Mario Pricken hat mehr als 300 Produkte, Objekte und Ereignisse über deren gesamten Lebenszyklus hinweg sorgfältig analysiert, um in seinem neuen Buch erstmals jene Muster offenzulegen, die Dinge besonders wertvoll machen. Dabei hat er 80 Parameter identifiziert, die sich zum Beispiel in den Biografien wertvoller Autos, Uhren, Genussmittel, Designermöbel, Kunstwerke oder Dienstleistungen wiederfinden - etwa Elemente der Einzigartigkeit, der Verknappung, der Wirkung von Zeit oder inszenierter Übergaben. Zudem bietet das Buch einen umfassenden Fragenkatalog als Trigger für eigene Ideen, um Produkten jene Aura zu verleihen, die Begehren auslöst. "Die Aura des Wertvollen" ist gleichzeitig ein Innovationsbuch für kreative Vordenker aus Produktentwicklung, Marketing, Design, Events oder der Kunst sowie Lesestoff für diejenigen unter uns, die wertvolle Dinge schätzen und verstehen wollen, was diese Produkte zu etwas Besonderem macht. Es zielt auf Intuition und Verstand, ist zugleich inspirierend und unterhaltsam und bietet uns eine völlig neue Perspektive auf das Erschaffen, Vermarkten und den Erwerb besonders begehrter Produkte. Dieser Reisebegleiter durch die Welt wertvoller Produkte und Objekte - öffnet anhand von Beispielen aus Wirtschaft, Kunst und Religion sowie vielen Illustrationen den Blick für die grundlegenden Parameter, die unabhängig von Branchen, Produktgruppen, Zeiterscheinungen oder Kulturen Wert erzeugen und Produkte "glänzen" lassen. - lässt sich als Analysewerkzeug nutzen, um die "Wert-DNA" von Produkten einfach und schnell zu bestimmen. - lädt mit mehr als 300 Trigger-Fragen dazu ein, neue Ideen zu entwickeln, um Produkte mit Wert aufzuladen. - weist Profis mit dem 4D-Innovationsprozess einen klaren Weg zur praktischen Anwendung der Werteparameter.

Migration has, across time, contributed to the development and reshaping of societies and urban spaces. Today, migration movements have become a global phenomenon, where the number of countries affected--socially, economically and culturally--by migration is continually increasing. As in past times, the reasons why people move are varied and often intertwined. Sometimes it is about people fleeing poverty, war, ethnic conflicts, environmental disasters or different forms of persecution--for example religious. However, people also move for other reasons, such as work and studies in other countries, or out of curiosity and a sense of adventure. International migration and mobility have implications for many sectors in society, including the museum sector. To be in tune with the times and relevant to all citizens, the museum sector needs, more than ever, to address issues that transcend national borders. As important educational institutions often visited by, amongst others, schoolchildren, museums have the potential to affect our notions of the world. By making museums places for exploring and learning about both the past and the present of issues such as migration, mobility, transnational connections and human rights, they not only become more relevant as cultural institutions, but may also facilitate positive changes in how people relate to each other in the wider society--thereby ultimately contributing to society's sustainable development. This book seeks to contribute to the discussion about how museums can improve their engagement in issues of migration and becoming more inclusive. The book provides both relevant theoretical reflections and new and innovative empirical examples on museums' engagement in migration from several parts of the world. Several distinguished scholars and curators discuss and reflect on museums' perspectives, collecting practices, collaborations, and representations of migration.

Combining the history of ideas, institutions, and architecture, this study shows how the museum both reflected and shaped the place of art in German culture from the late eighteenth century to the early twentieth century. On a broader level, it illuminates the origin and character of the museum's central role in modern culture. James Sheehan begins by describing the establishment of the first public galleries during the last decades of Germany's old regime. He then examines the revolutionary upheaval that swept Germany between 1789 and 1815, arguing that the first great German museums reflected the nation's revolutionary aspirations. By the mid-nineteenth century, the climate had changed; museums constructed in this period affirmed historical continuities and celebrated political accomplishments. During the next several years, however, Germans became disillusioned with conventional definitions of art and lost interest in monumental museums. By the turn of the century, the museum had become a site for the political and cultural controversies caused by the rise of artistic modernism. In this context, Sheehan argues, we can see the first signs of what would become the modern style of museum architecture and modes of display. The first study of its kind, this highly accessible book will appeal to historians, museum professionals, and anyone interested in the relationship between art, politics, and culture.

Based on an extensive and very meticulous study of different archives and the evaluation of original, previously unpublished, archival material, this book highlights the key aspects and trends of the European and American art markets in the late nineteenth and early twentieth centuries. In particular, the book focuses on how these markets influenced each other from the viewpoint of one of the most prominent museum directors of this period, Wilhelm von Bode (1845–1929). Given the complexity of the topic, the book is structured into two parts. The first part focuses on Bode’s interactions with the German banker and dedicated art collector based in Paris, Rudolphe Kann (1845–1905). The second part follows the sale of the Kann Collection to the dealer Joseph Duveen and follows on the relationship between Bode, Duveen and the American collectors. The book will be of interest to scholars working in art history, museum studies, and the art market.

The 25th issue of ICOM Education that I have the pleasure to introduce has two new features: – it is sponsored by the European Union; – all CECA members were invited to present a contribution. The European Union sponsored our journal through EMEE EuroVision - Museums Exhibiting Europe, a project led by the University of Augsburg, whose purpose is to explore an innovative, interdisciplinary approach for museums to re-interpret their objects. Therefore the core of the project is the change of perspective (COP). The project partners all considered CECA as an outstanding platform to disseminate the project, which is a further proof of the reputation of our Committee. […] (Emma Nardi)