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wiebket.bsky.social
@wiebket.bsky.social
11 followers 16 following 2 posts
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wiebket.bsky.social
Congratulations to the RNCM's Library team for last night's win of the THE Awards 2025 "Outstanding Library Team of the Year" - wonderful to see all your great work honoured in this way! @rncmlive.bsky.social @rncmresearch.bsky.social @rncmprism.bsky.social @timeshighered.bsky.social
November 14, 2025 at 9:38 AM
wiebket.bsky.social
Huge congratulations to Buff who has done it again - this time with his Tearjerker album, nominated for a 2026 Grammy! Fingers crossed! @rncmlive.bsky.social @rncmprism.bsky.social @rncmresearch.bsky.social
November 11, 2025 at 10:55 PM
Reposted
rncmresearch.bsky.social
On Mon 24 Nov at King's College London, Prof Emily Howard (Director PRiSM & Head of Artistic Research) will join speakers from mathematical, engineering, performance & composition backgrounds to explore how creativity connects music & maths in new & inspiring ways:

🎟️ marc.kcl.ac.uk/2025/11/seei...
rncmprism.bsky.social RNCM PRiSM @rncmprism.bsky.social · 4d
Seeing the Unseeable | Public discussion w/Rachel Bearon, Emily Howard, Elaine Chew, Marcus du Sautoy & Lauren Redhead

📆 Mon 24 Nov 2025
🕖 7-8:30pm
📍Edmond J. Safra Lecture Theatre KCL
🔗 marc.kcl.ac.uk/2025/11/seei...

@kingsnmes.bsky.social
@marcusdusautoy.bsky.social
@laurenredhead.bsky.social
Event poster with a collage of panelists' headshots in the background (Prof Marcus du Sautoy - top left, Prof Emily Howard - top right, Dr Lauren Redhead - bottom left, Elaine Chew - bottom right). On the foreground is event title and subtitle - Seeing the Unseeable: Exploring the creative process in music and maths.
November 11, 2025 at 1:40 PM
Reposted
historicalmarker.bsky.social
I was in Glasgow’s famed Kelvingrove Art Gallery and Museum in July, and it’s clearly just starting to wrestle with how slavery and empire made it, and the city, happen. Some exhibits were midway through the journey.
A display at Kelvingrove in Glasgow called “Scots Abroad,” heroically displaying white Scots “civilizing” Black Africans. Over fawning descriptions of items collected by Scots in Africa in the 19th century is a new addition to the Scots Abroad exhibit: a sign that says “Scots Abroad, or colonisers?” Kelvingrove in Glasgow has an exhibit on slavery and empire, including a school desk in 1950s with a sign that says: “Imagine sitting at this desk as a child. You’re in a classroom where teaching resources celebrate the British Empire and reinforce racist stereotypes. How would it shape your beliefs?” A sign in Kelvingrove that says “Colonial Foundations.” It reads: Glasgow's museum collection was initially displayed in Kelvingrove House, the former mansion of Lord Provist Patrick Calquhoun who was complicit in transatlantic slavery by trading in tobacco. Here. display cases were filled with stuffed animals, tools, weapons, antiquities and specimens of raw materials, many from across the British Empire - traces of Britain's exploitation of global resources. In 1888 and 1901 International Exhibitions endorsed Glasgow as the 'Second City of Empire, and both events were celebrations of British imperialism. For example, the 1888 Exhibitions royal reception room showed Indian crafts, and the 1901 Exhibition had displays of war trophies from South Africa. How should Glasgow Museums confront this history and show another viewpoint? Staff at Glasgow Museums are researching how our buildings, collections and practices have historically been connected to transatlantic siavery and the British Empire, and consulting on how we address the legacies af those connections in future displays and programmes. Let us know your thoughts ay emailing VisitorStudies@glasgowlife.org.uk.
November 7, 2025 at 6:41 PM
Reposted
profdanhicks.bsky.social
earlier this year a Swedish archaeologist launched an ad hominem attack on me in the International Journal of Cultural Property

I'm grateful to the editors for inviting my right to reply—and the opportunity to correct the record

www.academia.edu/144803887/On...
or
www.cambridge.org/core/journal...
On "Distorting History" - a reply to Staffan Lundén Earlier this year a Swedish archaeologist based at Gothenburg University’s Centre for Critical Heritage Studies published an unfounded ad hominem attack on me in the pages of the International Journal of Cultural Property. I am grateful to the editors for this right to reply to Staffan Lundén’s wholly spurious claims, and order to correct the record. Despite its provocative, “clickbait” title, not one substantive mistake or incorrect fact was identified in Lundén’s article in my book “The Brutish Museums”. The motivation for Lundén’s serial accusations against colleagues with whose scholarship on the history of the Benin Expedition he disagrees - from curators at the British Museum to members of the Royal Court of Benin - is discussed. In conclusion, the allegation that my book The Brutish Museums is “part of a trend away from pro-British perspectives” is contextualised and refuted. On the contrary, this reply argues, openness and transparency about the colonial past and present is a key element of the reclamation and reimagining of Britishness that is unfolding in the 2020s – this unfinished period that the book calls “the decade of returns”.
November 5, 2025 at 11:40 AM
Reposted
rncmresearch.bsky.social
Our Director of Research @wiebkethormahlen.bsky.social and Head of Research Management @glatthorn.bsky.social presented about making research systems work for arts institutions at the @elsevierconnect.bsky.social impact conference.
glatthorn.bsky.social Austin Glatthorn @glatthorn.bsky.social · 10d
At the first of my two remaining conferences of 2025. This one is in lovely Cascais, Portugal (the final one will be in Munich in December). It’s my first time in Cascais, and I’m really enjoying it so far.
November 7, 2025 at 2:00 PM