ICR_Milan_2016-zip

10 Interesting in this context is the exhibition planned at MuDec in Milan for autumn 2016: Homo sapiens. The great story of human diversity, and a series of conferences programmed for 2016 by the Turin Museum of Antiquities, entitled Human migrations in antiquity. 11 Barzi,La Metropoli Multietnica. 12 Cattaneo, Vita nella Milano romana: evidenze antropologiche e paleopatologiche provenienti dalla necropoli, in La necropoli tardoantica. 13 Facchinetti, Miedico, Di città in città. Insediamenti, strade e vie d’acqua da Milano alla Svizzera lungo la Mediolanum-Verbannus: with bibliography. 14 Gambari: p. 34. 15 See also the conference The Mysteries of Mithras and other mystic cults of the Roman world, Tarquinia 16-19 June 2016. 16 David, Mariotti 2005, pp. 267-278 47

1.6 Peace and Tolerance Olympiad in the spirit of the ancient Greek Pythian Games: an annual educational, musical and sports project at the Archaeology Museum in Gan Hashlosha Dror Segal, Israel Introduction The Archaeology Museum was founded over fifty years ago on an ancient biblical Tel, in the Gan Hashlosha National Park (commonly known in Arabic as the “Sachne”), not far from the Jordan River and Sea of Galilee. In the Gan Hashlosha National Park today, surrounded by green lawns on the bank of Amal stream, the museum is situated on an ancient crossroads and displays rare collections of cultures from the Mediterranean and Aegean region, that came over the horizons and converged in this landscape, now a bitterly disputed region. Views of the Gan Hashlosha National Park and the Archaeology Museum. 48

Our Museum sought an interactive methodology to teach how the physical landscape influenced the development of its environs as a crossroads, thus creating a diverse cultural landscape and the abundant cultural influences, while looking beyond our own national and religious horizon. We collaborated with the Yaari Association and the Waldorf Schools to develop the program and being a crossroad of cultures and people, our museum was chosen as a natural site to host the Peace and Tolerance Olympiad in the spirit of Ekecheiria. “The tradition of the \"Truce\" or \"Ekecheiria\" was established in ancient Greece in the 9th century BC by the signature of a treaty between three kings. During the Truce period, the athletes, artists and their families, as well as ordinary pilgrims, could travel in total safety to participate in or attend the Olympic Games and 49

return afterwards to their respective countries. As the opening of the Games approached, the sacred truce was proclaimed and announced by citizens of Elis who travelled throughout Greece to pass on the message.” (from the International Olympic Committee site) Over the years the Museum and its environs has hosted over twenty Olympic Games, in which the Waldorf schools in Israel take part. The children and educational staff travel on a visual and physical interactive journey incorporating art, music and sports from the whole region, from different centuries and religious beliefs. The games are based on the Pythian Games held at Delphi Greece, which was the center or “Ompholos”, of the Hellenic world and featured competitions for art, dance and sports. The event includes the construction of tents, training and sports, music, art, museum activities and workshops and ceremonies. The Olympiad has become an annual tradition that takes place in the Museum around spring. A different kind of archaeological museum The Museum of Regional and Mediterranean Archaeology in Israel was founded in 1963, by Eliezer Unger and members of Kibbutz Nir David. It is based on the collection of Dan Lifschitz, containing items of archeology and unique ancient art, representative of the many ancient civilizations that flourished along the Mediterranean and Aegean.1 Displayed are the ancient cultures of Greece and the islands of the Aegean Sea, Etruscan civilization, and cultures from southern Italy, Persia, Egypt, and Anatolia along with artifacts from the Beit Shean valley.2 The Museum stands on an archaeological Tel (mound), of an Old Testament village which thrived near the big city of Beit Shean (Nissa-Scythopolis). Before the construction of the Museum, excavations yielded many important artifacts.3 The Museum today, is part of the Footprints in the Valley programme which has a youth wing with educational activities based on reconstructed ancient agricultural implements such as an olive press, wine press and an ancient hydraulic flour mill. Its Olympiad is an annual highlight of its programme. The Olympiad Project and its participants The first Olympiad at the Museum took place in the spring of 2003 and was a small pilot Olympiad designed to adapt it for implementation in the museum and Gan Hashlosha Park areas. Four schools of the Waldorf network (anthroposophical pedagogy) sent all their fifth graders as participants. From a single event it has grown to three cycles of the Olympiad with about 200 pupils from all over Israel taking part in each cycle. The events are staffed by homeroom, physical education, art, and music teachers. 50

Older pupils and alumni also come to assist along with parents who are very involved in the workshops, photography, and all the logistical operations during the Olympiad. Each cycle of the Olympiad lasts three days and two nights, and is divided geographically into schools from the northern, central and southern regions of Israel. Children and adult supervisors come to the Museum and Gan Hashloshsa National Park in the morning on the first day of the Olympiad and organize their camp on the lawn west of the museum, setting up a kitchen, activity tents and sleeping tents. Special attention is placed on sustainable practices that are part of all activities. The next stages are workshops and sports practice which are meticulously scheduled at a variety of stations. Children from the various schools are mixed into new groups and each group is given a name, t-shirts and hats for the Olympiad, expanding the child’s “normal horizon”. The new groups receive the name of a Greek polis (city state of Ancient Greece) such as Sparta, Athens, Delphi, Thebes, Argos and so on. Two impressive and significant ceremonies are held. The first is held in the dark on the evening of the second day, with the pupils marching by torchlight wearing togas similar to those of ancient Greeks. They swear to uphold the spirit of Ekecheiria - peace and tolerance and sportsmanship. Part of the ceremony is in Greek. The next significant ceremony is held the morning of the third day. All the participants dress in traditional Greek togas and start the games. Hundreds of parents, grandparents and other family members provide encouragement with loud cheers and a festive atmosphere. After the games there is a closing graduation ceremony, medals are distributed, and congratulations shared. 51

Some of the ceremonies held during the project. The final day of the Olympiad games. 52

Preparing for the Games Training for the Games begins long before the Olympiad convenes. Throughout the year, pupils learn about ancient Greece, in preparation for the Olympiad, which is a climax of that year of study. As part of the sports curriculum and classes, children practice the ancient Greek Olympic disciplines: discus, javelin, running, jumping, and wrestling; all with an emphasis on sportsmanship. It is not easy to adapt to the correct movement of tossing a discus or throwing a javelin. This requires practice and perseverance, which continue over the first two days of the Olympiad, while the children get to know each other, and become familiar with the practice area and Museum. Sports training and simultaneous workshops covering art and music and the spirit of ancient Greece take place during the first two days. The workshops vary slightly from year to year and have evolved over the years depending on the specialties of teachers and some adult supervisors (these have included sculpture, stone carving, braiding, drawing, drumming and music). Among other things, pupils experience painting on pottery and shields, using designs according to the polis chosen by the team and the styles of Greek culture. Children are directed to look beyond their own horizons and evaluate a different culture. All groups rotate to experience all the stations and workshop. During the first two days all the children enter the Museum. They get a brief introduction and then focus on the archaeological finds yard with artifacts made in Greek and Roman styles. Next they enter the hall dedicated to Greece. After a brief explanation, they are usually very impressed by the rare and colorful pottery, sculptures and icons.4 [See Figure 7. Museum artifacts.] The students ‘meet’ the gods: Athena, Hercules, Demeter, Hermes, Poseidon and Dionysus in authentic form, as described by the ancient Greek masters. They see the figurine of Zeus disguised as a bull, abducting Europa; Hercules wearing the wreath of victory in the Olympic Games; and the descriptive painting on pottery of Greek athletes practicing in the Olympics, just as they were today. The tour also includes a black and white photographic exhibition of pupils participating in similar games at the original sites in Greece. Some of the photographed pupils are graduates of their own schools, now adults. After the museum tour, the group moves to the art workshop in the museum courtyard. The pupils draw on the paper or pottery, inspired by the ancient styles seen at the Museum such as the geometric style of the Minoan civilization of Crete, black and red style of the characters from the Classical Greek, zoomorphic animal art, Etruscan tools and so on. 53

Some of the Olympiad workshops. 54

Interactive learning in the Museum. Our version of the Pythian Olympics The concept of an international peace Olympiad for children was developed as a final project in an international peace education program organized by MASHAV5 and NISPED6 and taught by Amos Davidowitz, Eyal Bloch and others. They enlisted educators from the participating communities along with anthroposophic educational staff from the USA and created an international alliance called AllinPeace to implement the project (Www.allinpeace.org). The project was run from Israel by the Association for Progressive Education in Honor of Meir Yaari. At the beginning of the new millennium the AllinPeace project started with participants from Israel, the Palestine National Authority, Northern Ireland, Kosovo, Serbia, both communities of Cyprus, Egypt, Greece, Russia and others. This project was initially carried out in Greece in the original settings in Olympia and Delphi with the outstanding assistance of the Greek government, in particular Mr. George Papandreou. The Hellenic Air Force sent Hercules C-130 planes to fly the children from high-risk areas, political conflict and war. The Commander of the Air Force came to see the wonder with his own eyes, and said: “Briefly these 55

machines of war became machines of peace.\" The children came from diverse cultures and did not have a common language; they were divided into mixed groups and participated in the games, art activities, and music using laughter, good will, and signing. By the closing ceremonies they had become good friends finding it hard to say goodbye at the end of the event. Ohad Romano, a professional photographer, photographed the games, art and music activities and ceremonies in black and white at the various locations in Greece. A very impressive exhibition was created and displayed at the United Nations headquarters in New York, the European Union and Greece. In 2008, with the inauguration of the Ekecheiria Center at the Museum, the photographs from the exhibition were put on permanent display. Short texts were integrated with the organization's principles and those of the AllinPeace Peace and Tolerance Center. The principles are written in English, Hebrew and Arabic, and each time in a different order to emphasize the international aspect and prevent one dominant language. Establishing the Ekecheiria Peace and Tolerance Center, in the spirit of the ancient Greek Olympics In 2008 conditions were ideal to establish the center and the opening ceremony of the Ekecheiria Center for Peace and Tolerance was held on April 4th 2008. The ceremony was under the auspices of the Greek Ambassador in Israel, along with the Greek Consul and other diplomats. The ceremony was attended by the Mayor of Beit She'an Valley Regional Council, representatives of the Association for Progressive Education in Honor of Meir Yaari, the teachers who organized the Olympics in Greece, representatives from Bethlehem, officials and many other guests. The center was inaugurated in order to harness the unique museum, in a spectacular location, with the rare relevant collections that represent the best works of the cultures and peoples that flourished along the Mediterranean and Aegean. Another key aspect is the location of the Museum, near the three borders of Israel, Jordan and the Palestinian Authority. The Center serves as the venue of the annual Peace and Tolerance Olympiad, and for workshops and international conferences on the subject of peace, tolerance and our common regional future. Summary, plans and ambitions for the future The unique project of the Peace and Tolerance Centre in the Pythian Olympic spirit of ancient Greece has already become established as an honored and glorious tradition. We aim to continue the project and expand each year. Over the years we have created partnerships, rapport and familiarity between school staff and the Museum and park staff. There is a wonderful symbiotic interaction between the Museum and its collections of rare and magnificent artifacts, its geographical location, and pupils and teachers of the Waldorf schools. This has developed into a very serious and deep study of the subject of Greece and Greek 56

mythology using the Olympics as a unique way to learn history. We have never ceased to hope and strive for this project to include other neighbouring countries, especially the Kingdom of Jordan and the Palestinian National Authority, whose border with Israel passes near our Spring Valley. At the same time we see the entire Center and Museum as an ideal place to continue holding conferences and workshops on the subject of international peace and tolerance and environmental development. We, the Museum management, are open to any idea or suggestion for cooperation in these subjects and similar fields. Acknowledgements We would like to thank all those who have contributed over the years to sustaining the project and establishing the Museum Center. We thank the teaching staff in the Waldorf schools and Eyal Bloch who conceptualized the idea of the Olympiad with the foreign educators in the NISPED course, and was the mobilizing force in the first few years. We are grateful for the cooperation and collaboration of the Gan Hashalosha National Park management and the regional council with the Museum administration. We recognize the contribution of the Nature and Parks Authority, Ministry of Education and the Ministry of Culture. Special thanks to Amos Davidowitz of the Association for Progressive Education in Honor of Meir Yaari who supported and assisted in our participation in this conference and writing the article. We recognise a type of closure and coincidence as Meir Yaari was a true friend to the Museum and strongly supported it during its construction and had an active leadership role in advancing peace. Today, the organization honoring his name helps us to show the world, the Peace and Tolerance Project held at the Museum. References Bar, Or G: The Story of the Museum of Mediterranean Archeology at Nir David, The Journal of Israeli History Vol. 31, No. 1, March 2012, pp. 167–187. Kahane P.P: Museum of Mediterranean Archaeology, Nir-David, Israel, 1966. Levy S., Edelstein G: Cinq Annees de Fouilles A Tel Amal (Nir David), RB, 1972, p. 79. Arav R.: Museum of Mediterranean Archaeology Kibbutz Nir David, Regional Council of the Beth She'an Valley, 1978. 57

1 Bar, 2012 2 Kahane, 1966, Aray 1978. 3 Levy, Edelstein, 1972; Arav, 1978. 4 Kahane, 1966. 5 MASHAV is the Hebrew acronym for Israel’s Agency for International Development and Cooperation. 6 AJEEC-NISPED the Arab-Jewish Center for Equality, Empowerment and Cooperation – Negev Institute for Strategies of Peace and Development. 58

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1.7 The Tower Of Ouranoupolis, a landmark of various worlds Eleni Stoumpou-Katsamouris, Greece Introduction I am going to tell you a story. A story of survival and, perhaps, a story about the meaning of life. In 2000, I went to Ouranoupolis, east of Chalkidiki peninsula, in Northern Greece and visited the area in front of the \"Fence\", which is an attraction to every woman alive for the simple reason that she is not allowed to cross it. The Fence is the land border to Mount Athos, which is an \"avaton\", a place inaccessible to women. Nearly every woman I have seen visiting the site is tempted to get photographed there with their hand leaning inside. The area along the border was covered with thick vegetation and only some parts of medieval walls still stood reminiscent of some important building that needed to be protected long ago. This building was \"Frangokastron\" or the Monastery of Zygou, an archaic monastery on Mount Athos dating from the 10th century and destroyed before 1198. The surviving remnants include the fortifications covering 5.5 m², reinforced by ten towers and the cathedral, dating from the early 11th century.1 I worked in the Monastery of Zygou in 2003 as a member of the excavation team and this was a good opportunity to live under the shadow of Mount Athos. The most prominent landmark, though, is the Tower of Ouranoupolis, the main building of the modern settlement. Its imposing yet slender volume and majestic view to the gulf of Mount Athos (the Singitikos Gulf) compensates for not being able to approach the mystery, even if you wanted to. Next to the port of Ouranoupolis, the view of the Tower accompanies the monks and the groups of male pilgrims who sail to Mount Athos. For those permitted to visit Mount Athos, the Tower has for a very long time been the last visible sign of the outside world and, on their return, the first step back to the \"cosmos\". The Tower of Ouranoupolis is a Byzantine tower dating from the 14th century. Originally a dependency (metochi) of the Monastery of Vatopedi, the Tower now belongs to the Hellenic Ministry of Culture and is currently used as a museum. Not too long ago, the Tower was home to a woman who spent her remarkable life there and left a lasting memory. She was the Australian-born Joice Loch, who, along with her British born husband Sydney, settled in Ouranoupolis at the beginning of the 20th century and dedicated their lives there to the service of others. 60

Was this important then? Ιs it important now? I come from crisis-stricken Greece and I am going to travel with you to a country significantly more troubled than today’s Greece. A country, though with faith and hope. A former Gallipoli veteran and writer of anti-war books and his writer wife, the Lochs participated in various humanitarian aid expeditions in Europe after World War I, working with the Quakers. After the Asia Minor Catastrophe (also known as the Greco-Turkish War 1919-1923), they were sent to Thessaloniki to help with the relief of the exchange refugees organized around the American Farm School of Thessaloniki. Joice, age 26, was assigned to teach reading, writing and skills such as weaving to young girls. She also was a medical assistant. After a trip to Mount Athos the Lochs fell under its spell and installed themselves in Ouranoupolis. The history of modern Ouranoupolis had only begun in 1924 with the arrival of the Asia Minor refugees in the cluster of buildings associated with the Vatopedi Monastery to which the Tower belonged. The Lochs offered significant help to the refugees and later the victims of the 1932 earthquake that struck Hierissos. Nearly every baby of that time was delivered by Joice Loch and every wound tied by her. Scholars and artists visiting Mount Athos, found accommodation in their home. The Lochs lived there till World War II and came back again after its end. During the War one of Joice's important actions was organising the travel to safety of 50 orphan children of Jewish origin from Romania to Palestine through British-ruled Cyprus. Her husband died in 1954. She died in Ouranoupolis in 1982. She is considered the most decorated woman of Australia for her humanitarian work. In her autobiography, A Fringe of Blue, published in 1968, she describes the circumstances of the refugees in Ouranoupolis. Here is how she started the famous Pyrgos Rugs industry along with the locals, where her training in weaving at the American Farm School in Thessaloniki proved useful. \"It shocked you how little was necessary to make a family financially independent and we faced real tragedy when our furniture-making came to an end. One day we went to see an elderly man who was dying of dysentery and malnutrition. He was a hopeless farmer for he had always been a rug-designer. Half the villagers had come from the Princes Isles in the Sea of Marmara and were fishermen, not farmers; and half came from Caesaria. Those from Caesaria were skilled rug makers. They had their own knot and were famous in the rug-making world. As we talked to the man, his wife ran into the room with a large pair of scissors. She muttered in Turkish, and snipped and tugged at cushions and mattresses, slitting them open until she heaped the floor with shining silk. 61

\"Na! she cried. Look! and out she pulled more and more. We gave them an order for a silk rug, which we didn't want. The man sat, yellow and huge on his bed, rolling tobacco leaf into cigarettes with his bony fingers. The skin was stretched thinly over a nose that lay like a shadow on his face. He did not live to see the rug we ordered finished, but his family worked on it, and the first rug of what was eventually known as the Pyrgos Industry came into being. A silk rug of no great consequence and of Turkish design. We decided at once against producing Turkish rugs in Greece. The villagers couldn't hope to compete with the factories, but they all poured into the house saying they, too, could make rugs. What were we to do? Sydney thought they might be able to develop something that would appeal to lovers of Greek art if they could be persuaded to use Athos designs.... The greater opposition we had was from the villagers themselves. The greater the opposition the greater our belief became in the possibilities of the scheme, and finally we both worked day and night over squared paper we knew nothing about. Finally we produced three designs for rugs which satisfied us, and which are still first favourites: The tree of Life from the monastery of Esphigmenou; the Vatopedi Fresco, and the Lavra Phiali. Our next battle was dyeing. We were determined to dye from the weeds of the locality. The villagers were determined to use synthetic dyes. They said anything else was absurd. Our first rugs were a compromise and of undyed sheep's wool. The first rug was exhibited at the First International fair in Thessaloniki and won the Grand Prix! Orders poured in and from then on until World War II they could never keep up with their orders.2 Experimentation with colours continued and Joice Loch soon discovered that \"If one plant has a colour, all have\"... We gathered and boiled and fermented every plant right through the year, roots, bark, leaves, chips and sawdust. We tested from different localities and soils; using different mordants, until we determined that the people in this village could get all the colours they needed within a mile of their homes\".3 Finally she achieved a method of cold dyeing by fermentation and evaporation and recorded her finds. After World War II the industry of the Pyrgos Rugs was gradually abandoned and in the beginning of the '60's Joice Loch was sceptical about the rise of tourism which swept every other activity. She had made an important experiment which had no future because of the general interest in fast returns. The short-lived Pyrgos Rugs though are now part of the collections of applied arts museums. 62

Getting inspired by cultural heritage and promoting it at the same time is a modern notion, now under debate again within the framework of today’s crisis. Propositions for the new exhibition of the Tower of Ouranoupolis The Loch’s legacy is still alive in Ouranoupolis and more than 30 years since Joice Loch's death, respect for her memory is still great. It is a challenge to explore the potential of the Tower as a monument, as a museum, as the landmark of the passage to Mount Athos and as a symbol of the struggle of the refugee community to survive and thrive, with the gentle figures of the Loch couple assisting all. Introducing landscape and time in the limited space of a museum is a challenge to be met by audiovisual means. Short films on screens are proposed to introduce the landscape and natural horizons of the area, and even, live camera views of the Gulf of Athos and Xerxes Canal, which introduce the visitor to the pre-Athonite territory. Different weather conditions give those views grandiosity or serenity, with the superb cone of Mount Athos often surrounded by a ring of clouds. The legacy of the refugee population, the oral traditions and the journey to assimilation should also be introduced with short documentary films in straightforward approach. Finally, the exhibition of the Loch collections of art, documents and the existing Pyrgos Rugs, now under the protection of the Ephorate of Antiquities of Chalkidiki and Mount Athos, should naturally be completed by a short film exploring their personalities and beliefs, through again the memories of the local people and research on written sources. Physical borders, interior horizons and the beginning of a world-wide approach to humanism after the killing wars of the 20th century can bring new perspectives to the narrative and visual experience of the monument in its broadest cultural landscape. We need meanings beyond museum objects and audiovisual means can provide us a new vocabulary. References Papaggelos, Ioakeim Ath.: The Athonite Monastery of Zygou, Thessaloniki, 2005. NanKivell Loch: Joice A Fringe of Blue: an autobiography. Ed. John Murray, London, 1968, pp. 121-2. NanKivell, Joice M., J. M. Loch: Prosporion - Uranopolous, Rugs and Dyes. Ed. The American Board Publication Department, Instanbul, 1964, p. 10. 63

1 Papaggelos, The Athonite Monastery of Zygou, 2005. 2 Loch, A Fringe of Blue, an autobiography, pp. 121-2. 3 NanKivell, (Mrs. J. M. Loch): Prosporion - Uranopolous, Rugs and Dyes, p. 10. 64

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1.8 Challenges and Choices in Pennsylvania’s Forests – a new exhibit at the Pennsylvania lumber museum Susan E. Hanna, United States of America Introduction The new core exhibition at the Pennsylvania Lumber Museum, Challenges and Choices in Pennsylvania’s Forests, tells the story of human interaction with “Penn’s Woods” through the practices of the Native Americans and European settlers and the timber industry until the present time. As technology improved and settlement expanded so did their impacts on the landscape—from stone axes to iron, up-and-down sawmills to circular saws and band saws, from seasonal rafting and log runs to railroads. By 1920, Pennsylvania’s forests had been decimated. The twentieth century saw forestry emerge as a profession, followed by a nation-wide conservation movement and government involvement in preserving the remaining forests, planting new ones (reforestation) and preventing forest fires. The expansion of state-owned parks and forests alongside automobile ownership and increased leisure time encouraged recreational hunting, fishing, camping and hiking. The exhibition concludes with a look at today’s forests, the impact of public/private partnerships, and forest-related industries including the extraction of natural gas from the Marcellus shale on which today’s forests grow. The Museum and its context The Pennsylvania Lumber Museum is one of thirteen museums directly administered by the Pennsylvania Historical and Museum Commission (PHMC), a government agency that serves as the state of Pennsylvania’s official history agency. In 2016, the Pennsylvania Lumber Museum had a full-time staff of three state employees--Site Administrator, Maintenance Repairman and Visitors Services/ Clerk Typist and three to four part-time staff hired through PALMA, the PA Lumber Museum Associates. PALMA is a tax exempt 501-c(3) non-profit organization with a board composed of community members, that advocates for the Museum, providing programmatic and financial support. In Fiscal Year 2014/2015,PALMA contributed $149,290 to the Lumber Museum’s annual budget of $338,213. The Museum’s mission statement (revised in 2015) stresses a commitment to Pennsylvania’s lumber history as well as interpreting present day forests: The Pennsylvania Lumber Museum educates the public about the Commonwealth’s rich lumber history and the ongoing care, management, and recreational use of its forests. Visitors are encouraged to explore the museum’s working historic saw 66

mill, recreated lumber camp, exhibits, public programs and collections to discover the relevance of history in their lives. Located in rural Potter County in north central Pennsylvania on land once owned and logged by the Goodyear Lumber Company, the Lumber Museum opened to the public in 1971. Potter County is 1,082 square miles (2,800 square kilometres) in area, with circa 17,457 inhabitants (US Census Bureau, 2014). The population has declined significantly from 1900 when the thriving timber industry peaked, supporting 30,621 inhabitants. The largest town (and site of the county government) is Coudersport with 2,546 residents in 2010. Home to eight state parks as well as state forest and game lands, Potter County attracts hunters, fishermen, campers, hikers and star-gazers from across Pennsylvania and beyond. In fact, more than 40% of the land in Potter is owned by the state of Pennsylvania, a legacy of the decline of the timber industry. [Source: www.pottercountypa retrieved 19 June 2016.]\" The Museum was the result of a collaboration between Penn York Lumberman’s Club (an association of businessmen and others involved in logging and related industries) and the Pennsylvania Historical and Museum Commission. The first Museum building, a Visitors Center, opened in December 1970. The Lumber Museum’s grounds cover 160 acres (about 64.75 hectares). In addition to a Visitors Center/Museum building, in 2015 the site included a recreated logging camp, operable steam-powered saw mill and pond as well as a relocated Civilian Conservation Corps cabin. Larger objects such as an original Barnhart log loader, Shay locomotive and Brookville switching engine (used at a Pennsylvania tannery) help to interpret the impact of railroads on Pennsylvania’s forests. Visitors Center, Pennsylvania Lumber Museum, 2015. 67

Open Tuesday through Sunday, year-round, the Pennsylvania Lumber Museum hosts an average of 10,000-11,000 paying visitors each year. While this figure may seem modest, it is a respectable number given the population base. Developing a New Exhibition: Challenges and Choices in Pennsylvania’s Forests After years of planning, the 1970 Visitors Center was expanded and remodeled with a new exhibition which opened to the public in May 2015. Hilfrety and Associates, Athens, Ohio designed the approximately 3200 square feet (297 square meters) exhibition and Studio Displays, Inc., Pineville, North Carolina provided project management and fabricated and installed the displays. The total cost of the exhibition was $1,100,652 with most of the funding provided through a multi-year capital project, approved by the Pennsylvania Governor and allocated by the General Assembly (state legislature). These funds were supplemented by support from the PHMC, PALMA, grants and in-kind services. Wood was used whenever feasible throughout the building and the exhibition. The interior trim and paneling were provided by the PA Lumber Museum Associates from trees harvested on the museum grounds. The exhibition was developed by a primary team comprising an Educator, Regional Curator, Site Administrator, Bureau Director, and Division Chief with the assistance of many others. The draft script was reviewed by an environmental historian and specific sections were reviewed by logging industry representatives and a state forester to ensure a balanced approach. Created in response to visitor surveys, the exhibition focuses on the interaction between humans and the forest. Challenges & Choices in Pennsylvania’s Forests encourages the visitor to look at the history of Pennsylvania’s forests from various perspectives over time. Photomurals utilize historic and contemporary photographs to connect the visitor to the changing landscape. At the conclusion, visitors are invited to comment on the challenges of balancing preservation and recreation with economic development. The forested terrain provided key resources for European settlers as well as the land's Native Americans.\" [ I am not sure how much of the heavily forested part of Pennsylvania, William Penn actually saw in person. Prior to Penn receiving the land, Sweden had a small colony (New Sweden) in what became Pennsylvania which was taken over by the by Dutch (and became part of the Dutch part of New Netherland).] One of the thirteen original colonies, “Pennsylvania” means “Penn’s Woods” in Latin.1 The heavily forested terrain greatly impressed William Penn, leader of the state’s first European settlement, in 17th century, and provided key resources for the newcomers. 68

Challenges and Choices therefore traces the effects of human activity on Pennsylvania’s tree-covered landscape from the old growth forest of the original inhabitants through the arrival of the European settlers, then the boom days of the lumber industry which exploited and depleted the forests, through to today’s forests. Sections are devoted to the Pine Forest when logs were harvested by hand and sent to market by river; the Hemlock Forest with the shift from transport by water to railroads and logging camps; and the eventual depletion of Pennsylvania’s forests. Other topics include the Birth of Modern Forestry, a national conservation movement calling attention to the plight of the forests; and the involvement of state and national government in saving the forests. Experiencing the exhibition Challenges and Choices: Introductory gallery. (north wall). Seven silhouettes including a Native American, 18th Century surveyor, logger, late 19th Century entrepreneur and modern hikers pose challenges and choices to the visitor by providing different historical perspectives on human interactions with Pennsylvania’s forests. The silhouettes provide reference points for visitors to enter the side gallery of their choice: Old Growth Forest from 800’s BCE- 1810; Logging in the Pine Forest, 1780’s-1880’s; Logging in the Hemlock Forest, 1880’s-1920’s; or New Growth Forest, 1910’s-1970’s. At the rear of the introductory gallery, a large and dramatic photomural of a depleted, burned- over forest links the devastation of intensive logging to the conservation movement, the birth of forestry as a profession and government involvement in saving Pennsylvania’s forests. A side gallery is devoted to the Civilian Conservation Corps. [The CCC employed young men for forestry and 69

conservation- related work on public land in primarily rural areas across the United States from c. 1933-1942, as part of President Franklin D. Roosevelt’s New Deal to combat the serious unemployment resulting from Great Depression. See https://paconservationheritage.org/stories/the-civilian-conservation-corps- ccc-1933-1942/] The final gallery looks at today’s forests including recreational use (hunting, camping and fishing); modern forest management and forest related industries. Challenges and Choices: Low tech raft interactive. Text, large-scale reproductions of historic photographs and more than 250 artifacts are supplemented by low-tech interactives throughout the exhibition. Specialized terms (“Lumber Lingo”) are defined on flip board style labels. Visitors can pretend to steer a raft and are invited to design their own log stamp--a unique symbol on the end of a heavy hammer used to stamp the ends of logs to designate ownership--based upon examples on exhibition or sketches in a flip book reproduced from the Susquehanna Boom Company’s log stamp registry. Challenges and Choices: Personality Profiles. 70

Key figures--male and female--of the conservation movement are shown in “personality profiles” which provide names and faces for the visitor. A timeline traces government involvement in saving the forests by highlighting significant legislation and important people in an easily digestible format. The theme of Challenges and Choices is repeated throughout the exhibition, moving the visitor forward in time. “See It Here” signs link exhibition concepts to the museum’s grounds and buildings while “Go See It” signs make connections for visitors with the local area and the past to the present. The exhibition concludes with a talk-back board where the visitors are asked to add their own comments and suggestions regarding the future of Pennsylvania’s forests on paper Post-it notes. The notes are collected and analysed. [Staff quickly learned that the label should have stated that the Post-it notes were made from recycled paper.] Linking the past to the present. Welcome to Penn's Woods: Tree species low tech interactive near exit to museum grounds. 71

Visitors are encouraged to exit the Visitors Center onto the museum grounds through a hallway with a small exhibit featuring six common tree species and highlighting current threats to local trees. Adjacent to the Museum’s property is a Sustainable Forestry Trail, maintained by staff of the local state forest, which provides a tangible link between the exhibition and on-going efforts to maintain “Penn’s Woods.” Conclusion – future- proofing the exhibition/the Museum How will the exhibition age? The previous exhibition was on display for 42 years. New “core” (previously called “permanent”) exhibitions require years of planning and ultimately depend upon a combination of funding from the state legislature, PHMC, PALMA, fund-raising and grants. When the exhibition opened, there was no cell phone service in the vicinity and no wireless internet within the Museum or on the Museum grounds. Hence, the only screens in the exhibition show historic images or film on a loop. While this low-tech approach minimizes maintenance issues, it may look dated to young people used to actively interacting with multiple screens. Fortunately, it will be relatively easy to add additional kiosks and/or screens in the future. Our efforts to involve multiple constituents to create an engaging exhibition that reflects current scholarship and industry practices while engaging the public were rewarded. The exhibition was enthusiastically received by the public as well as scholars, foresters (private and public), representatives of logging industries and public officials and was awarded a Leadership Award from the American Association for State and Local History. However, the Museum cannot stand still and must continue to develop to maintain its relevance to the widest possible audience. The remodeled Visitors Center is fully handicapped accessible and in addition to the new exhibit, includes a small changing exhibit gallery, large, multi- purpose room with a full kitchen, climate-controlled collections storage with compact shelving, a library, multiple offices, reception area and gift shop. These improvements dramatically increased community involvement with the Lumber Museum. The Visitors Center’s new multi-purpose room has allowed the Museum to increase programming, including programmes in cooperation with local state forests, whose forestry staff provide a present-day perspective. When the multi-purpose room is not being used by the Museum, it can be booked by local organizations and community members. Use of the space soon exceeded expectations and it has been used for local government meetings, wedding receptions, family reunions, gun safety classes, and a Future Farmers of America event attended by students from five high schools. The adjacent kitchen enables the Museum (in cooperation with PALMA) to offer combined tour and lunch packages with the income being used to support museum programs. 72

The exhibition was designed so that staff can easily change some of the more fragile artifacts every three to six months; mounts and labels for the new objects were created as part of the exhibition design. Changing the objects on exhibit, in addition to helping prolong the life of paper and textiles, allows the museum to tell additional stories and encourages visitors to return. The exhibition design also incorporated wood throughout including numerous wooden labels. Unfortunately, these labels may complicate updating text to reflect new scholarship.This is particularly noticeable in “Today’s Forests” where the objects and object labels can be changed more easily than the wooden “gang” labels. Finally, as the team’s curator, I cannot help but wonder how our conceptual approach to the topic, i.e., the idea of “choice” will be viewed in twenty years. Having successfully opened the Visitors Center, the Museum staff is now working on refurbishing, extending and reinterpreting the outdoor exhibitions and expanding programming. For current information please go to http://lumbermuseum.org/ Saw mill and pond, Pennsylvania Lumber Museum. Acknowledgements The author wishes to acknowledge the assistance of Joshua Fox, Site Administrator, PA Lumber Museum; Amy Killpatrick Fox, Museum Educator, Bureau of Historic Sites and Museums, Pennsylvania Historical and Museum Commission; and Brenda Reigle, former Director, Bureau of Historic Sites and Museums, PA Historical and Museum Commission. Photographs were provided by Hilfrety and Associates, Athens, Ohio; and the Pennsylvania Lumber Museum, Galeton, Pennsylvania. 1 In 1681, William Penn, a devout Quaker, was granted land in America by King Charles II of England to repay a debt owed to Penn’s father, Admiral William Penn. William Penn wanted to name the tree- covered land “Sylvania” but the King added “Penn” to honor William Penn’s father, Admiral William Penn. 73

1.9 Scanning cultural horizons - past, present and future John Magnussen and Jaye McKenzie-Clark, Australia Introduction Museums play an important role in preserving our tangible and intangible cultural heritage. They collect, conserve and display objects of scientific, cultural or artistic value in order to educate and inform our society. Consequently, the preservation and analysis of collections is a vital part of a museum’s responsibility to communicate with its viewing audiences. A major problem faced by museums, however, is finding ways to investigate their assemblages, while at the same time conserving and protecting the objects within their care. Recently museums have begun to use Computed Tomography (CT) technology for a variety of applications1 and this paper looks at three CT research projects at Macquarie University, Sydney, Australia2, which aim to support the key museum objectives of research, conservation and education. The examples deal with archaeological objects from three different time periods and contexts. Dual Energy Computed Tomography The first project utilised Dual Energy Computed Tomography (DECT) to determine the structural condition of ancient Greek and Roman ceramic transport vessels, known as amphorae. These vessels, dating from the third century BC, were used to move agricultural goods throughout the Mediterranean region and, as a result, are a key indicator of trade and commerce in the ancient world. The study identified underlying features within the artefacts that were not visible to the naked eye. By analysing sectional scans of the vessels, the ancient construction process was revealed. The walls of the containers were thicker in specific areas, indicating that the vessels were made in several parts, each thrown on a wheel, and then joined to form large-bodied containers with narrow pointed bases. Handles were added once the vessels were complete. The scans also revealed an abnormality in one amphora, which previously was thought to be fully intact. Encrusted with remnants of marine growth, the vessel was obviously, at one time, submerged in seawater for a considerable period. The DECT scans revealed a series of spiral cracks running through the body of the vessel. More surprisingly, the base or toe was constructed of many pottery fragments, differing in shape and thicknesses, which were fixed together and made to look intact. Whether this was done in ancient or modern times is not certain, but given the degree of marine encrustation and the type of fragments 74

used, it is more likely to be ancient rather than modern construction, suggesting perhaps that the original manufacturer was responsible for this subterfuge. DECT scanning provides valuable 3D spatial information of objects, enabling internal and external surfaces to be closely studied hence it is especially useful when examining highly complex forms or intact, enclosed vessels such as amphorae. Computed Tomography applied to cuneiform tablets The second project employed CT scanning to investigate cuneiform tablets, dating from the late third millennium BC. Containing some of the earliest-known forms of written communication, the tablets consist of rectangular clay slabs that were inscribed when wet and then dried in the sun or sometimes fired in a kiln. Cuneiform tablets document historic events as well as legal and commercial transactions in practice within the cultural society to which they belong, and therefore hold important information about everyday life in ancient times. Many of these artefacts contain an inner tablet sealed by a clay envelope, an attempt, in ancient times, to ensure that the internal official document remained intact and unaltered. Such envelope tablets pose a dilemma for modern-day archaeologists: to reveal the inner document, the outer clay envelope must be broken in a procedure that cannot be reversed. Once the envelope is opened the artefact is compromised, because in the process the clay envelope is fragmented. Another problem is that not all these tablets contain inner documents, and it is difficult to tell, until the tablet is broken, whether an internal record is present. Large numbers of cuneiform tablets are found in collections throughout the world. For instance, the University of Oxford’s Cuneiform Digital Library Initiative (CDLI) has more than 270,000 tablets in its catalogue. Not only is the number of sealed tablets within this collection difficult to estimate, but also the intact sealed cuneiform tablets, containing a wealth of information, remain unread. Six tablets from the Museum of Ancient Cultures in Sydney, Australia, were scanned using Cone Beam Computed Tomography (CBCT) and of these, three were found to contain an inner tablet. The scans also revealed that some of the tablets were very fragmented and in danger of disintegrating. As a result conservation work was commenced and steps were taken to minimise the handling of these fragile artefacts. Two tablets with a relatively large air gap between the envelope and inner tablet were chosen for further analysis. By digitally removing the external envelope material on the scans, a clear delineation of the inner tablet surface features was achieved. 75

Previously completely hidden by the outer envelope wrapping, the writing on the inner tablets was viewed for the first time in thousands of years. The ability to create an accurate QuickTime VR of each tablet now allows cuneiform specialists to read the text without the problems of warped images. The digital image and light source can be manipulated to accommodate the best light for translation without the inherent risks associated with handling the original ancient artefact. Due to its digital nature, VR can also be stored indefinitely, copied and transferred worldwide as required. The CBCT process requires minimal handling of these unique artefacts thereby ensuring their safety and preservation. The technique quickly identifies the presence of an inner tablet, exposes the structural stability of the artefact, allows the construction of the envelope to be analysed and has the potential to reveal the text on the inner tablet. The scan time per tablet is approximately 18 seconds depending on the size of the artefact. Many tablets can be scanned in one session and the data saved for future study, without the need to constantly move or handle each tablet. The reconstruction of the scan data is also time and cost effective. Scanning Pottery from Pompeii Another aspect of museum practice involves identifying the provenance of artefacts, in order to understand the economic conditions, movement of goods and trade within cultural landscapes. The origin of an object, especially pottery, is usually determined by analysing the composition of the clay. Conventional methods, such as X-Ray fluorescence spectrometry (XRF), inductively coupled plasma mass spectrometry (ICP-MS), inductively coupled plasma–atomic emission spectrometry (ICP–AES) and petrographic thin-section analysis have each played an important role in determining the provenance of ceramics. This knowledge, however, comes at considerable cost because most of these investigative techniques require the partial or total destruction of the ancient material. To address these issues the third project aimed to develop a technique to analyse the composition of artefacts non-destructively. The technique employs measurements from two different energy spectra, to provide a material decomposition of the sherd in terms of its atomic number as well as to garner further information on its composition. Fifty-two samples of pottery from Pompeii, previously classified into four groups by destructive analysis techniques, (thin section analysis, ICP-MS and ICP-AES), were analysed using DECT scanning. Once scanned, the artefacts were digitally sampled to identify differences in composition throughout each vessel and between other vessels in the assemblage. The analysis was achieved without affecting the physical structure of 76

the artefact; in fact the pottery shards remained in plastic storage bags during the entire scanning process. Each of the four pottery classifications was successfully and accurately identified.4 The scans also highlighted different manufacturing standards in ancient pottery production, providing insight into pottery manufacture in different regions. There were marked variations in the density of the clays used. Some vessels were uniform in density, indicating that the clay was well mixed and prepared, while others were a mix of dense and less dense clay, demonstrating that the clay was inadequately prepared. Conclusion – a valuable technology for museums These three projects illustrate the versatility of CT scanning in museum practice. The techniques can be used to investigate the morphological and structural characteristics of objects and identify manufacturing techniques used in the past. CT scanning permits museums to assess the conservation needs of artefacts within their collections, identifying vulnerable or highly fragile items rapidly. Compositional analysis permits the origin of objects to be identified, thereby providing information about the movement of goods in past civilizations. Similarly, the benefits of CT analysis are many. The scanning process is cost effective and time efficient. Medical rather than industrial scanners can be used, providing advantages in terms of speed, cost and accessibility. As soon as artefacts are scanned, the raw data is available for analysis without the need to retain the artefact. The technique generates data that can be digitally exchanged with ease and stored indefinitely for subsequent research. Samples may be taken from any part of the object for analysis and various parts of the same artefact can be digitally sampled to identify differences in composition, or to identify specific construction and manufacturing techniques. Furthermore the size of the sample can be controlled to give consistent relative comparisons across all samples. Most importantly CT analysis is a totally non-destructive technique and the no- touch method means that important, at-risk or delicate objects can be scanned in appropriately designed protective packing thereby lessening the risk of accidental damage. These three research projects highlight the potential uses of CT technology in museum practice and illustrate the ability of these methods to support the museum community in informing and educating museum audiences. CT techniques provide museums with valuable no-touch, non-destructive tools for the conservation and analysis of cultural landscapes, thereby informing our community and preserving our past and present cultural heritage for future 77

References R.L. Abel, S. Parfitt, N. Ashton, Simon G. Lewis, Beccy Scott, C. Stringer: Digital preservation and dissemination of ancient lithic technology with modern micro-CT. Computers & Graphics (2011), 35, pp. 878–884. Akça D., A. Grün, B.Breuckmann and C. Lahanier: High definition 3D –scanning of arts objects and paintings. Optical 3-D Measurement Techniques VIII, Zurich, Switzerland (2007), voI.II, pp. 50-58. Haubitz B., M. Prokop, W. Dohring, J.H. Ostrom, and P. Wellnhofer: Computed tomography of Archaeopteryx . Paleobiology, 14(2) (1988), pp. 206-213. McKenzie-Clark J., J. Magnussen: Dual Energy Computed Tomography for the non-destructive analysis of ancient ceramics, Archaeometry (2014) 56, 4, pp. 573–590. Vandermeulen D., P. Claes, D. Loeckx, S. De Greef, Willems and P. Seutens: Computerized craniofacial reconstruction using CT-derived implicit surface representations, Forensic Science International 159S (2006), S164-S174. 1 CT scanning has been used for a wide range of purposes such as the reconstruction of craniolfacial features from skeletal remains (Vandermeulen, Claes, Loeckx, De Greef, Willems and Seutens: S164-S174): the analysis of rare paleontological specimens (Haubitz, Prokop, Dohring, Ostrom and Wellnhofer, pp. 206-213); the investigation of paintings using high definition scans (Akça, Grün, Breuckmann and Lahanier, pp. 50-58) and the digital capture and preservation of ancient lithic technology (Abel, Parfitt, Ashton, Lewis Scott and Stringer, pp. 878-884) . 2 Various artefacts from the Museum of Ancient Cultures (MAC) at Macquarie University were scanned using the CT facilities at Macquarie Medical Imaging (MMI) housed in the university’s specialist hospital. We thank MAC for allowing us to investigate these artefacts and MMI for the generous use of the clinical CT scanners and workstations used in this study. 3 Cuneiform Digital Library Initiative (http://cdli.ucla.edu/index.html). 4 McKenzie-Clark, Magnussen: pp. 573–590. 78

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KNOW WHERE YOU ARE Connecting the cultural and physical landscapes 81

2.1 A wire fence dividing the cultural landscape of Tyrol Sylvia Mader, Austria Introducing the Tyrol The year 2015 will be remembered as the year of the arrival of an unprecedented number of refugees from Syria, Afghanistan, Iraq, etc. that led to a crisis within the European Union. As in some other eastern EU-member states, Austria reacted to the refugee crisis by erecting a wire fence at its southern border. Catchphrases like “passport controlling”, “fingerprinting database for unauthorized entrants” to the EU and deporting people back to “the responsible countries of entry (Dublin-Regulation”), the “amending of the asylum laws”, the setting of “an upper limit of persons applying for asylum”, etc., filled newspapers and television. Demonstrations for open borders and demonstrations against asylum-seekers are not really alarming, but rather part of political behaviour in a democratic country. On the other hand, the new border-management contributed to a human disaster. Might it also endanger collaborations between museums which have developed within the last twenty years? A precarious situation took place at the Brenner Pass/Passo di Brennero in April 2016 when a peaceful demonstration for open borders turned into a violent incident with injured persons and police. The Brenner Pass is one of the most important as well as one of the lowest Alpine passes through the Eastern Alps (Elevation 1,370 m / 4,495 ft). It marks the border between the Austrian North Tyrol and the Italian South Tyrol. In the Early Middle Ages (circa 900 BP) the road via the Brenner/Passo di Brennero became the most significant Alpine Pass Route (used by the German kings, who had to be crowned by the Pope in Rome). It was always an important trade channel, connecting the South and the North of Europe and the commercial centres, the cities of Verona, Bolzano, and Hall in Tyrol. The 2015 exhibition in Runkelstein Castle, near Bolzano (South Tyrol, Italy) showed the history of the Brenner route.1 In cooperation with the Museum of Urban Archaeology at the City of Hall in North Tyrol (Austria), mediaeval objects of trade, travelling and hospitality were presented. The archaeological findings are more or less the same on both sides of the Brenner. In other words, exhibits from both museum collections document the similarities of everyday-life culture in the Italian, as well as in the Austrian, Tyrol, two regions that were once united in the Principality of Tyrol. One of the merits of European Union 2 (founded in 1992/1993) has been the emphasis in cultural politics placed on regions instead of nations. The European 82

Union, with headquarters in Brussels, has supported cultural projects of bilateral cooperation. Especially in the Alps, where natural and economic conditions have led to similar forms of life and culture, such cross-border regions were established. Examples of EU Support-programmes • LEADER • Interreg • CREATIVE EUROPE • LIFE + Examples of Alpine EU-Regions • Euregio Trentino (I), South Tyrol (I), North & East Tyrol (A) • Euregio Engadin (CH), Vinschgau - South Tyrol (I), Nordtiroler • Oberland (North Tyrol, Austria) Exhibiting the Tyrol Europe has become a “Europe of regions” far more than a “Europe of nations”. For example, the Tyrol experienced 700 years of common history under the same sovereign, until it was divided into an Italian part (the Provinces of South Tyrol and Trentino) and an Austrian part (the State of Tyrol including North and East Tyrol) after World War I. This political measure (ratified in the Treaty of Saint Germain, 1920) led to many problems for the people living in this region--now belonging to two different nation-states. Even fifty years later, there was some upheaval with terrorist acts attempting to reunify South Tyrol with the rest of Austria. The respective Departments of Culture were the ones who initiated a new approach. The “Tyrolean State Exhibitions,” which were held regularly from the 1980’s, turned into a collective exhibition series from 1995 onwards in the three states: Austrian Tyrol, Italian South Tyrol and Trentino. The first joint exhibition in 1995 was hosted by the two states and organized by the two state museums of Italian and Austrian Tyrol. Under the title “Eines Fürsten Traum – Meinhard II. – Das Werden Tirols,” the exhibition showed the first sovereign of the Principality of Tyrol, his territory and his era, the 13th century 3. It took place in two different locations: the Castle of Tyrol (Italy) and the Stams Monastery (Austria) – with the sustainable outcome of both locations establishing their own museums. One of the first 3-state exhibitions dealt with the period shortly before the territories (today’s East and South Tyrol) were incorporated into the Habsburg Monarchy after the death of Leonhard, in the year 1500. Under the title “CIRCA 1500” 4, the exhibition was presented in three castles--Bruck Castle in Lienz, East Tyrol (Austria); the Bishop’s Palace in Bressanone, South Tyrol/Alto Adige (Italy); 83

and Castel Beseno in Besenello/Trentino (Italy). Initially the cooperation and co-organizing of the three exhibitions in the two Tyrolean states and in Trentino was not entirely free from rivalry and misunderstanding. Later these cooperative activities proceeded well. Since 2005, these state exhibitions have been carried out in rotation by each state - North & East Tyrol (Austria), South Tyrol (Italy) and Trentino (Italy). An annual conference, called the “United Tyrolean Museum Day” was also established. When World War I (1914-1918) was the topic of the united conference of the three states in 2014, the political doctrines of the two former enemies, Austria and Italy, were highlighted and critically discussed. Now, one century after World War I, museum professionals have no problem showing the two different points of view without disagreement. Nevertheless, statements by nationalistic groups still exist. The conference showed examples of different interpretations of one and the same fact, but from different positions. We had interesting exchanges of experience in a friendly, even cordial, atmosphere. In the 1914 commemorations, marking the beginning of World War I, many Austrian museums held exhibitions or produced publications on this topic, as did Austrian and Italian Tyrol. The unifying intention of all these activities was to show the relationship between individual personal opinions and political doctrines, and furthermore, the problem of war-based migrations and resettlement with all their consequences. The results and impact of museum-didactic programmes have not been evaluated, unfortunately, so we do not know whether the educational aims, such as the prevention of war, more tolerance for differing opinions, more critical reading of the press and media, or more critical views on traditional history knowledge, were achieved or not. Tyrol in print A recently published book 5 on early letterpress printing was the third step of a project including research, an exhibition, and a symposium about letterpress printing in historical Tyrol and the neighboring states of Salzburg and Bavaria. The aim of the exhibition was to show the important role which publishing house Wagner – a private company, founded in 1639 - played in the cultural history of the region. Among other things, Wagner has been publishing an important scientific journal series on cultural and geographic topics, called “Schlern-Schriften,” since 1923 – probably the first cross-border publication. The aforementioned book was published in this series. The editor, Roland Sila, head of the Tyrolean State Museum’s library, organized an interesting symposium, where librarians of the historical Tyrol and neighbouring countries spoke about their discoveries. Among them was the museum musicologist, Franz Gratl. He dealt with a particular type of early printing, namely rediscovered sheet music, that was thought to have been lost. 84

Collaboration beyond the state museums Cooperative activities in exhibitions and research are not exclusively done by the state museums, but also by non-governmental museums. “Flickwerk. Flicken und Wiederverwerten im historischen Tirol - Rattoppare e Riciclare nel Tirol storico - Fixing and Recycling in the Tyrolean Alps”, presented in 2014 from September 29th until October 31st in the privately-owned Museum Brunnenburg near Merano, was a research project 6 and an actual as well as virtual exhibition (www.flick-werk.net). The exhibition dealt with the subject of fixing and recycling in the Tyrolean Alps. Every museum of North, East and South Tyrol was invited to contribute to the digital exhibition with photographs of museum objects that show traces of repair, reuse or adaptation, sub-classified into materials, such as glass, wood, or brass objects and so on. Examples of reuse include a bayonet, a weapon in “second-use” as a knife combined with a wooden board, or chain mail used as a glove to clean grape vines. The EU-region of North & East Tyrol (Austria), South Tyrol (Italy) and Trento (Italy) corresponds to the historic territory of Tyrol ruled by the Earls of Tyrol, later by the Habsburg Family, and ultimately by the democratic governments of Italy and Austria. The editing committees of joint cultural and nature publications, as well as the cultural advisory councils of each state always appoint representatives from the other states, and even art acquisitions are decided upon jointly. Furthermore, there is an active exchange of lecturers among the universities in Innsbruck, Bolzano and Trento. The challenges posed by this collaboration are merely linguistic, and not political in nature. Whereas German is spoken in Austrian Tyrol and also in the majority of South Tyrol, in Trento Italian is spoken. Some other minority languages must be taken into account, such as Ladin. Collaboration in nature Even more than the cultural similarities, the alpine landscape and surrounding nature catches one’s eye in this region. For many years, I have followed and admired the collaborative projects of museum colleagues in the natural sciences. I am now very grateful to Gerhard Tarmann, who has provided the following example of a cross-border project in the sciences. The location of this project is the Venosta Valley, situated in South Tyrol. This very lovely landscape was more or less able to keep its historical image by being spared from sweeping industrialization. Quaint villages with narrow streets, for the most part preserving medieval houses as well as castles, have developed into tourist destinations. The local inhabitants derive their livelihoods from tourism and agriculture. The Venosta Valley owes its unique climate to the surrounding Alps. In the past, mainly grain was cultivated – the Venosta Valley was the renowned 85

granary of Tyrol. After World War I, the farmers converted to fruit-growing. South Tyrolean apples conquered the market. But monoculture has led to serious problems such as new species of pests. Pest control using poisonous substances endangers both fauna and human beings. With the influence of the North Tyrolean scientists, agriculture has increasingly transformed into organic farming. I am indebted to Prof. Dr Gerhard Tarmann for the following presentation of projects in this field carried out by researchers from the Tyrolean State Museums, Innsbruck, Austria, and the Autonomous Province of South Tyrol/Alto Adige in Italy, which I quote in extenso: Short summary regarding the cooperation between the Tyrolean State Museums, Innsbruck, Austria, and the Autonomous Province of South Tyrol/ Alto Adige in Italy by Gerhard M. Tarmann The collaboration of the natural history institutions of both parts of Tyrol (State of Tyrol, Austria, South Tyrol/Alto Adige, Italy, and also the former parts of Tyrol in the province Trentino, Italy) has a great tradition. This tradition has never been interrupted and various important projects were done together, some of them with significant consequences for the Alps and for Europe. One of these projects was a survey on open grassland in South Tyrol by Peter Huemer and Gerhard Tarmann from the Tyrolean State Museums in Innsbruck on Lepidoptera (butterflies and moths) to identify a key factor that allows us to estimate the “value” of these meadows for biodiversity. This work started in 1997 and concluded with a publication in 2001. During this study indications could be found, that the poison from the fruit monocultures in the valleys was transported by daily thermic winds and other winds far into normally completely undisturbed natural areas with a catastrophic impact for the biodiversity of Lepidoptera. Only in those areas, where no such wind transport of poison was possible, was a high biodiversity still present. As a consequence, South Tyrol started to change the types of sprays, switching from the most dangerous moulting inhibitors and chitin synthesis inhibitors to other chemical substances and implementing the use of sexual pheromones against the codling moth (apple moth) Cydia pomonella which produces the “worm in the apples.” However, some very sensitive indicator species like the burnet and forester moths (Zygaenidae) still showed that there must be a factor remaining in the air because the reinvasion of populations of species of this group of Lepidoptera into the old habitats is not possible. In 2009 Tarmann published another detailed report on this matter. In addition various reports about the topic were presented at international symposia and congresses. 86

In the meantime the Community of Mals/Malles in Vinschgau/Val Venosta is fighting for a poison-free area in the upper Venosta Valley and has banned poisoning of fruit cultures on their territory completely. This has led to an outcry from the industry but there are clear indications that organic agriculture in the vicinity of monocultures that have to be sprayed several times a year cannot exist in narrow valleys in mountains with wind transport of the poisonous substances. As the Zygaenidae were one of the most impressive indicators for what can happen to nature by excessive spraying, the Community of Mals/Malles hosted the 15th International Symposium on Zygaenidae, where Zygaenid experts of all over the world met in September (Sept. 11–18, 2016). During this week there were also to be performances for locals and guests. The “Malser Schmetterlingstage” (“Butterfly Days”) would highlight the need to ban mass poisoning for the protection of organic agriculture, for the protection of nature and for the health of people. The Nature Museum of South Tyrol in Bozen/Bolzano contributed with a special exhibition and G. Tarmann from the Tyrolean State Museums was responsible for the scientific part of the symposium. 7 Conclusion Numerous examples could follow to demonstrate the cooperation between the four parts of historical Tyrol, even if the media coverage seems to show an increasing nationalistic tendency, cooperation among the aforementioned regions is still on going, and may continue to exist. This optimistic point of view and commitment is shared by most of the museums and stakeholders involved. The current continuing positive mood and attitude among policy makers in cultural affairs on the Austrian side leaves hope for an unchanged cultural exchange with museum colleagues. Acknowledgements My thanks goes to Silvia Skelac, M.A. for editing and also to her, Dr. Benno Erhard and Prof. Dr. Gerhard Tarmann for the many helpful comments and stimulating discussion on this topic. References Circa 1500. Leonhard und Paola – Ein ungleiches Paar; De ludo globi - Vom Spiel der Welt; An der Grenze des Reiches. Catalog: Landesausstellung 2000 Mostra storica, Milano-Genève 2000, pp. 539. Eines Fürsten Traum. Meinhard II. – Das Werden Tirols. Catalog: Tiroler Landesausstellung 1995 Stift Stams & Schloss Tirol, Dorf Tirol, Innsbruck 1995, 600 pp. 87

Rachewiltz, Siegfried de & Rauchegger, Andreas (Hg.) in Zusammenarbeit mit Christiane Ganner: Flickwerk. Arunda 88 Schriften des Landwirtschaftsmuseums Brunnenburg, Weitra 2014, 300 pp. Sila, Roland (Hrsg.): Der frühe Buchdruck in der Region. Neue Kommunikationswege in Tirol und seinen Nachbarländern. Schlern-Schriften 366, Innsbruck 2016, 304 pp. Stiftung Bozner Schlösser (Hg.): Verona – Tirol. Kunst und Wirtshaft am Brennerweg bis 1516. Runkelsteiner Schriften zur Kulturgeschichte 7, Bozen 2015, 345 pp. Tarmann, G. M.: Die Vinschger Trockenrasen – ein Zustandsbericht auf Basis der Bioindikatoren Tagfalter und Widderchen (Lepidoptera: Rhopalocera, Zygaenidae). Wissenschaftliches Jahrbuch der Tiroler Landesmuseen,2, 2009, pp. 306–350, figs 1–42, 1 map. 1 Stiftung Bozner Schlösser (Hg.): Verona – Tirol. Kunst und Wirtshaft am Brennerweg bis 1516. 2 The European Union (EU) is an economic-political union of 28 member states that are located primarily in Europe. It covers an area of 4,324,782 km2, with an estimated population of over 508 million. 3 [Catalog] Eines Fürsten Traum. Meinhard II. – Das Werden Tirols. Innsbruck 1995. 4 Catalog] Circa 1500. Landesausstellung 2000 / Mostra storica, 2000. 5 Sila (Hrsg.): Der frühe Buchdruck in der Region. Neue Kommunikationswege in Tirol und seinen Nachbarländern. 6 Sila (Hrsg.): Der frühe Buchdruck in der Region. Neue Kommunikationswege in Tirol und seinen Nachbarländern. 7 Tarmann, Die Vinschger Trockenrasen – ein Zustandsbericht auf Basis der Bioindikatoren Tagfalter und Widderchen: pp. 306–350, figs 1–42, 1 map. 88

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2.2 A regional museum in a city of volcanoes: Auckland Museum, landscape, communities Jane Legget, New Zealand Introduction Greetings from Auckland, a city on Aotearoa New Zealand’s North Island built across some 50 extinct volcanoes. Our volcanoes are not merely physical and ecological features of our region’s geography but central to aspects of Auckland’s cultural, social and economic life. Since Auckland War Memorial Museum Paenga Tāmaki Hira (Auckland Museum) stands on one of the older volcanoes in the Auckland volcanic field, our principal regional museum cannot ignore its immediate environment – a cultural as well as a physical landscape. Harbouring volcanoes Auckland is today considered a ‘super-diverse’ city, meaning that our population of c. 1.5 million includes people of over 220 different ethnic backgrounds. However, it is only 700-800 years since the area was first inhabited by the indigenous Māori, naming it Tāmaki Makaurau. They recognised the wealth of its natural resources in and around its two harbours – the Manukau Harbour opening westwards to the Tasman Sea, and the Waitemata Harbour connecting with the Pacific Ocean to the east. The rich volcanic soil proved ideal for Māori to plant kumara (sweet potatoes) on the volcano slopes, fencing their gardens with the heat-retaining scoria stone to extend the growing season so far south. The same natural resources and safe harbours attracted British settlement from 1840, and for a brief time Auckland served as the capital of Britain’s new Colony of New Zealand before Wellington was designated as the permanent centre of Government. Today Auckland is our largest city, with a densely populated centre and a rural fringe. It continues to attract international migrants, with c.40% of residents born outside New Zealand. The immediate priorities for these newcomers are to find work and settle their families, but it does not take long for them to encounter our volcanoes and to understand why Aucklanders are so attached to them. Auckland Museum plays a role in this. Museum upon a mountain Sitting atop Pukekawa, a hill recognised by Māori as a site of tribal battles and lives lost, it is appropriate that Auckland Museum serves as both a multi- disciplinary museum and a war memorial to the sacrifice and service of New Zealanders during the two World Wars and other international conflicts. 90

The collections of over 3 million items cover the natural environment and the social and cultural history of the Auckland region, other parts of New Zealand and the Pacific Islands, together with decorative arts and a comprehensive collection of taonga Māori – treasures of the Māori people. The Museum has a staff of c. 250, of whom 165 have full-time permanent positions, supported by over 300 volunteers. It is mainly funded by Auckland residents through a property tax collected and overseen by Auckland Council, the local government, but it also generates much of its own revenue. While the Museum manages its own buildings and immediate surroundings, the extinct volcano Pukekawa (Hill of Bitter Tears) sits at the centre of a large urban park – the Auckland Domain. Auckland Council manages the region’s parks, with all the city’s high points being volcanoes, mostly on public parkland. Aucklanders love their volcanoes, using them intensively for recreation. For Māori, however, they hold a more profound importance. All the volcanoes are significant landmarks for Māori, and most have names associated with events or ancestors or characters from traditional beliefs and histories. These maunga (mountains) are signifiers of personal identity, as individuals relate their genealogy not only to forebears and events but also to features such as mountains, lakes, rivers and seas connected to their ancestors. Many maunga have sacred status, and there are certain protocols to be observed there. As landmarks they may define traditional tribal territories and serve as reminders of lands lost. Many were defended sites – commanding extensive views enabling them to spot approaching intruders. Fortified villages on the volcanoes provided homes for large groups of kin, thriving on their kumara harvest and seafood gathered in the harbours. Some have become sites of political struggle for the recognition of indigenous rights – such as One Tree Hill, known to Māori as Maungakiekie. For some iwi (tribal group) or hapu (subtribe) specific maunga are potent symbols of their mana whenua (traditional authority over the land). Spread across an isthmus encompassing over 50 volcanoes, today’s Auckland Council acknowledges 19 iwi with strong connections within the Auckland region’s administrative boundaries. The Museum’s collections, associated documents and archives are now frequently consulted by iwi representatives collating information to understand their historical roots on the land and islands as well as gleaning insight into how they were dispossessed from their traditional lands. In line with national policies of redress initiated by the Government as recompense for past confiscations and illegal land sales, Auckland now has a Maunga Authority - Te Mana Tūpuna Maunga o Tāmaki Makaurau – a statutory body led by Māori which collectively manages the 14 most significant volcanoes. Before European settlement, Māori used the rich plant life, bird life and natural fisheries as sources of food and traditional medicines. The settlers cleared the maunga of thick forest for pasture, so now there are active plans to undo 91

the damage of years of grazing and heavy recreational use, with replanting of native trees and shrubs to recreate habitats for native birds and insects and re- establish the canopy of native bush which covered most volcanoes. The Auckland Museum’s natural history collections include plants collected from its foundation in 1852, so its herbarium records and naturalists’ notes and distribution records are important research resources for accurate planting schemes. The city is increasingly trying to integrate a Māori world view in managing its natural assets. New Zealand museums have been recognising matauranga Māori (Māori knowledge systems) in both their natural history and cultural history displays since at least the early 1990s and have been well-placed to share their experience with local government colleagues. Māori are involved at Auckland Museum at all levels – governance, management and in many professional roles and as volunteers and interns – as well as serving on an independent advisory group. This ensures that bicultural perspectives feature in exhibitions and public programmes, in addition to regular use of Māori protocols at events and in collection management practices, while Māori terminology and classifications are included in catalogue records. Te reo Māori (the Māori language) is integral to many activities. A World Heritage site? Ferdinand von Hochstetter’s 1859 map of Auckland’s volcanoes (Figure 1) has acquired iconic status as a landmark in the history of New Zealand science. Auckland’s relatively young basaltic volcanic field has been proposed as a World Heritage Site, on UNESCO’s tentative list since 2007. New Zealand already has a track record – in 1993 Tongariro National Park was inscribed on the World Heritage List as the first nominated for both its cultural and its natural standing. It too includes volcanic landscapes, combining both live and extinct volcanoes and high importance for Māori. The Auckland Volcanic Field proposal makes the case for both its natural and cultural significance and unusual urban setting. The Museum’s Curator of Archaeology serves on the advisory board. The proposal benefits from a partnership approach including Auckland Council, the Maunga Authority and central government, with many other contributors including local iwi, the universities, government science research agencies, civil defence, supporters of nature conservation, different Māori groups, residents’ organisations and Auckland Museum. The Museum is an important resource, because it holds so many relevant natural and human history collections, early photographs and archives to support the argument for World Heritage status, in addition to its research staff and expertise in interpretation. 92

Figure 1. 1859 Map of Auckland’s volcanic field prepared by Austrian geologist, Ferdinand von Hochstetter, published in 1865. Raising awareness Auckland Museum also has an important civic role in helping residents and tourists to understand the potential threats posed by our volcanoes. Geologically, the islands of New Zealand are very young, still being shaped by earthquakes, volcanoes and other natural forces. Our youngest volcano, Rangitoto, (Figure 2) emerged from the waters of the Hauraki Gulf only 600 years ago, recorded in Māori oral histories. While the geological collections are not its major strength, Auckland Museum takes seriously its duty to inform its visitors about the dangers as well as the majesty and cultural meanings of our volcanoes. The long-term Volcanoes exhibition explains not only the geomorphology and history of the local volcanoes but provides vital information about the risks which volcanoes still present. In partnership with the Earthquake Commission, displays discuss the monitoring which takes place at several sites across the city and provide a strong reminder that we need to be prepared not if, but when, there is an eruption. 93

One of the most popular aspects of the exhibition is the “volcano house” (Figure 3 and 4). A recreation of a typical Auckland home invites visitors into a living room with a window showing a sunny view over the Waitemata Harbour. Once visitors are seated on the sofas and armchairs the home’s television is activated to present a news report of early earthquake tremors which might be signalling an imminent serious earthquake or even a volcanic eruption. While the visitors watch the television, suddenly they see out of the window a small cloud of steam arising from ripples in the middle of the Harbour. Then the room begins vibrating and the window shows a growing stream of grey ash shooting into the air with tremendous force and the sea churning with huge black waves approaching, more and more dramatic and alarming as the room shakes with loud noises and the building creaking. Visitors are left with no doubt about the risks of living among volcanoes. The realistic immersive simulation brings home very forcefully the power of nature and the message that we should all take our volcanic landscape seriously and be prepared to evacuate at a moment’s notice. Most visitors take home the leaflets with advice provided by the Civil Defence organisation. Figure 2. View from Auckland Museum sited on Pukekawa looking across to Auckland’s youngest volcano, the island Rangitoto, with North Head (the volcano Maungauika) seen in front. 94

Figures 3 & 4. Exterior and interior of the “volcano house” installation in Auckland Museum’s Volcanoes exhibition (for more information, see Resources listed at the end of this paper) Museums, landscapes and horizons The organisers for the International Committee for Regional Museums encouraged us to reflect on the overall theme of ICOM 2016 – Museums and Cultural Landscapes. They challenged us to: Understand what we have Know who we are See where we are going Auckland’s volcanoes appear benign and most are accessible on foot or by bicycle, and a few by car. Some of the oldest on-site interpretation was placed there by Auckland Museum on cast bronze signage, in the mid- 20th century, providing an early example of the Museum’s current outreach mantra for its public programmes for visitors – “on-site, off-site and on-line”. Today the Museum plans for every project to have at least three manifestations. An exhibition or public programme held on-site in the Museum’s magnificent building may have another dimension in the digital sphere – perhaps an on-line game, an interactive quiz or a virtual exhibition version or additional interpretation through video or oral history recordings. The off-site component could be a pop-up mini version of the exhibition, a series of linked events in community centres or a programme of guided walks or assistance with a local project on a related topic, as well as contributions to on-site interpretation. This way the resources used for preparing a fixed term exhibition reach beyond the physical limits of the Museum and the timeframe of the Museum’s exhibition schedule. The volcanoes of Auckland can be likened to iconic features of a long-term exhibition about the shape of our city. They are always there, and they mean different things to different people. We all have attachments to special places. While for Māori there are cultural, symbolic, political, ancestral and personal identity attachments, there are other individual and collective dimensions which may be equally important to others. Emotional, intellectual, a sense of belonging; 95

a haven for nature; landmarks triggering sense of arriving home; amenity value; places of fondly remembered family picnics; an epic bicycle ride; sites for memorable panoramic photographs. Undertaking both traditional research alongside the cultural understandings from the Māori worldview, the Museum and its partners have a stronger sense of our volcanoes’ significance in the city’s cultural and physical landscape. Appreciating our volcanoes more fully enables not only Māori but also nonMāori Aucklanders to deepen their local roots and recognise the many ways in which people identify with the place that they call home. Openness to cross-cultural understanding ensures that our collective future is more inclusive and positive and builds community pride in our special environment. Landscape of communities Museums create the possibilities to peel back layers of human and geological history and offer different interpretations of what may emerge. Our volcanoes have their histories, but we relate to them in our ways and build our own narratives. The human landscape communities for Auckland’s volcanoes include, firstly, Māori and the Maunga Authority members; then other local residents, their friends and families, visitors and international tourists. The Civil Defence agency, The Earthquake Commission, the Geological and Nuclear Sciences Research Institute, and university scientists have a more earnest relationship with the maunga. Beyond these, Auckland Council staff, especially their environment and parks and recreation teams are formally responsible for the maunga. Like the maunga, Auckland Museum engages with many different actors at many different levels – in both brief encounters and over sustained periods. At the heart of all museum activities is respect for people, for culture and for nature. Museums no longer operate solely within the confines of their buildings. Their success derives from their own place in the living cultural and social landscape where they have so much to contribute to community well-being. Museums help build active and informed communities in tune with both the riches and the power of our cultural and physical environment. Resources Auckland Museum’s online exhibition Living with Volcanoes: https://www.aucklandmuseum.com/visit/whats-on/online-exhibitions/living-with- volcanoes/city-of-volcanoes Auckland Museum’s volcano simulation: https://www.youtube.com/watch?v=7RfPsoiyJfs 96