Textual Continuity

While textual variation has long been understood as a defining element of the genetic process, and indeed of textuality itself, this essay considers textual continuity not as the absence of revision but as potential revision that does not occur. In the archival materials associated with Toni Morrison’s and Tim O’Brien’s novels, we find various instances of a text remaining meaningfully the “same” across different versions. This emphasis on continuity implies a further possible reorientation, toward a sense of works in development, with individual documents construed less as physical objects or containers and more as “temporal parts”.

How Genuino Applies Blockchain Technology in the Collectibles Industry

This chapter analyses the blockchain implemented by Genuino in the collectibles industry. Since collectibles are subject to high risk of counterfeiting and fake replications, blockchain technology can help substantially to ensure transparency, originality, ownership, and data security and protection. Two methods to use blockchain in the industry seem to be the most widespread today: creating digital native collectibles on blockchain and transposing physical objects into the blockchain by creating digital twins. By using blockchain, new consumer clusters emerge, highlighting the need to modernize both the traditional economies and the current business models.

Bodily Contemplation: On the Question of the Truth of the Perception of Physical Objects in Chinese Landscape Painting

This article analyzes the views of representatives of the scientific community on ancient Chinese landscape painting, emphasis is mainly placed on views that concern the spiritual qualities of landscape painting, as well as rethinking concepts that ignore the significance of sensual perception. Landscape painting is usually considered as a spiritual work of Taoism: landscape painting developed from Taoist thought, Taoist philosophy determined the identity of the artistic style and the inherent spirit of landscape painting. Moreover, some researchers even believe that bodily contemplation of landscape painting means setting the very original nature of mountains and waters, and the "knowledge of the truth" is a spiritual process that is more blocked by the human capacity for sensual perception. Some of the scientists completely deny the possibility and truth of sensual perception of physical objects in landscape painting. The author of this article believes that the spiritual component of landscape painting lurks precisely in the value of sensual perception, and bodily contemplation of mountains and waters is impossible without the participation of the body, clear confirmation of which we find in the ancient Chinese theory of arts. Ancient Chinese works of art traditionally had a close connection with sensual perception through bodily contemplation. This process is not simply about capturing object information, but when the subject takes an active part in the vision of the object, when the subject gives feedback to the object, and through acquiring the object its meaning is transmitted. Only through bodily contemplation, the individual can fully feel the artistic value of landscape painting, and Taoist philosophy thus gains a real existence in landscape painting, becoming a kind of emotional thinking.

Representing a Relationship: The use of metadata to represent the relationship between physical objects and their digital surrogates

<p>Digital collections are increasingly prominent in museums as born-digital material is acquired by institutions, and digital surrogates of physical items are created through digital imaging, digitisation, and reformatting projects. These digital collections are a significant development in museums and a useful tool, particularly for access. When a digital surrogate is created of a physical object, they have an inherent connection to one another. Representing this relationship is important for museums in order to provide context for their collection items. These types of relationships also occur across physical formats, and the consequence of a breakdown in this relationship has been shown in the literature to lead to a loss of context. However, it is unclear how the relationship a physical object has with its digital surrogate is represented in the metadata. Current literature on digital collections only briefly explores existing relationships between digital and physical collections and provides no framework for best practice in a museum context. This thesis examines how metadata is used to represent the relationship between a physical object and its digital surrogate at the Museum of New Zealand Te Papa Tongarewa. The research involved a single-site case study, with interviews and documentary research which were thematically analysed. This thesis shows how the relationship between physical and digital objects are primarily represented at Te Papa through the collection management system’s structure, with some metadata elements representing the relationship incidentally. It also shows that there are differing worldviews and perspectives across the GLAM domains in the language and the drivers of digitisation. This research serves as a snapshot of current practice at one institution and encourages further research to better understand the long-term implications of this and other approaches. For museums, understanding how the relationship between physical objects and digital surrogates is currently being represented through metadata could help support professional practice for both types of collections, ensure the relationship is maintained, and help support existing and future digital interventions in museums.</p>

Representing a Relationship: The use of metadata to represent the relationship between physical objects and their digital surrogates

<p>Digital collections are increasingly prominent in museums as born-digital material is acquired by institutions, and digital surrogates of physical items are created through digital imaging, digitisation, and reformatting projects. These digital collections are a significant development in museums and a useful tool, particularly for access. When a digital surrogate is created of a physical object, they have an inherent connection to one another. Representing this relationship is important for museums in order to provide context for their collection items. These types of relationships also occur across physical formats, and the consequence of a breakdown in this relationship has been shown in the literature to lead to a loss of context. However, it is unclear how the relationship a physical object has with its digital surrogate is represented in the metadata. Current literature on digital collections only briefly explores existing relationships between digital and physical collections and provides no framework for best practice in a museum context. This thesis examines how metadata is used to represent the relationship between a physical object and its digital surrogate at the Museum of New Zealand Te Papa Tongarewa. The research involved a single-site case study, with interviews and documentary research which were thematically analysed. This thesis shows how the relationship between physical and digital objects are primarily represented at Te Papa through the collection management system’s structure, with some metadata elements representing the relationship incidentally. It also shows that there are differing worldviews and perspectives across the GLAM domains in the language and the drivers of digitisation. This research serves as a snapshot of current practice at one institution and encourages further research to better understand the long-term implications of this and other approaches. For museums, understanding how the relationship between physical objects and digital surrogates is currently being represented through metadata could help support professional practice for both types of collections, ensure the relationship is maintained, and help support existing and future digital interventions in museums.</p>

Inconsistency of time-symmetry model

Can physical objects be in time-symmetry? Physical objects can only exist in a medium that has physical attributes, which means this medium is a type of energy. Is time energy? This article will show that time is not energy, and there is no possibility that physical objects could be in time-symmetry. Physical objects can only be in symmetry in the time-invariant space, in which they exist. In this perspective, time measured with clocks is the result of the observer’s measurement in the time-invariant space. The time-symmetry model is flawed.

Who are Our National Heroes beyond National Borders?

The focus of this article is on monuments to national heroes built at the initiative of the Bulgarian nation state, political party or migrant community beyond the national borders. Three analytical perspectives are presented: geographical, cultural and social, given that monuments are both physical objects and represent non-physical relations. The place of a monument is essential in the interpretation of its function, reflecting intercommunity negotiations and the views of community elites regarding the place of the in the host society. Another basic issue is who Bulgarian national heroes are abroad, who has selected them, and what means and procedures brought them there. Our hypothesis connects the core of the national celebrations (both pantheon and calendar) within the national territory with its periphery in what is a dynamic system. These reflections are illustrated with three case studies: Botev’s monument in Beijing, Vazov’s bust in Moscow and Levski’s memorial plate in Yeniköy (Romania). An inventory and a map of all the monuments dedicated to these three figures are attached.

The External World

The Yogācāra school of Mahāyāna Buddhism denies the existence of external objects, holding that only mental entities are ultimately real. This chapter examines the arguments developed by Yogācāra philosophers for that thesis, as well as objections raised by Buddhist realists. It begins with examination of Buddhist arguments against physicalism, which were principally aimed at the Cārvāka school of Indian materialism. It then discusses the route to idealism by way of the representationalist theory of sense perception that was supported by a time-lag argument. Idealism as such was subsequently supported by appeal to parsimony, as well as by considerations to do with infinite divisibility, and arguably by the claim that physical objects and cognitions are never grasped separately.

Protestant Publishing in Chinese at the Anglo-Chinese College, Malacca, 1818–1843

Established in Malacca in 1818 by Robert Morrison, the Anglo-Chinese College ( Yinghua shuyuan 英華書院) became an important centre for translation and publishing of Protestant books and tracts in Chinese in the formative decades before the Opium War (1839–42). The extant publications in Chinese from the Anglo-Chinese College in this period shed light on the process of experimentation followed by missionaries and their Chinese collaborators, about how to make books that would appeal to Chinese readers – a necessary prelude to making converts to Christianity. This article traces that process of experimentation through an examination of the publications in Chinese from the Anglo-Chinese College press over the twenty-five years of the College’s operation there, prior to its relocation to Hong Kong in 1843. After an overview of the publications, the article discusses the books as physical objects and then considers the content and language within them. These examples suggest common ground between Chinese and Protestant print cultures: both saw close connections between reading, education and virtue, and both employed selective appropriation of excerpts from longer canonical texts as a reading practice. 1

Some Aspects of 3D-objects Presentation in a Common Digital Space of Scientific Knowledge

The paper deals with the issues of multimedia objects presentation in a common digital space of scientific knowledge. Examples of using new technological solutions for transferring images of physical objects into virtual space are given. The technology for representing digital 3D models in the environment of a common digital space of scientific knowledge is proposed. The principle of scientific virtual exhibitions formation in the environment of a common digital space of scientific knowledge is considered.