A comprehensive review of domestic-open waste burning: recent trends, methodology comparison, and factors assessment
Bimastyaji Surya RamadanIndriyani RachmanNurani IkhlasSetyo Budi KurniawanMachmuddin Fitra MiftahadiToru Matsumoto
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This chapter focuses on how open-air museums and living-history events can create a dynamic and active dialogue between professionals, the media, and the general public, to the benefit of all. It discusses the historical development of wetland museums; open-air museums in Europe; the origins of open-air museums; experimental archaeology, museum pedagogy, and their historical foundations; and the ideal archaeological wetland museum.
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Fig. 1: Map of the Open-Air Sanctuary Cariklar Open-Air Sanctuary is located within the boundaries of Cariklar village in the northwest of Aydin province. The sanctuary is in the northeast section of Germencik District (Figs. 1-6). It was discovered southwest of the village during a court expertise in 08.11.2013. It is built on a massive conglomerate rock, dominating the Menderes Plain located to its south. The archaeological remains were observed at an altitude of 380-400 m above sea level,...
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During the recent excavations at the Mycenaean settlement of Iklaina a pit was unearthed, containing burned animal bones, numerous drinking vases, plaster offering tables, and animal figurines. This find presents a reasonable case of an open-air site with ritual associations. Here I present a preliminary description of the pit and its finds and assess its possible function and importance.
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AbstractWhile open-air museums are commenting upon landscape, they are creating them too. In preserving and presenting landscape elements, assumptions are made about both the landscape being represented and that being created. Open-air museums, such as those in Ulster and Virginia, demonstrate the problems that ensue when historical sites use reconstructions dependent upon authenticated buildings and replicas to combat representational problems. Further problems emerge from considering open-air museums as research centres. Though they distance themselves from history theme parks, through the involvement of historians, archaeologists and folklorists, they nevertheless present historical knowledge as final rather than contingent. Since the exhibits are the museum, it is very difficult to change displays to reflect developments in historical understanding. Balanced explanations are never presented in landscape form, so open-air museums end up presenting old-fashioned views of the past, reflecting their creators' views. The landscapes created by open-air museums, far from being distinct from those of history theme parks, may in fact be presenting images that deny the role of debate within historical research, and provide a past that is as mythical in its own way as the tourist theme park.
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