In 2020, TICCIH published its thematic study on oil heritage, the first global assessment of the heritage of petroleum production and the oil industry, and of the places, structures, sites, and landscapes that might be conserved for their historical, technical, social, or architectural attributes. In many cases, the petroleum production sites and historical infrastructures, situated in corrosive and fragile landscapes, are costly to conserve, challenging to re-use, and pre-function considering their contribution to climate change. TICCIH also included the proposals for (...) criteria to evaluate this heritage and priorities for conserving the most important sites, ensembles, and landscapes, from regional inventories up to World Heritage sites. In this report, the heritage of the petroleum industry is defined as ‘the most significant fixed, tangible evidence for the discovery, exploitation, production, and consumption of petroleum products and their impact on human and natural landscapes’. While the importance of the historical evidence for the oil industry as a tangible cultural heritage is self-evident, it is also challenging to define an integrated and holistic strategy from a conversation point of view. For achieving holistic and methodological re-use strategies, it is required to reconsider various factors such as national policies and economic systems. (shrink)

In the heart of southeast Texas, an industrial powerhouse often referred to as the 'Golden Triangle', the oil refineries and petrochemical plants stand as stalwart testaments to the region's economic evolution. Interestingly, before the discovery of oil at Spindletop, the lumber and cattle industries powered this region's economy. A profound shift occurred when the Lucas Gusher, a fountain of oil spurting thousands of feet into the air, struck the lands of Spindletop Hill on January 10, 1901. This remarkable discovery of (...) the Spindletop oilfield on a slat dome formation south of Beaumont, Texas, marked the birth of the modern petroleum industry and fundamentally transformed the region's geopolitical, economic, and cultural landscapes. People from all over the country relocated to Gladys City and Beaumont in search of work and new opportunities, creating a boomtown as the town's population swelled from 10,000 to 50,000. The newfound urbanization brought by the oil industry transformed the town and the surrounding areas, creating a ripple effect across the region that would be felt for generations to come. The surge in oil-driven economic activity transmuted the region into a vibrant nexus of commerce, with the oil industry emerging as a critical architect of growth and advancement. This newfound affluence incited by the petroleum sector ushered in an era of economic diversification, laying the groundwork for industrialization’s further evolution. The Spindletop Oil Fields not only underscored the United States’ ascent as the foremost petroleum-producing nation but also signaled the nation’s initiation into the Petroleum Age. It was Spindletop that solidified its position as America’s first significant oil field, becoming an enduring symbol of its industrial might. By 1985, over 153,000,000 barrels of oil had been produced and extracted from the Spindletop oil fields, underscoring the magnitude of this extraordinary resource. (shrink)

As the devastation of climate change makes the need to decarbonise clearer by the day, countries face the question of what to do with their old fossil fuel infrastructure. While some environmental activists have taken to sabotaging the carbon economy on the back of its emissions in the Global North, the picture is different in oil-producing countries of the Global South, where energy infrastructure has fed communities for decades. There, the emphasis is placed on memory and institutionalisation.

Art museums are built to elicit a wide variety of feelings, emotions, and moods from their visitors. While these effects are primarily achieved through the artworks on display, museums commonly deploy numerous other affect-inducing resources as well, including architectural solutions, audio guides, lighting fixtures, and informational texts. Art museums can thus be regarded as spaces that are designed to influence affective experiencing through multiple structures and mechanisms. At face value, this may seem like a somewhat self-evident and (...) trivial statement to make. However, in this article, I argue that niche construction theory enables us to make several illuminating observations about the ways in which art museums are engineered to influence our feelings. To expound on this claim, I single out for discussion the Museum of Non-Objective Painting, which for its entire lifespan (1939–52)—and prior to its evolution into the Solomon R. Guggenheim Museum—was expressly organized to kindle in its visitors a special, spiritual form of aesthetic experience: a liberating feeling of cosmic rhythm and order, no less. -/- The argument will proceed as follows: In Part 1, I introduce the basics of niche construction theory and specify the sense in which I apply it to museums and aesthetic affective experiencing. In Part 2, I outline the origins and ethos of the Museum of Non-Objective Painting, after which I pin down the type of affective experience it fostered by drawing from visitors’ self-reported reactions to the artworks on display. Then, in Part 3, I use niche construction theory to explain how the Museum consciously fashioned itself, by means of various mutually supportive resources and technologies, into a fertile setting for the specified feelings. Finally, in Part 4, I extend beyond the discussed case to assess the implications of niche construction theory for a broader understanding of how art museums make us feel. In other words, by tracing the early steps of the Museum of Non-Objective Painting towards the present-day Guggenheim, I call attention to the general variation in affective niches as regards their structure, technologies, and affective aims. Overall, the article elucidates the functioning of art museums as affective niches and furthers the conceptual development of niche construction theory in aesthetics. (shrink)

In the museum context, curators and conservators often play a role in shaping the nature of contemporary artworks. Before, during and after the acquisition of an art object, curators and conservators engage in dialogue with the artist about how the object should be exhibited and conserved. As a part of this dialogue, the artist may express specifications for the display and conservation of the object, thereby fixing characteristics of the artwork that were previously left open. This process can make a (...) significant difference to the visual appearance of the work, the nature of the audience's experience, and how the work should be interpreted. I present several case studies in which the nature of the artwork has been shaped by such dialogues, and discuss principles for resolving cases in which there is a conflict between instructions specified by the artist and those adopted by the museum. (shrink)

We describe here a series of experimental analogies between fluid mechanics and quantum mechanics recently discovered by a team of physicists. These analogies arise in droplet systems guided by a surface (or pilot) wave. We argue that these experimental facts put ancient theoretical work by Madelung on the analogy between fluid and quantum mechanics into new light. After re-deriving Madelung’s result starting from two basic fluid-mechanical equations (the Navier-Stokes equation and the continuity equation), we discuss the relation with the de (...) Broglie-Bohm theory. This allows to make a direct link with the droplet experiments. It is argued that the fluid-mechanical interpretation of quantum mechanics, if it can be extended to the general N-particle case, would have an advantage over the Bohm interpretation: it could rid Bohm’s theory of its strongly non-local character. (shrink)

Just war theory needs to become a real-time critique of government war propaganda in order to facilitate peace advocacy ante bellum. This involves countering asserted justificatory reasons with demonstrable facts that reveal other motives, thereby yielding reflective understanding which can be collectivized via electronic media. As a case in point, I compare here the publicly declared reasons for the U.S./U.K. invasion of Iraq in 2003 with reasons discussed internally months and even years before in government and think-tank documents. These sources (...) show that control of oil rather than regime change or a WMD threat was theunderlying motive. Neo-conservatives in the Bush Administration justified such deception by citing an exoteric/esoteric distinction traceable to Plato via Leo Strauss. As with the Iraq invasion, so in general such propaganda and its rationalizations can be undermined by investigative journalism understood as ranging from fact gathering to rhetorical analysis and critique. (shrink)

This article argues that understanding any space or site relies on a knowledge of its fourth dimension - the timescape. It will explore this by situating the investigation in the museum - a place of heightened contrivance which could easily be shallowly interpreted as "mere style". It will defend a new method of investigating museum temporality which combines both phenomenology and literary theory, and will replace the idea of geo-epistemology with geochronic epistemology: an understanding of context and situation which takes (...) on time as well as spatial location. In so doing, it moves on from notions of the museum as a place out of time, situating it in the networks of meaning, power and politics in which we have lived and are living. Thus, "the whole space of the exhibition" as Lyotard said, "becomes the remains of all time": the Museum on the Edge of Forever. (shrink)

Museums lose their conceptual complexity and polysemy under conditions of war, forced confrontation, and struggles for survival, which may lead to a loss of diversity in the long run. Parametric General Systems analysis allows us to consider a museum as a system and to explore substratum, structural, and conceptual types of simplicity and complexity. Such qualitative analysis makes it possible to move the discussion from the ideological and value sphere to the field of rational and science-based justification. This justification, (...) in turn, illustrates why it is important to maintain complex interpretations in Ukrainian museums during the current war. (shrink)

During the rapid process of deindustrialization in Iran, the term ‘industrial heritage’ has recently emerged as a new subject into public realm. In order to integrate the methodologies for the protection and adaptive reuse strategies, the ‘industrial heritage’ itself needs to be divided into various categories. UNESCO has begun inscribing increasing numbers of local industrial legacies such as railway, mines, factories, assembly plants, agricultural production and manufacturing production in its World Heritage List. However, in the process of their adaptive reuse (...) the question of heritage meanings arises. Over the past century in Iran, powerful corporate and governmental actors have created a broad range of oil imaginaries that changed over time and in line with local cultures. Starting from 1920s and after the nationalization of oil industry in Iran, oil cities such as Abadan and Masjid Suleiman saw massive expansion to house labors and oil-industry specialists who had arrived from the United States, Europe, India, and the Persian Gulf states. This research aims to clarify how the oil industry, in close collaboration with national governments, has materially shaped the oil cities through oil-specific architecture like company headquarters, gas stations, retail and infrastructure buildings. The current legacy of oil industry continues to reshape the industry, society and politics as well. This research uses a critical and analytical problem-based approach to examine the current policies that build a new image and identity through adaptive reuse strategies to promote sustainable local development in Iran’s industrial heritage. (shrink)

This paper is about Cultural Organizations Management, more specifically, in Museums Management, and it is framework in Balanced Scorecard. The paper focuses on one of the perspectives, known as the customer perspective, which is divided into two parallel dimensions, the Visitor's Perspective, and the Social Demand Perspective. It should be noted that typology of museums is diverse, and each organization has a unique mission, a strategic plan according to it and, therefore, its own balanced scorecard. But there may (...) be common strategic objectives and indicators that are useful for managing different museums. The objective of this paper is to be able to provide indicators that facilitate cultural management in the design of a Balanced Scorecard. Likewise, having general indicators allows comparability between different organizations, and provides a useful tool to evaluate the management of a group of museums in a community or region. This paper shows the different ways museums can increase visitors, either through the permanent collection, temporary exhibitions, the online collection, or the opportunity’s provided by Museum Friends Association. Indicators are proposed to meet the strategic objective of increasing visitors in its different types. Likewise, emphasis is placed on Social Demand, which is user's demand for certain heritage assets, including museums. (shrink)

This richly illustrated book offers new perspectives and research on how digital culture is transforming museums in the 21st century, as they strive to keep pace with emerging technologies driving cultural and social change, played out not only in today’s pervasive networked environment of the Internet and Web, but in everyday life, from home to work and on city streets. In a world where digital culture has redefined human information behavior as life in code and digits, increasingly it dominates (...) human activity and communication. These developments have radically changed the expectations of the museum visitor, real and virtual, the work of museum professionals and, most prominently, the nature of museum exhibitions, while digital art and life in a digitally saturated world is changing our ways of seeing, doing, our senses and aesthetics. -/- Overall, this book creates a new picture of the 21st-century museum field. As museums become shared spaces with their communities, local, national and global and move from collection-centered to user-/visitor-centered institutions, they are assuming new roles and responsibilities tied to new goals for engaging their audience, conveying meaning through collections, creating learning experiences and importantly, connecting to daily digital life and culture integral to the museum ecosystem. Our studies of recent exhibitions at museums leading change are used to exemplify new directions, while they point to a reimagined vision for museums of the future at the heart of which is the integration of digital culture and visitor experience and participation in real and virtual space. (shrink)

The Louvre Museum is the largest of the world's art museums by its exhibition surface. These represent the Western art of the Middle Ages in 1848, those of the ancient civilizations that preceded and influenced it (Oriental, Egyptian, Greek, Etruscan and Roman), and the arts of early Christians and Islam. At the origin of the Louvre existed a castle, built by King Philip Augustus in 1190, and occupying the southwest quarter of the current Cour Carrée. In 1594, Henri IV (...) decided to unite the palace of the Louvre with the palace of the Tuileries built by Catherine de Medicis. The Cour Carrée was built by the architects Lemercier and then Le Vau, under the reign of Louis XIII and Louis XIV. The Department of Paintings currently has about 7,500 paintings (of which 3,400 are exposed), covering a period that goes from the Middle Ages to 1848 (date of the beginning of the Second Republic). By including the deposits, the collection is, with 12,660 works, the largest collection of ancient paintings in the world. With rare exceptions, the works after 1848 were transferred to the Musée d'Orsay when it was created in 1986. CONTENTS: Louvre Museum - Variety of exhibited works - The Royal Palace - The collections - - Eastern antiquities - - Arts of Islam - - Egyptian Antiquities - - Greek, Etruscan and Roman Antiquities - - Paintings - - - French school - - - Northern Schools (Flanders, Netherlands, Germany) - - - Italian School - - - Other schools Painting - Definitions - Painting genres - - The landscape - - Still life Paintings - FRANCOIS BOUCHER - - Vulcan presenting arms to Venus for Aeneas - RAPHAEL - - Portrait of Baldassare Castiglione - RUBENS - - Helena Fourment with children - LOUIS DAVID - - Madame Récamier - REMBRANDT - - Portrait of Heindrickje Stoffels - VELAZQUEZ - - Portrait of the Infanta Margarita - SIMONE MEMMI - - Jesus Christ walking on Calvary - JAN STEEN - - The Bad Company - HANS HOLBEIN - - Erasmus - CORREGGIO - - Mystic Marriage of Saint Catherine - LANCRET - - Conversation - JAN VAN DER MEER (VERMEER) - - The Lacemaker - VAN DYCK - - Charles I at the Hunt - FRANÇOIS CLOUET - - Elisabeth of Austria (1554-1592), Wife of Charles IX and Queen of France (1570 - 1574) - DELACROIX - - The Barque of Dante - EL GRECO - - Saint Louis, King of France, and a page - REMBRANDT - - Pilgrims at Emmaus (The Supper at Emmaus) - GERARD DAVID - - Marriage at Cana - RAPHAEL - - Portrait of Dona Isabel de Requesens, Vice-Queen of Naples - RUBENS - - La Kermesse (The Village Fête, or Noce de village) - FRANS HALS - - The Gypsy Girl - DECAMPS - - The Sonneurs - HOLBEIN THE YOUNGER - - Anne of Cleves - P. PRUD’HON - - Psyche transported to Heaven - PHILIPPE DE CHAMPAIGNE - - Portrait of Richelieu - LANCRET - - The Autumn - L. DAVID - - Madame Seriziat - COROT - - Recollection of Mortefontaine - LEONARDO DA VINCI - - La belle ferronnière - CORREGGIO - - Venus and Cupid with a Satyr - WATTEAU - - Pilgrimage to Cythera (The Embarkation for Cythera) - NICOLAS POUSSIN - - The Inspiration of the Poet - PRUD’HON - - The Empress Josephine (1763-1814) - FRAGONARD - - The Bathers - H. RIGAUD - - Louis XIV (1638–1715) - TERBURG - - The Concert - LEOPOLD ROBERT - - The Pilgrimage to the Madonna of the Arch - LARGILLIERE - - Family Portrait - MANTEGNA - - Parnassus - MEMLING - - The Virgin and Child between St James and St Dominic - FRAGONARD - - The Music Lesson - JEAN VAN EYCK - - The Virgin of chancellor Rolin - PAOLO VERONESE - - Susannah and the Elders - FRANÇOIS BOUCHER - - Diana leaving her bath - GÉRICAULT - - The Raft of the Medusa - MURILLO - - Assumption of the Virgin - CLAUDE GELLEE (LORRAIN) - - Ulysses returning Chryseis to her father (Marine, setting sun) - INGRES - - Madame Riviere - E. MURILLO - - The Young Beggar - GREUZE - - The Broken Pitcher - PIETER DE HOOCH - - Card players in an opulent interior - POUSSIN - - Et in Arcadia ego - QUENTIN MATSYS - - The moneylender and his wife - ANDREA SOLARIO - - Madonna with the Green Cushion - TITIEN - - Woman with a Mirror - DAVID TENIERS (the Younger) - - The Works of Mercy - LEONARDO DA VINCI - - Mona Lisa (La Gioconda) - Armand Dayot . (shrink)

Since the International Agency on Cancer Research’s monograph found glyphosate to be a likely carcinogen, the regulatory focus on the chemical has centred on this determinative criterion for regulatory action. Yet, other pertinent factors, such as the effects of glyphosate on fresh and ground water and ensuing effects on biodiversity, have received less attention as legitimate rationales for regulating the chemical. This underrepresentation prevents a wider policy discussion on the environmental and human health effects of the chemical and fails to (...) disrupt assumptions of path-dependently continuing on agriculture’s chemical treadmill. To avoid ad hoc post hoc chemical regulation, we assess four areas of chemical regulatory oversight in Europe with regard to glyphosate affecting water: (1) the undue emphasis on in laboratorio versus in situ testing; (2) assessing single chemicals (isolated glyphosate) versus admixtures (glyphosate plus surfactants and adjuvants) that are used in practice; (3) the tendency to downplay harms to non-human life; and (4) the lack of policy coherence in the existing regulatory framework. Focusing on European Union regulation of pesticide and water policy affecting aquatic environments, we conclude that issues of measurement and priority have become highly politicised in both science and policy, requiring preventative, precautionary frameworks utilising plural forms of measurement. (shrink)

This chapter delves into the museological side of ‘the way forward’ to conservation for planetary health bioethics. Specifically, it highlights the crucial role that museums play – their curatorial or exhibition interventions, conservation operations, development policies, or practices – which present or represent the vital relationship between human and planetary health. While it is not new to stress the significance of museums’ link to the environment and environmental education, it is necessary to re-examine recent cases in light of (...) the rapid changes brought about by climate change and the constant call for sustainability. We thus offer a review of some recent literature that appraises the museum’s role in bioethically considering the health of our living planet. Learning this role taps into relatively new themes such as ecomuseums and architectural heritage, or critical eco-museology. (shrink)

The impact of crude oil on the permeability of the soil in a non oil producing community in Enugu State was investigated using disturbed A 6 CL soil sample collected from Ibagwa Nike area of the state. The sample was divided into five 5 portions and each of the four 4 portions was dosed with Bonny light crude oil at 2 , 4 , 6 and 8 by weight of the samples. The physical properties of the uncontaminated soil were tested (...) and analyses and used as control. The aim of the laboratory investigation was to determine the effects of crude oil on the permeability of the soil. The permeability of the uncontaminated soil was found to be 1.2609x10 7. Permeability tests were also conducted on the contaminated soil samples at the various percentage contaminations. The results showed that at 2 crude oil contamination the permeability was 9.6403x10 9, a drastic reduction. The other results were 6.9600x10 6, 2.2621x10 8 and 9.1286x10 8 at 4 , 6 , and 8 contamination levels, respectively. The ranking after contamination is seen to drop within the range of 10 8 and 10 9 showing a change in the permeability due to oil content. This observed reduction in permeability alters the natural groundwater recharge which can be remedied by enhanced bioremediation through aeration of the soil. Iloeje A. F. | Aniago V. "Effect of Crude Oil on Permeability Properties of the Soil" Published in International Journal of Trend in Scientific Research and Development (ijtsrd), ISSN: 2456-6470, Volume-1 | Issue-1 , December 2016 . (shrink)

The ‘museal’ approach to art has been attacked from many angles in the last decade; the main issue raised by most of these attacks was that such an approach would promote a certain idea of art which has little to do with real-life or the layman’s interest. Some artists have protested by stepping out of the museum space with projects deliberately designed as non-museum items (performance, land-art, public art etc.). Art, however, is always meant for a public, so, as an (...) “unfortunate” consequence, those artists who wished to become famous were not able to avoid certain art institutions, such as museums, galleries, curators or critics. Until now. The internet, especially Facebook, provide genuinely new options/ opportunities for the virtual display of art pieces, an option that artists are eager to take advantage of. In the following, I will present the process of expansion of the public artistic sphere, I will attempt to show why Facebook serves well as a public artistic arena, and finally, I will present some salient Facebook-art-projects. The presented projects will include works by a street artist (Banksy), a performance artist (Gusztáv Ütő) and a graphic designer (Dan Perjovsky). These three artists are intrigued by current social issues, which are usually reflected in their works, also they all wish to spread their messages to the widest possible public. On of their favorite channels is the Facebook Wall. (shrink)

Following Darcy’s concession in 1901, Britain began oil exploration in the southwest of Iran. In 1908, economic oil was discovered, and the Anglo- Persian Oil Company (APOC) was established. This company from its establishment was under the influence of the British Government, to extend that, Britain became its major shareholder in 1917 which continued until the nationalization of Iran’s oil in 1951. In the meantime, the concession and following agreements prepared an almost autonomous status for the company. Generally, Iran had (...) never been a British colony, however; this status had evidence of colonialism and let the company build the artificial environment in Iran’s southwestern, based on its attitudes and values, as well as hierarchical structure, racial-class segregation, and closed society, which experts consider it as a type of social engineering. According to this, the building formed by the company could manifest the upstream ideas, specifically in towns that were completely shaped by it. Therefore, Masjed Soleyman and Abadan, the two main company towns of the British-owned Anglo-Persian Oil Company, which were quite isolated from other parts of Iran, could be suitable platforms for displaying the company’s attitudes and values. Therefore, this research by interpretive-historical methodology, based on both primary and secondary sources from desk research and archival research, investigates the manifestation of the company’s attitudes and values in its quiet a half-century (1901-1951) building in Masjed Soleyman and Abadan, in five periods. These periods were shaped based on the most important happens including periods of exploration (1901-1908), formation (1908-1917), primary development (1917-1933), secondary development (1933-1939), and leading to the nationalization of oil (1939- 1951). In the first period, there is no evidence of architecture or urbanism, in the second and third periods, architecture, specifically bungalows appeared company values and in the fourth and fifth periods, urbanism especially, garden cities represented company values. (shrink)

In this paper an attempt has been made towards the design and evaluation of a solar parabolic trough collector (PTC) system integrated with a conventional oil boiler (COB) to increase the energy utilization effectiveness and reduce the environmental emission of the existing conventional oil boiler in the Kombolcha textile factory, in Ethiopia. The factory uses 8500 ton/annum of heavy fuel oil to generate 26 ton/hour of pressurized hot water at 140C temperature which causes an increase in greenhouse gas emissions, so (...) the solar parabolic trough collector hot water generation system will be an appropriate solution for this application. Based on the available annual solar radiation, estimates of the solar fraction, solar energy unit price and system pay-back period have been carried out. The proposed system has the potential to save 1055.9 ton/year of fuel oil. The unit cost of PTC solar energy is estimated to be 0.0088 $/kWh and the payback period of the plant is five years. Since the unit price of oil energy (0.0424 $/kWh) is much greater than the unit price of solar energy by a substantial margin (0.033 $/kWh) in Ethiopia, therefore the water heating system by a solar parabolic trough collector is a feasible alternative to heating by a conventional oil boiler. (shrink)

Among the various functions of museums are the notions that they attract, entertain and arose curiosity in visitors, which leads to questioning thus promoting learning. This 21st century shows many new needs and preoccupations of contemporary society relating to museums. Although there are many, access to museums, professionalism, the nature of museums, issues of collection and management are all highlighted as being particularly significant. Running across all these issues is the recurrent theme of the relationship between (...) a museum and tourism. Therefore, the main objective of the study was to assess the condition of the Ethnographic Museum (Fetewrari Belay Ethnographic House) in Aksum and its contribution to tourism development. For the methodology, a descriptive research design inculcating quantitative and qualitative aspects was used. Samples were drawn from tourism service providers, targeted professionals, church and local community representatives and visitors by applying both probability and non-probability sampling methods. Finally, the major findings of the study show that the Ethnographic Museum of Aksum is the custodian of immense private heritage, inter alia the building, clothes, crosses, pottery, wood items, clay items, artifacts, and gifts to the Afterari, etc. The museum also has excellent tourism potential, however because of its mismanagement and lack of promotion from both the owner and the concerned tourism bodies it is not visited as much as it could be. (shrink)

The oil and gas industry is a complex data-driven industry with compute-intensive, data-intensive and business-intensive features. Cloud computing and big data have a broad application prospect in the oil and gas industry. This research aims to highlight the cloud computing and big data issues and challenges from the informatization in oil and gas industry. In this paper, the distributed cloud storage architecture and its applications for seismic data of oil and gas industry are focused on first. Then,cloud desktop for oil (...) and gas industry applications are also introduced in terms of efficiency, security and usability. Finally, big data architecture and security issues of oil and gas industry are analyzed. Cloud computing and big data architectures have advantages in many aspects, such as system scalability, reliability, and serviceability. This paper also provides a brief description for the future development of Cloud computing and big data in oil and gas industry. Cloud computing and big data can provide convenient information sharing and high quality service for oil and gas industry. (shrink)

Abstract: This paper examined the impact of crude oil price fluctuation on tertiary education survival in Nigeria from 2011-2018. Ex-post facto research design was used. Data were extracted from Education Trust Fund (ETF), Federal Ministry of Education (FME), and National Bureau of Statistics (NBS). The data were analyzed using multiple regression analysis with the aid of Statistical Packages for Social Sciences (SPSS) version 20.0 software package. The findings of this study revealed that Crude oil price fluctuation is a critical determinant (...) of tertiary education survival in Nigeria. There is a significant relationship between crude oil price fluctuation and budget allocation to tertiary education in Nigeria. This paper recommend that a policy that permits tertiary education survival through education tax fund allocation from profits of registered petroleum companies proceed should be extended and apply to established Alumni Tax Fund. The Alumni Tax Fund will generate pool of fund from graduate of Nigeria Universities, Colleges of Education and Polytechnic Education. (shrink)

To commemorate the tragic event of Super Typhoon Yolanda (International Name: Haiyan) last 2013, local leaders of the province of Leyte, Philippines, are speculating on establishing a Haiyan Museum in 2023, a decade later. With connotations of ‘dark tourism’, one way to look at the speculative decade-inspired establishment is through Amy Sodaro’s ‘memorial museums’ with the purpose of ‘education-based memorialization.’ Juxtaposing this with Paul Morrow’s philosophical perception of objects in memorial museums as possible provocateurs of repulsive feelings, there (...) is a lingering suspicion of whether exhibits in the museum can really flesh out educational, therapeutic reflections or healing. Then, the crucial question to be addressed is: will this Haiyan Museum house feelings of healing, 10 years later, or trauma? To answer this question, I take insights from survivor-curators or the museum curators of Region VIII, Philippines, who experienced the Haiyan tragedy at, or proximate to, the landfall and aftermath first-hand. The notion of a ‘survivor-curator’ is a vital coinage that would represent a close perception of the museum and its museum objects. The responses are then thematised into a more coherent discussion to see how museums can be spaces of healing in their communal aspect and future museum projects. (shrink)

I address two related questions. First: what value is there in visiting a museum and becoming acquainted with the objects on display? For art museums the answer seems obvious: we go to experience valuable works of art, and experiencing valuable works of art is itself valuable. In this paper I focus on non-art museums, and while these may house aesthetically valuable objects, that is not their primary purpose, and at least some of the objects they house might not (...) be particularly aesthetically valuable at all. Second: to what ontologicaltypeorcategorydo museum objects belong? Whattypeof item should be featured on an inventory of a museum collection? I distinguish betweentypicalobjects andspecialobjects. While these are different types of object, both, I argue, areabstracta, notconcreta. The answer to the second question, concerning the ontological category of special objects, throws new light on various philosophical questions about museums and their collections, including the question about the value of museum experiences. But it also throws light on important questions concerning the preservation and restoration of museum objects. (shrink)

The protracted history of consuming carbon-based energy sources in Iran culminated in 1908 with the momentous discovery of the inaugural oil field in Masjed Soleyman. This newfound carbon-based source not only brought a lot of revenues to Iran but also, brought forth a multitude of materialities like pipelines, roads, bridges, refinery factories, tankers, and rigs into Iran. This new materiality exerted a profound influence on the perception and imagination of Iranians, particularly Iranian artists. Consequently, carbon permeated diverse manifestations within Iranian (...) artworks assuming various artistic approaches; in other words, carbon was inevitably introduced into aesthetics. Serendipitously, the ascension of Reza Shah Pahlavi to power in Iran almost coincided with the discovery of oil. Reza Shah and his successor, Mohammadreza Shah, sought to position themselves as a novel international force governing a "developed" nation for which they needed to lubricate the production-consumption cycle in Iran. To achieve this objective, they championed extensive governmental propagandas that celebrated carbon-based consumerism, and with that, they introduced aesthetics into carbon. Drawing inspiration from Walter Benjamin's notions “politicizing aesthetic” and “aestheticizing politics” and insisting that in Iran, oil/carbon is politics, this paper aims to historicize the process of carbonization of aesthetics in Iranian art realm on the one hand, and aestheticization of carbon in governmental propaganda on the other hand. This paper focuses on visual ideologies in visual artworks, including architecture, painting, and sculpture in the artwork realm and postal stamps, postcards, and paper moneys, on the other hand. (shrink)

Abstract: This study has effectively tackled the critical challenge of accurate calorie prediction in dishes by employing a robust neural network-based model. With an outstanding accuracy rate of 99.32% and a remarkably low average error of 0.009, our model has showcased its proficiency in delivering precise calorie estimations. This achievement equips individuals, healthcare practitioners, and the food industry with a powerful tool to promote healthier dietary choices and elevate awareness of nutrition. Furthermore, our in-depth feature importance analysis has shed light (...) on the indispensable role played by specific nutritional attributes in calorie estimation. This unveiling of crucial factors provides valuable insights for further research endeavors and practical applications. Notably, this research extends its impact beyond the immediate context by making substantial contributions to the domains of nutrition science and dietary planning. It underscores the transformative potential of artificial intelligence, demonstrating how it can revolutionize our approach to food, nutrition, and health. As the world grapples with the challenges of diet-related health issues and environmental concerns, the accuracy and precision achieved in calorie prediction through neural networks represent a significant stride towards more informed and conscientious dietary practices. In this era of data-driven decision-making, our research paves the way for healthier lifestyles, heightened nutritional awareness, and a more health-conscious society. (shrink)

The settlements surrounding the Exxon Valdez oil spill prove to be an interesting case of retributive and corrective justice in regard to damage to the ecology of the commons, particularly in light of the recent Deepwater Horizon spill in the Gulf of Mexico. After reviewing the harm done to the ecology of Prince William Sound by the spill, and an account of Exxon Corporation’s responsibility, I examine the details of the litigation, particularly the Supreme Court decision in this matter. In (...) the early settlement, there is a clear disproportion between damage awards to plaintiffs representing the current economic users of Prince William Sound versus the trustees for the Sound’s commons. I argue that the disproportion reveals not only a thoroughly economic understanding of ecological commons, but bias in the treatment of its current economic users, as opposed to an understanding of such ecologies as true commons shared over generations. I argue that such biases fail reasonable moral tests and do not stand up to common principles of retributive justice. I end by suggesting a legal maneuver to correct such tendencies. (shrink)

There is wide research about the Philosophy for/with Children program. However, there is not any known attempt to investigate how a philosophical discussion can be implemented through a museum workshop. The present research aims to discuss aesthetic and epistemological issues with primary school children through a temporary art exhibition in a museum in Cyprus. Certainly, paintings have been used successfully to connect philosophical topics with the experiences of the children. We suggest, though, that this is not as innovative as the (...) conduction of a dialogue in a museum. Results were mostly positive. Pupils participated in the discussion and they gave intensive definitions of beautiful paintings and counterexamples for given definitions. The structure of inductive arguments and the difference between belief and knowledge were discussed. Progress in the analysis of inductive arguments was slightly noticeable, but it is likely that this was due to limited time spent on analysing those arguments. Furthermore, more sessions are needed to make generalisations for the effectiveness of the Philosophy for Children program in a museum instead of a traditional classroom. Even though there is discussion about the different stimuli of the discussion, it might be worth considering the effectiveness of different contexts where the discussion can take place. (shrink)

Shifting perspectives and acknowledging the long-term significance of undisturbed ecosystems in promoting environmental sustainability and fostering economic development are critical.

The aim of this paper is to have a better architectonic insight over the museum of Gjergj Kastriot Skanderbeg in the city of Kruja. The history for which Albanians are proud will be the focus of this paper from its genesis until now, always seeing its architectural perspective. The castle as the last resistance of Albanians at the time of Turkish occupation will be analyzed; together with the mode of implementation of the new Museum Gjergj Kastriot Skenderbeu at the time (...) of socialism. Who were the ideas of the ideologies of the time? What were the secrets of the building design? What were the secrets of the construction of the building? What were the motivations and inspirations of the architects and the design group? The paper will contain historical dating, direct interviews with architects of the building, and authentic architectural analysis of the building. Museum of Kruja is a work that belongs not only to Albanians but all of Europe and Balkan. Today it is one of the most visited works throughout the country. (shrink)

Social activity and public involvement in participatory practices, and the creation of civic spaces on the basis of the museum have become relevant for the formation of the concept of a modern museum. Such practices are especially important in times of crisis when history is being documented online and the Rapid Response Collecting (RRC) method is becoming widespread. Modern war discourse requires the newest forms of archiving and description because the recording of history is complicated by the volatility of the (...) military situation, the movement of large flows of displaced persons, and the departure of citizens abroad. The Ukrainian experience of documenting the war is examined in the article taking the example of the ATO Museum (an acronym for anti-terrorist operation) in Dnipro and the online Museum of Civilian Voices. It is important for us to pay attention to the national peculiarities of the codification of collective memory through individual experience and life stories during the full-scale military aggression against Ukraine, and to show the newest forms of presenting the evidence of war. (shrink)

The actual and potential uses of holograms in museum displays, and the philosophy of knowledge and progress that they represent. Magazine journalists, museum curators, and historians sometimes face similar challenges in making topics or technologies relevant to wider audiences. To varying degrees, they must justify the significance of their subjects of study by identifying a newsworthy slant, a pedagogical role, or an analytical purpose. This chasse au trésor may skew historical story telling itself. In science and technology studies, the problem (...) potentially is worst for those subjects that do not retain an enduring capacity for spectacle or do not readily conform to templates of progress or economic importance. The case of holography is an excellent illustration of these points. An unusually wide-ranging subject, holography has attracted competing interpretations of intellectual novelty, technological application, and cultural significance. This paper examines the history of museum collections and exhibits of holography from the explosion of interest in the technique in 1964 to the end of the twentieth century. I argue that holography presents a particular challenge to museum collections and to popular representations of the history of science and technology. (shrink)

This dissertation asks the question of how ownership over property in museums is decided. It concludes that for a range of candidate concepts of property, none of them oblige museums to repatriate artefacts unless we weaken Young’s theory to repatriate through how much artefacts are valued by a culture. However, this dissertation rejects the Ownership Argument as a defence for repatriation. To do this, it will be considering three options of how we understand ‘property’ through three scholars: Locke, (...) Young and Thompson. This dissertation will discuss the difference between cultural internationalism and cultural nationalism to flip the question, and attempt to defend a view that museums should retain the artefacts under their possession. To do this dissertation justice, this work has been interdisciplinary, exploring museums, law, applied philosophy, applied ethics, epistemic and metaphysical concepts, to discuss the ways in which repatriation is defended through property. It must be noted that property theories are in vast abundance, however, to keep the project manageable, it does not include prominent philosophers such as Nozick, Hobbes, and Rosseau. Although, given that the three concepts this dissertation discusses do not work, it seems unlikely that a different version would due to similar objections. (shrink)

These two books challenge museums--the predominant and continually evolving institutions of art delivery--in order to uncover and expose the rampant political biases and hidden strategies that their founders, administrators, and boards of trustees have utilized in order to maintain the preferred status quo of predominantly white male power.

This study focuses on nuclear tourism, which flourished a decade ago in the Exclusion Zone, a regimented area around the Chornobyl Nuclear Power Plant (Ukraine) established in 1986, where the largest recorded nuclear explosion in human history occurred. The mass pilgrimage movement transformed the place into an open air museum, a space that preserves the remnants of Soviet culture, revealing human tragedies of displacement and deaths, and the nature of state nuclear power. This study examines the impact of the site (...) on its visitors and the motivations for their persistence and activities in the Zone, and argues that through photography, cartography, exploration, and discovery, the pilgrims attempt to decode the historical and ideological meaning of Chornobyl and its significance for future generations. Ultimately, the aesthetic and political space of the Zone helps them establish a conceptual and mnemonic connection between the Soviet past and Ukraine’s present and future. Their practices, in turn, help maintain the Zone’s spatial and epistemological continuity. Importantly, Chornobyl seems to be polysemic in nature, inviting interpretations and shaping people’s national and intellectual identities. (shrink)

The oil industry has played a significant role in the economy of modern Iran and Malaysia, especially as a source of transnational exchange and as a substantial factor in industrial and urban development. During the previous century, the arrival of oil companies in the Persian Gulf brought many changes to the physical built environment and accelerated the urbanization process in the port cities. Similarly, the development of the national oil industry had a considerable impact on post-independence Malaysia, affecting balance sheets, (...) the environment, and society. Oil significantly changed Malaysia’s position in the global economy and transformed a predominantly agricultural country into a significant producer of petroleum and natural gas. This paper implements the analytical, historical, and comparative perspectives. Specifically, it focuses on the legacy of oil cities in the Persian Gulf and the South China Sea as the birthplaces of the oil industry in two regions. In both countries, geopolitical importance and oil’s cultural, social, and historical narratives have the potential to represent national unity, political memory, and collective identity. In proposing this grounding, the paper seeks to approach the oil heritage as a particular form of industrial heritage. This research analyses the future of energy heritage, existing Covid-related challenges, and political tensions and examines the various impacts, transitions, and capacities associated with the current international relations, post-pandemic urban developments, and the post-oil future to pave the way for these developing areas of industrial heritage and oil heritage in Iran and Malaysia. (shrink)

The world of ontology development is full of mysteries. Recently, ISO Standard 15926 (“Lifecycle Integration of Process Plant Data Including Oil and Gas Production Facilities”), a data model initially designed to support the integration and handover of large engineering artefacts, has been proposed by its principal custodian for general use as an upper level ontology. As we shall discover, ISO 15926 is, when examined in light of this proposal, marked by a series of quite astonishing defects, which may however provide (...) general lessons for the developers of ontologies in the future. (shrink)

Not the publicly asserted reasons (humanitarianism and self-defense) but cooptation of oil reserves was the objective behind the US invasion of Iraq in 2003. This underlying motive utterly fails to satisfy just war jus ad bellum conditions. This prioritization of petroleum is well documented and is consistent with decades old US policy towards the Middle East, especially as codified by Anthony Cordesman in 1998 and US DoD's Strategic Assessment 1999 and then adopted by Bush II. This fraudulent use of military (...) force raises a question as to how motives for war can be accurately identified prior to falsely justified belligerence. Some positive signs are noted herein as to political philosophers' better use of Rawls's reflective equilibrium. (shrink)

Museums are home to millions of artworks and cultural artifacts, some of which have made their way to these institutions through unjust means. Some argue that these objects should be repatriated (i.e. returned to their country or culture of origin). However, these arguments face a series of philosophical challenges. In particular, repatriation, even if justified, is often portrayed as contrary to the aims and values of museums. However, in this paper, I argue that some of the very considerations (...) museums appeal to in order to oppose repatriation claims can be turned on their heads and marshaled in favor of the practice. In addition to defending against objections to repatriation, this argument yields the surprising conclusion that the redistribution of cultural goods should be much more radical than is typically supposed. (shrink)

In this paper we analyse the ideas implicit in the style of exhibition favoured by contemporary galleries and museums, and argue that unless the audience is empowered to ascribe meaning and significance to artwork through critical dialogue, the power not only of the audience is undermined but also of art. We argue that galleries and museums preside over an experience economy devoid of art, unless (i) indeterminacy is understood, (ii) the critical rather than coercive nature of art is (...) facilitated, and (iii) the conditions for inter-subjectivity are met. (shrink)

Since the 1860s, petroleum companies, through their influence on local governments, port authorities, international actors and the general public gradually became more dominant in shaping the urban form of ports and cities. Under their development and pressure, the relationships between industrial and urban areas in port cities hosting oil facilities evolved in time. The borders limiting industrial and housing territories have continuously changed with industrial places moving progressively away from urban areas. Such a changing dynamic influenced the permeability of these (...) borders. Port cities are nodes and logistic points where various flows of commodities, wealth, and knowledge gathered before further re‐distribution. These flows affected port cities by changing their spatial organization and the availabiity of space between borders. The main question here is: How did industrial and urban borders evolve through time in port cities? Through a historical analysis, the article explores the settlements of oil facilities and the influence of oil companies over local, regional, and national governments in creating borders and how it influenced the porosity of port cities. This article, through the petroleum narrative, illustrates the impacts of past borders on the contemporary urban form through the evolution of the French port city of Dunkirk, in the North of France. As a historical study, the article analyzes the changing relationships between petroleum industrial sites and housing areas in the city of Dunkirk, using aerial pictures, archival sources, and regulations of different periods. The importance of this analysis lies in knowing that former oil sites previously located on the periphery of Dunkirk, that were forgotten by the authorities are now located within the current urban tissue. This process demonstrates the importance of historical developments to understand current challenges in the urban planning of industrial port cities. (shrink)

An analysis of three pictorial works by Ugo Nespolo is put forward: "Barbe posticce" (1977); "Guardar Manzoni" (1974); "Il museo: Fontana" (1975). It is claimed that such works embody meditations on the concept and the varieties of representation, that they prompt critical reflections on the role of museums in art-making, and that they suggest an alternative route to that of the 'dematerialization' of the art object for the understanding of contemporary art.

This paper addresses two questions about audience misunderstandings of contemporary art. First, what is the institution’s responsibility to prevent predictable misunderstandings about the nature of a contemporary artwork, and how should this responsibility be balanced against other considerations? Second, can an institution ever be justified in intentionally mounting an inauthentic display of an artwork, given that such displays are likely to mislead? I will argue that while the institution has a defeasible responsibility to mount authentic displays, this is not always (...) sufficient to avoid misunderstanding; the institution will sometimes need to supply auxiliary information. And even where competing considerations require mounting an inauthentic display, thoughtful museum practice can promote the audience’s ability to grasp the work. The argument will be developed with consideration of artworks by El Anatsui, Lygia Clark, and Glenn Ligon. (shrink)