Pub Date : 2019-05-22DOI: 10.5749/futuante.15.1.0059
Rayyane Tabet
Abstract:In this dialogue, Tabet speaks with Chad Elias about his practice in relation to Beirut's ongoing construction boom and the erasure of the city's architectural heritage. As with his ongoing project on the restoration of artifacts destroyed in Berlin's Tell Halaf Museum during World War II, the artist's sculptural engagement with materials scavenged from demolished historical buildings in the Lebanese capital raises crucial questions about the dictates of architectural preservation, overlaid in this instance with the contradictions produced by unregulated urban development and a volatile political landscape.
{"title":"The Preservation Complex: A Dialogue with Chad Elias","authors":"Rayyane Tabet","doi":"10.5749/futuante.15.1.0059","DOIUrl":"https://doi.org/10.5749/futuante.15.1.0059","url":null,"abstract":"Abstract:In this dialogue, Tabet speaks with Chad Elias about his practice in relation to Beirut's ongoing construction boom and the erasure of the city's architectural heritage. As with his ongoing project on the restoration of artifacts destroyed in Berlin's Tell Halaf Museum during World War II, the artist's sculptural engagement with materials scavenged from demolished historical buildings in the Lebanese capital raises crucial questions about the dictates of architectural preservation, overlaid in this instance with the contradictions produced by unregulated urban development and a volatile political landscape.","PeriodicalId":53609,"journal":{"name":"Future Anterior","volume":"1 1","pages":"58 - 64"},"PeriodicalIF":0.1,"publicationDate":"2019-05-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84176637","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-01-04DOI: 10.5749/FUTUANTE.14.2.0029
Elif Mihçioğlu Bilgi
Abstract:The Atatürk Forest Farm (AFF), known as Atatürk Orman Çiftliği (AOC) in Turkish, is located in Turkey's capital city, Ankara. This important symbolic space of Turkey's early republican period was a popular recreational area that included a zoo, small agricultural farms, greenhouses, restaurants, a dairy farm, and a brewery. However, as a result of the continuing degradation of vast areas of the AFF, there is a need for new policies for its improvement and ongoing management. This article is based on a project proposal entitled "Urban Dreams 9: Atatürk Forest Farm Areas Reclamation Project," which was prepared for a 2015 international design competition. Based on the analyses and evaluation of the AFF areas, the aim was to develop proposals at different scales with an emphasis on preservation and rehabilitation. The article argues that the preservation of the area in a multilayered state would allow the retention and adaptation of its original functions, providing the necessary integrity to the city and protecting the AFF for future generations.
摘要:atat rk森林农场(AFF)位于土耳其首都安卡拉，在土耳其语中被称为atat rk Orman Çiftliği (AOC)。这是土耳其共和国早期重要的象征性空间，是一个受欢迎的休闲区，包括动物园、小型农场、温室、餐馆、奶牛场和啤酒厂。然而，由于非洲森林基金大片地区的持续退化，需要制定新的政策来改进和持续管理。本文基于一个名为“Urban Dreams 9: atatrk Forest Farm Areas Reclamation project”的项目提案，该项目为2015年的国际设计竞赛而准备。根据对AFF地区的分析和评估，目的是在不同的尺度上提出建议，重点是保护和修复。文章认为，在多层状态下保护该地区将允许保留和适应其原始功能，为城市提供必要的完整性，并为子孙后代保护AFF。
{"title":"An Urban Dream for the Preservation of the Atatürk Forest Farm","authors":"Elif Mihçioğlu Bilgi","doi":"10.5749/FUTUANTE.14.2.0029","DOIUrl":"https://doi.org/10.5749/FUTUANTE.14.2.0029","url":null,"abstract":"Abstract:The Atatürk Forest Farm (AFF), known as Atatürk Orman Çiftliği (AOC) in Turkish, is located in Turkey's capital city, Ankara. This important symbolic space of Turkey's early republican period was a popular recreational area that included a zoo, small agricultural farms, greenhouses, restaurants, a dairy farm, and a brewery. However, as a result of the continuing degradation of vast areas of the AFF, there is a need for new policies for its improvement and ongoing management. This article is based on a project proposal entitled \"Urban Dreams 9: Atatürk Forest Farm Areas Reclamation Project,\" which was prepared for a 2015 international design competition. Based on the analyses and evaluation of the AFF areas, the aim was to develop proposals at different scales with an emphasis on preservation and rehabilitation. The article argues that the preservation of the area in a multilayered state would allow the retention and adaptation of its original functions, providing the necessary integrity to the city and protecting the AFF for future generations.","PeriodicalId":53609,"journal":{"name":"Future Anterior","volume":"89 1","pages":"29 - 44"},"PeriodicalIF":0.1,"publicationDate":"2019-01-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89146431","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-01-04DOI: 10.5749/FUTUANTE.14.2.0047
Gabriel Fuentes
Abstract:In this article I argue that, under the assumption of "authenticity," history raises not only ethical problems of honesty and truth but also aesthetic problems of representation and power. As such, heritage construction practices do not merely represent the past; rather, design history is itself a site for exploring architectural pasts and possible urban futures. In order to ground some broader thoughts on the aesthetics of authenticity and the politics of heritage, I analyze Havana, Cuba, a UNESCO World Heritage site since 1982. Specifically, I analyze the collaborative practices of Havana's Office of the Historian of the City Of Havana (OHCH), the only autonomous, noncentralized, capitalist entity in Cuba's socialist polity with the power to regulate, design, and develop heritage sites within Havana's old core.
{"title":"Beyond History: The Aesthetics of Authenticity and the Politics of Heritage in Havana, Cuba","authors":"Gabriel Fuentes","doi":"10.5749/FUTUANTE.14.2.0047","DOIUrl":"https://doi.org/10.5749/FUTUANTE.14.2.0047","url":null,"abstract":"Abstract:In this article I argue that, under the assumption of \"authenticity,\" history raises not only ethical problems of honesty and truth but also aesthetic problems of representation and power. As such, heritage construction practices do not merely represent the past; rather, design history is itself a site for exploring architectural pasts and possible urban futures. In order to ground some broader thoughts on the aesthetics of authenticity and the politics of heritage, I analyze Havana, Cuba, a UNESCO World Heritage site since 1982. Specifically, I analyze the collaborative practices of Havana's Office of the Historian of the City Of Havana (OHCH), the only autonomous, noncentralized, capitalist entity in Cuba's socialist polity with the power to regulate, design, and develop heritage sites within Havana's old core.","PeriodicalId":53609,"journal":{"name":"Future Anterior","volume":"89 1","pages":"47 - 59"},"PeriodicalIF":0.1,"publicationDate":"2019-01-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90823934","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-01-04DOI: 10.5749/FUTUANTE.14.2.0013
Tracy Ireland
Abstract:Orhan Pamuk's 2008 novel, The Museum of Innocence, narrates a love story exploring themes of unstable identities, affective objects, and obsessive collecting set against the background of social change in Turkey and its manifestation in the urban landscape of Istanbul. In his museum of the same name, which opened in 2012, and its catalog, The Innocence of Objects, Pamuk articulates a clear political agenda through his "Modest Manifesto for Museums," which expresses deep suspicion of the relationship between the narratives of the past told through grand museums and the power of the state. Pamuk's valuing of the everyday—the quotidian materiality of ordinary human lives—can be read as a critique of the concept of heritage significance and a reimagining of the field of heritage and museums where the material traces of the past are not uprooted from their neighborhoods but cared for at home and curated with love. I suggest that Pamuk's Museum of Innocence imagines a utopian future for heritage and museums that is centered on the constitution of empathic, materially mediated experiences of the everyday, particularly of joy, love, and happiness, emotions rarely encompassed or made visible through the frame of heritage. Pamuk's concern with experience and emotion, rather than representation, and with the vibrant materiality of objects, rather than representative collections, links to the scholarly shift in interest from what heritage might mean to what it might do.
摘要:奥尔罕·帕慕克2008年出版的小说《纯真博物馆》讲述了一个爱情故事，以土耳其社会变革为背景，探讨了不稳定的身份、情感对象和强迫性收藏等主题，并在伊斯坦布尔的城市景观中表现出来。在他于2012年开放的同名博物馆及其目录中，帕慕克通过他的“博物馆适度宣言”(Modest Manifesto for Museums)表达了一个明确的政治议程，表达了对通过大型博物馆讲述的过去与国家权力之间关系的深刻怀疑。帕慕克对日常生活的重视——普通人类生活的日常物质性——可以被解读为对遗产意义概念的批判，以及对遗产和博物馆领域的重新想象，在这些领域中，过去的物质痕迹不会从他们的社区中被铲除，而是在家里得到照顾，用爱来策划。我认为帕慕克的《纯真博物馆》为遗产和博物馆想象了一个乌托邦式的未来，它以移情的构成为中心，以日常的物质体验为中心，尤其是快乐、爱和幸福，这些情感很少被包含在遗产的框架中，也很少被看到。帕慕克关注的是经验和情感，而不是表现形式，关注的是物品的生动物质性，而不是代表性的藏品，这与学术兴趣的转变有关，从遗产可能意味着什么到它可能做什么。
{"title":"Quotidian Utopia: Orhan Pamuk's The Museum of Innocence and the Heritage of Love","authors":"Tracy Ireland","doi":"10.5749/FUTUANTE.14.2.0013","DOIUrl":"https://doi.org/10.5749/FUTUANTE.14.2.0013","url":null,"abstract":"Abstract:Orhan Pamuk's 2008 novel, The Museum of Innocence, narrates a love story exploring themes of unstable identities, affective objects, and obsessive collecting set against the background of social change in Turkey and its manifestation in the urban landscape of Istanbul. In his museum of the same name, which opened in 2012, and its catalog, The Innocence of Objects, Pamuk articulates a clear political agenda through his \"Modest Manifesto for Museums,\" which expresses deep suspicion of the relationship between the narratives of the past told through grand museums and the power of the state. Pamuk's valuing of the everyday—the quotidian materiality of ordinary human lives—can be read as a critique of the concept of heritage significance and a reimagining of the field of heritage and museums where the material traces of the past are not uprooted from their neighborhoods but cared for at home and curated with love. I suggest that Pamuk's Museum of Innocence imagines a utopian future for heritage and museums that is centered on the constitution of empathic, materially mediated experiences of the everyday, particularly of joy, love, and happiness, emotions rarely encompassed or made visible through the frame of heritage. Pamuk's concern with experience and emotion, rather than representation, and with the vibrant materiality of objects, rather than representative collections, links to the scholarly shift in interest from what heritage might mean to what it might do.","PeriodicalId":53609,"journal":{"name":"Future Anterior","volume":"14 1","pages":"13 - 26"},"PeriodicalIF":0.1,"publicationDate":"2019-01-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86837400","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-01-04DOI: 10.5749/FUTUANTE.14.2.0073
Timothy A. D. Hyde
Abstract:The Antarctic Treaty, signed in December 1959, set the terms by which the vast southern continent of Antarctica might exist outside and apart from the political and economic contingencies of the Cold War binary. The southern continent would exist in a legal geography that placed it outside the framework of nation-states—a no-place, to use a utopian term. Though its inhabitation has remained minimal, the continent nevertheless raises questions about architectural heritage in the presence of a number of expedition huts built on the shores of Antarctica in the early decades of the twentieth century. These huts, which once sustained the effort to gain knowledge of an unknown place, are now entangled within efforts to maintain the existence of an untrammeled zone. Legal frameworks now stipulate the preservation of the human history of Antarctica and the preservation of an Antarctica that has never been touched or seen. Two utopias are to be preserved, one architectural and the other natural, sharing a single continent that is itself the common heritage of humanity. The case of Antarctica and its mechanisms of preservation thus suggests a paradoxical state in which processes of interference and noninterference are nested within one another inside an architecture at the end of the world.
{"title":"Architecture at the End of the World: The Pasts and Futures of Heritage Preservation in Antarctica","authors":"Timothy A. D. Hyde","doi":"10.5749/FUTUANTE.14.2.0073","DOIUrl":"https://doi.org/10.5749/FUTUANTE.14.2.0073","url":null,"abstract":"Abstract:The Antarctic Treaty, signed in December 1959, set the terms by which the vast southern continent of Antarctica might exist outside and apart from the political and economic contingencies of the Cold War binary. The southern continent would exist in a legal geography that placed it outside the framework of nation-states—a no-place, to use a utopian term. Though its inhabitation has remained minimal, the continent nevertheless raises questions about architectural heritage in the presence of a number of expedition huts built on the shores of Antarctica in the early decades of the twentieth century. These huts, which once sustained the effort to gain knowledge of an unknown place, are now entangled within efforts to maintain the existence of an untrammeled zone. Legal frameworks now stipulate the preservation of the human history of Antarctica and the preservation of an Antarctica that has never been touched or seen. Two utopias are to be preserved, one architectural and the other natural, sharing a single continent that is itself the common heritage of humanity. The case of Antarctica and its mechanisms of preservation thus suggests a paradoxical state in which processes of interference and noninterference are nested within one another inside an architecture at the end of the world.","PeriodicalId":53609,"journal":{"name":"Future Anterior","volume":"47 1","pages":"73 - 86"},"PeriodicalIF":0.1,"publicationDate":"2019-01-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81418711","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-01-04DOI: 10.5749/FUTUANTE.14.2.0061
Inger Birkeland
Abstract:This article deals with the problem of making sense of the future. Future-making is an interesting issue to consider when exploring contemporary uses of the industrial past. Critical analysis of industrial heritage takes on new dimensions in light of global climate change, which implies a fundamentally different context for valuing the past. The article focuses on the imaginary construction of the future in relation to the heritage of industrial societies. Focusing on the Telemark region of Norway, it examines how narratives of industrialization and deindustrialization have been implicated in the region's heritage. Two towns in Telemark were added to UNESCO's World Heritage List in 2015 under the category of technical-industrial heritage, and they hold a special place in Norwegian modern history and identity. Here, I discuss the extent to which images of the future were either present or absent in the narratives constructed about the place. I also argue that heritagization is related not only to the past but to the future through the way humans make and draw upon visions of sustainable futures using aspiration and imagination.
{"title":"Making Sense of the Future: Valuing Industrial Heritage in the Anthropocene","authors":"Inger Birkeland","doi":"10.5749/FUTUANTE.14.2.0061","DOIUrl":"https://doi.org/10.5749/FUTUANTE.14.2.0061","url":null,"abstract":"Abstract:This article deals with the problem of making sense of the future. Future-making is an interesting issue to consider when exploring contemporary uses of the industrial past. Critical analysis of industrial heritage takes on new dimensions in light of global climate change, which implies a fundamentally different context for valuing the past. The article focuses on the imaginary construction of the future in relation to the heritage of industrial societies. Focusing on the Telemark region of Norway, it examines how narratives of industrialization and deindustrialization have been implicated in the region's heritage. Two towns in Telemark were added to UNESCO's World Heritage List in 2015 under the category of technical-industrial heritage, and they hold a special place in Norwegian modern history and identity. Here, I discuss the extent to which images of the future were either present or absent in the narratives constructed about the place. I also argue that heritagization is related not only to the past but to the future through the way humans make and draw upon visions of sustainable futures using aspiration and imagination.","PeriodicalId":53609,"journal":{"name":"Future Anterior","volume":"42 1","pages":"61 - 70"},"PeriodicalIF":0.1,"publicationDate":"2019-01-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84334466","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-10-05DOI: 10.5749/FUTUANTE.14.1.0127
A. Shanken
Abstract:Beginning in the 1960s, planners in Klagenfurt, Austria, began using monuments and memorials to frame the pedestrianization of the historic city center. This strategy of urban reinvention shows the convergence of monuments, tourism, and urban planning within the project of heritage conservation, with monuments being visual, spatial, and symbolic pieces with which cities created these larger effects in the postwar period. Relieved of the burden of commemorative practice, these monuments are free to adorn, mark space, and ennoble the old city; in effect, to affirm its historicity in a pivotal moment of transformation. This coincided with the creation of Minimundus, an architectural theme park in Klagenfurt, which, like Klagenfurt's historic core, treats miniature monuments as moveable props in a pedestrian zone. Through moving monuments and Minimundus, Klagenfurt staged a graceful setting for tourism using its historical assets as props. Its indifference to historical precision is, in fact, modernist. Under cover of preservation, heritage, and patrimony, planners assimilated some of the ideas birthed in the more radical context of the rise of the Modern movement in architecture.
{"title":"Meet Me at the Plague Column: Monuments and Conservation Planning","authors":"A. Shanken","doi":"10.5749/FUTUANTE.14.1.0127","DOIUrl":"https://doi.org/10.5749/FUTUANTE.14.1.0127","url":null,"abstract":"Abstract:Beginning in the 1960s, planners in Klagenfurt, Austria, began using monuments and memorials to frame the pedestrianization of the historic city center. This strategy of urban reinvention shows the convergence of monuments, tourism, and urban planning within the project of heritage conservation, with monuments being visual, spatial, and symbolic pieces with which cities created these larger effects in the postwar period. Relieved of the burden of commemorative practice, these monuments are free to adorn, mark space, and ennoble the old city; in effect, to affirm its historicity in a pivotal moment of transformation. This coincided with the creation of Minimundus, an architectural theme park in Klagenfurt, which, like Klagenfurt's historic core, treats miniature monuments as moveable props in a pedestrian zone. Through moving monuments and Minimundus, Klagenfurt staged a graceful setting for tourism using its historical assets as props. Its indifference to historical precision is, in fact, modernist. Under cover of preservation, heritage, and patrimony, planners assimilated some of the ideas birthed in the more radical context of the rise of the Modern movement in architecture.","PeriodicalId":53609,"journal":{"name":"Future Anterior","volume":"29 4","pages":"126 - 141"},"PeriodicalIF":0.1,"publicationDate":"2018-10-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72464458","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-10-05DOI: 10.5749/FUTUANTE.14.1.0071
D. Gissen
Abstract:The Rights of Monuments was a ten-day workshop led by David Gissen in Columbia University's Graduate School of Architecture, Planning, and Preservation. The workshop explored acts and charters from the late eighteenth century to the present that attempt to either grant or negotiate protections to historical monuments. This includes charters and laws that protect monuments from wartime destruction; international agreements that govern the movement of monuments and artifacts across national borders, and other agreements that govern things such as copyright and the reproduction of monuments. Within the workshop students were introduced to "posthumanist" critiques of rights as a way to rethink the rights of monuments from both a critical and contemporary perspective. The ultimate goal of the workshop involved a group articulation of the rights of monuments based on this theoretical reconceptualization of the historical literature. The essay is an edited version of a lecture in which the author presented many of the concepts behind the workshop.
{"title":"The Rights of Monuments","authors":"D. Gissen","doi":"10.5749/FUTUANTE.14.1.0071","DOIUrl":"https://doi.org/10.5749/FUTUANTE.14.1.0071","url":null,"abstract":"Abstract:The Rights of Monuments was a ten-day workshop led by David Gissen in Columbia University's Graduate School of Architecture, Planning, and Preservation. The workshop explored acts and charters from the late eighteenth century to the present that attempt to either grant or negotiate protections to historical monuments. This includes charters and laws that protect monuments from wartime destruction; international agreements that govern the movement of monuments and artifacts across national borders, and other agreements that govern things such as copyright and the reproduction of monuments. Within the workshop students were introduced to \"posthumanist\" critiques of rights as a way to rethink the rights of monuments from both a critical and contemporary perspective. The ultimate goal of the workshop involved a group articulation of the rights of monuments based on this theoretical reconceptualization of the historical literature. The essay is an edited version of a lecture in which the author presented many of the concepts behind the workshop.","PeriodicalId":53609,"journal":{"name":"Future Anterior","volume":"40 1","pages":"71 - 77"},"PeriodicalIF":0.1,"publicationDate":"2018-10-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80541271","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-10-05DOI: 10.5749/FUTUANTE.14.1.0107
Z. Bahrani
Abstract:The concern with monument destruction in warfare is as old as the world's earliest historical texts and monuments. This remarkable historical evidence comes from Iraq and Syria, where history is now in the process of being systematically obliterated. What is the aim of such destruction, and what is the role of preservation in these wars? This essay will address destruction and preservation as aspects of war, and will introduce the Columbia University Mapping Mesopotamia Monuments project.
{"title":"Destruction and Preservation as Aspects of Just War","authors":"Z. Bahrani","doi":"10.5749/FUTUANTE.14.1.0107","DOIUrl":"https://doi.org/10.5749/FUTUANTE.14.1.0107","url":null,"abstract":"Abstract:The concern with monument destruction in warfare is as old as the world's earliest historical texts and monuments. This remarkable historical evidence comes from Iraq and Syria, where history is now in the process of being systematically obliterated. What is the aim of such destruction, and what is the role of preservation in these wars? This essay will address destruction and preservation as aspects of war, and will introduce the Columbia University Mapping Mesopotamia Monuments project.","PeriodicalId":53609,"journal":{"name":"Future Anterior","volume":"6 1","pages":"106 - 119"},"PeriodicalIF":0.1,"publicationDate":"2018-10-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90671389","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：