Listing

The first law for the protection of historic monuments from Romania was published in 1892. A few years later, in 1904, the first inventory of historic monuments was issued, and in it there were no parks and gardens. The first ones to be listed as cultural heritage were the ones around the Mogoșoaia Palace, near Bucharest. They were listed by Royal Decree in 1945, and they followed a European trend that started long before in Central Europe. The park and gardens at Mogoșoaia Palace were soon followed by more and more private gardens and public parks from all over the country. In less than a century since the Royal Decree of 1945, Romania counts more than 160 such historic monuments, most of which are represented by parks and gardens next to castles, palaces, manors and monasteries. The following paper aims to present the history of the way in which parks and gardens were listed as cultural heritage in Romania and to summarize the listing process of some of the most well-known such landscaped ensembles.

The article presents an ethnographic account of a debate about lists in UNESCO's Intergovernmental Meeting of Experts that drafted the Convention for Safeguarding the Intangible Cultural Heritage. The convention's Representative List is a compromise solution reached after intensive disputes and diplomatic confrontations between those who wanted a merit-based List of Treasures or List of Masterpieces similar to the World Heritage List, those who wanted an inclusive universal inventory of traditional practices, and those who wanted no list at all.

The article analyzes the arguments made for the various positions in this debate on listing—from incentive and promotion value (pros) to divisiveness and hierarchization (cons)—and argues that these go to the heart of heritage practices, which are always and inevitably selective. The system of heritage, in other words, is structured on exclusion. It gives value to certain things rather than others with reference to an assortment of criteria that can only be indeterminate and subject to debate—whether the objects designated for safeguarding are selected based on their excellence, outstanding value, authenticity, or, indeed, representativity. In this respect, heritage and lists are not unlike one another: both depend on selection, both decontextualize their objects from their immediate surroundings and recontextualize them with reference to other things designated or listed. It is hardly surprising, then, that listing seems constantly to accompany heritage-making. In the practical context of finite resources and infinite needs, this exclusionary structure—the selectivity that allots to certain objects and not to others the attention, expertise, and capital necessary to delay their disintegration—means that heritage needs to be understood first and foremost as a term of policy.

List Construction Markers in Russian: Riformulative Signals, General Extenders... I vse takoe
This paper offers a descriptive survey of list markers in contemporary Russian, i.e. discourse markers that signal the presence of a list and at the same time fulfil specific semantic and pragmatic functions, such as generalization (и все такое ‘and things like that’, или что-то в этом роде ‘or something’), exemplification (типа ‘such as/kind of’, например ‘for example’) or reformulation of the list content (так сказать ‘so to speak, вернее ‘more precisely’).
It also explores the structural and functional properties of general extenders (Overstreet 1999) within the framework of CxG, focusing particularly on the process of lexicalization and grammaticalization of the discourse marker и все такое ‘and things like that’. The survey allows to make some generalisations about the multifuncionality
of these discourse marker from both a monolingual and a contrastive perspective.

The following study assesses the conservation/Sustainability balance from the point of view of stakeholders and heritage values in determining a balanced future for any heritage resource. The study subject chosen is residential Brutalist architecture of the post-war period, which presents a suitably contentious topic. The case studies selected, Park Hill, Sheffield and Alexandra Road, London are key examples of nationally important Brutalist developments, with overlapping and diverging histories

O livro Revisitando o instituto do Tombamento se propõe a contribuir no debate teórico sobre o tema da proteção do patrimônio cultural, situando as principais disputas jurídico-conceituais e político-institucionais em curso no Brasil, em uma perspectiva crítica. A produção de uma doutrina jurídica que expresse todos os deslocamentos conceituais e legislativos que vêm se operando nesse esforço de “revisitar” o instituto do tombamento, vislumbrando no mesmo um instrumento central não apenas para a política de preservação do patrimônio cultural, mas também para a política urbana brasileira, é fundamental não apenas para alimentar a jurisprudência na interpretação de conflitos sobre a utilização dos bens tombados, mas, sobretudo, para fomentar os processos sociais necessários à consolidação de uma mobilização nacional em defesa do patrimônio cultural e dos interesses da coletividade na preservação da memória. O livro se insere, portanto, em um esforço já iniciado pelos organizadores com o livro Revisitando o instituto da desapropriação (Fórum, 2009), em lançar um olhar crítico e renovado a tradicionais institutos de Direito Público que permitem a intervenção do Estado sobre a propriedade privada, em atenção aos princípios da supremacia do interesse público sobre o particular e, muito especialmente, ao princípio da função social e ambiental da propriedade.

This study aimed at investigating the effect of using brainstorming and its subcategories (listing, question and answer, outlining) as a pre-writing strategy. Participants of the study were 60 Iranian EFL advanced learners who were both male and female. Instruments of the study were pretest, instruction, posttest and a questionnaire at the end of the treatment in order to measure the attitude of students toward instruction. Results of the study revealed that there was not any significant relationship between brainstorming, its subcategories and EFL learners writing development. In addition, findings showed that there was not any significant difference between males and females in terms of using brainstorming and the three subcategories.

Restlessness, palm trees, grey buildings, suburban landscapes, blue sky backdrop, pinkness, traffic jammed highway, six months of winter. As I walk to University I am simultaneously noticing, thinking, walking, breathing, and listening. My practice uses listing as an approach to make interactive documentaries that attempt to negotiate the messiness of the everyday. Mess considered as, from the Oxford dictionary, a situation or person “that is confused and full of problems.” The world is messy because it is full of coexisting confusions and problems that are impossible to understand or solve. If linear documentaries corral footage into a story, with a beginning, middle, and end, do multilinear documentaries bring us closer to negotiating the rhythms of mess?

John Law, Ross Gibson, and Lev Manovich from the contexts of social science, arts practice and new media respectively, variously describe the world as messy. Law describes the world as “slippery, indistinct, elusive, complex, diffuse, messy, textured, vague, unspecific, confused, disordered, emotional, painful, [and] pleasurable” (15). Gibson suggests “complexity defines everyday experience evermore emphatically in our globalizing economies” (7). Manovich considers the world as “an endless and unstructured collection of images, texts and other data records” (219). A multilinear approach to interactive documentary appears to engage with the messiness of the world. As Gibson notes interactive works “matter because they give us a chance to sense directly how complexity works” (8).

Using the Korsakow authoring software I have developed a multilinear approach to documentary which takes noticing and listing as methods to allow multiple, simultaneous relationships between interconnected video parts. For this talk I will use an interactive documentary I have made to discuss how my approach to multilinearity may give us a sense of complexity. I will provide a way to make interactive documentaries that comes close to engaging with the messiness of experience.