There are about 300 archaeological open-air museums in Europe, which do more than simply present (re)constructed outdoor sceneries based on archaeology. They have an important role as education facilities and many showcase archaeology in a variety of ways. This research assesses the value of archaeological open-air museums, their management and their visitors, and is the first to do so in such breadth and detail. After a literature study and general data collection among 199 of such museums in Europe, eight archaeological open-air museums from different countries were selected as case studies. Management and visitors have different perspectives leading to different priorities and appreciation levels. The studies conclude with recommendations, ideas and strategies which are applicable not just to the eight archaeological open-air museums under study, but to any such museum in general. The recommendations are divided into the six categories of management, staff, collections, marketing, interpretation and the visitors.

"How did modern Chinese painters see landscape? Did they depict nature in the same way as premodern Chinese painters? What does the artistic perception of modern Chinese painters reveal about the relationship between artists and the nation-state? Could an understanding of modern Chinese landscape painting tell us something previously unknown about art, political change, and the epistemological and sensory regime of twentieth-century China? Yi Gu tackles these questions by focusing on the rise of open-air painting in modern China. Chinese artists almost never painted outdoors until the late 1910s, when the New Culture Movement prompted them to embrace direct observation, linear perspective, and a conception of vision based on Cartesian optics. The new landscape practice brought with it unprecedented emphasis on perception and redefined artistic expertise. Central to the pursuit of open-air painting from the late 1910s right through to the early 1960s was a reinvigorated and ever-growing urgency to see suitably as a Chinese and to see the Chinese homeland correctly. Examining this long-overlooked ocular turn, Gu not only provides an innovative perspective from which to reflect on complicated interactions of the global and local in China, but also calls for rethinking the nature of visual modernity there."

"This publication represents the views and expert opinions of an IARC Working Group on the Evaluation of Carcinogenic Risk to Humans, which met in Lyon, 8-15 October 2013."

A fascinating look at Open Science and the democratization of knowledge in international development and social transformation.