mentions women in rodeo. A few, such as Jack Becker's chapter on Mattie B. Morris, highlight the roles these women held as ranchers within their communities. At times, nonranching community life comes to the fore. This is most prominent in the final chapter where Hollace Ava Weiner presents the life story of Frances Rosenthal Kallison. Kallison's story is a fascinating one of Jewish ranching in San Antonio, but the focus on her nonranching community involvement feels like a missed opportunity to place her experience into the broader context of Jewish ranching life. Most of the chapters are biographical in nature, and they tell us interesting stories about how these women came to own land and to ranch. The most successful are those that move beyond the narrative. In her piece on the fence-cutting wars, Brooke Wibracht effectively shows how two ranching women became active players in protecting their land. Sometimes they used their position as women but often they highlighted their rights as landowners, not women, in their public and private appeals for support. The beautiful cover art, provided by an inductee to the National Cowgirl Museum's Hall of Fame, and the short chapters make this book a quick, appealing read for those interested in women's history and western history. Elyssa Ford Department of Humanities and Social Sciences Northwest Missouri State University Copyright © 2021 Center for Great Plains Studies, University of Nebraska–Lincoln

Influence of human emotions on the perception of residential interior ecodesign

Influence of human emotions on the perception of residential interior ecodesign