"This volume evolved from the session "Provenance: The Transformative Power," held at the 96th annual College Art Association conference in Dallas, 21 February 2008."
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The World Wide Web is now deeply intertwined with our lives, and has become a catalyst for a data deluge, making vast amounts of data available online, at a click of a button. With Web 2.0, users are no longer passive consumers, but active publishers and curators of data. Hence, from science to food manufacturing, from data journalism to personal well-being, from social media to art, there is a strong interest in provenance, a description of what influenced an artifact, a data set, a document, a blog, or any resource on the Web and beyond. Provenance is a crucial piece of information that can help a consumer make a judgment as to whether something can be trusted. Provenance is no longer seen as a curiosity in art circles, but it is regarded as pragmatically, ethically, and methodologically crucial for our day-to-day data manipulation and curation activities on the Web. Following the recent publication of the PROV standard for provenance on the Web, which the two authors actively help shape in the Provenance Working Group at the World Wide Web Consortium, this Synthesis lecture is a hands-on introduction to PROV aimed at Web and linked data professionals. By means of recipes, illustrations, a website at www.provbook.org, and tools, it guides practitioners through a variety of issues related to provenance: how to generate provenance, publish it on the Web, make it discoverable, and how to utilize it. Equipped with this knowledge, practictioners will be in a position to develop novel applications that can bring open-ness, trust, and accountability. Table of Contents: Preface / Acknowledgments / Introduction / A Data Journalism Scenario / The PROV Ontology / Provenance Recipes / Validation, Compliance, Quality, Replay / Provenance Management / Conclusion / Bibliography / Authors' Biographies / Index
This book analyzes a substantial corpus of Old Testament pseudepigrapha, proposing a methodology for understanding them first in the social context of their earliest (Christian) manuscripts and inferring still earlier Jewish or other origins only as required by positive evidence.
A tautly paced investigation of one the 20th century's most audacious art frauds, which generated hundreds of forgeries-many of them still hanging in prominent museums and private collections today Provenance is the extraordinary narrative of one of the most far-reaching and elaborate deceptions in art history. Investigative reporters Laney Salisbury and Aly Sujo brilliantly recount the tale of a great con man and unforgettable villain, John Drewe, and his sometimes unwitting accomplices. Chief among those was the struggling artist John Myatt, a vulnerable single father who was manipulated by Drewe into becoming a prolific art forger. Once Myatt had painted the pieces, the real fraud began. Drewe managed to infiltrate the archives of the upper echelons of the British art world in order to fake the provenance of Myatt's forged pieces, hoping to irrevocably legitimize the fakes while effectively rewriting art history. The story stretches from London to Paris to New York, from tony Manhattan art galleries to the esteemed Giacometti and Dubuffet associations, to the archives at the Tate Gallery. This enormous swindle resulted in the introduction of at least two hundred forged paintings, some of them breathtakingly good and most of them selling for hundreds of thousands of dollars. Many of these fakes are still out in the world, considered genuine and hung prominently in private houses, large galleries, and prestigious museums. And the sacred archives, undermined by John Drewe, remain tainted to this day. Provenance reads like a well-plotted thriller, filled with unforgettable characters and told at a breakneck pace. But this is most certainly not fiction; Provenance is the meticulously researched and captivating account of one of the greatest cons in the history of art forgery.
Provenance is a well understood concept in the study of ?ne art, where it refers to the documented history of an art object. Given that documented history, the objectattains anauthority that allows scholarsto understandand appreciateits importance and context relative to other works. In the absence of such history, art objects may be treated with some skepticism by those who study and view them. Over the last few years, a number of teams have been applying this concept of provenance to data and information generated within computer systems. If the provenance of data produced by computer systems can be determined as it can for some works of art, then users will be able to understand (for example) how documents were assembled, how simulation results were determined, and how ?nancial analyses were carried out. A key driver for this research has been e-Science. Reproducibility of results and documentation of method have always been important concerns in science, and today scientists of many ?elds (such as bioinformatics, medical research, chemistry, and physics) see provenanceas a mechanism that can help repeat s- enti?cexperiments, verifyresults, andreproducedataproducts.Likewise, pro- nance o?ers opportunities for the business world, since it allows for the analysis of processes that led to results, for instance to check they are well-behaved or satisfy constraints; hence, provenance o?ers the means to check compliance of processes, on the basis of their actual execution. Indeed, increasing regulation of many industries (for example, ?nancial services) means that provenance reco- ing is becoming a legal requirem
A survey of previous literature about the provenance of the song in Deuteronomy 32 and a discussion of its text and poetic structure. The author concludes that the song dates from the pre-exilic period.
Ronnie Burkett has a bad habit of making the rest of theatre look unnecessary.- The National Post Canadian art academic Pity Beane travels to Europe to trace the trail of the subject of her obsession, a painting of a young man known simply as Tender. Now hidden in a Viennese brothel watched over by Leda Otenreath, a madam on the verge of madness, Pity finally sees the boy of her dreams.
A lute of exquisite workmanship and beauty is crafted in Italy in the dark age of the mid 15th century by a master luthier, Francesco Ippolito da Cremona the Renaissance musician fated to play it to great acclaim, the bulk of his musical legacy composed upon it. But this lute is more than mere musical instrument; it is a memorial to love lost in a brutal tragedy. By the passion invested in it by its maker, and its embodiment of the relics of tormented love, it is imbued with the power to enchant, its enchantment released by the hands of its destined player. Against the evidence of history, the lute survives to the present day and along with a rare manuscript of Francesco Ippolito lute tablature, falls into the hands of Bob Roberts, an incurably romantic middle-class professional whose escape from a deeply unromantic life is to immerse himself in the lute music of the Renaissance. The lute is an unexceptional wreck when Bob acquires it, but he commissions its restoration and gradually its provenance is unveiled, the final revelation astonishing. The lute and Ippolitos music exert a powerful influence upon Bobs life that hints of deep unrest and a vague connection with lives long gone, as if lute and tablature combine in a conduit through which spiritual energy moves from past to present. This is a story of music across the ages, of obsession and betrayal, of destiny and, above all, of true love.
This book constitutes the thoroughly refereed post-conference proceedings of the Second International Provenance and Annotation Workshop, IPAW 2008, held in Salt Lake City, UT, USA, in June 2007. The 14 revised full papers and 15 revised short and demo papers presented together with 2 keynote lectures were carefully reviewed and selected from 40 submissions. The paper are organized in topical sections on provenance: models and querying; provenance: visualization, failures, identity; provenance and workflows; provenance for streams and collaboration; and applications.