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The book explores the relationship between cultural heritage and local economic development by introducing the original idea that one possible mediator between the two can be identified as creativity. The book econometrically verifies this idea and demonstrates that cultural heritage, through its inspirational role on different creative talents, generates an indirect positive effect on local economic development. These results justify important new policy recommendations in the field of cultural heritage.
This book focuses on the numerous examples of creativity produced by POWs and civilian internees during their captivity, including: paintings, cartoons, craftwork, needlework, acting, musical compositions, magazine and newspaper articles, wood carving, and recycled Red Cross tins turned into plates, mugs and makeshift stoves, all which have previously received little attention. The authors of this volume show the wide potential of such items to inform us about the daily life and struggle for survival behind barbed wire. Previously dismissed as items which could only serve to illustrate POW memoirs and diaries, this book argues for a central role of all items of creativity in helping us to understand the true experience of life in captivity. The international authors draw upon a rich seam of material from their own case studies of POW and civilian internment camps across the world, to offer a range of interpretations of this diverse and extraordinary material.
Creative approaches to both planned and unplanned new practices remain an essential, yet somewhat invisible, part of sustaining living heritage. This collection of essays by interdisciplinary scholars and practitioners draws attention to how decisions are made about heritage and creativity issues, values, and relationships. We seek to shift away from a binary choice between authenticity versus change towards a multi-dimensional understanding of governance, creativity, and heritage. This is relevant for all forms of heritage whether described as cultural, natural or both.
How global contemporary art reanimates the past as a resource for the present, combating modern art's legacy of Eurocentrism. If European modernism was premised on the new—on surpassing the past, often by assigning it to the “traditional” societies of the Global South—global contemporary art reanimates the past as a resource for the present. In this account of what globalization means for contemporary art, David Joselit argues that the creative use of tradition by artists from around the world serves as a means of combatting modern art's legacy of Eurocentrism. Modernism claimed to live in the future and relegated the rest of the world to the past. Global contemporary art shatters this myth by reactivating various forms of heritage—from literati ink painting in China to Aboriginal painting in Australia—in order to propose new and different futures. Joselit analyzes not only how heritage becomes contemporary through the practice of individual artists but also how a cultural infrastructure of museums, biennials, and art fairs worldwide has emerged as a means of generating economic value, attracting capital and tourist dollars. Joselit traces three distinct forms of modernism that developed outside the West, in opposition to Euro-American modernism: postcolonial, socialist realism, and the underground. He argues that these modern genealogies are synchronized with one another and with Western modernism to produce global contemporary art. Joselit discusses curation and what he terms “the curatorial episteme,” which, through its acts of framing or curating, can become a means of recalibrating hierarchies of knowledge—and can contribute to the dual projects of decolonization and deimperialization.
This open access book explores the strategic importance and advantages of adopting multidisciplinary and multiscalar approaches of inquiry and intervention with respect to the built environment, based on principles of sustainability and circular economy strategies. A series of key challenges are considered in depth from a multidisciplinary perspective, spanning engineering, architecture, and regional and urban economics. These challenges include strategies to relaunch socioeconomic development through regenerative processes, the regeneration of urban spaces from the perspective of resilience, the development and deployment of innovative products and processes in the construction sector in order to comply more fully with the principles of sustainability and circularity, and the development of multiscale approaches to enhance the performance of both the existing building stock and new buildings. The book offers a rich selection of conceptual, empirical, methodological, technical, and case study/project-based research. It will be of value for all who have an interest in regeneration of the built environment from a circular economy perspective.
Yuri Razuvaev (1945-2012) was an outstanding Russian chess player. He had a refined positional style and for many years he was one of the leading Grandmasters in the Soviet Union. He particularly excelled in team competitions; in fact he never lost a game when playing for a team. He also was a first-rate chess author and opening theoretician, always open to new ideas. But it was as a trainer that Razuvaev was truly world-class. The long list of prominent players he worked with includes Karpov, Kramnik, Gelfand, Lautier, Fressinet, Salov, Tomashevsky, Topalov and Alexandra Kosteniuk. Both Magnus Carlsen and Fabiano Caruana had sessions with Yura, as his friends called him. It was his exceptional feeling for chess, his understanding of weaknesses and strong points in someone’s play, that made working with Razuvaev a privilege. Moreover, spending time with him was a joy because he was intelligent, cultured and witty. In this book dozens of chess players and contemporaries share anecdotes and insights into chess that Razuvaev gave them. Devoted to Chess also presents Razuvaev’s best games, accessibly analysed by himself and others. His finest articles and speeches on a wide variety of subjects conclude the book. “Studying the creative heritage of Yuri Razuvaev will bring you great benefits”, writes Vladimir Kramnik in his foreword.
In recent decades, Palestinian heritage organizations have launched numerous urban regeneration and museum projects across the West Bank in response to the enduring Israeli occupation. These efforts to reclaim and assert Palestinian heritage differ significantly from the typical global cultural project: here it is people's cultural memory and living environment, rather than ancient history and archaeology, that take center stage. It is local civil society and NGOs, not state actors, who are "doing" heritage. In this context, Palestinian heritage has become not just a practice of resistance, but a resourceful mode of governing the Palestinian landscape. With this book, Chiara De Cesari examines these Palestinian heritage projects—notably the Hebron Rehabilitation Committee, Riwaq, and the Palestinian Museum—and the transnational actors, practices, and material sites they mobilize to create new institutions in the absence of a sovereign state. Through their rehabilitation of Palestinian heritage, these organizations have halted the expansion of Israeli settlements. They have also given Palestinians opportunities to rethink and transform state functions. Heritage and the Cultural Struggle for Palestine reveals how the West Bank is home to creative experimentation, insurgent agencies, and resourceful attempts to reverse colonial violence—and a model of how things could be.
Taking the significant Faro Convention on the Value of Cultural Heritage for Society (Council of Europe 2005) as its starting point, this book presents pragmatic views on the rise of the local and the everyday within cultural heritage discourse. Bringing together a range of case studies within a broad geographic context, it examines ways in which authorised or 'expert' views of heritage can be challenged, and recognises how everyone has expertise in familiarity with their local environment. The book concludes that local agenda and everyday places matter, and examines how a realignment of heritage practice to accommodate such things could usefully contribute to more inclusive and socially relevant cultural agenda.
A decade after the approval of the UNESCO 2003 Convention for the Safeguarding of Intangible Cultural Heritage (ICH), the concept has gained wide acceptance at the local, national and international levels. Communities are recognizing and celebrating their Intangible Heritage; governments are devoting important efforts to the construction of national inventories; and anthropologists and professionals from different disciplines are forming a new field of study. The ten chapters of this book include the peer-reviewed papers of the First Planning Meeting of the International Social Science Council’s Commission on Research on ICH, which was held at the Centro Regional de Investigaciones Multidisciplinarias (UNAM) in Cuernavaca, Mexico in 2012. The papers are based on fieldwork and direct involvement in assessing and reconceptualizing the outcomes of the UNESCO Convention. The report in Appendix 1 highlights the main points raised during the sessions.
The author reveals not only how readers can recognize their God-given gifts, but how they can develop their potential by surviving personal mine fields, determining their creativity quotients, and nourishing their dreams.