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By exploring the processes of collecting, which challenge the bounds of normally acceptable practice, this book debates the practice of collecting ‘difficult’ objects, from a historical and contemporary perspective; and discusses the acquisition of objects related to war and genocide, and those purchased from the internet, as well as considering human remains, mass produced objects and illicitly traded antiquities. The aim is to apply a critical approach to the rigidity of museums in maintaining essentially nineteenth-century ideas of collecting; and to move towards identifying priorities for collection policies in museums, which are inclusive of acquiring ‘difficult’ objects. Much of the book engages with the question of the limits to the practice of collecting as a means to think through the implementation of new strategies.
A fascinating insight into the strange world of collectors of the macabre, Morbid Curiosities features 18 unique collections and an extensive interview with each collector, explaining how and why they collect, and showcasing the most remarkable pieces from each collection. The collections include skulls, mummified body parts, taxidermy, occult objects and various carnival, and side-show and criminal ephemera. Detailed captions tell the curious stories behind each object, many of which are being shown outside the private world of their collections for the first time. Morbid Curiosities includes stunning, specially commissioned photography of both the individual objects and the context of how the collector exhibits their work, forming a unique showcase of the bizarre and the intriguing.
Two classic love stories in a keepsake edition that will heat up your winter! The Winter Soldier Everyone in Jacobsville, Texas, steered clear of taciturn Cy Parks-everyone but the spirited Lisa Monroe, who electrified the formidable loner with her tantalizing kisses. Their fiery passion escalated when the soldier returned from the line of duty-and claimed Lisa as his bride, to shield her from a revenge-seeking desperado. Clearly Cy was getting mighty possessive of this enchanting woman who needed the type of safeguarding only he could provide. But who would protect the beguiling bride from him...' Cattleman's Pride He was strong, seductive and set in his ways. She was shy, unassuming and achingly innocent. Yet when Jordan made it his personal crusade to help Libby hold on to her beloved homestead, everyone in Jacobsville knew it was just a matter of time before wedding bells chimed. But a cattleman's pride was a force to be reckoned with. Could Libby accomplish what no woman had before and tame this Long, Tall Texan's restless heart?
Collection Thinking is a volume of essays that thinks across and beyond critical frameworks from library, archival, and museum studies to understand the meaning of "collection" as an entity and as an act. It offers new models for understanding how collections have been imagined and defined, assembled, created, and used as cultural phenomena. Featuring over 70 illustrations and 21 original chapters that explore cases from a wide range of fields, including library and archival studies, literary studies, art history, media studies, sound studies, folklore studies, game studies, and education, Collection Thinking builds on the important scholarly works produced on the topic of the archive over the past two decades and contributes to ongoing debates on the historical status of memory institutions. The volume illustrates how the concept of "collection" bridges these institutional and structural categories, and generates discussions of cultural activities involving artifactual arrangement, preservation, curation, and circulation in both the private and the public spheres. Edited and introduced collaboratively by three senior scholars with expertise in the fields of literature, art history, archives, and museums, Collection Thinking is designed to stimulate interdisciplinary reflection and conversation. This book will be of interest to scholars and practitioners interested in how we organize materials for research across disciplines of the humanities and social sciences. With case studies that range from collecting Barbie dolls to medieval embroideries, and with contributions from practitioners on record collecting, the creation of sub-culture archives, and collection as artistic practice, this volume will appeal to anyone who has ever wondered about why and how collections are made.
This book examines collecting around the world and how women have participated in and formed collections globally. The edited volume builds on recent research and offers a wider lens through which to examine and challenge women’s collecting histories. Spanning from the seventeenth century to the twenty-first (although not organized chronologically) the research herein extends beyond European geographies and across time periods; it brings to light new research on how artificiallia and naturallia were collected, transported, exchanged, and/or displayed beyond Europe. Women, Collecting and Cultures Beyond Europe considers collections as points of contact that forged transcultural connections and knowledge exchange. Some authors focus mainly on collectors and what was collected, while others consider taxonomies, travel, patterns of consumption, migration, markets, and the after life of things. In its broad and interdisciplinary approach, this book amplifies women’s voices, and aims to position their collecting practices toward new transcultural directions, including women’s relation to distinct cultures, customs, and beliefs as well as exposing the challenges women faced when carving a place for themselves within global networks. This study will be of interest to scholars working in collections and collecting, conservation, museum studies, art history, women’s studies, material and visual cultures, Indigenous studies, textile histories, global studies, history of science, social and cultural histories.
Considerations of the effect of trauma on heritage sites.
The Porous Museum examines questions of museum practice, aesthetics and politics through a focused study of The National Museum of the Romanian Peasant in Bucharest. The museum has functioned successively as a museum of art, a communist museum, the headquarters of the communist secret police, and a museum of folk art. Gabriela Nicolescu traces the museum's spectacular biography and follows the transformation of its practices and aesthetics through three very different political regimes in the 20th and early 21st century: monarchist, socialist and post-socialist. Nicolescu's fascinating study starts with a focus on a dumped and smashed statue of the revolutionary figureheads Marx, Engels and Lenin in the museum's rear yard as an expression of the complicated journey of modern Romania. She considers questions of recycling and rupture, with some exhibits and practices carried over from one regime to another, whilst others have been discarded in favour of the completely new. Through this process, the museum can been seen as a microcosm of the wider nation state and the ways in which the past is remembered or rejected. The interdependency of politics, ethics and aesthetics that Nicolescu terms 'porosity' is an attribute of museums all over the world. Applying original anthropological research to key ethnographic museums in Romania and elsewhere in Europe, the book moves beyond regional and media stereotypes by arguing for the influence of local oral histories on national history.
High Collection Nonimaging Optics covers the many developments and the wider range of applications of nonimaging optics. This book is organized into 11 chapters that emphasize the application of nonimaging optics to concentrators for solar energy. This text begins with discussions on the development of formalisms in nonimaging optics, specifically in the use of geometrical vector flux concept, which have led to entirely different concentrator designs. These topics are followed by a description of the so-called compound parabolic concentrator, the prototype of a series of nonimaging concentrators that approach very close to being ideal and having the maximum theoretical concentration ratio. The next chapters examine the concept of the flow line approach to nonimaging concentration; the geometrical optics model of nonimaging optics; and constructional tolerances and manufacturing methods for nonimaging optical components. A chapter highlights the applications of concentrator designs to solar energy concentrations. The last chapter surveys the applications of nonimaging optics to optical system design and to instrument design, with particular reference to utilization of light sources with maximum efficiency. This book will be of great benefit to nonimaging optics scientists and design engineers.
In Ethnographic Explorations: Surrender and Resistance, Whitaker and Atkinson, two experienced ethnographers, explore the complexities of fieldwork, analysis and writing from new perspectives. It takes the opportunity to reflect on Ethnography not just as a methodological perspective, but at a fundamental level. In general terms, Ethnography is seen not just in terms of a set of data-collection methods, but as a more profoundly transformational perspective. The book explores a series of tensions and differences in the conceptualisation and conduct of ethnography, among them: Surrender and Catch; Strangeness and Familiarity; Intimacy and Distance; amd Romanticism and Modernism. It emphasises disruptions and interruptions rather than an idealised model of smoothly untroubled research. The book covers a variety of theoretical and methodological perspectives, illustrated with research in many social settings. The book is intended for researchers at postgraduate and postdoctoral levels and at experienced researchers who want to read a different, sometimes challenging, take on ethnographic research and its outcomes.
From their quirky origins to their contemporary role as centers of advocacy, a look at the secret lives of science museums—past, present, and future. Science museums have paradoxes at their core. They must be accessible and fun while representing increasingly complex science. They must be both historic and contemporary. Their exhibits attract millions, but most of their objects remain in deep storage, seldom seen. This book delves into these conflicts, revealing the secret lives of science curators; where science objects come from and who uses them; and, ultimately, what science museums are for. With an insider’s eye, Samuel J. M. M. Alberti exposes the idiosyncratic past and intriguing current practices of these institutions—and sets out a map for their future.