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Mapping climate risk and vulnerability with publicly available data. A guidance document produced by the WM-Air project, University of Birmingham.
Full text linkThis guidance document describes the GIS techniques used
to develop a CRVA map for Birmingham; co-created by the
WM-Air project group and Birmingham City Council
What is PM2.5? An introduction to particulate matter in the atmosphere: a briefing note
Full text linkParticulate matter (PM) is a term used to describe very small solid and liquid particles suspended in the air. These particles can be of natural or man-made origin and impact human health and the climate.Airborne particles are described by their diameter, with PM10 indicating particles with a diameter of 10 μm or below and PM2.5 indicating a diameter of 2.5 μm or below. Ultrafine particles are those with a diameter of less than 0.1 μm (PM0.1)
BEAR PGR Conference 2023 - Conference proceedings
Full text linkBEAR Conference proceedings are the collection of papers and posters that were presented at the BEAR PGR conference. Conferences provide opportunities for people to present their research, and get input from other researchers and colleagues in their field
Persophilia and technocracy: carpets in the World of Islam Festival
Full text linkRecent research has sought to deconstruct the narrative of the carpets of South, Central and West Asia created by late nineteenth and early twentieth century European and North American scholars. This article builds on the methodology of that recent historiographical work, but looks at a later historical moment, the 1970s. Then, as in the late nineteenth and early twentieth centuries, the formation of ideas of Iran and Islam through the agency of carpet studies was clearly visible. It explores this process through two exhibitions held in 1976 under the umbrella of the UK-wide World of Islam Festival, Arts of Islam at the Hayward Gallery, London, and Carpets of Central Persia at the Mappin Gallery, Sheffield and the Birmingham City Art Gallery. The article argues that whilst the visibility of carpets in the Festival reinvigorated carpet studies in the short term, its exhibitions failed to offer a sustainable forward path for the discipline. Rather they reinforced already anachronistic ideas about Iran’s role in the material culture of the region and continued to focus carpet scholarship the narrow question of provenience, the place and date of making
Birmingham Environment for Academic Research : Case studies volume 3
Full text linkThis collection of case studies was brought together to showcase the extent and diversity of research that is supported by the University of Birmingham’s Environment for Academic Research (BEAR). BEAR is a collection of contemporary IT resources designed to help research. The following case studies demonstrate how BEAR services such as the Research Data Store (RDS), BEAR software and the University supercomputer BlueBEAR are integral to the progression of important research across disciplines.
BlueBEAR is a key component of BEAR, providing compute power and specialist applications free to enable staff and students to delve deeper into their research. Upgraded in 2023, the cluster includes many large memory nodes and a GPU service alongside standard compute nodes. Alongside BlueBEAR, the RDS is a popular choice amongst researchers to securely store their working research data. As of publication, more than 5000 researchers across all five colleges were actively using BlueBEAR and/or the RDS. In this volume, we showcase case studies representing diverse research from every college. From estimating snow coverage to modelling second language acquisition, we show how BEAR services are enabling exciting and important research across the university
Edith Hoffmann (1888-1945): the first successful female art historian in Hungary
Full text linkEdith Hoffmann (1888-1945) was the first important and outstanding female art historian in Hungary. She received her PhD in medieval art in 1910 and worked at the Museum of Fine Arts in Budapest from 1913 until her tragically sudden death. According to her, around 1910 she also attended the classes of Professor Max Dvořák at the University of Vienna. She combined in herself all the virtues of a highly versatile, erudite, theoretical scholar and a practical museum specialist. All this at a time when, as a female intellectual, she had to face many prejudices; still she managed to overcome them. She was in direct daily contact with both the art-historical profession and artists and writers. Not only was she successful as a theorist, with interests ranging from ancient to contemporary art, but as an artist she should also be remembered as an innovator in the genre of shadow painting.
I will partly explore Edith Hoffmann’s career opportunities in the light of contemporary Hungarian society, and partly highlight some of the events and moments that connected her to Vienna through her friendships or her museum work. Among others, her close relationship with Johannes Wilde can be mentioned, with whom she corresponded regularly, but she also maintained her connections to Vienna in her later years as well. After World War I, following the collapse of the Monarchy, she was involved as an expert in the process of distributing cultural goods between Vienna and Hungary. Speaking several languages, including German as a mother tongue, Edith had no difficulty in finding her way around Europe’s major cities, especially Vienna
Johanna Hofmann-Stirnemann. The first female museum director in Germany
Full text linkIn 1930, Germany’s first publicly appointed female museum director took office: Hanna Stirnemann took over as director of the Jena City Museum that year. As museum director, she was a pioneer in a profession that had been defined by men until then. This article traces her museum career, which took her from the Oldenburg State Museum to the Reussisches Heimatmuseum in Greiz and finally to the Jena City Museum. There, she quickly made a name for herself as a museum director and outstanding art historian with a fine sense for an innovative exhibition and event program. The article will also show what happened after Stirnemann was forced to resign from her post by the National Socialists in 1935. After the war, the politically ‘unencumbered’ art historian was rehabilitated as mayor of a small town as well as director of the Rudolstadt Castle Museum and acting director of the Goethe and Schiller Archives in Weimar. In order to escape the restrictive cultural policy of the GDR, she moved to West-Berlin in 1950
The international spread of Asian and Islamic art histories: an intersectional approach to trajectories of the Vienna School (c. 1920 – 1970)
Full text linkStrzygowski’s art historical institute in Vienna was unique not only as a resource for the study of ‘Oriental’ art, but also in its gender-balance: between 37% and 54% of the graduates were women. This article takes the Strzygowskian graduates – women and men – as starting point to trace their professional trajectories in Vienna and the world. It pursues the twofold aim of combining a historical study with a critique of patriarchal patterns of historiography: Theoretically, the article deconstructs the ‘unconscious androcentrism’ of art historiography, which consists of linguistic and methodological patterns that reproduce patriarchy. The historical study then aims to reconstruct the history of the achievements of Vienna-trained art historians in the field of Asian and Islamic art history. Key question to the historical material is how gender, the Austrian university education, and religion intersected in specific local and temporal situations
Beyond Dvořákʼs ‘The Last Renaissance’: on the beginnings of Slovenian scientific art history inspired by modern art
Full text linkOne of the characteristics of the Vienna School of Art History, as Hans Tietze writes in The Method of Art History, is the conviction that ‘living art is the key to dead art’. The article draws connections between the lively art debates in Vienna in the first decade of the twentieth century, the breakthrough of Plečnik’s and Meštrović’s art, and the art historians who, at the beginning of their careers, were just beginning to explore the relationship between the formulation of method and the object of research, and places them in the broader historical context of the situation of small nations just before the dissolution of the monarchy. After the 1914–1918 war, central questions in art and science were reopened at the fringes of the former monarchy. Collaboration between scholars and artists was crucial not only for the development of the professions, but also for the formation of a modern cultural identity and sovereignty in the new multi-ethnic state
The artist as historian-politician: Romantic historicism, art, and architecture in the performance of cultural nationalism in Pérez Villaamil and Escosura’s España artística y monumental (1842-50)
Full text linkThis article analyses the sophisticated performance of cultural nationalism in the first instalment of España artística y monumental. It examines how the work’s creators interpreted the Catholic identity of Spain through their political viewpoint aligned with the Partido Moderado, the Spanish liberal conservative party; the process by which they sought to make that identity real, concrete, and persuasive, and the roles of historian, politician, and architect played by the work’s illustrator: painter Genaro Pérez Villaamil. Special attention is paid to the intellectual framework that enabled the project, with a particular focus on the epistemology of Romantic historicism and aesthetics, the understanding of the nation as a civilisation, and the weight assigned to architecture as historical proof. The article also scrutinises the readership experience in order to reveal a potential unusually effective nationalist performance of España artística y monumental in its strategic sequencing of monuments, its interpretation of these monuments through a simultaneously visual and verbal discourse, and the broad dissemination achieved by the work thanks to its printed medium
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