This volume contains relevant and pressing issues in the law, policy, and the practice of art and cultural heritage protection.

In the age of economic globalisation, do art and heritage matter? Once the domain of elitist practitioners and scholars, the governance of cultural heritage and the destiny of iconic artefacts have emerged as the new frontier of international law, making headlines and attracting the varied interests of academics and policy-makers, museum curators and collectors, human rights activists and investment lawyers and artists and economists, just to mention a few. The return of cultural artefacts to their legitimate owners, the recovery of underwater cultural heritage and the protection and promotion of artistic expressions are just some of the pressing issues addressed by this book. Contemporary intersections between art, cultural heritage and the market are complicated by a variety of ethical and legal issues, which often describe complex global relations. Should works of art be treated differently from other goods? What happens if a work of art, currently exhibited in a museum, turns out to have originally been looted? What is the relevant legal framework? What should be done with ancient shipwrecks filled with objects from former colonies? Should such objects be kept by the finders? Should they be returned to the country of origin? This book addresses these different questions while highlighting the complex interplay between legal and ethical issues in the context of cultural governance. The approach is mainly legal but interdisciplinary aspects are considered as well.

Communicating art and cultural heritage has become a crucial and challenging task, since these sectors, together with tourism heritage, represent a key economic resource worldwide. In order to activate this economic and social potential, art and cultural heritage need to be disseminated through effective communicative strategies. Adopting a wide variety of digital humanities approaches and a plurilingual perspective, the essays gathered in this book provide an extensive and up-to-date overview of digital linguistic resources and research methods that will contribute to the design and implementation of such strategies. Cultural and artistic content curators, specialised translators in the fields of art, architecture, tourism and web documentaries, researchers in art history and tourism communication, and cultural heritage management professionals, among others, will find this book extremely useful due to its provision of some concrete applications of innovative methods and tools for the study and dissemination of art and heritage knowledge.

Seminar paper from the year 2013 in the subject Art - Computer Art / Graphics / Art in Media, grade: 8, Maastricht University, language: English, abstract: The new opportunities humanity gets while society develops and technology grows are seemingly non-terminating. Obviously, many people like to benefit from the arising advantages and the positive side-effects. The World Wide Web is one of these technologies, that on the one hand remarkably facilitate our life and on the other hand lead to a more complex and intertwined system and to changes that can not be reversed. In times of rapid growing technological progress civilization struggles with the issue of striking new paths to the future while at the same time fostering the own cultural heritage. For some people arts and culture are necessary, because they belong to their roots and are signs of their history, but opinions and notions about that theme vary widely. Still there are hotly debated problems relating to cultural policy – Heilbrun & Gray (2011) argue that arts and culture are caught in a materialistic world (p. 3) which is the reason why they always have to deal with a mighty term called ‘money’. But when thinking about culture and heritage, it is not just about keeping the past in mind and preserving ancient monuments. It is also about actively promoting the arts and culture, that currently come into existence. Technologies arise and so do arts. How to cope now with balancing between past and future, heritage and progress, art and high-tech? Bringing something forward means spending time on it, participating in it and therefore reinforcing it. A modern world needs people who get involved and that is why participation may be one of the pivotal things needed for generating a successful future. By taking a look at the current situation, I want to examine the special relationship between the use of the internet and participation in arts and culture. What do we understand by thinking of the term ‘cultural participation’ and for which reasons is it so important to participate? Which tool does the internet provide to influence and increase cultural participation and which examples can be made for that? After a general overview, the demand position will be adapted on the concrete example of the Netherlands. The results may create the basis for developing future scenarios and investigating questions like whether the web's popularity is able to create more popularity for cultural participation or if just the internet's degree of esteem will grow further without any impacts on culture.

Of International Stolen Art Databases P.95

Conflict over cultural heritage has increasingly become a standard part of war. Today, systematic exploitation, manipulation, attacks, and destruction of cultural heritage by state and non-state actors form part of most violent conflicts across the world. Such acts are often intentional and based on well-planned strategies for inflicting harm on groups of people and communities. With this increasing awareness of the role cultural heritage plays in war, scholars and practitioners have progressed from seeing conflict-related destruction of cultural heritage as a cultural tragedy to understanding it as a vital national security issue. There is also a shift from the desire to protect cultural property for its own sake to viewing its protection as connected to broader agendas of peace and security. Concerns about cultural heritage have thus migrated beyond the cultural sphere to worries about the protection of civilians, the financing of terrorism, societal resilience, post-conflict reconciliation, hybrid warfare, and the geopolitics of territorial conflicts. This volume seeks to deepen public understanding of the evolving nexus between cultural heritage and security in the twenty-first century. Drawing on a variety of disciplines and perspectives, the chapters in this volume examine a complex set of relationships between the deliberate destruction and misuse of cultural heritage in times of conflict, on the one hand, and basic societal values, legal principles, and national security, on the other.

This edited volume analyzes participatory practices in art and cultural heritage in order to determine what can be learned through and from collaboration across disciplinary borders. Following recent developments in museology, museum policies and practices have tended to prioritize community engagement over a traditional focus on collecting and preserving museal objects. At many museal institutions, a shift from a focus on objects to a focus on audiences has taken place. Artistic practices in the visual arts, music, and theater are also increasingly taking on participatory forms. The world of cultural heritage has seen an upsurge in participatory governance models favoring the expertise of local communities over that of trained professionals. While museal institutions, artists, and policy makers consider participation as a tool for implementing diversity policy, a solution to social disjunction, and a form of cultural activism, such participation has also sparked a debate on definitions, and on issues concerning the distribution of authority, power, expertise, agency, and representation. While new forms of audience and community engagement and corresponding models for “co-creation” are flourishing, fundamental but paralyzing critique abounds and the formulation of ethical frameworks and practical guidelines, not to mention theoretical reflection and critical assessment of practices, are lagging. This book offers a space for critically reflecting on participatory practices with the aim of asking and answering the question: How can we learn to better participate? To do so, it focuses on the emergence of new norms and forms of collaboration as participation, and on actual lessons learned from participatory practices. If collaboration is the interdependent formulation of problems and entails the common definition of a shared problem space, how can we best learn to collaborate across disciplinary borders and what exactly can be learned from such collaboration?