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  • 2014-2023
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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Poslon, Andrea;

    The subject of this graduate thesis is the constitutional protection of cultural property. At the very beginning, we are talking about the constitutional complaint, the deadline for bringing the lawsuit, etc. The fundamental law that governs the issue of cultural property is the Law on the protection and preservation of cultural property. In order to get a broader picture of how to protect cultural property, it is necessary to mention other regulations that are key to cultural property, so in addition to the basic law, the Constitution of the Republic of Croatia, which guarantees the preservation and protection of cultural property, is also important. Equally important is the Law on spatial planning, which in its spatial planning objectives also states the protection of cultural assets and values. And finally, judicial practice is very important to us, which is an indicator of the implementation of the constitutional protection of cultural property. Tema ovoga diplomskoga rada je ustavnosudska zaštita kulturnih dobara. U samom početku govorimo o ustavnoj tužbi, o roku za donošenje tužbe itd. Temeljni zakon koji uređuje pitanje kulturnih dobara je Zakon o zaštiti i očuvanju kulturnih dobara. Kako bismo dobili neku širu sliku u tome kako zaštititi kulturna dobra potrebno je navesti i druge propise koji su ključni za kulturna dobra, pa pored temeljnog zakona je bitan i Ustav Republike Hrvatske koji jamči očuvanje i zaštitu kulturnih dobara. Isto tako je bitan i Zakon o prostornom uređenju koji u svojim ciljevima prostornog uređenja također navodi zaštitu kulturnih dobara i vrijednosti. Sudska praksa je dobar pokazatelj provođenja ustavnosudske zaštite kulturnih dobara.

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Repository Faculty o...arrow_drop_down
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Repository Faculty o...arrow_drop_down
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Sekelj, Sanja;

    Focusing on the period between 1994 and 2006, this study of the Soros Foundation and its spin-offs employs a mixed-method approach to explore the structure of the visual arts’ scene in Croatia and the role of Soros’ organisations within it. Based on a quantitative analysis of network visualisations and a qualitative structural analysis of narrative interviews, which are theoretically framed around the notions of network and complexity, the article moves the research agenda away from assumptions about what Soros’ organisations were supposed to be, to a more embedded understanding of what they actually were in a specific space-time. The analysis foregrounds varying strategies and trajectories of Soros’ Croatia-based organisations. It demonstrates that they served mostly to maintain continuity with the socialist period during the 1990s, while real structural change, at least partially due to Soros’ influence, happened only after 1999 with the emergence of the independent cultural scene. The dataset was partially constructed as part of the PhD research “Digital Art History and Artists’ Networks in Croatia in the 1990s and 2000s”. It includes data from four periodicals published in Croatia between 1991 and 2006 (Kontura, Arkzin, Vijenac, and Zarez). The first dataset included all of the periodical issues and authors of texts, while the second one included all of the art critics and the artists / cultural institutions they mentioned in art criticism. This was expanded in the present article with the addition of the relation ‘co-mention in contribution’, in which two institutions are connected if they were mentioned in the same contribution of a periodical. Both the mentioned PhD and article, give a more detailed explanation on how the dataset was constructed.

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Institute of Art His...arrow_drop_down
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Institute of Art His...arrow_drop_down
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Dariz, Petra; Wortmann, Ulrich G.; Vogl, Jochen; Schmid, Thomas;

    Abstract The study, dedicated to Beautiful Piet��s conserved in South Tyrol (Northern Italy), aims to establish, for the first time, a connection between Austroalpine raw materials and the high-fired gypsum mortars constituting the Gothic figure groups in question. The origin and chronology of this stylistically and qualitatively differing ensemble have been subject of art historical debate for nearly a century. The discourse is dominated by three main hypotheses: itinerary of an Austrian artist versus itinerary of the work of art created in an artist���s workshop in Austria versus itinerary of the stylistic vocabulary via graphical or three-dimensional models. The comparison of the ��34S values and the 87Sr/86Sr ratios of the gypsum mortars and Austroalpine sulphate deposits (in a compilation of own reference samples and literature data) points to the exploitation of sediments in the Salzkammergut and possibly also in the evaporite district of the Eastern Calcareous Alps, thus evidencing the import of the sculptures and not the activities of local South Tyrolean or itinerant artists. Two geochronological units are distinguishable: The Piet�� in the Church St. Martin in G��flan can be assigned to Upper Permian raw material, whereas the metrologically consistent sculptures in the Church of Our Lady of the Benedictine Abbey Marienberg and in the Chapel St. Ann in M��lten correlate with deposits of the Early Triassic (or the Lower-Middle Triassic transition). The medieval gypsum mortars also differ in their mineralogical characteristics, i.e. in their geologically related minor components, as in the first case, characterised by a significant proportion of primary anhydrite, natural carbonate impurities mainly consist of calcite (partly converted to lime-lump-like aggregates), whereas in the second group dolomite (or rather its hydration products after pyrometamorphic decomposition) predominates, accompanied by celestine, quartz and potassium feldspar. The Piet�� in the Cathedral Maria Himmelfahrt in Bozen turned out to be made of Breitenbrunn calcareous sandstone (Leitha Mountains, Burgenland, Austria), which is why the sample is not considered in the geochemical analysis. Graphical Abstract

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ figsharearrow_drop_down
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    Collection . 2022
    License: CC BY
    Data sources: Datacite
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    Collection . 2022
    License: CC BY
    Data sources: Datacite
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
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      License: CC BY
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      This Research product is the result of merged Research products in OpenAIRE.

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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Živković Kuljiš, Loren; Belamarić, Josip; Korkut, Alem;

    The script for the course Sculpture 2 at the Graduate Study of the Department of Sculpture of the Art Academy in Split continues on the script for the course Sculpture 1 from the previous semester. Fifteen teaching units are arranged in sequences consistent with real sculptural practice. The possibility of perception and articulation of new content is one of the most important aspects of the development of the author's work process. The emphasis is on its openness and improvement, as an upgrade of knowledge from the previous semester. Throughout the script, the basic structure of the creative process is determined, but now at a more demanding level. The attention paid to the language of art, as a fundamental and unifying aspect of the work, this semester is further emphasized and presented by a series of selected visual examples, as well as examples of quotations from authors that can be interpreted as the basis of the artist’s statement. The script makes it easier for students to achieve the expected learning outcomes, i.e. awareness of the full process of realization of contemporary author's sculpture, from conceiving an idea to performing the work, and thinking about its layout in exhibition space. Skripta za kolegij Kiparstvo 2 na Diplomskom studiju Odsjeka kiparstvo Umjetničke akademije u Splitu nastavlja se na skriptu za kolegij iz prethodnog semestra, Kiparstvo 1. Petnaest nastavnih jedinica nižu se slijedom sukladnim realnoj kiparskoj praksi, što predstavlja važno iskustvo za studente, osobito u kolegiju Kiparstvo 2 koji nastavno na prethodni kolegij omogućuje studentima daljnje razvijanje znanja i iskustva. Mogućnost percepcije i artikulacije novih sadržaja je jedan od najvažnijih aspekata razvoja procesa autorskog rada. Naglasak je na njegovoj otvorenosti i unaprjeđivanju, kao nadogradnji znanja iz prethodnog semestra. Kroz čitavu skriptu se utvrđuje osnovna struktura stvaralačkog procesa, no sada na zahtjevnijoj razini. Pažnja posvećena likovnom jeziku, kao temeljnom i objedinjujućem aspektu rada, u ovom semestru je dodatno naglašena i prezentirana nizom odabranih vizualnih primjera, kao i primjera citata autora koji se mogu tumačiti kao temelji izjave o radu. Skripta olakšava studentima ostvarivanje očekivanih ishoda učenja, odnosno osvješćivanje potpunog procesa realizacije suvremene autorske skulpture, od osmišljavanja ideje do izvedbe rada i promišljanja njegova postava u prostoru.

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ University of Split ...arrow_drop_down
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    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ University of Split ...arrow_drop_down
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Živković Kuljiš, Loren; Mance, Ivana; Korkut, Alem;

    The content of the script consistently follows the curriculum. It is conceived in four phases and in fifteen teaching units, which are extensively elaborated in the script with explanations and examples. Through them, the student goes through all stages of conceptualization, realization and presentation of a sculptural work, in which the script serves as the basic literature. The script explains the goal and task of each teaching unit, elaborating the topic through a series of selected examples of works of art by Croatian and foreign sculptors. These examples further explain the artistic and technological problems that students face in their work: they explain different types of artistic themes ranging from classical to conceptual and self-referential, ways of their artistic interpretation, the relationship of sculpture to categories of space and time, different types of artistic motivation in choosing a topic, different connotational meanings of certain materials, aspects of performance in certain materials etc. With the help of the script, the students can more easily follow the contents of the course and rely on it when thinking and planning their own work, developing individual style and perception of their own position with unfettered treatment of ideas and clear interpretation of concepts. Sadržaj skripte dosljedno prati nastavni program te je koncipiran je u četiri faze i u petnaest nastavnih jedinica koje su u skripti opširno elaborirane objašnjenjima i primjerima. Kroz nijh student prolazi kroz sve etape konceptualizacije, realizacije i predstavljanja kiparskog djela, u čemu mu skripta služi kao temeljna literatura. Skripta objašnjava cilj i zadatak svake nastavne jedinice, elaborirajući temu kroz niz odabranih primjera umjetničkih djela hrvatskih i inozemnih kipara. Putem ovih primjera dodatno se razlažu umjetnički i tehnološki problemi s kojima se sreću studenti u svome radu: pojašnjavaju se različiti tipovi umjetničkih tema u rasponu od klasičnih tema do konceptualnih i autoreferencijalnih, načini njihove likovne interpretacije, odnos kiparskog medija prema kategorijama prostora i vremena, različite vrste umjetničke motivacije pri izboru teme, različita konotacijska značenja pojedinih materijala, aspekti izvedbe u pojedinim materijalima i slično. Pomoću skripte student može lakše pratiti sadržaje kolegija te se na nju osloniti pri promišljanju i planiranju vlastitog rada, razvoju individualnog stila i percepciji vlastite autorske pozicije s nesputanim tretmanom ideja i jasnom interpretacijom koncepata.

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    Authors: Scholger, Walter; Kuzman Šlogar, Koraljka; Hannesschläger, Vanessa;

    Thanks to funding received through the DARIAH-EU Working Group Funding framework and contributions from the Austrian and Croatian National consortiums, the DARIAH-EU working group ELDAH (Ethics and Legality in Digital Arts and Humanities, https://eldah.hypotheses.org/) was able to develop a tool that provides standardized consent form templates for obtaining legal consent from human participants: The DARIAH ELDAH Consent Form Wizard (CFW). The CFW enables digital scholars and the wider research infrastructure community to quickly and easily obtain a standardized consent form that is legally valid in all of the European Union. The tool is freely accessible online and is currently being translated into various languages.

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    Authors: Ostojić, Lena;

    Kulturna baština predstavlja povijest naroda. DogaĎaji i način ţivota te običaji i drugi segmenti na koje je utjecao čovjek na odreĎenom području definiraju indentitet svake zajednice. Proučavanjem nasljeĎene baštine upoznajemo sebe i stvaramo sliku o svim materijalnim i nematerijalnim vrijednostima koje su posjedovali naši preci. Danas kulturu karakterizira puno više od samog učenja svog nasljeĎa. Pravilno upravljanje, valorizacija, revitalizacija, zaštita i drugi postupci omogućuju da se kulturna dobra sačuvaju i prepoznaju kao vrijednosti od iznimne vaţnosti. Na osnovi takvih atraktivnosti je i nastao kulturni turizam koji ima sve veţu vaţnost u Republici Hrvatskoj kao jedan od najznačajnijih selektivnih oblika turizma. Da bi se dugoročno i kvalitetno kulturna baština sačuvala osnovne su organizacije koje imaju za cilj očuvanje kulturnih dobara diljem svijeta od kojih je UNESCO svakoako najznačajnija organizacija. Baština koja je pod ingerencijom navedene organizacije spada u najvrijednija svjetska kulturna dostignuća. Republika Hrvatska koja je prostorno mala drţava ima iznimnu nasljeĎenu baštinu te sve više se ista prepoznaje kao potencijal budućeg turističkog razvoja. Uz pomoć EU fondova i jasnim smjernicama te projektima nadleţnih tijela vlasti u cilju kvalitetnog očuvanja i upravljanja istom napravljeni su veliki pomaci. Cilj ovog rada je upoznati se s hrvatskom kulturnom baštinom te ukazati na njenu vrijednost. Valorizacija, pravilno upravljanje i aktivno odrţavanje kulturnih dobara vrlo su bitni čimbenici koji sluţe kao uporište za stvaranje konkurentnih prednosti te ističu vaţnost baštine stvarane tijekom povijesti jer ona pokriva mnogo aspekata ţivota zajednice, kako prošlih tako i sadašnjih. Valoriziranje kulturne baštine moţe se postići na mnoge načine, a svi imaju za cilj povećanje atraktivnosti destinacije što je vaţno za razvoj u ekonomskom, turističkom, kulturnom, socijalnom i ekološkom smislu. Cultural heritage represents the history of nations. Events, way of life, customs and other segments influenced by man in a particular area defined the characteristics of the community. By studying inherited heritage we get to know ourselves and create a picture of all the tangible and intangible values that our ancestors visited. Today’s culture is characterized by much more than just learning its history. Proper management, valorization, revitalization, protection and other procedures enable cultural goods to be preserved and recognized as values of exceptional importance. Over time, cultural tourism has emerged as well as many other results that affect the growth and development of the entire community. In order to preserve long-term and quality cultural heritage, established organizations representing cultural good awareness, of which UNESCO is one of them. The heritage that mentioned the organization is on the list of the world’s most valuable cultural achievements. Croatia, which is a spatially small country, has a number of inherited heritage in which the potential future development is increasingly recognized. With the help of EU funds and a clear vision of the development of culture and all its forces, we will be the same as a great competitive other state. The aim of this paper was to get acquainted with the Croatian cultural heritage and point out its value. Valorisation, proper management and active maintenance of cultural assets are very important factors that serve as a bulwark for great competitive performance and emphasize the importance of heritage created throughout history as it has covered many aspect s of people’s lives, both past and present. The valorisation of cultural heritage can be achieved in many ways, and all aim to increase the attractiveness of the destination which is important for development in economic, tourist, cultural, social and environmental terms.

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    Authors: Šesnić, Jelena;

    This article discusses the status of Toni Morrison as an American writer who consistently foregrounded African American history and experience and acted during her long career as a public intellectual. Morrison’s writerly agenda has been to delve into the epistemological origin of constructions such as race and blackness, placed in the context of their historical manifestation, such as transatlantic slavery as manifested in Morrison’s two most striking historical novels, Beloved (1987) and A Mercy (2008). Writing slavery, as a way to re-write the United States’ history and probe its dark spaces, places Morrison’s texts in a long line of nineteenth-century slave narratives, and in particular their twentieth-century avatar, the neo-slave novel, which strives to historicize slavery from the sufferer’s perspective. In the process, Morrison creates a “resistant text” (Sommer) requiring the reader’s imaginative and ethical engagement and refusing to fill in all the gaps. That the haunting of slavery still requires imaginative, historical, and ethical engagement, like the one accorded it by Morrison, is a fact of U.S. American social life to the present day.

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    Authors: Karačić, Jasna; Dondio, Pierpaolo; Buljan, Ivan; Hren, Darko; +1 Authors

    Abstract Background Although subjective expressions and linguistic fluency have been shown as important factors in processing and interpreting textual facts, analyses of these traits in textual health information for different audiences are lacking. We analyzed the readability and linguistic psychological and emotional characteristics of different textual summary formats of Cochrane systematic reviews. Methods We performed a multitrait-multimethod cross-sectional study of Press releases available at Cochrane web site (n = 162) and corresponding Scientific abstracts (n = 158), Cochrane Clinical Answers (n = 35) and Plain language summaries in English (n = 156), French (n = 101), German (n = 41) and Croatian (n = 156). We used SMOG index to assess text readability of all text formats, and natural language processing tools (IBM Watson Tone Analyzer, Stanford NLP Sentiment Analysis and Linguistic Inquiry and Word Count) to examine the affective states and subjective information in texts of Scientific abstracts, Plain language summaries and Press releases. Results All text formats had low readability, with SMOG index ranging from a median of 15.6 (95% confidence interval (CI) 15.3–15.9) for Scientific abstracts to 14.7 (95% CI 14.4–15.0) for Plain language summaries. In all text formats, “Sadness” was the most dominantly perceived emotional tone and the style of writing was perceived as “Analytical” and “Tentative”. At the psychological level, all text formats exhibited the predominant “Openness” tone, and Press releases scored higher on the scales of “Conscientiousness”, “Agreeableness” and “Emotional range”. Press releases had significantly higher scores than Scientific abstracts and Plain language summaries on the dimensions of “Clout”, and “Emotional tone”. Conclusions Although the readability of Plain language summaries was higher than that of text formats targeting more expert audiences, the required literacy was much higher than the recommended US 6th grade level. The language of Press releases was generally more engaging than that of Scientific abstracts and Plain language summaries, which are written by the authors of systematic reviews. Preparation of textual summaries about health evidence for different audiences should take into account readers’ subjective experiences to encourage cognitive processing and reaction to the provided information.

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    Collection . 2019
    License: CC BY
    Data sources: Datacite
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    Collection . 2019
    License: CC BY
    Data sources: Datacite
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      License: CC BY
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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Belaj, Juraj; Stingl, Sebastijan;

    During September and October 2017, after an eight-year break, archaeological research of the church of St. Martin at the site Prozorje (Martin-Breg) in Dugo Selo, continued. One probe (Probe 6) was explored, covering the entire surface of the church’s aisle. Below the humus layer that accumulated after the church went out of use, some paving and other structures, such as tombs, crypts, columns that held the choir and like, were discovered. Nineteen graves in total were explored and in most of them ‘special finds’ were discovered. In 47 % of them religious objects were found. They are mostly medallions, crucifixes, rosaries or parts of rosaries. Even more special finds was collected in the mixed layers. Among the abovementioned categories of finds there were also numerous coins, buttons, fragments of pottery and glass and the, especially outstanding, bronze breviary. The reason for such a large number of finds could lay in frequent digging and re-burying within the church’s aisle during which many graves were destroyed. A large number of human bones found in the mixed layer support this theory. Tijekom rujna i listopada 2017. godine nastavljena su – nakon osmogodišnje pauze – arheološka istraživanja crkve Sv. Martina na lokalitetu Prozorje (Martin-Breg) u Dugom Selu. Istraživana je jedna sonda (sonda VI) koja se prostirala cijelom površinom broda crkve. Ispod humusnog sloja nastaloga nakon napuštanja crkve, otkrivena su pojedina popločenja ali i druge strukture poput grobnica, kripte, baza stupova koji su držali kor i slično. Istraženo je 19 grobova, u većini grobova pronađeni su „posebni nalazi“, a u čak 47% njih pronađeni su nabožni predmeti. Uglavnom se radi o medaljicama, križevima, cijelim krunicama ili pojedinim njihovim zrnima. Još više posebnih nalaza prikupljeno je u izmiješanom sloju, tu su uz navedene kategorije nalaženi i brojni novci, gumbi, ulomci keramike i stakla, a osobito se ističe nalaz brončanog brevara. Razlog tako velikom broju moglo bi biti često prekopavanje i ponovno ukapanje unutar broda crkve, pri čemu su mnogi grobovi bili uništeni, a slično nam govori i velika količina ljudskih kostiju pronađena u izmiješanom sloju.

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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Poslon, Andrea;

    The subject of this graduate thesis is the constitutional protection of cultural property. At the very beginning, we are talking about the constitutional complaint, the deadline for bringing the lawsuit, etc. The fundamental law that governs the issue of cultural property is the Law on the protection and preservation of cultural property. In order to get a broader picture of how to protect cultural property, it is necessary to mention other regulations that are key to cultural property, so in addition to the basic law, the Constitution of the Republic of Croatia, which guarantees the preservation and protection of cultural property, is also important. Equally important is the Law on spatial planning, which in its spatial planning objectives also states the protection of cultural assets and values. And finally, judicial practice is very important to us, which is an indicator of the implementation of the constitutional protection of cultural property. Tema ovoga diplomskoga rada je ustavnosudska zaštita kulturnih dobara. U samom početku govorimo o ustavnoj tužbi, o roku za donošenje tužbe itd. Temeljni zakon koji uređuje pitanje kulturnih dobara je Zakon o zaštiti i očuvanju kulturnih dobara. Kako bismo dobili neku širu sliku u tome kako zaštititi kulturna dobra potrebno je navesti i druge propise koji su ključni za kulturna dobra, pa pored temeljnog zakona je bitan i Ustav Republike Hrvatske koji jamči očuvanje i zaštitu kulturnih dobara. Isto tako je bitan i Zakon o prostornom uređenju koji u svojim ciljevima prostornog uređenja također navodi zaštitu kulturnih dobara i vrijednosti. Sudska praksa je dobar pokazatelj provođenja ustavnosudske zaštite kulturnih dobara.

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    Authors: Sekelj, Sanja;

    Focusing on the period between 1994 and 2006, this study of the Soros Foundation and its spin-offs employs a mixed-method approach to explore the structure of the visual arts’ scene in Croatia and the role of Soros’ organisations within it. Based on a quantitative analysis of network visualisations and a qualitative structural analysis of narrative interviews, which are theoretically framed around the notions of network and complexity, the article moves the research agenda away from assumptions about what Soros’ organisations were supposed to be, to a more embedded understanding of what they actually were in a specific space-time. The analysis foregrounds varying strategies and trajectories of Soros’ Croatia-based organisations. It demonstrates that they served mostly to maintain continuity with the socialist period during the 1990s, while real structural change, at least partially due to Soros’ influence, happened only after 1999 with the emergence of the independent cultural scene. The dataset was partially constructed as part of the PhD research “Digital Art History and Artists’ Networks in Croatia in the 1990s and 2000s”. It includes data from four periodicals published in Croatia between 1991 and 2006 (Kontura, Arkzin, Vijenac, and Zarez). The first dataset included all of the periodical issues and authors of texts, while the second one included all of the art critics and the artists / cultural institutions they mentioned in art criticism. This was expanded in the present article with the addition of the relation ‘co-mention in contribution’, in which two institutions are connected if they were mentioned in the same contribution of a periodical. Both the mentioned PhD and article, give a more detailed explanation on how the dataset was constructed.

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    Authors: Dariz, Petra; Wortmann, Ulrich G.; Vogl, Jochen; Schmid, Thomas;

    Abstract The study, dedicated to Beautiful Piet��s conserved in South Tyrol (Northern Italy), aims to establish, for the first time, a connection between Austroalpine raw materials and the high-fired gypsum mortars constituting the Gothic figure groups in question. The origin and chronology of this stylistically and qualitatively differing ensemble have been subject of art historical debate for nearly a century. The discourse is dominated by three main hypotheses: itinerary of an Austrian artist versus itinerary of the work of art created in an artist���s workshop in Austria versus itinerary of the stylistic vocabulary via graphical or three-dimensional models. The comparison of the ��34S values and the 87Sr/86Sr ratios of the gypsum mortars and Austroalpine sulphate deposits (in a compilation of own reference samples and literature data) points to the exploitation of sediments in the Salzkammergut and possibly also in the evaporite district of the Eastern Calcareous Alps, thus evidencing the import of the sculptures and not the activities of local South Tyrolean or itinerant artists. Two geochronological units are distinguishable: The Piet�� in the Church St. Martin in G��flan can be assigned to Upper Permian raw material, whereas the metrologically consistent sculptures in the Church of Our Lady of the Benedictine Abbey Marienberg and in the Chapel St. Ann in M��lten correlate with deposits of the Early Triassic (or the Lower-Middle Triassic transition). The medieval gypsum mortars also differ in their mineralogical characteristics, i.e. in their geologically related minor components, as in the first case, characterised by a significant proportion of primary anhydrite, natural carbonate impurities mainly consist of calcite (partly converted to lime-lump-like aggregates), whereas in the second group dolomite (or rather its hydration products after pyrometamorphic decomposition) predominates, accompanied by celestine, quartz and potassium feldspar. The Piet�� in the Cathedral Maria Himmelfahrt in Bozen turned out to be made of Breitenbrunn calcareous sandstone (Leitha Mountains, Burgenland, Austria), which is why the sample is not considered in the geochemical analysis. Graphical Abstract

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    Authors: Živković Kuljiš, Loren; Belamarić, Josip; Korkut, Alem;

    The script for the course Sculpture 2 at the Graduate Study of the Department of Sculpture of the Art Academy in Split continues on the script for the course Sculpture 1 from the previous semester. Fifteen teaching units are arranged in sequences consistent with real sculptural practice. The possibility of perception and articulation of new content is one of the most important aspects of the development of the author's work process. The emphasis is on its openness and improvement, as an upgrade of knowledge from the previous semester. Throughout the script, the basic structure of the creative process is determined, but now at a more demanding level. The attention paid to the language of art, as a fundamental and unifying aspect of the work, this semester is further emphasized and presented by a series of selected visual examples, as well as examples of quotations from authors that can be interpreted as the basis of the artist’s statement. The script makes it easier for students to achieve the expected learning outcomes, i.e. awareness of the full process of realization of contemporary author's sculpture, from conceiving an idea to performing the work, and thinking about its layout in exhibition space. Skripta za kolegij Kiparstvo 2 na Diplomskom studiju Odsjeka kiparstvo Umjetničke akademije u Splitu nastavlja se na skriptu za kolegij iz prethodnog semestra, Kiparstvo 1. Petnaest nastavnih jedinica nižu se slijedom sukladnim realnoj kiparskoj praksi, što predstavlja važno iskustvo za studente, osobito u kolegiju Kiparstvo 2 koji nastavno na prethodni kolegij omogućuje studentima daljnje razvijanje znanja i iskustva. Mogućnost percepcije i artikulacije novih sadržaja je jedan od najvažnijih aspekata razvoja procesa autorskog rada. Naglasak je na njegovoj otvorenosti i unaprjeđivanju, kao nadogradnji znanja iz prethodnog semestra. Kroz čitavu skriptu se utvrđuje osnovna struktura stvaralačkog procesa, no sada na zahtjevnijoj razini. Pažnja posvećena likovnom jeziku, kao temeljnom i objedinjujućem aspektu rada, u ovom semestru je dodatno naglašena i prezentirana nizom odabranih vizualnih primjera, kao i primjera citata autora koji se mogu tumačiti kao temelji izjave o radu. Skripta olakšava studentima ostvarivanje očekivanih ishoda učenja, odnosno osvješćivanje potpunog procesa realizacije suvremene autorske skulpture, od osmišljavanja ideje do izvedbe rada i promišljanja njegova postava u prostoru.

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    Authors: Živković Kuljiš, Loren; Mance, Ivana; Korkut, Alem;

    The content of the script consistently follows the curriculum. It is conceived in four phases and in fifteen teaching units, which are extensively elaborated in the script with explanations and examples. Through them, the student goes through all stages of conceptualization, realization and presentation of a sculptural work, in which the script serves as the basic literature. The script explains the goal and task of each teaching unit, elaborating the topic through a series of selected examples of works of art by Croatian and foreign sculptors. These examples further explain the artistic and technological problems that students face in their work: they explain different types of artistic themes ranging from classical to conceptual and self-referential, ways of their artistic interpretation, the relationship of sculpture to categories of space and time, different types of artistic motivation in choosing a topic, different connotational meanings of certain materials, aspects of performance in certain materials etc. With the help of the script, the students can more easily follow the contents of the course and rely on it when thinking and planning their own work, developing individual style and perception of their own position with unfettered treatment of ideas and clear interpretation of concepts. Sadržaj skripte dosljedno prati nastavni program te je koncipiran je u četiri faze i u petnaest nastavnih jedinica koje su u skripti opširno elaborirane objašnjenjima i primjerima. Kroz nijh student prolazi kroz sve etape konceptualizacije, realizacije i predstavljanja kiparskog djela, u čemu mu skripta služi kao temeljna literatura. Skripta objašnjava cilj i zadatak svake nastavne jedinice, elaborirajući temu kroz niz odabranih primjera umjetničkih djela hrvatskih i inozemnih kipara. Putem ovih primjera dodatno se razlažu umjetnički i tehnološki problemi s kojima se sreću studenti u svome radu: pojašnjavaju se različiti tipovi umjetničkih tema u rasponu od klasičnih tema do konceptualnih i autoreferencijalnih, načini njihove likovne interpretacije, odnos kiparskog medija prema kategorijama prostora i vremena, različite vrste umjetničke motivacije pri izboru teme, različita konotacijska značenja pojedinih materijala, aspekti izvedbe u pojedinim materijalima i slično. Pomoću skripte student može lakše pratiti sadržaje kolegija te se na nju osloniti pri promišljanju i planiranju vlastitog rada, razvoju individualnog stila i percepciji vlastite autorske pozicije s nesputanim tretmanom ideja i jasnom interpretacijom koncepata.

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    Authors: Scholger, Walter; Kuzman Šlogar, Koraljka; Hannesschläger, Vanessa;

    Thanks to funding received through the DARIAH-EU Working Group Funding framework and contributions from the Austrian and Croatian National consortiums, the DARIAH-EU working group ELDAH (Ethics and Legality in Digital Arts and Humanities, https://eldah.hypotheses.org/) was able to develop a tool that provides standardized consent form templates for obtaining legal consent from human participants: The DARIAH ELDAH Consent Form Wizard (CFW). The CFW enables digital scholars and the wider research infrastructure community to quickly and easily obtain a standardized consent form that is legally valid in all of the European Union. The tool is freely accessible online and is currently being translated into various languages.

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    Authors: Ostojić, Lena;

    Kulturna baština predstavlja povijest naroda. DogaĎaji i način ţivota te običaji i drugi segmenti na koje je utjecao čovjek na odreĎenom području definiraju indentitet svake zajednice. Proučavanjem nasljeĎene baštine upoznajemo sebe i stvaramo sliku o svim materijalnim i nematerijalnim vrijednostima koje su posjedovali naši preci. Danas kulturu karakterizira puno više od samog učenja svog nasljeĎa. Pravilno upravljanje, valorizacija, revitalizacija, zaštita i drugi postupci omogućuju da se kulturna dobra sačuvaju i prepoznaju kao vrijednosti od iznimne vaţnosti. Na osnovi takvih atraktivnosti je i nastao kulturni turizam koji ima sve veţu vaţnost u Republici Hrvatskoj kao jedan od najznačajnijih selektivnih oblika turizma. Da bi se dugoročno i kvalitetno kulturna baština sačuvala osnovne su organizacije koje imaju za cilj očuvanje kulturnih dobara diljem svijeta od kojih je UNESCO svakoako najznačajnija organizacija. Baština koja je pod ingerencijom navedene organizacije spada u najvrijednija svjetska kulturna dostignuća. Republika Hrvatska koja je prostorno mala drţava ima iznimnu nasljeĎenu baštinu te sve više se ista prepoznaje kao potencijal budućeg turističkog razvoja. Uz pomoć EU fondova i jasnim smjernicama te projektima nadleţnih tijela vlasti u cilju kvalitetnog očuvanja i upravljanja istom napravljeni su veliki pomaci. Cilj ovog rada je upoznati se s hrvatskom kulturnom baštinom te ukazati na njenu vrijednost. Valorizacija, pravilno upravljanje i aktivno odrţavanje kulturnih dobara vrlo su bitni čimbenici koji sluţe kao uporište za stvaranje konkurentnih prednosti te ističu vaţnost baštine stvarane tijekom povijesti jer ona pokriva mnogo aspekata ţivota zajednice, kako prošlih tako i sadašnjih. Valoriziranje kulturne baštine moţe se postići na mnoge načine, a svi imaju za cilj povećanje atraktivnosti destinacije što je vaţno za razvoj u ekonomskom, turističkom, kulturnom, socijalnom i ekološkom smislu. Cultural heritage represents the history of nations. Events, way of life, customs and other segments influenced by man in a particular area defined the characteristics of the community. By studying inherited heritage we get to know ourselves and create a picture of all the tangible and intangible values that our ancestors visited. Today’s culture is characterized by much more than just learning its history. Proper management, valorization, revitalization, protection and other procedures enable cultural goods to be preserved and recognized as values of exceptional importance. Over time, cultural tourism has emerged as well as many other results that affect the growth and development of the entire community. In order to preserve long-term and quality cultural heritage, established organizations representing cultural good awareness, of which UNESCO is one of them. The heritage that mentioned the organization is on the list of the world’s most valuable cultural achievements. Croatia, which is a spatially small country, has a number of inherited heritage in which the potential future development is increasingly recognized. With the help of EU funds and a clear vision of the development of culture and all its forces, we will be the same as a great competitive other state. The aim of this paper was to get acquainted with the Croatian cultural heritage and point out its value. Valorisation, proper management and active maintenance of cultural assets are very important factors that serve as a bulwark for great competitive performance and emphasize the importance of heritage created throughout history as it has covered many aspect s of people’s lives, both past and present. The valorisation of cultural heritage can be achieved in many ways, and all aim to increase the attractiveness of the destination which is important for development in economic, tourist, cultural, social and environmental terms.

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    Authors: Šesnić, Jelena;

    This article discusses the status of Toni Morrison as an American writer who consistently foregrounded African American history and experience and acted during her long career as a public intellectual. Morrison’s writerly agenda has been to delve into the epistemological origin of constructions such as race and blackness, placed in the context of their historical manifestation, such as transatlantic slavery as manifested in Morrison’s two most striking historical novels, Beloved (1987) and A Mercy (2008). Writing slavery, as a way to re-write the United States’ history and probe its dark spaces, places Morrison’s texts in a long line of nineteenth-century slave narratives, and in particular their twentieth-century avatar, the neo-slave novel, which strives to historicize slavery from the sufferer’s perspective. In the process, Morrison creates a “resistant text” (Sommer) requiring the reader’s imaginative and ethical engagement and refusing to fill in all the gaps. That the haunting of slavery still requires imaginative, historical, and ethical engagement, like the one accorded it by Morrison, is a fact of U.S. American social life to the present day.

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    Authors: Karačić, Jasna; Dondio, Pierpaolo; Buljan, Ivan; Hren, Darko; +1 Authors

    Abstract Background Although subjective expressions and linguistic fluency have been shown as important factors in processing and interpreting textual facts, analyses of these traits in textual health information for different audiences are lacking. We analyzed the readability and linguistic psychological and emotional characteristics of different textual summary formats of Cochrane systematic reviews. Methods We performed a multitrait-multimethod cross-sectional study of Press releases available at Cochrane web site (n = 162) and corresponding Scientific abstracts (n = 158), Cochrane Clinical Answers (n = 35) and Plain language summaries in English (n = 156), French (n = 101), German (n = 41) and Croatian (n = 156). We used SMOG index to assess text readability of all text formats, and natural language processing tools (IBM Watson Tone Analyzer, Stanford NLP Sentiment Analysis and Linguistic Inquiry and Word Count) to examine the affective states and subjective information in texts of Scientific abstracts, Plain language summaries and Press releases. Results All text formats had low readability, with SMOG index ranging from a median of 15.6 (95% confidence interval (CI) 15.3–15.9) for Scientific abstracts to 14.7 (95% CI 14.4–15.0) for Plain language summaries. In all text formats, “Sadness” was the most dominantly perceived emotional tone and the style of writing was perceived as “Analytical” and “Tentative”. At the psychological level, all text formats exhibited the predominant “Openness” tone, and Press releases scored higher on the scales of “Conscientiousness”, “Agreeableness” and “Emotional range”. Press releases had significantly higher scores than Scientific abstracts and Plain language summaries on the dimensions of “Clout”, and “Emotional tone”. Conclusions Although the readability of Plain language summaries was higher than that of text formats targeting more expert audiences, the required literacy was much higher than the recommended US 6th grade level. The language of Press releases was generally more engaging than that of Scientific abstracts and Plain language summaries, which are written by the authors of systematic reviews. Preparation of textual summaries about health evidence for different audiences should take into account readers’ subjective experiences to encourage cognitive processing and reaction to the provided information.

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ figsharearrow_drop_down
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    Collection . 2019
    License: CC BY
    Data sources: Datacite
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
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    Collection . 2019
    License: CC BY
    Data sources: Datacite
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ figsharearrow_drop_down
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      Collection . 2019
      License: CC BY
      Data sources: Datacite
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
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      Collection . 2019
      License: CC BY
      Data sources: Datacite
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