Participatory Cultural Heritage Conservation Approach

A narrat ív forma ihl etése Kondor viszonya a középkori és reneszánsz mûvészethez M A R O S V Ö L G Y I G Á B O R Valaki önarcképei Arckép és önarckép (de)konstrukciója Kondor Béla mûvészetében Élet raj z Biography Képjegyzék I List of Pl ates 7 11 43 75 89 127 151 173 189 214 216 218 127 H O R V Á T H G Y Ö N G Y V É R K o n d o r , D ü r e r é s a m û v é s z i h a g y o m á n y k é r d é s e Idézni nem lustaság, hanem belépés a tradícióba, nem hagyománytisztelet, hanem hagyományhasználat, ami a tisztelet maga. E S T E R H Á Z Y P É T E R 1 Kondor Béla metszeteinek egy jelentõs csoportja a mesteréül fogadott neves elõdök, Albrecht Dürer, William Blake és Hieronymus Bosch mûveire reflektál. E munkák Esterházy "hagyományhasználat" kifejezésével jellemezhetõek, hiszen általuk Kondor célja bevallottan a hagyományba való belépés volt. Kondor grafikusként végzett a Képzõmûvészeti Fõiskolán, így Dürer, akinek a mûvészettörténeti szakirodalom a rézmetszés sokszorosító eljárásának mûvészi szintre emelését tulajdonítja, megkerülhetetlen volt számára; mûvészetének technikai virtuozitása, mesteremberbõl mûvészegyéniséggé válása, magyarországi gyökerei szintén e választás mellett szóltak. William Blake máshogyan hatott Kondorra, mint Dürer: Blake személyében rokonlélekre, szellemi társra talált, 2 akinek életmûve szintén a kettõs szerep, az író-költõ és a grafikus köré fonódott. Kondort a Blake-sorozat megalkotásakor Blake 1959-ben magyarul megjelent kötetének versei, elsõsorban a Menny és Pokol házassága címû ciklus ihlette meg. Hieronymus Bosch fantasztikus figurákkal és furcsa szörnyekkel teli víziója ironikus állásfoglalásra késztette Kondort, aki Boschhoz hasonlóan fogékony volt az apokalipszis, a vég és a káosz vízióira. Kondor tradíciókeresésével kijelölte saját mestereit, mûveinek értelmezési keretét, de a régi mesterekhez való visszatérés egyben elfordulást jelentett a hivatalos kultúrpolitika programjától és kiállás volt a mindenkori mûvész szabadsága mellett. A D ü r e r -s o r o z a t Milyen örök a régi új. Milyen új megint, ami régi! T A N D O R I D E Z S Õ : A R É G I Ú J 3 Kondor nyolc lapból álló Dürer emlékére címû sorozatához (Kat. 69/34-41), 4 melyet elõször a Magyar Nemzeti

The meme is an idea, element of culture or behavior passed down from one person to another through imitation. A more specific form of meme is the internet meme, which involves images, videos, text, or other content rapidly spread, and often modified, over the internet, and sometimes transcending the mere digital into the material world. Internet memes are often global and therefore help establish commonality between people across cultures, oceans, and national boundaries. They also can help further knit together particular communities already bonded through digital interaction. Yet, despite the cultural impact and pervasiveness of these virtual memes and artifacts in the late-20th and early-21st century, the heritage field has only just begun to recognize the importance and impact of online sub-cultures and viral phenomenon, and the future heritage value that these sub-cultures and phenomenon will hold. Meme historians are few and meme museums even more scarce. Because internet memes and cultures evolve so rapidly, and website links often move or expire, many, probably most, of these virtual objects and intangible heritages, are in danger of being forgotten and lost over the long term. Compounding this difficulty is the sheer volume of memes and artifacts to curate and sift through for selective preservation. This thesis explores the research question of how to select internet memes for preservation as virtual tangible and intangible heritage, and postulates that participatory, community-based efforts could prove invaluable to developing and implementing selection strategies.

Ten years ago, thanks to the joint action of UNESCO and four principle organisations of professionals o culture, a new international NGO was created: it’s aim was to promote and – if possibe – to apply in a concrete way, together with Governments, the Hague 1954 Convention, signed half a century ago to protect at an international level cultural property in the event of armed conflicts.
Due to the UNESCO’s objective difficulties and problems in thee particular kinds of situations, for a long time it has been known that it was necessary to trust this responsibility to an operational organisation, presenton the field, independent, pestigious as the International Red CrosFo his eason, the foundation of ICBS and its first steps were greeted in a very favourable way by the majority of people involved in this field.
However, the analysis shows some big problems and many difficulties which made the Blue Shield - at an in-ternaional level as in Italy – ambitious but not an adequate project a disorganised oganisation (or better, no-organisation) which is still far from being operaive, and more importantly it is not fully recognised and substainedeven by the same intitutionshat created it.""

A côté de ces catastrophes naturelles, les conflits armés
constituent une des principales menaces pour le patrimoine.
Le juriste Massimo Carcione a étudié le régime de la
protection internationale des biens culturels en cas de
conflit armé. Considérant que la situation actuelle du
Bouclier Bleu est comparable à celle de la Croix-Rouge
quelques années après Dunant, il insiste sur la mise en
place du nouveau système dans lequel cet organisme et
les ONG devraient jouer un rôle très important mais pas
encore connu et moins encore organisé, que ce soit au
niveau international ou national.

(da Info-AAFB, n. 12/2011)

The category of intangible cultural heritage (ICH), recently institutionalized by several countries (2000, in the case of Brazil) and, internationally, by Unesco (2003), requires the participation of groups and communities in the identification, safeguarding and maintenance of their heritage. Due to the recent nature of these policies, there is still only a small number of studies examining the levels and strategies of participation used in determining ICH. More recently, Rodney Harrison (2013) argued that is important to study not only the participation of humans in heritage processes, but also, especially in indigenous contexts, the participation of nonhumans. In order to contribute to these discussions, the article describes and analyzes the patrimonializa-tion of the ruins of the São Miguel Jesuit-Guarani Missions, located in the Brazilian state of Rio Grande do Sul, as "Tava, Place of Reference for the Guarani People". The process lasted a decade and initially encountered some resistance from the Guarani. However, the establishment of reciprocity and affinity relations between indigenous and non-indigenous agents, the recognition of ICH's political potential and the influence of spiritual aspects, including nonhumans, promoted the participation of the Guarani, who proved to be essential actors for the identification and registration of the cultural landmark in 2014.

Historic archaeological resources in the American West are increasingly at risk of loss because of prolonged droughts, wildfires, earthquakes , general deterioration, and the negative impact of increasing visitation. Casual visitors regularly remove objects from their original contexts in the landscape, either taking them home as souvenirs or bringing them to local staff because they are concerned about the items disappearing. As a result, many sites of cultural significance are losing the ability to convey the information required for scholarly interpretation and for drafting community and life histories of their past residents. We argue that citizen science and mobile apps specifically designed for site stewardship are viable tools for alleviating negative human impacts on cultural landscapes and enhancing our capacity to record and monitor sites of cultural heritage. We contend that our approach uses an innovative interface, the Citizen Preservationist app, an open-source hybrid mobile/desktop software we developed to foster both current use and protection of archaeological sites and historic parks. We demonstrated the viability of our app by conducting a user study at Bodie, California (ca. 1859-1942), that assessed how this software promotes a sense of stewardship and appreciation for the archaeological heritage of this beloved California State Historic Park.

Los recursos arqueológicos históricos en el oeste de los Estados Unidos corren cada vez más riesgo de pérdida debido a sequías pro-longadas, incendios forestales, terremotos, deterioro general y el impacto negativo del aumento de las visitas. Ocasionalmente, los visi-tantes de un parque arqueológico remueven artefactos de sus contextos originales en el paisaje, llevándolos a casa como recuerdos o llevándolos al personal local porque les preocupa que desaparezcan. Como resultado, muchos sitios de patrimonio cultural están per-diendo la capacidad de transmitir la información requerida para la interpretación académica y para redactar historias de la comunidad y la vida de sus residentes anteriores. Argumentamos que la ciencia ciudadana y las aplicaciones móviles específicamente diseñadas para el monitoreo de sitios son herramientas viables para aliviar los impactos humanos negativos en los paisajes culturales y mejorar nuestra capacidad para registrar y monitorear sitios de patrimonio cultural. Sostenemos que nuestro enfoque utiliza una interfaz innovadora, la aplicación Citizen Preservationist, un software híbrido de escritorio/móvil de código abierto que desarrollamos para fomentar el uso actual y la protección de sitios arqueológicos y parques históricos. Demostramos la viabilidad de nuestra aplicación al realizar un estudio de usuarios en Bodie, CA (1859-1942) que evaluó cómo este software promueve un sentido de cuidado y apreciación del patrimonio arqueológico de este amado Parque Histórico del Estado de California

At the end of the conference of the signatory states to the 1999 Second Protocol to the Hague Convention of 1954, UNESCO was invited “to recognise the important role of the International Committee of the Blue Shield (ICBS) and its four NGOs (see p. 62) in the dissemination of the content of the Hague Convention and its two Protocols”. Sadly, this explicit formal request has yet to be met. Today the ICBS demands that professionals in the cultural sector – from the highest qualifi ed volunteers, to technicians and experts − make a contribution to solving the complex issues linked to the protection of buildings and collections of cultural importance in times of war and in a natural disaster.
This is an area in which the performance of UNESCO and many of its signatory states (armed forces included) has been less than stellar. However, there are a few exceptions, such as Switzerland. The ICBS can draw on the resources of more than 30,000 members, specialists and cultural institutions throughout the world, who themselves have many members. These include hundreds of specialists working in the fi elds of salvage, safety and prevention, conservation (and regulation) as well as training and information provision. The current tasks which were transferred to the military and civilian structures of the signatory states and UNESCO are manifold and highly complex. Often, the operational and technical capabilities needed to ensure worldwide implementation are lacking. The signatory states − and perhaps also UNESCO itself − should therefore recognise what the ICBS could achieve if it was entrusted with international activities and afforded greater legitimacy. Clearly, it falls to the signatory states and UNESCO to take charge of any physical intervention in a crisis situation according to existing international conventions, insofar as such work is not delegated. For its part, the ICBS must restrict its activities to safeguarding cultural property (also based on a realisation of its own limitations). UNESCO should consider it an obligation to demand that all signatory states, particularly those which have ratified the Hague Convention and the Second Protocol, recognise the “blue shield” (ICBS) at international and national levels, as well as support and promote it. This situation is reminiscent of the problems faced by the Red Cross one hundred years earlier.

Inscription of the St. Paraskeva Tserkva in the UNESCO World Heritage List resulted in increase of the tourist floks in Radruż, little village in Roztocze region. The owner of the site, Eastern Borderlands Museum in Lubaczów, along with Horyniec – Zdrój municipality (self governemnt of the area), are running activities of the site adaptation to the  equirements of the new situation. Simultaneously, the Museum runs other activties in this region, in order to save the local heritage and to promote it. The goal is not only the cultural tourism development, but also inhabitants education. Museum cooperates with local self government, but its work
is of county and region level. Thus, the tserkva and the village are inscribed in the regional net of of touristic products available in Roztocze, and linked to the cultural tourism based on Woodem architecture monuments, mostly sacral, and on intangible and natural heritage. Neither the village, nor the municipality are able to run proper activties by themselves only. Integrated approach and common activities of several institutions allows an active planning of development and proper reaction to the changing reality.

Article in Polish

The meme is an idea, element of culture or behavior passed down from one person to another through imitation. A more specific form of meme is the internet meme, which involves images, videos, text, or other content rapidly spread, and often modified, over the internet, and sometimes transcending the mere digital into the material world. Internet memes are often global and therefore help establish commonality between people across cultures, oceans, and national boundaries. They also can help further knit together particular communities already bonded through digital interaction. Yet, despite the cultural impact and pervasiveness of these virtual memes and artifacts in the late-20th and early-21st century, the heritage field has only just begun to recognize the importance and impact of online sub-cultures and viral phenomenon, and the future heritage value that these sub-cultures and phenomenon will hold. Meme historians are few and meme museums even more scarce. Because internet memes and cultures evolve so rapidly, and website links often move or expire, many, probably most, of these virtual objects and intangible heritages, are in danger of being forgotten and lost over the long term. Compounding this difficulty is the sheer volume of memes and artifacts to curate and sift through for selective preservation. This thesis explores the research question of how to select internet memes for preservation as virtual tangible and intangible heritage, and postulates that participatory, community-based efforts could prove invaluable to developing a selection strategy.