Museums Sample Clauses

The 'Museums' clause defines the terms and conditions under which museums are involved or referenced within the agreement. It typically outlines the rights and responsibilities of the parties regarding museum-related activities, such as the loan, display, or handling of artifacts and exhibits. For example, it may specify requirements for insurance, transportation, or care of items while in a museum's custody. This clause ensures that all parties understand their obligations and helps protect valuable items, thereby minimizing risk and clarifying procedures related to museum interactions.
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Museums. 1. The Parties shall create favourable conditions for a direct cooperation of museums from both states encompassing exchange of exhibits from museum collections as well as exchange of information and specialist publications. 2. The Parties shall support organization of internships and study visits of museums’ personnel. The sending institution shall cover the cost of both-ways international travel and board. The receiving institution provides with accommodation and covers the costs resulting from accomplishment of the internship’s or study visit’s programme. 3. In 2014 Parties shall organize, on the reciprocity basis, Festivals of Multiethnicity encompassing performances by artistic groups, exhibitions, film screenings and scientific meetings. The State Ethnographic Museum in Warsaw shall be the organizer from the Polish side. Given the specific nature of the festival, China Ethnic Minorities Association for External Exchanges (CEMAEE) under the direction of the State Ethnic Affairs Commission shall be recommended as the organizer from the Chinese side.
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Museums. Research in public environments Box 2.5 Informed consent in public settings Unless informed consent has been obtained, restrict research based upon observations of public behaviour to those situations in which persons being studied would reasonably expect to be observed by strangers, with reference to local cultural values and to the privacy of persons who, even while in a pub- lic space, may believe they are unobserved. Sociologists obtain informed consent from research participants, students, employees, clients, or others prior to videotaping, filming, or recording them in any form, unless these activities involve simply naturalistic observations in public places and it is not anticipated that the recording will be used in a man- ner that could cause personal identification or harm. Although the guidelines are more relaxed, it remains the responsibility of the researcher to be sensitive to the concerns of participants. Even if you plan to record in a public setting where people take photos and video recordings – for example at tourist sites – information about the research should be made available to participants and they should still have the opportunity to decline to participate. In a series of recent studies of conduct and interaction amongst visitors in museums, galleries and science centres (Heath and vom ▇▇▇▇, 2004; vom ▇▇▇▇ et al., 2001), it was impossible to gain written permission from the thousands of people who pass through the doors of each museum on a daily basis. Curators, museum directors and education officers were also concerned that the more conventional methods for gaining informed consent would be intrusive and would undermine visitors’ experiences. After discussion with visitors, as well as museum staff, it was agreed that we should use an ‘opt-out’ model of consent (▇▇▇▇▇, 1991). A C C E S S , E T H I C S A N D P R O J E C T P L A N N I N G 25 We decided to undertake data collection in only one of the many galleries of the particular museum at any one time. Signs were mounted at the entrance(s) to the gallery, providing information about the research and the recording taking place (see Box 2.6). If visitors had any questions or reservations, the signs invited them to talk to a researcher who was available throughout the period. The signs were mounted on stands that preserved the overall aesthetic of the exhibition but could not be confused with the labels and signs used by the museum. Box 2.6 Example sign for use in a museum <addres...
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Museums. Any combination of the permitted principal uses.
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Museums. Museums, building on their experience in conservation, interpretation, and dissemination of cultural, scientific, and environmental knowledge, have committed them- selves to further action in support of the Paris goals. Some examples: • Sustainable Museums, a global consultancy for museums, zoos, gardens, and historic sites addressing sustainability and climate, created the Twitter hashtag #MuseumsforParis to encourage education, research, and creativity to mobilize climate action and to share best practices among cultural institutions that support the Paris goals.49 Sports organizations and their fans contribute to climate • The International Council of Museums established a Working Group on Sustainability in 2018 to main- stream the U.N. Sustainable Development Goals and the Paris Agreement across its activities and to support its member museums in doing so.46 • In 2017, the International Council on Museums and Sites (ICOMOS), which works to improve the conservation of cultural heritage sites, formed a Climate Change and Cultural Heritage Workgroup “in light of the implementation of the Paris Agreement.”47 A 2018 report highlighted ways in which cultural heritage considerations intersect with the Paris objectives and provided guidance to the heritage community on strengthening climate- related efforts.48 change through associated travel, energy use, construc- tion, catering, and more. Teams and leagues around the world have partnered with the International Olympic Committee to create the UN Sports for Climate Action Framework.50 The 165 signatories to date, including the National Football League (NFL) and the National Basketball Association (NBA), commit to a set of five principles, such as reducing their overall climate impact and promoting sustainable and responsible consumption, and work to incorporate them into their operations.51
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Museums. Promotion of community organization and development.
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