10 100 1977 https://culturality.museum/omeka/files/original/7743a05c867e1a2e9c3fb0a8675629e7.JPG 4360da1d7b93f31efbf45a4916e6e036 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource LAPONTE_AR_47(02) Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Prim Media 1722 Natural Cultural Cultural External ID LAPONTE_AR_48 Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/LAPONTE_AR_48 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource LAPONTE_AR_48 Type The nature or genre of the resource Physical Object Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 707 Source A related resource from which the described resource is derived asturiasmap,craftedobjects Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). 30/09/2025 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT https://culturality.museum/omeka/files/original/ad6a4c9fdf4deefb5bc6b31372b5d9e3.JPG dd2781f50a0c05f096b9fca66eb902ef Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource LAPONTE_AR_48(01) Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE https://culturality.museum/omeka/files/original/cdc8c6b80cbc36d3831f1aaac918d9ea.JPG d5cbcd61b2b28dbffbdf02a29a1a4fdc Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource LAPONTE_AR_48(02) Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Prim Media 1725 Natural Cultural Cultural External ID LAPONTE_AR_49 Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/LAPONTE_AR_49 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource LAPONTE_AR_49 Type The nature or genre of the resource Physical Object Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 708 Source A related resource from which the described resource is derived asturiasmap,craftedobjects Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). 30/09/2025 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT https://culturality.museum/omeka/files/original/829f8abade1f24cc1b78fe7b6a140536.JPG cd05eb0621dd47e6d7907d4510fa34b7 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource LAPONTE_AR_50(1) Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2025:06:06 09:50:23 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE https://culturality.museum/omeka/files/original/d26a69278c8eee1568044e86aa85dc2c.JPG 3f4cb549a85713e378e08f481cd964e8 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource LAPONTE_AR_50(2) Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE https://culturality.museum/omeka/files/original/168b6271d11ceb5984d63904e82d8550.mp4 aaa52cb0d3c34afd29cd5655fe6f14dc Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Intangible:Jet culture Identifier An unambiguous reference to the resource within a given context 710 Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource LAPONTE_CP_02(01) Type The nature or genre of the resource Moving Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource video/mp4 License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2025-02-07 Spatial Coverage Spatial characteristics of the resource. current,43.480178,-5.43423190753304; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. VIDEO Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Carmen Pérez Maestro https://culturality.museum/omeka/files/original/8dfc53cc5b55af97e130d123613c0c2b.mp4 2990964b0e75ab5df37a3cff89b03bc9 Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource LAPONTE_CP_02(02) Type The nature or genre of the resource Moving Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource video/mp4 License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2025-02-07 Spatial Coverage Spatial characteristics of the resource. current,43.480178,-5.43423190753304; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. VIDEO Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Carmen Pérez Maestro Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://culturality.museum/galleries/upload/LAPONTE_CP_02_02_.mp4 https://culturality.museum/omeka/files/original/ccd751808af66d29d2b2140fcea1e25e.mp4 67d390c4ec488c1ba99b5ef0a8d8398b Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource LAPONTE_CP_02(03) Type The nature or genre of the resource Moving Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource video/mp4 License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2025-02-07 Spatial Coverage Spatial characteristics of the resource. current,43.480178,-5.43423190753304; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. VIDEO Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Carmen Pérez Maestro Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://culturality.museum/galleries/upload/LAPONTE_CP_02_03_.mp4 https://culturality.museum/omeka/files/original/d814c85bc58a39d71b64817a0ad1fb7e.mp4 cf58b6ac0baffb53518a6d9324deada2 Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource LAPONTE_CP_02(04) Type The nature or genre of the resource Moving Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource video/mp4 License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2025-02-07 Spatial Coverage Spatial characteristics of the resource. current,43.480178,-5.43423190753304; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. VIDEO Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Carmen Pérez Maestro Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://culturality.museum/galleries/upload/LAPONTE_CP_02_04_.mp4 https://culturality.museum/omeka/files/original/2f19c9dc8dc1a955f00ee3b44f507a5c.mp4 a20b2c2772aa354bbfd8714f0fe9da35 Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource LAPONTE_CP_04 (1) Type The nature or genre of the resource Moving Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource video/mp4 License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. VIDEO Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://culturality.museum/galleries/upload/Video_2025-05-29_at_21.58.27__1_.mp4 https://culturality.museum/omeka/files/original/999e51138f319f2c723e01f58130868f.mp4 61c8b5f075394c64d990413c3d349d41 Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource LAPONTE_CP_04 (2) Type The nature or genre of the resource Moving Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource video/mp4 License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. VIDEO Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://culturality.museum/galleries/upload/Video_2025-05-29_at_21.58.27.mp4 https://culturality.museum/omeka/files/original/6c8e4be1a8b1669d5cf8c06c4ce8d060.mp4 a13c8914f8bbc40db5685f6ac918cb09 Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource LAPONTE_CP_04 (3) Type The nature or genre of the resource Moving Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource video/mp4 License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. VIDEO Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://culturality.museum/galleries/upload/Video_2025-05-29_at_22.00.39.mp4 https://culturality.museum/omeka/files/original/5d5ee56cf596663778f8578a3b5ee3c4.png d8ec4f99a61a919d1ee965d408957b01 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource LAPONTE_CP_04 Image Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/png License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. DescriptionEN English Description Interior of the workspace Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource LAPONTE_PR_01 Type The nature or genre of the resource Still Image Description An account of the resource Interior of the workspace Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. In Copyright (InC) Date A point or period of time associated with an event in the lifecycle of the resource 2024-12-03 Spatial Coverage Spatial characteristics of the resource. current,43.461389,-6.039444; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Carmen Pérez Maestro https://culturality.museum/omeka/files/original/6a170577b7c6da59a8b83e3b6abdd9a9.mp4 168f28c61cdfd0052a68972697dfebc0 Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. DescriptionEN English Description Interview with Natalia Suárez Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource LAPONTE_PR_01(01) Type The nature or genre of the resource Moving Image Description An account of the resource Interview with Natalia Suárez Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource video/mp4 License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2024-12-03 Spatial Coverage Spatial characteristics of the resource. current,43.461389,-6.039444; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Carmen Pérez Maestro https://culturality.museum/omeka/files/original/5164f419b61a4d65a00f5fdb7a841131.mp4 226803289ec3971bf9b331c10e82f0f3 Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. DescriptionEN English Description Interview with Natalia Suárez Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource LAPONTE_PR_01(02) Type The nature or genre of the resource Moving Image Description An account of the resource Interview with Natalia Suárez Contributor An entity responsible for making contributions to the resource iain License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2024-12-03 Spatial Coverage Spatial characteristics of the resource. current,43.461389,-6.039444; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Carmen Pérez Maestro https://culturality.museum/omeka/files/original/3e620e835b5861139f6977e9361c63b2.mp4 037ad85ee99c2c583a552b88445c1deb https://culturality.museum/omeka/files/original/b7a01ea56ecd9c9dfa0f7a4350381ec6.mp4 987deb10f332bf5c9697689bea85e480 https://culturality.museum/omeka/files/original/18e55b551248ffe6e56ee28bb842c66c.mp4 ae08de93be8a0e07e9b8f496d4fa1c4c https://culturality.museum/omeka/files/original/280b5d6ef0c115e9dc16b94aee120023.mp4 692129c439e16d076ccb7b19d60792ed https://culturality.museum/omeka/files/original/1d4fc65f1f2f32833f19397a4b16755a.mp4 65b1f8d775f397cf24d85306a4c74bce https://culturality.museum/omeka/files/original/f2aeee2fd32889c435dd5ffc08533ad6.mp4 2189d4e5a0d5e191723fe5efb81bd531 https://culturality.museum/omeka/files/original/ea8b0b0b989a8941c980c365a8f01535.mp4 aa8934cd4781a42b1573c94a0a62ff87 https://culturality.museum/omeka/files/original/79bbc4567ac97aafdcfcf4fd13cf6441.mp4 8f032bafcc7d5bd43f25c26de504cc74 Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. DescriptionEN English Description Natalia Suárez making a vase Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource LAPONTE_PR_01(03) Type The nature or genre of the resource Moving Image Description An account of the resource Natalia Suárez making a vase Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource video/mp4 License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2025-01-23 Spatial Coverage Spatial characteristics of the resource. current,43.461389,-6.039444; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. VIDEO Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Carmen Pérez Maestro Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://culturality.museum/galleries/upload/LAPONTE_PR_01_03_.mp4 https://culturality.museum/omeka/files/original/c0443e888ab5504e3172a2aa34c27eff.mp4 827dc9d8e971ec0c03e440479e9a9338 Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. DescriptionEN English Description Interview with Orlando Morán Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource LAPONTE_PR_02(01) Type The nature or genre of the resource Moving Image Description An account of the resource Interview with Orlando Morán Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource video/mp4 License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2024-12-19 Spatial Coverage Spatial characteristics of the resource. current,43.355833,-5.794167; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. VIDEO Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Carmen Pérez Maestro https://culturality.museum/omeka/files/original/0edba4c4c88ec048dabfee2e6594e021.mp4 976085c147722c59b62db065894517f3 Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. DescriptionEN English Description Interview with Orlando Morán Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource LAPONTE_PR_02(02) Type The nature or genre of the resource Moving Image Description An account of the resource Interview with Orlando Morán Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource video/mp4 License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2024-12-19 Spatial Coverage Spatial characteristics of the resource. current,43.355833,-5.794167; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. VIDEO Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Carmen Pérez Maestro Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://culturality.museum/galleries/upload/LAPONTE_PR_02_02_.mp4 https://culturality.museum/omeka/files/original/2c1d986df111800e95938e7479bc68da.mp4 a47790678fa0ae85445890945f8c84d1 Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. DescriptionEN English Description Maria Pérez en su taller de Villaviciosa Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource LAPONTE_PR_03 (01) Type The nature or genre of the resource Moving Image Description An account of the resource Maria Pérez en su taller de Villaviciosa Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource video/mp4 License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2025-02-07 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. VIDEO Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Carmen Pérez Maestro Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://culturality.museum/galleries/upload/LAPONTE_PR_03_01_.mp4 https://culturality.museum/omeka/files/original/95ecf5fbbafdcfc9ff253b93656f3f60.mp4 93a74b09690136807011f5d2bbf719cd Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. DescriptionEN English Description Maria Pérez en su taller de Villaviciosa Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource LAPONTE_PR_03 (02) Type The nature or genre of the resource Moving Image Description An account of the resource Maria Pérez en su taller de Villaviciosa Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource video/mp4 License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2025-02-07 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. VIDEO Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Carmen Pérez Maestro https://culturality.museum/omeka/files/original/e178814f2dbf2d864741e5ddae6e6279.png 578a336dd5e8a08dcc7f1d0ca53f6a8a Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Larssen, Ingrid Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/png License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE https://culturality.museum/omeka/files/original/a7a6544cca9430002c1e1ad8688c33a6.JPG 093c8482ec697540c1fbd542398d3b2e Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Museum: Finnskogen Identifier An unambiguous reference to the resource within a given context 936 Panorama Zoom Min 18 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Lebiko Type The nature or genre of the resource Panorama Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg Source A related resource from which the described resource is derived finnskogen License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Spatial Coverage Spatial characteristics of the resource. current,60.152599,12.512755; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE https://culturality.museum/omeka/files/original/3596f0962004ba7d5762d36c4aa720f1.png 2fc8c57047294a03ee404074d89875ca Custom Pin Zoom Min 15 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Lebiko Type The nature or genre of the resource Custom Pin Format The file format, physical medium, or dimensions of the resource image/png License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Identifier An unambiguous reference to the resource within a given context 873 Source A related resource from which the described resource is derived finnskogen Spatial Coverage Spatial characteristics of the resource. current,60.153684328315315,12.512544648488987; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Site Institutional nature Museum, Ecomuseum, Extended Museum, Territorial Museum, Cultural Center, Memory House, e-Museum, etc Cultural Heritage Prim Media 1430 Zoom Min 15 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Lebiko Type The nature or genre of the resource Site Extent The size or duration of the resource. cm x cm x cm Identifier An unambiguous reference to the resource within a given context 906 Source A related resource from which the described resource is derived finnskogen Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). 07/04/2026 Contributor An entity responsible for making contributions to the resource iain Spatial Coverage Spatial characteristics of the resource. current,60.15251888873133,12.512743771076204; Date Modified Date on which the resource was changed. 04/07/2026 03:31:01 pm Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Country The name of the country of the data provider or “Europe” in the case of Europe-wide projects. Sweden Europeana Data Provider The name or identifier of the organisation that contributes data to Europeana. Lebiko https://culturality.museum/omeka/files/original/ab382dd4c301dc9cf79b2f9ce4ae7c17.jpg cb7e0b5f3d2e4dd4a4f2686b67f3a108 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Les Regueres, Asturias, Spain Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg Source A related resource from which the described resource is derived spain License A legal document giving official permission to do something with the resource. In Copyright (InC) Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Xandru González https://culturality.museum/omeka/files/original/0cbb4f5f25cb72002bb03b7149afbf3e.JPG 1c9a00a1d75551a843814a34d458e789 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Lewis Rural Spot outide Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE https://culturality.museum/omeka/files/original/3c3e8ee1d44c6cae4b33cf75972e4a74.jpg bd2db7cac852489ffbda627202a3b876 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Lidija Debelak v prodajni galeriji. Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. In Copyright (InC) Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Barbara Ivančič Kutin https://culturality.museum/omeka/files/original/74f52a23507532260c4270891b984bf8.jpg 71a9c68886ee8f7694dad4e322ca3d35 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Lidija Debelek v soji delavnici. Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. In Copyright (InC) Date A point or period of time associated with an event in the lifecycle of the resource 21.2.2025 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Barbara Ivančič Kutin https://culturality.museum/omeka/files/original/63734a31ea404ac079e7a02318ed0446.jpg 9e0620121f0946ac3b85656294e3a295 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Lidija rolls out the clay with a wooden kitchen roller. Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. In Copyright (InC) Date A point or period of time associated with an event in the lifecycle of the resource 2025-02-06 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Barbara Ivančič Kutin https://culturality.museum/omeka/files/original/64057efe1a88b0d5b71462fb21a497c6.png 44e0c5119cd546f8cb7633504aa32f46 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Museum: Lie, Ragnhild Identifier An unambiguous reference to the resource within a given context 687 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Lie, Ragnhild Image Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/png License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE https://culturality.museum/omeka/files/original/4f1203db40f26e4b205bdfb09324f1d6.jpg 5f7b16a7814b6465d5bb9029cb057732 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. External ID MN_AR_19(02) Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Lifebuoy of the boat Lykken Type The nature or genre of the resource Still Image Date A point or period of time associated with an event in the lifecycle of the resource 2025-03-03 Spatial Coverage Spatial characteristics of the resource. current,68.9157930967307,15.2173247848933; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Julie Therese Sæther, Ingrid Elstad Country The name of the country of the data provider or “Europe” in the case of Europe-wide projects. Norway https://culturality.museum/omeka/files/original/e59c98ee542a0df2e7ec8be5765eb83c.png fd73997e2544a59d1adb827a125c58e2 Tour Author iain Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/Loch_Rangag Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Loch Rangag Type The nature or genre of the resource Tour License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Identifier An unambiguous reference to the resource within a given context 652 Source A related resource from which the described resource is derived highlandandislands Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). 09/20/2025 06:45:44 pm Spatial Coverage Spatial characteristics of the resource. current,58.3558852,-3.403916; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://openvirtualworlds.viewin360.co/share/collection/7DLsY?logo=0&info=0&fs=1&vr=1&sd=1&initload=0&thumbs=1 https://culturality.museum/omeka/files/original/cdd8ce130efca67736c52898bb0a6a8a.kml 6021b1ac4f2117ddb7adab38d9537a85 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Museum: Lofoten Identifier An unambiguous reference to the resource within a given context 192 Geolocated Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Lofoten Type The nature or genre of the resource Geolocated Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource application/vnd.google-earth.kml+xml License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Source A related resource from which the described resource is derived 7northernnorway Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Landscape Cultural Landscape Prim Media 148 Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/Lofoten Region Lofoten is located at the 68th and 69th parallels north of the Arctic Circle in North Norway. Environment Lofoten features a mostly subpolar oceanic climate (Cfc) under the Köppen climate classification, although some parts like Skrova feature a temperate oceanic climate (Cfb). Industries Fishing Climate Threats Loss of biodiversity,Invasive species,Coastal erosion,Sea-level rise,Increased rainfall,Deterioration of space Economic Threats Rapid economic transformation SDG Gender Equality,Decent Work and Economic Growth,Industry Innovation and Infrastructure,Reduced Inequalities,Sustainable Cities and Communities,Responsible Consumption and Production,Climate Action,Life On Land Technological Threats Industrial production Policy Threats Lack of conservation policy Conflicts Human encroachment on boundaries Demographic Threats Rural-urban migration Decontextualization Touristification,Misappropriation Globalisation New pastimes,Rapid sociocultural change Weakened Practice Aged practitioners,Diminishing participation,Halted transmission between generations,Reduced practice Loss Threats Loss of cultural spaces,Loss of knowledge,Material shortage,Loss of cultural significance Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Lofoten Type The nature or genre of the resource Landscape Identifier An unambiguous reference to the resource within a given context 95 Spatial Coverage Spatial characteristics of the resource. current,68.1876747,13.9148636; Source A related resource from which the described resource is derived 7northernnorway,culturallandscapes,lofotenmap Description An account of the resource Lofoten, Lufoahtta (Lule Sami), or Lufuohttá (Northern Sami) is an archipelago and a traditional district in the county of Nordland, Norway. Lofoten has distinctive scenery with dramatic mountains and peaks, open sea and sheltered bays, beaches, and untouched lands. There are two towns, Svolvær and Leknes – the latter is approximately 169 km (105 mi) north of the Arctic Circle and approximately 2,420 km (1,500 mi) away from the North Pole. The archipelago experiences one of the world's largest elevated temperature anomalies relative to its high latitude. Language A language of the resource Norwegian Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Country The name of the country of the data provider or “Europe” in the case of Europe-wide projects. Norway Europeana Data Provider The name or identifier of the organisation that contributes data to Europeana. Lofoten https://culturality.museum/omeka/files/original/9b8438b4709817bb73177923da58e8b5.JPG e8ca6d43d7be93edde28d848a7cc3d6f Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. External ID MN_AR_04(01) Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Lofoten wool shawl plant-dyed with indigo Type The nature or genre of the resource Still Image Date A point or period of time associated with an event in the lifecycle of the resource 2025-02-04 Spatial Coverage Spatial characteristics of the resource. current,68.244008477137,13.7572701433528; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Rebeca Franco Valle Country The name of the country of the data provider or “Europe” in the case of Europe-wide projects. Norway https://culturality.museum/omeka/files/original/6545b50fecc68352dde3ab5bc7224b13.JPG 814972bc66a269afb62892bd7517a62d Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. External ID MN_AR_04(02) Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Lofoten wool shawl plant-dyed with indigo Type The nature or genre of the resource Still Image Date A point or period of time associated with an event in the lifecycle of the resource 2025-02-04 Spatial Coverage Spatial characteristics of the resource. current,68.244008477137,13.7572701433528; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Rebeca Franco Valle Country The name of the country of the data provider or “Europe” in the case of Europe-wide projects. Norway https://culturality.museum/omeka/files/original/fc496136cb3f2d9c9492006dd6e15fb5.jpeg 89cc33abc2d5e8778bb58fa2dbd8e886 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Lofoten, Noruega Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg Source A related resource from which the described resource is derived norway License A legal document giving official permission to do something with the resource. In Copyright (InC) Date A point or period of time associated with an event in the lifecycle of the resource 2024:03:13 09:03:31 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Eivind Natvig https://culturality.museum/omeka/files/original/aea38040559a10790aff2fbbe6d868ea.png c9091328e71c03f075c2e3fd69d8c977 Custom Pin Zoom Min 17.5 Icon Size 150 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Loft Storage Type The nature or genre of the resource Custom Pin Format The file format, physical medium, or dimensions of the resource image/png License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Identifier An unambiguous reference to the resource within a given context 847 Source A related resource from which the described resource is derived finnskogen Spatial Coverage Spatial characteristics of the resource. current,60.14892415342802,12.541338874725627; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Site Institutional nature Museum, Ecomuseum, Extended Museum, Territorial Museum, Cultural Center, Memory House, e-Museum, etc Studio Prim Media 1424 Zoom Min 17.5 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Loft Storage Type The nature or genre of the resource Site Extent The size or duration of the resource. cm x cm x cm Identifier An unambiguous reference to the resource within a given context 931 Source A related resource from which the described resource is derived finnskogen Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). 11/05/2026 Contributor An entity responsible for making contributions to the resource iain Spatial Coverage Spatial characteristics of the resource. current,60.14892415342802,12.541338874725627; Date Modified Date on which the resource was changed. 05/14/2026 03:47:35 pm Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Europeana Data Provider The name or identifier of the organisation that contributes data to Europeana. Loft Storage https://culturality.museum/omeka/files/original/4d1aa7d1885b64980c49ebb69eb6b5df.kml 99ca8be2aa111de663a1be956cf338f2 Geolocated Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Lombardy shape Type The nature or genre of the resource Geolocated Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource application/vnd.google-earth.kml+xml Source A related resource from which the described resource is derived franciacortamap License A legal document giving official permission to do something with the resource. Creative Commons Attribution License Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Simplemaps Europeana Provider Name of the organization that delivers data to Europeana. https://simplemaps.com/ https://culturality.museum/omeka/files/original/b9bef6d2e4859c8fa01efc650adc7fe7.JPG 41cb693be6a39355ea06bda5101c4d4e Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Museum: Finnskogen Identifier An unambiguous reference to the resource within a given context 936 Panorama Zoom Min 18 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Lomstorp Type The nature or genre of the resource Panorama Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Spatial Coverage Spatial characteristics of the resource. current,60.138236,12.555319; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE https://culturality.museum/omeka/files/original/20af4b101cc30e3d6e7e3dd17de6ce21.png bab52d4f40ef2541ccdae5d1c24c547c Custom Pin Zoom Min 15 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Lomstorp Type The nature or genre of the resource Custom Pin Format The file format, physical medium, or dimensions of the resource image/png License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Identifier An unambiguous reference to the resource within a given context 874 Source A related resource from which the described resource is derived finnskogen Spatial Coverage Spatial characteristics of the resource. current,60.137316496673485,12.553700851276519; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT https://culturality.museum/omeka/files/original/5c242a4b9e95d2cda958175f62c07640.JPG 14c0ad50c2a63fff9c2251ef394b71d6 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Museum: Finnskogen Identifier An unambiguous reference to the resource within a given context 936 Panorama Zoom Min 18 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Lomstrop Type The nature or genre of the resource Panorama Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg Source A related resource from which the described resource is derived finnskogen License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Spatial Coverage Spatial characteristics of the resource. current,60.138214,12.554919; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Artisan An artisan Contact cc274@st-andrews.ac.uk Author cc274@st-andrews.ac.uk Email The email address of the museum. louisenadin97@gmail.com Prim Media 2307 Field Worker Catherine Anne Cassidy Gender female Area Relation incomer Occupation ceramics Shop https://www.ardbeagceramics.co.uk/stockists Material Description wheel thrown stoneware ceramics Social Media The social media links. facebook,https://www.facebook.com/ardbeagceramics/;instagram,https://www.instagram.com/louisenadin; Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/Louise_Nadin Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Louise Nadin Type The nature or genre of the resource Artisan Description An account of the resource Back in the 1980’s, as part of a teacher training degree, Louise studied ceramics under the direction of Brian Dewberry and quickly progressed to wheel thrown work which became a consuming and engaging lifetime passion. Being unable to concentrate wholly on making pottery for a living, Louise set out on a career in education that included teaching, management and curriculum development of arts and crafts in a range of schools and community settings. She never lost sight of her commitment to making and over the years ensured that her skills were further developed on courses led by many eminent potters in the world of British Studio ceramics; John Leach, Josie Walter, Kyra Kane, Sebastian Blackie, Andy Mason, David and Margaret Frith, Matthew Blakeley, Nic Collins, David Roberts, Patricia Shone to name but a few and to whom she is indebted to their generosity in sharing their expertise. In 1997 a small workshop was established in Derbyshire where Louise began to develop her own style and processes in the making of wheel thrown domestic stoneware, but the limitations of a small shed became evident and the move to a more appropriate venue in Scotland, with space for the proposed wood burning kiln, happened in 2006. A bigger studio enabled a bigger output and the development of simple white porcelain proved popular with the buying public. This was encouraging, but the commitment to build the wood fired kiln went through a number of processes before finally settling on a design with support from Fergus Stewart, a brilliant potter on the west coast at Lochinver. The successful first and subsequent firings since 2019 have ensured the next chapter in the development of Ard Beag Ceramics and a determination to produce good quality, handmade, functional pottery through the exciting and tenuously manageable medium of fire. Date A point or period of time associated with an event in the lifecycle of the resource 1997 Language A language of the resource English Contributor An entity responsible for making contributions to the resource cc274@st-andrews.ac.uk Subject The topic of the resource Art Identifier An unambiguous reference to the resource within a given context 957 Source A related resource from which the described resource is derived artisans Spatial Coverage Spatial characteristics of the resource. current,58.011716412029685,-3.852220773537787; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Country The name of the country of the data provider or “Europe” in the case of Europe-wide projects. Scotland Europeana Data Provider The name or identifier of the organisation that contributes data to Europeana. Louise Nadin Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://www.ardbeagceramics.co.uk/ Artisan An artisan Contact cc274@st-andrews.ac.uk Author cc274@st-andrews.ac.uk Email The email address of the museum. lucy@arratextiles.co.uk Gender female Occupation fibre and textile crafts Shop https://www.arratextiles.co.uk/shop Material Description Heritage weaving techniques, contemporary digital design, natural fibres, sustainable textile processes, site-specific textile collections and commissions, natural dyeing, hand-weaving on multi-shaft looms, self-taught tapestry techniques, layered textile composition, landscape- and seascape-inspired design Exploration of texture, rhythm, and place through textiles Social Media The social media links. facebook,https://www.facebook.com/arratextiles;instagram,https://www.instagram.com/arratextiles; Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/Lucy_Macdonald Prim Media 2288 Field Worker Catherine Anne Cassidy Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Lucy Macdonald Type The nature or genre of the resource Artisan Description An account of the resource I am a textile artist and designer with a rural studio on the edge of Banchory in North East Scotland. I work primarily with hand woven textiles which explore the relationships between place, material, and memory. My practice blends heritage weaving techniques with contemporary digital design, using natural fibres and sustainable processes to create site-specific capsule collections, artworks, and commissions. Rooted in a respect for traditional craft, my work is often inspired by the landscapes and seascapes that surround me. I incorporate natural dyeing, hand-weaving on multi-shaft looms, and a self-taught tapestry approach, building layered textile compositions that echo the textures, rhythms, and stories of place. Since launching Arra Textiles in 2016, I have developed collections for home and body, exhibited nationally and internationally and taken part in a residency which continue to shape how I make and think. Sustainability is central to my practice and I am currently transitioning toward a fully traceable and locally grounded studio model, connecting materials back to land and process. I see textiles as both a sensory and narrative medium. My practice is driven by curiosity, care for materials and a desire to create work which invites a closer look. Date A point or period of time associated with an event in the lifecycle of the resource 2016 Language A language of the resource English Contributor An entity responsible for making contributions to the resource cc274@st-andrews.ac.uk Identifier An unambiguous reference to the resource within a given context 950 Spatial Coverage Spatial characteristics of the resource. current,57.05353948071467,-2.474989173123399; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Country The name of the country of the data provider or “Europe” in the case of Europe-wide projects. Scotland Europeana Data Provider The name or identifier of the organisation that contributes data to Europeana. Lucy Macdonald https://culturality.museum/omeka/files/original/d6d2e8c61a693806d82178d4e52fed74.png 4e72e2e42e182d44f00da4ad8f5f6b0e Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. DescriptionEN English Description Photo of Lucy Mcdonald, natural fibre artist from Banchory, Scotland. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Lucy Macdonald Type The nature or genre of the resource Still Image Description An account of the resource Photo of Lucy Mcdonald, natural fibre artist from Banchory, Scotland. Contributor An entity responsible for making contributions to the resource cc274@st-andrews.ac.uk Format The file format, physical medium, or dimensions of the resource image/png License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Spatial Coverage Spatial characteristics of the resource. current,57.05354039808949,-2.4749932171963627; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE https://culturality.museum/omeka/files/original/999d3250324fdc1631065e77b627df34.glb 2de986045bc1b90caa0c9d81f688054b 3D Object DescriptionEN English Description Wooden lunchbox with a lid, used for transporting food. The lid fits perfectly onto the box and is decorated with carved lines. Two arrows, one on the lid and one on the body, indicate how to align them properly to close it and keep the contents secure. Vertices 44892 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Lunchbox Type The nature or genre of the resource 3D Object Description An account of the resource Wooden lunchbox with a lid, used for transporting food. The lid fits perfectly onto the box and is decorated with carved lines. Two arrows, one on the lid and one on the body, indicate how to align them properly to close it and keep the contents secure. Date A point or period of time associated with an event in the lifecycle of the resource 2025 Contributor An entity responsible for making contributions to the resource melendezenrique@uniovi.es Format The file format, physical medium, or dimensions of the resource model/gltf-binary License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Identifier An unambiguous reference to the resource within a given context 40f2e91b03ed41928b2ea8c2db79898b Spatial Coverage Spatial characteristics of the resource. current,43.53689604607413,-5.634997934103013;origin,43.534238274198984,-6.287312507629395; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. 3D Europeana Data Provider The name or identifier of the organisation that contributes data to Europeana. Universidad de Oviedo Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://sketchfab.com/models/40f2e91b03ed41928b2ea8c2db79898b/embed Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Paula Labrador, Enrique Meléndez y Santiago Rodríguez Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Site: Barn Identifier An unambiguous reference to the resource within a given context 929 Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Prim Media 538 Material Wood Natural Cultural Cultural Function Food carrier Creation Purpose Household ware; Food transport Technique Woodturning Field Worker Enrique Meléndez Galán Craft woodwork Place The town or city Foyedo Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/Lunchbox Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Lunchbox Type The nature or genre of the resource Physical Object Description An account of the resource Wooden lunchbox with a lid, used for transporting food. The lid fits perfectly onto the box and is decorated with carved lines. Two arrows, one on the lid and one on the body, indicate how to align them properly to close it and keep the contents secure. Date A point or period of time associated with an event in the lifecycle of the resource ca. 1900 Subject The topic of the resource Art,PEOPLE,SOCIAL HISTORY Extent The size or duration of the resource. 9cm x 14cm x 14cm Contributor An entity responsible for making contributions to the resource melendezenrique@uniovi.es Identifier An unambiguous reference to the resource within a given context 339 Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). 21/04/2025 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Cimbreira Spatial Coverage Spatial characteristics of the resource. current,43.53689604607413,-5.634997934103013;origin,43.534695959627165,-6.287532448768617; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT wood Site Institutional nature Museum, Ecomuseum, Extended Museum, Territorial Museum, Cultural Center, Memory House, e-Museum, etc Archaeological Prim Media 287 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Lurö church ruin Type The nature or genre of the resource Site Description An account of the resource Tradition claims that for a short period in the 12th century there was a monastery at Lurö in Vänern. The monks must have moved soon and finally established the monastery in Varnhem around 1150. Is there any truth behind the traditions? Since 1989, it has been known that the ruined hill on Lurö, which is connected with the tradition of a monastery, is the remains of a Romanesque stone church. New excavations carried out by the Värmlands Museum now mean that one has to ask the question whether the ruin was just a church or whether it could have been used for something else. Identifier An unambiguous reference to the resource within a given context 156 Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). 12/11/2024 Contributor An entity responsible for making contributions to the resource stefan.barkman@regionvarmland.se Spatial Coverage Spatial characteristics of the resource. current,58.79465844904275,13.236476182937622; Source A related resource from which the described resource is derived ruralvarmland Date Modified Date on which the resource was changed. 11/25/2025 03:02:59 pm Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Europeana Data Provider The name or identifier of the organisation that contributes data to Europeana. Lurö church ruin Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://www.youtube.com/embed/NgoZmnbNBCo Country The name of the country of the data provider or “Europe” in the case of Europe-wide projects. Sweden Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Museum: Lurö church ruin Identifier An unambiguous reference to the resource within a given context 286 Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. DescriptionEN English Description 1,000-year-old Värmland cultural heritage recreated through a playable VR demo. The game-making organization Skildra participated for a couple of days in August 2022 in the field together with archaeologists from Värmlands Museum during the excavations of Lurö stone church, which is one of Sweden's oldest. Skildra assisted in building the church and the cultural heritage environment in a VR simulated world. A collaboration between game developers and archaeologists. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Lurö VR Type The nature or genre of the resource Moving Image Description An account of the resource 1,000-year-old Värmland cultural heritage recreated through a playable VR demo. The game-making organization Skildra participated for a couple of days in August 2022 in the field together with archaeologists from Värmlands Museum during the excavations of Lurö stone church, which is one of Sweden's oldest. Skildra assisted in building the church and the cultural heritage environment in a VR simulated world. A collaboration between game developers and archaeologists. Contributor An entity responsible for making contributions to the resource stefan.barkman@regionvarmland.se Source A related resource from which the described resource is derived examplevideos,ruralvarmland License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. VIDEO Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Skildra Europeana Provider Name of the organization that delivers data to Europeana. https://skildra.se/luro/ Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://www.youtube.com/embed/NgoZmnbNBCo https://culturality.museum/omeka/files/original/c9161fdab09ef6431821aa2330ac8248.jpg 9e97aa6a5da64147345e4a81979dddd1 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource made by kÖs, Constantino Menéndez and Yolanda González Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg Source A related resource from which the described resource is derived spainfaltriquera License A legal document giving official permission to do something with the resource. In Copyright (InC) Date A point or period of time associated with an event in the lifecycle of the resource 2023:06:09 20:40:46 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Museum: University of St Andrews Identifier An unambiguous reference to the resource within a given context 4 Intangible Prim Media 1262 Context A tradition and ritual is to not talk about fire or burning, to both be clear in communication that this is not about burning but charring, but different practitioners might also find that it's bad luck. It's also customary to give a name to the pile, which the volonteers choose the second day (when they have "gotten to know who the charcoal pile is"). Additionally, many outside of the practice associate the stories of charring coal with the poet Dan Andersson (from neighbouring region of Dalarna), which has written poems about the practice. Field Worker Kajsa Stinnerbom, Sara Olsson Technological Threats Industrial production Policy Threats Lack of conservation policy Weakened Practice Aged practitioners,Diminishing participation,Diminishing youth interest,Halted transmission between generations,Reduced practice Loss Threats Loss of knowledge,Loss of cultural significance SDG Good Health and Wellbeing,Sustainable Cities and Communities External ID RV_CP_08 Knowledge Our informant who’s been doing this the longest in the volunteer group (15 years) that are responsible for the charring tells that it's nearly impossible to learn by reading and must be learnt by doing. It's a tacit knowledge that's required and a very sensuous type of understanding They have made a standardizations e.g. with the measurements of the wood but each year they learn something new, as they are only building one each year. How to tend to the pile with the hit of a sledgehammer and skewers, as well as understanding the different type of smoke that rises are crucial. Knowledge Transfer A volunteer group of about twelve people are meeting each year to construct the pile and tend to it. They meet at weekends in late spring to construct it. The volunteers are all doing this out of their own interest and are mostly local inhabitants. Our informant who is in charge has learnt from the previous leader, and the pile has been made annually at "Gammelvala" for 60 years. Since the pile is made for the event, it's made doing summer, but traditionally they charred during the winter. Practitioners About twelve people meet each year, mostly local people. Out of the twelve practitioners, three are under 30 years, three between 30-40, and he rest are older. All of the volunteers are male, but they have had women included in the work as well. They are welcoming to women joining the group. Function Up until the 1940's charcoal was still being produced this way in Värmland, also to support the fuel for wood gas fuelled cars during the war. Depending on what type of wood being charred, different coal is produced. Today the wood used is birch, which makes for great grill coal, and is being sold as exclusive local coal, which is a pride for the folk museum where "Gammelvala" is held. Each year, when the event "Gammelvala" starts, an inaugurator is chosen to light the pile as an honour, alternating each year between a man and a woman. A few years back it was the governor of Värmland, and this year it will be a popular comedian lightning the pile. As very few charcoal piles are made in Värmland these days, this is an event which the organization Brunskogs hembygdsgård are proud of and many visitors come to witness it. Origins and change This type of coal productions have used throughout the ages and in various forms and sizes. The charcoal production of Western Värmland (this region) has also been studied by the local ethnologist Nils Keyland (1867-1924). From being a practice that was primarily done for the iron productions at a larger scale during the 18th century, for the wood coal to extract the iron from the ore, to being a way to produce fuel during the war, the charcoal is now not used in iron production or blacksmithing, but sold as a luxurious product as BBQ coal. Organisations Brunskogs hembygdsgård, which can be translated into Brunskog's "heritage farm" or "old farmstead", or collection of older buildings, run and managed by the local heritage association. Charcoal piles have been constructed at many local "heritage farms" throughout Sweden from the last part of 20th century.. There does not seem to exist a joint organisation in Sweden that safeguards or functions as a knowledge hub for this practice. Places See organisations. It's also constructed at schools such as Sätergläntan, a school for crafts in neighbouring region Dalarna. Artefacts To make the process easier and more manageable they are using power tools to prepare the materials, such as cutting the wood. Otherwise the tools mainly used during the process are sledgehammer, iron bar and shovel. They also put on a chimney for the last part of the charring, which is also traditional but a later practice. During the event the volonteers are dressing in clothes that resemble that of a late 1800's and early 1900's cut, fabric and with the "slokhatt", a slouch hat which is a floppy felt hat usually worn by workers during that era in Sweden. Technological Threats Description Today it's only practicied for preserving. Policy Threats Description There's a lack for these types of practices. Weakened Practice Description As there are only volunteer practitioners, gathering for making one pile a year, there's a reduced practice. Loss Threats Description As fewer are practicing, there's a lack of knowledge. Fewer have their own relation to the practice, as the war years are further away where this was still a stronger practice, which weakens the cultural significance. State of the practice endangered Social sustainability Yes, it's social sustrainability in the practice for the participants and the community. Environmental sustainability It could be argued that it's actually, albeit small, a threat to the environment to practice this type of charring coal. Even though no LCA have been carried out, the more moderns ways of charring coal could be much more environmentally sustainable. Economic sustainability There's no economic sustainability, even though they sell the charred coal as a exclusive product. Place The town or city Brunskog, Värmland, Sweden Place Description Brunskog, Arvika and the west parts of Värmland is a region where art and handicrafts have a long and strong tradition and that’s still largely present today. At the turn of the century 1900’s, many Swedish artists came to the area and an artists' colony, Rackstadkolonin, was established. The new ideas and expressions these artists brought with them along with the well-established and skilled craftsmanship that already existed here have contributed to the well-known arts and crafts area Arvika is today. The arts and crafts are greatly appreciated here by both practitioners, residents and visitors and are seen as a great asset and strong brand for the area. Arvika is a town of about 14.000, and the municipality has about 25.000 habitants. Brunskog's parish has about 2.000 inhabitants. Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/Making_and_charring_a_charcoal_pile Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Making and charring a charcoal pile Type The nature or genre of the resource Intangible Description An account of the resource The charcoal clamp is a way of producing charcoal by arranging wood covered in spruce branches and "stöbbe" and is lit and chars in controlled circumstances. It's constructed by heating the wood with very little oxygen supply which makes the wood turn to charcoal instead of going up in flames and turning to ashes. The charcoal pile that is built annually at the event "Gammelvala", Brunskog, Värmland, takes about two days to build (with 12 people) and measures 4 1/2 m ∅. Depending on the wood used you can produce charcoal for grill, smithing and/or tar. The pile chars for approx. six days and up to 90% of the wood gets turned into charcoal. At least two people guard it during, at all times. Language A language of the resource Swedish Extent The size or duration of the resource. x x Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 592 Source A related resource from which the described resource is derived varmlandmap References A related resource that is referenced, cited, or otherwise pointed to by the described resource. https://pub.epsilon.slu.se/4379/1/Fjellstrom_J_2001.pdf https://www.platabergensgeopark.se/portfolio/kolarna-i-erdalen/ https://www.platabergensgeopark.se/wp-content/uploads/2021/10/Kolmilans-konstruktion10.png Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). 02/09/2025 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Kolmilning Spatial Coverage Spatial characteristics of the resource. current,59.6564613,12.8910436; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT https://culturality.museum/omeka/files/original/b821141336f9fab1fb38077bd7fbc7cd.png bc66c7e3847454e12ee648c49f32c8dc Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Manifesto Collection by Cap_able Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/png License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Prim Media 117 Material Cotton yarns by Filmar Better Cotton Initiative (BCI) Knitwear, Jacquard Natural Cultural Cultural Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Manifesto Collection by Cap_able Type The nature or genre of the resource Physical Object Description An account of the resource Inspired by a discussion with a UC Berkeley engineer on privacy and human rights at the Fashion Institute of Technology, Rachele Didero developed the idea of combining crafting in fashion and computer science. Subsequently, Rachele met Federica Busani, current Co founder of Cap_able, and together they decided to transform this project into a start-up, a cultural, as well as entrepreneurial, tool to promote and facilitate innovative actions by young people, in this case young women. Usually, it takes the form of a trig able to enhance networking actions between designers, young entrepreneurs and production districts to encourage their entry into the broad community of sectoral production and to enable the intersection of solutions for the execution, commercialisation and dissemination of design focused on ethic concepts also in order to foster good practices in social issues due to micro-commerce and tourism. Through this start-up they proposed to stimulate a new type of neocraft production in their territories, but also connected with a rural sustainable initiative, the Filmar Better Cotton Initiative (BCI). Date A point or period of time associated with an event in the lifecycle of the resource 2019 Creator An entity primarily responsible for making the resource 644,643 Extent The size or duration of the resource. 43cm x 51cm x 46.5cm Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 89 Source A related resource from which the described resource is derived 8italy,craftedobjects,franciacortamap,italyobject Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). 14/09/2024 Date Modified Date on which the resource was changed. 10/06/2025 Spatial Coverage Spatial characteristics of the resource. current,45.62,10.02; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://culturality.museum/8-italy/ Artisan An artisan Author iain Prim Media 130 Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/Manuel_Persa Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Manuel Persa Type The nature or genre of the resource Artisan Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 388 Description An account of the resource Marlén, biodigital architect and Manuel, biodigital designer and craftsman, make up the Laboratorio Biomimético, a project based on biomimesis, that is, on the attentive observation of nature, directly through field trips, or indirectly, with readings and documentaries. Through this observation and profound understanding, they seek to implement the solutions of nature, a designer with thousands of years of experience, to human challenges. Source A related resource from which the described resource is derived artisans Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Europeana Data Provider The name or identifier of the organisation that contributes data to Europeana. Manuel Persa Country The name of the country of the data provider or “Europe” in the case of Europe-wide projects. Norway Museum Represents a museum Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/Maramures_Tourism_Management_Organization Author iao@st-andrews.ac.uk Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Maramures Tourism Management Organization Type The nature or genre of the resource Museum Contributor An entity responsible for making contributions to the resource iao@st-andrews.ac.uk Identifier An unambiguous reference to the resource within a given context 22 Source A related resource from which the described resource is derived suporting Spatial Coverage Spatial characteristics of the resource. current,47.6581765,23.5742679; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Country The name of the country of the data provider or “Europe” in the case of Europe-wide projects. Romania Europeana Data Provider The name or identifier of the organisation that contributes data to Europeana. Maramures Tourism Management Organization Artisan An artisan Contact mariaperezazabache@hotmail.es Author iain Email The email address of the museum. mariaperezazabache@hotmail.es Phone The phone number 605 01 27 70 Prim Media 682 Biographical Text Maria has been a master jet artisan for 30 years. She started as a jeweler, but nowadays, working with jet is more important. External ID LAPONTE_PR_03 Knowledge Acquisition Jet came into the artisan’s life by chance. She was starting out in jewelry making, and after settling in the village, Néstor Costales (the last master artisan of Argüeru) gave her a small raw jet stone. From that moment on, she began to get her hands dirty with it, and jewelry took a back seat. She taught herself how to work with the mineral, and after many years of practice, she has ended up teaching others Knowledge Transfer Yes, she conducts jet carving workshops in her museum-shop in Villanueva Field Worker Carmen Pérez Maestro Gender female Area Relation incomer Area Reason She was born in the city of Gijón, but since 1997, she has been living in a small village with 15 inhabitants called La Madrera Occupation fibre and textile crafts Involvment full-time paid job knowledge1 It is essential to recognize that the raw material is authentic Jurassic jet, understand its characteristics, and be familiar with the carving techniques. material1 She works with jet and silver.Sometimes she uses other gemstones to create her pieces. material2 The jet is local, and the silver is foreign material3 The stone is fully utilized production1 She applies jewelry techniques to work with jet. Cutting, carving, and polishing are the processes followed to work the stone production2 She works with dental prosthetic tools, which operate with a micromotor, such as diamond discs and tungsten carbide burs production3 There is no special relationship with the tools. Although her favorite tools are the diamond disc and the thickest carbide bur. production4 Electricity production5 During the jet carving process, a very fine brown dust is generated. This is absorbed by small electric vacuum cleaners while working workshop Maria has a workshop in her house in the village, but she also has an educational space (in the form of a small museum), a learning area, and a shop in Villaviciosa products1 Unique jewelry pieces with precious metals, jet from Asturias, and other gemstones. Rings, pendants, necklaces, earrings, rosettes, bracelets, etc products2 For sale products3 In person at the store in Villaviciosa products4 Educational classroom-museum, workshops and jewelry for sale products5 It's not something that happens regularly, but there have been people who have brought her objects to repair products6 The people who attend the regular workshops are usually locals, while those who visit the educational classroom-museum are typically outsiders. People of all kinds purchase her jewelry products7 All the pieces that leave her shop come with a certificate stating that they are made with authentic Asturian Jurassic jet, handmade, and are unique pieces. However, it is not an official label, but rather one issued by the artisan herself. tourism1 The relationship she has with tourism is educational, as the place she has in the village houses an educational classroom-museum that is visited by both domestic and foreign tourists tourism2 "El azabache esta relacionado con el turismo por que es un bien cultural y es de la zona y la conjunción que hay en el local de Villaviciosa con tienda exposición y talleres de la asociación es lo que utilizamos para difundir y dar a conocer el azabache" partnership She is the president of the association 'Jurassic Jet of Villaviciosa,' which was founded in 2017 after serious disagreements with the jet artisan guild and in response to the uncontrolled invasion of foreign materials replacing genuine jet. The association is made up of artisans, geologists, gemologists, botanists, biologists, archaeologists, researchers, and others... in short, defenders of authentic jet and its cultural heritage. Their interest is investigative, educational, and informative. She collaborates with the University of Oviedo in their university extension courses challenges1 The challenges faced by this sector, from the lack of raw materials to the urgent need for training and greater institutional support.The high-quality Asturian jet, originating from Jurassic protopine trees and unique for its physical properties, is in a critical situation due to the scarcity of raw material. It has reached the point where artisans are forced to search through rubble piles since its extraction is not permitted. Another challenge facing the industry is the unfair competition from materials sold as jet, which in reality, are not. María Pérez insists that it is vital to differentiate authentic Asturian jet from lignite coming from Bulgaria or Argentina, which dominates the market. Lastly, there is the challenge of the continuity of the craft, as without raw material, it cannot continue challenges2 "La declaratoria de Bien de Interes Cultural (BIC) del azabache no es suficiente, hay que dar más pasos, determinar verdaderamente lo que es y no que no es (el verdadero azabache)". references http://www.azabachejurasico.com/ https://www.lne.es/villaviciosa/2025/01/15/cultura-azabache-joya-asturiana-lucha-113396508.html https://pegadosalatierra.elcomercio.es/maria-perez-maestra-azabachera-villaviciosa/ Social Media The social media links. facebook,https://www.facebook.com/Azabache.maria.perez;instagram,https://www.instagram.com/maria.perez.azabache/; Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/María_Pérez Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource María Pérez Type The nature or genre of the resource Artisan Date A point or period of time associated with an event in the lifecycle of the resource 70´s Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 399 Spatial Coverage Spatial characteristics of the resource. current,43.480178,-5.43423190753304; Source A related resource from which the described resource is derived artisans Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Country The name of the country of the data provider or “Europe” in the case of Europe-wide projects. Spain Europeana Data Provider The name or identifier of the organisation that contributes data to Europeana. María Pérez Artisan An artisan Author iain Prim Media 1577 Biographical Text Marina Pérez Rodríguez was born in 1992 in Pruvia, a village in the municipality of Llanera (Asturias). She spent her childhood in the countryside, on her grandparents’ organic farm. They were pioneers in introducing organic horticulture in Asturias, and Marina spent much of her time there.She studied Fine Arts at the University of Salamanca, where she met Rodrigo. The couple later moved to Pontevedra and eventually settled in Oviedo, where they worked in the tourism sector. In 2018–2019, they moved to Tene, in the municipality of Quirós. It wasn’t a planned decision—they were looking for a rental home in a rural area and found a reasonably priced house there. Their first child, Antón, was born in Tene, and Marina began developing her craftwork in the textile sector. A few years later, they acquired their current home: a cabin on a large mountain estate, where they raise a flock of xalda sheep. Marina lives there with her family, cares for her children, and pursues a lifestyle based on craftsmanship, self-sufficiency, and harmony with the natural environment. In 2022, after the birth of her third child, Marina attended a course for women entrepreneurs in rural areas, organized by Camín Real de la Mesa, the local development agency for the region that includes Quirós. This course was the seed for her project and the business model she has developed as a craftswoman. Until then, she had been spinning her own wool at home, but she began outsourcing the spinning to a mill. Her production was very small, and she was still in a learning phase. Today, her work as a textile artisan has become well established, and she produces a variety of products under her brand La Flor Cerval. External ID UNIOVI_PR_09 Knowledge Acquisition Marina did not come from a family tradition of working with wool. It was her sister who received an old spinning wheel from Germany as a gift from someone she had cared for. Shortly after, she gave it to Marina, and that marked the beginning of her experimentation with wool. Although Marina knows that her great-grandmother used to spin wool by hand in her village—like many rural Asturian women did until not so long ago—she never saw her grandmother spin. There were no sheep at home, nor was wool ever worked. She learned to knit thanks to her grandmother, her mother, and her stepmother. The latter, daughter of Spanish emigrants in Switzerland, taught her different ways of working with yarn, and Marina gradually developed her own technique. As a child, she remembers seeing sheep in nearby fields and feeling a special fondness for them. Being born in a rural area, in a family deeply rooted in their place of origin—Pruvia, in the municipality of Llanera—allowed her to be in close contact with traditional culture and agriculture from a very young age. Her relationship with older people also gave her valuable knowledge that later proved useful, both in her hometown and in the village where she now lives, Tene. One of the reasons she began her craft was motherhood. After having her three children, she started knitting clothes for them and wanted to make use of the wool from the sheep they raised—a flock of xalda sheep, a native breed of Asturias. Her craft emerged naturally at home, alongside other domestic and farm tasks. Her learning process was based on experimentation and sharing experiences with other knitters. For Marina, the satisfaction of creating her own garments from the raw material she produces is deeply meaningful—wearing something she has long desired, and making clothes for her children, is a source of pride and fulfillment. Knowledge Transfer Marina has received several proposals to lead workshops, both from associations and individuals, and she has conducted a few of them. However, she does not have a dedicated workspace, which means she would have to use her home. If she had access to a suitable venue, she would be open to organizing short courses—for example, on sock knitting. Nevertheless, her focus is currently more on production than on teaching. She has not delivered formal training, nor specific courses aimed at other artisans, and she has never had apprentices. Still, if she had an appropriate space to host workshops, she wouldn’t rule out the possibility of offering training related to the world of wool. That said, teaching is not her main goal. She believes her potential audience should be young people interested in learning to knit by hand with needles, and who would then apply the technique at home. In contrast, she considers learning to spin wool from one’s own flock to be more complex and impractical for most people. Field Worker Santiago Rodríguez Pérez Gender female Area Relation incomer Occupation other (specify),other (specify) Involvment part-time paid job knowledge1 Great technical skills or knowledge are not required—what matters more is sensitivity toward what you produce, the environment, and its meaning. For Marina, understanding and caring for the landscape, the role of small livestock such as sheep, and an awareness of biodiversity and grazing animals are essential. It’s not just about using resources to clothe people, but also about how to continue caring for the landscape. It’s less a technical skill and more an ethical commitment to the land, culture, biodiversity, and the value of craftsmanship as a way to improve people’s lives. material1 The primary material Marina uses for her creations is wool from xalda sheep. Almost all the wool she works with comes from this native Asturian breed, as she believes that without it, her project would lose its meaning. She also uses some natural dyes, although she mainly works with raw sheep wool. No other additional products are used. For labeling, she uses string and paper, and her creations do not require plastic packaging or synthetic materials. Xalda sheep wool is very rustic and tough. For Marina, its high resistance is an advantage. There is no standardized production of wool from this breed, nor are there classifications in terms of quality (such as fine or medium-grade). That’s why she and her team decided to work in their own way. One of the main strengths of xalda wool is its rustic nature. While the market today tends to favor the fineness of fibers—measured in microns—Marina finds it valuable to have diversity in fiber types, and appreciates having access to a coarse, durable, and resilient material like the wool provided by xalda sheep. Historically, Spain has used merino sheep wool, which came in various grades: fine wool, often exported, and medium-grade wool, used domestically. In Asturias, wool from native sheep breeds was also traditionally used. For Marina, it’s important to highlight and give value to this material. While many customers may not pay attention to the origin or type of wool, her goal is to connect with an audience that appreciates the quality of native and locally produced wool. Xalda sheep produce wool in three colors: dark brown, white, and cardina (gray). The latter is especially prized and is obtained through careful selection of the fleece. The main colors she works with are gray, brown, and white. Most of the wool produced is black, while white wool accounts for about 20% of the total. material2 Marina sources part of the wool from her own sheep, and another part from xalda sheep breeders. These are medium-sized farms raising native sheep, located across various areas of Asturias, including the municipalities of Quirós, Teverga, Gozón, and Belmonte de Miranda. Each farm typically has at least 60 animals. The native sheep breed of Asturias is known as oveya xalda, a variety that was once on the brink of extinction. This is due to its rustic nature, low meat and milk production, and coarse wool. However, the breed has seen a recovery in recent years, and Marina and Rodrigo chose it as the foundation for their project. Among its advantages are its adaptability to mountainous terrain, ease of lambing, and minimal need for veterinary care. According to local residents, flocks of xalda sheep were common in the area in the past. Marina receives the wool as a gift and does not pay for it, since for the farmers it is considered a byproduct of meat production. She usually attends the shearing sessions in person, selecting and weighing the wool on site. Although she offered to pay for it, the farmers preferred to give it away, as they saw it as a nuisance. Some used to burn it, while others simply threw it away. Collecting small amounts of wool from smaller farms is not cost-effective. Moreover, the spinning mills Marina works with—such as minimills like Wooldreamers—do not accept small batches, so she must gather a significant quantity of raw material before sending it for processing. In the past, wool was more valuable than lambs, but today the situation is reversed. The traditional figure of the wool buyer no longer exists, and while wool used to be purchased directly from the shearer, nowadays it is barely collected. This is the reality in Asturias, and wool is also facing a difficult time in other parts of Spain. material3 Marina generates very little waste from her work, both in spinning and knitting. The leftovers from spinning are reused, for example, as cushion filling. There are no surplus materials that require special management. The only residuals she receives are the unspun wool scraps returned from the spinning mill, which she plans to use as padding for garments. production1 The first step in the process is shearing the sheep’s wool. In the beginning, Marina sheared her own sheep using scissors, manually selecting the best parts of the fleece. At first, she did it by hand, then with an electric blade. As her flock grew, she had to rely on a professional shearer—she could only shear three sheep a day, and with her family responsibilities, it became unmanageable. In Asturias, there are several professional shearers, and one of them now handles the shearing of her flock. Marina also visits other farms during the shearing season to select the wool on-site. Wool selection is perhaps the most labor-intensive part of the process, along with knitting: collecting the wool from farms, transporting it, and sorting it. Only part of the fleece is usable, as some sections are damaged or dirty—up to 50% of the raw material is discarded. During the spinning process, after washing and carding, there is an additional loss of 40–50%, due to dirt, short fibers, or material left behind in the washing vats. The next step is washing the wool to remove all residues and part of the lanolin. Initially, Marina washed the wool by hand, but over time she began sending it to professional wool washers. She started working with facilities in Val de San Lorenzo (León, Spain), a town with a long tradition in the wool textile industry dating back to the 19th century. However, she needed to gather a large volume of wool to make shipping worthwhile. In recent years, she has been working with Wooldreamers, a spinning mill in Cuenca (Spain) that handles the entire process: washing, carding, and spinning. They send her the finished yarn, ready to work with. Marina has been affected by the decline of Spain’s wool processing industry, which has nearly disappeared. Over the past 50 years, most small-scale wool washing facilities have closed, along with many spinning mills and textile factories. Nevertheless, some small-scale projects have emerged, such as Dlana (https://dlana.es/nosotros/). Marina designs many of her pieces herself, based on her personal needs (shawls, jackets, etc.). She then continues with the production of garments and items such as wool toys. Her main technique is hand knitting with needles, through which she creates a wide variety of items: socks, sweaters, jackets, dolls, and more. To speed up production, she sometimes works with knitting workshops, to which she sends her raw material. She also has a knitting machine (tricotosa), which helps her produce more efficiently. In the past, the municipality of Quirós had more than 20 traditional wool looms, owned by individual women who practiced the craft at home. However, this domestic trade has completely disappeared. production2 Marina uses a variety of tools in her work. When she spins wool herself, she uses a manual carder and a wooden spinning wheel. For winding skeins of wool—cadexos, in Asturian—she uses a manual wooden swift. She also owns traditional hand-spinning tools, such as spindles and old spinning wheels, but rarely uses them because they significantly slow down the yarn-making process. Her knitting needles are partly inherited from her grandmother and partly purchased. Nowadays, it’s easy to find needles of all kinds, suitable for various types of wool work, thanks to the global resurgence of knitting. Initially, she used the long, thin needles that were common until a few years ago. Now, she mostly uses circular needles—shorter and connected by a cable—which can be held comfortably with the fingers. She also uses short needles specifically for knitting socks. There is a wide variety of knitting needles available, depending on the item being made (socks, sleeves, large pieces, etc.). These tools can be found in local yarn shops or haberdasheries. Marina also owns a knitting machine—a tricotosa—which she bought second-hand online. It’s a valuable tool that helps speed up production. One of the most appealing aspects of working with knitting needles is the flexibility it offers: she can knit anywhere, even while tending to animals in the pasture. This task is easily compatible with other daily activities. However, many machines have now been incorporated into knitting work, and some tasks—like yarn production—have been outsourced. Doing the entire process by hand is not economically viable, as the final sale price would be too high. In traditional systems, this was sustainable because women worked continuously and unpaid in their homes, producing gradually to meet their needs and fulfill orders, but at extremely low costs. production3 These are simple tools, but they offer many possibilities. For Marina, one of the great advantages of knitting tools is that she can work outdoors while caring for her children or tending to the animals. A pair of simple wooden needles allows for countless creative possibilities, anywhere. She can even knit while breastfeeding her youngest child. For her, it’s essential to be able to take her work anywhere and to create different pieces without relying on heavy machinery or a large workshop. production4 Her main source of energy is manual labor. However, for certain processes, she requires electricity, which she obtains from a solar panel installation with battery storage. The six solar panels, along with the batteries, allow them to power all aspects of life in the house: lighting, cooking, and appliances such as the washing machine, refrigerator, and freezer. To heat both the workshop and the house, they use a wood-burning stove, which also serves as a cooking appliance. production5 The waste generated by Marina through her knitting work has minimal environmental impact. The discarded wool can be used as fertilizer. The spinning mills she works with, such as Wooldreamers, do produce some waste, including the water used to wash the wool and remnants from the processing. This company has a waste management program in place. While the waste is not hazardous, it includes dirty water from washing vats, yarn scraps that are too short to be used, and similar materials. Marina requests that the factory send her both the spun yarn and the leftover material. She repurposes the latter as cushion filling, among other uses. In the future, she plans to use felted wool for padding vests or creating garments with interior insulation. Companies like Wooldreamers, where Marina processes her material, are working toward circularity and waste recovery, including initiatives such as producing fertilizer pellets from wool. workshop Marina’s workshop is located in her own home, an old two-story cabin situated nearly one kilometer from the village center of Tene (Quirós). These types of cabins are typically found away from towns, in grazing areas for livestock. They usually have two floors: the lower level was traditionally used as a stable for animals, and the upper level for storing dry grass and winter fodder. Marina and Rodrigo have adapted the cabin into a home, keeping the lower floor as a stable for their sheep. The upper floor has been converted into a living space with a kitchen, living room, bedrooms, and a bathroom. Marina’s workshop is set up in one area of the living room, where she stores her tools and wool. In the attic, she keeps raw materials, yarn, and finished products in plastic boxes (to protect them from moths), ready to be sold. The workshop is warm and welcoming, fully integrated into the home and shared with the rest of the family. From her workspace, Marina can keep an eye on her children and watch them play. products1 Marina produces knitted garments made from her own raw material: wool from xalda sheep. She is not a textile designer; her designs have mostly emerged from the need to meet her personal requirements. That’s how items like bonnets for her children, shawls, and jackets came to be. She believes that, as in traditional contexts, garments should serve a clear purpose—something that is being lost today. Nowadays, we can easily buy clothes in stores or large retail chains, but for living in a rural environment like hers, traditional clothing used to meet specific needs. While she values aesthetics, practicality is her priority. For example, she designed her jackets to be open, suitable for transitional seasons, and comfortable for breastfeeding. Each garment was designed based on her own needs and what she considered most versatile. Among many other items, she produces: •Raw wool yarn in three natural colors, as well as skeins dyed with natural pigments •Children’s socks •Bonnets •Shawls •Jackets •Woolen toys and dolls for children products2 The main objective of all this production is its sale, either directly or through local marketing channels aimed at consumption. It is one more activity within their farm, complementary to sheep livestock production. products3 He has an online store, which is one of his main sales channels. He also attends traditional craft markets and Christmas fairs. In the latter case, he highlights the LabShop market in Gijón, where he sells a significant portion of his products. Although some customers have occasionally come to his home to buy directly, this is not common practice. He also distributes his products to a few local shops, which sell them to the public. He does not have a physical store at home or a space open to the public. At one point, he tried to find a location in the village to open a workshop and a store, but due to tourism and rising prices, it was impossible. Most premises are either sold or rented to outsiders, making it unfeasible. Nevertheless, he would like to have a sales point in the village. products4 She has also considered offering weaving workshops, but the situation is not easy. Firstly, because her workshop is very small — it is located in her own home — and not easily accessible: it is 1 km on foot from the center of Tene, along an unpaved track with a 200-meter elevation gain. She has conducted some workshops and courses, but the lack of a suitable space and limited availability of time have made it difficult. She could host workshops at her home, but finds it exhausting, as she would have to act as a host and prepare her house for visitors. Currently, she is more focused on textile production than on offering workshops. products5 Yes, she even receives orders by mail for garments that need repairs. She fixes them and sends them back. For her, maintaining a certain closeness with the consumer is important—something that a label or certification cannot provide. If there’s a problem, customers can communicate it directly. She considers direct contact with the client essential. Unlike a conventional store—although she does have a website and an online shop—she also offers a more personalized service based on trust. products6 She has all kinds of clients, both local and international. However, her audience tends to have a special interest in organic and locally sourced textile products, values artisanal work, and is willing to pay a relatively high price for it. Many customers discover her through social media. Marina mentions Instagram as an important showcase where she presents her products and communicates her philosophy. She also sells a lot at craft markets, but many people already know her beforehand and are looking for a specific product. It’s less common for her to sell to strangers at these markets, as most people go directly to her knowing what they want (pp. 17, 26). Generally, customers come specifically looking for her products, which they’ve usually discovered through social media. Although she hasn’t conducted a formal market study, she has identified several customer profiles. One group consists of women aged 50 to 60 who enjoy knitting. Older women tend not to buy her wool, as they associate it with a rural or impoverished past. Most of her buyers are women; male customers are rare. Many clients also seek garments that reflect a commitment to the environment, sustainability, or the preservation of traditional landscapes. products7 She does not have any label or certification that guarantees the quality of her product. She believes these may be useful in large-scale commerce, but not for a small producer—they simply don’t make sense to her. What matters most is the level of trust built with the people who buy from her, through direct contact with the consumer. She doesn’t see the need to use labels on her products, as her customers usually know her beforehand and are already familiar with the production process (entirely carried out in Spain with locally sourced materials), so a label or certification wouldn’t add much value. However, the spinning mill she works with for wool yarn production (Wooldreamers – https://wooldreamers.com) does have OEKO-TEX certification. She also doesn’t hold an artisan license or accreditation, as artisanal work is just one aspect of her life. At home, she also carries out other rural tasks, such as tending to her flock of sheep, maintaining a vegetable garden, and more. Nevertheless, she is registered as a self-employed worker. tourism1 She does not participate in activities directly related to tourism and, in fact, is somewhat reluctant to do so. Although she has considered it on several occasions (p. 23), her previous experience in customer service was not positive. In her former job at a hostel located in an apartment in central Oviedo—where she managed bookings, cleaning, and room service—she experienced firsthand what working with the public entails, and it was not something she enjoyed. She acknowledges that many people enjoy new experiences, but in her case, she finds it difficult to organize activities to entertain visitors, as well as to market them. In her experience, knowledge has traditionally been passed on without any economic transaction, and she believes that the most valuable information she received was given freely. She also feels that many of the people who attend the occasional workshops she offers are unlikely to use a spinning spindle again; they participate for entertainment, often with little genuine interest. For this reason, she does not find it fulfilling to offer activities focused on the tourist experience. She is not opposed to tourism, but she also recognizes that it often leads to issues such as gentrification and limited access to housing for young locals—especially due to second homes being purchased by foreigners. Her main activity is the production of sheep wool yarn and the creation of garments made from it, and this is the work she finds most satisfying. tourism2 “Yo no estoy en contra del turista. Eso ya ye un aporte. Mejor algo de vida que ninguno. ¿Qué pasa, qué lado oscuro tiene esto? Que las casas se revalorizan, nosotros tenemos que vivir aquí [en la cabaña] pero no nos hubiéramos podido permitir comprar una casa en el pueblol, lo que sería lo normal. ¿Por qué? Porque unos chavalinos de veinte y cuatro, veinte y cinco, que eran los años que teníamos cuando vinimos aquí, nunca van a poder pagar el estándar de precios de uno que viene de Madrid, o de Holanda. Me parez que el 40% de las casas de los pueblos véndense a extranjeros. Porque ellos pueden pagalo. ¿El turismo qué hace? Subir los precios, subir el pan. partnership She does not belong to any artisan group or association. While she maintains relationships with others in her field, these are not through any formal platform. Through her work, she also has strong professional ties with breeders of Xalda sheep, from whom she sources her raw material. She collaborates with various companies and artisans. One of the most significant partnerships is with the Nuedu project (https://nuedutextiles.com/), led by artist Irene Trapote (https://laboralcentrodearte.org/es/residentes/irene-trapote-5/), to whom she supplies wool for different artistic proposals as well as for handmade garment production. She also provides wool to artisan Denise Ochoa, who runs the project “Boriando Knits” (https://www.instagram.com/boriando.knits/). Another ongoing collaboration is with dye artisan Almudena Cerezo, a Navarre native based in Galicia, who leads the project Materia Botánica (https://materia-botanica.com/about ; https://www.instagram.com/materiabotanica/). This project explores the possibilities of natural dyeing using waste materials, agricultural residues, and plants. Their collaboration involves creating a scarf made from her wool, dyed with natural pigments. She is also working on a proposal with the Basque brand Boinas Elosegui (https://www.boinaselosegui.com/), for whom she is developing yarn with a specific thickness required to produce a medium or small batch of berets made from Xalda sheep wool. She has received collaboration offers from well-known fashion brands in Spain, but has declined some of them, as she couldn’t find a way to align her vision of wool craftsmanship with the commercial approach of those brands. In some cases, the brands contacted her through their marketing departments, showing particular interest in her image and in becoming part of the universe she has created around her work. Regarding public institutions, she has collaborated with the Ethnographic Museum of Quirós and with La Ponte Ecomuséu. She has also worked with local councils, such as those of Quirós (where she lives) and Grau/Grado, participating in craft fairs like the La Flor festival (Grau/Grado). Although she hasn’t established formal collaborations with academic institutions, she has worked with PhD students. challenges1 One of the biggest challenges is the crisis in Spain’s wool processing industry. There are hardly any washing facilities or spinning mills that work with small quantities of wool. The Spanish textile industry is currently in decline, and this affects her ability to collaborate with companies and process raw materials. As a result, costs for small producers are very high. To process a small amount of wool (in three colors), each color is treated as a separate batch, which increases the cost significantly. Producing wool from Xalda sheep is particularly expensive, and this impacts the final price for the customer. Although she has a large amount of raw material, the cost of processing makes the final product more expensive. Another major challenge is the housing crisis and the effects of tourism, which prevent many young people like her from accessing affordable rentals or reasonably priced homes in rural areas. In recent years, they have had to compete with people from across Europe, which has significantly driven up housing prices. Additionally, she faces the typical challenges of rural life, such as limited access to basic services. challenges2 [Speaking about idealizing rural life] ¡Idealizándola también! ¡Hay que tener una sobredosis de enamoramientu pa hacer frente a las dificultades! [of living in a village] references Álvarez, B. (2022, november 17). Lana de oveya xalda para vivir en Quirós. La Voz del Trubia. https://lavozdeltrubia.es/2022/11/17/lana-de-oveya-xalda-para-vivir-en-quiros/ Cabellos, T. (2023, november 16). Marina Perez of La Flor Cerval on Valuing Xalda Wool. Love Wovember. https://lovewovember.com/marina-suarez-of-la-flor-cerval-on-valuing-xalda-wool/ Continente, G. (2024, november 9). La Flor Cerval: Un proyecto textil que reivindica la producción sostenible y la vuelta a los orígenes. Vogue España. https://www.vogue.es/articulos/flor-cerval-proyecto-sostenible González, A. S. (2023, september 19). Lana que teje territorio. El Comercio. https://nuestrocampo.elcomercio.es/lana-que-teje-territorio/ Harabagiu, R. (2024, november 28). La Flor Cerval: Abrazando la simplicidad en la montaña. Raluca Harabagiu Blog. https://ralucaharabagiu.com/marina-perez-historia-de-la-flor-cerval/ Hidalgo, M. (2022, december 22). Marina Pérez, La Flor Cerval. Poner en valor la lana Xalda. Fusión Asturias. https://fusionasturias.com/asturias-empresarial/empresarios/marina-perez-la-flor-cerval-poner-en-valor-la-lana-xalda.htm Liedo, C. (2022, october 31). Producir hilo de lana de oveja xalda de forma industrial, el hito de una emprendedora de Quirós. La Voz de Asturias. https://www.lavozdeasturias.es/noticia/asturias/2022/10/26/producir-hilo-lana-oveja-xalda-forma-industrial-hito-emprendedora-quiros/00031666807278320435715.htm Social Media The social media links. facebook,https://www.facebook.com/people/laflorcerval/100088367524821/;instagram,https://www.instagram.com/la.flor.cerval/; Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/Pérez_Rodríguez,_Marina Shop https://www.laflorcerval.com/tienda Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Marina Pérez Rodríguez Type The nature or genre of the resource Artisan Date A point or period of time associated with an event in the lifecycle of the resource 1992 Language A language of the resource Asturian,Spanish Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 672 Source A related resource from which the described resource is derived artisans,asturiasmap Spatial Coverage Spatial characteristics of the resource. current,43.2049206177269,-5.993868917107711; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Country The name of the country of the data provider or “Europe” in the case of Europe-wide projects. Spain Europeana Data Provider The name or identifier of the organisation that contributes data to Europeana. Pérez Rodríguez, Marina Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://www.laflorcerval.com/ Artisan An artisan Contact mark.stockl@hotmail.co.uk Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/Mark_Stockl External ID AAS_PR_02 Prim Media 920 Email The email address of the museum. mark.stockl@hotmail.co.uk Phone The phone number MOBILE 07903 816 508 LANDLINE 01854 655336 Place The town or city 3 Loggie, ULLAPOOL, IV23 2SG Biographical Text Mark Stockl is a traditional boat builder who restores, repairs, designs and builds traditional timber boats. Based near Ullapool in the highlands of Scotland he has been working on a self-employed basis since 2006 after working at Ullapool Boat Buulders and prior to that completing an intensive, traditional boat building course in Lowestoft, Suffolk. Knowledge Acquisition Mark "messed around in boats" throughout his childhood but his first career was as musican (classical guitarist). After becoming disillusioned with the music industry he chose to study traditional boat building at a boat building school Lowestoft in Suffolk. This was a year-long, intensive course where students spent at least 6 - 8 weeks leanring high-level joinery skills before being shown boat building techniques. after this course, Mark applied for and got a job advertised at The Ullapool Boat Builders in Scotland. In 2026 he established his own business after the Ullapool Boatbuilders closed. Knowledge Transfer Boat Building course at Plockton High School form 2007 to 2023 Field Worker Netty Sopata Gender male Area Relation native Area Reason After securing employment as a newly qualified traditional wooden boat builder. Occupation woodwork,metalwork Involvment full-time paid job knowledge1 Extensive. An understanding of the traditional wooden boat building techniques and ability to apply them through thousands of hours of practice. The sequence in which the techniques need to applied and how to accommodate solo working to accomplish the highest quality. There is an aesthetic quality to wooden boats but fundamnetally thay are a functional item used to carry people in water. The traditonal wooden 'Sgoths'. that Mark can build from start to finish, or repair, are used for sailing in some of the most challenging sea areas in Scotland. material1 Larch (wood) for planking and fittings and Oak (wood) for ribs. Copper for fixtures and fittings but also stainless steel (occassionaly). All sourced from Scotland. The furthest he has travelled to collect Larch is Perthsire. Larch is getting harder to source due to it becoming a popular choice of architects in building designs. material2 WOOD:Scotland. He does not want to import any from abroad. material3 Due to traditional techniques being used there are are very little leftovers, with the long thinner pieces of the planks being used in the final fittings of the boat. When the edges of the planks are trimmed, these are burnt and not used in the build becasue they are weaker. production1 The Making process of a New Boat requires the following techniques / stages of production (recorded from -35.00 on AAS_PR_002(INTVW)). SHAPE Determining the shape of the boat is the first stage. The client has an input at this point and Mark has a selection of moulds/temporary forms that he uses to create these shapes. Mark ‘builds by eye.’ Although he has in the past worked from technical drawings, he finds the process restrictive. Once a shape has been determined the backbone or the ‘keel’ is placed with three of the selected moulds at the stern, bow and in the middle. The structure is braced/racked to retain the shape. PLANKING Planking can then commence. The height and ‘sheer’ of the boat will have been calculated at this stage. The ‘sheer’ is the shape of the boat from the bow to the stern. If a boat rises slightly at the bow and the stern they can throw more water off, this makes them good sea boats. Planking (the process of layering the lengths of wood that form the sides of the boat) is completed in pairs. Retention of symmetry is important at this stage. There are also different planking techniques. For example, on AAS_AR_10 (the boat being restored in the AAS_PR_02(INTVW)) is a ‘clinker’ boat. This means the planks overlap each other. In other wooden boats, such as ‘Carvel’ ones, the planks are layered on top of each other. RIBS After planking, the moulds can be removed and the ribs placed and fixed. The ribs are made from oak and after being cut by machine they are put in a steam box for 30 – 45 minutes. Once removed from the steamer there is a window of 15 seconds for them to be placed and fixed. Because of this, their positions are pre-marked on the hull of the boat and placement nails are positioned in pre-drilled holes, ready for one person to hold the rib in place and another working on the underside of the boat to hammer the copper nails through the planks and into the rib. The steamed oak accepts these nails and shaping. A process of ‘Roving’ – application of copper rivets on the ends of the nails, completes the fixing of the ribs. After this process the boat retains its own rigidity. FITTING OUT This process involves the fitting of the seats, gunnels, rub strips etc and is the longest stage of the process. It takes six months to build a wooden boat using traditional techniques (as described). production2 Hand chisels and planes – traditional hand tools fro wood workers. Battery operated hnad tools such as drills / routers. Circular saws. Steam box for steaming oak. Clamps (for holding pieces of wood in lace). production3 Every tool has a different function and is applied to differtn techniques at different stages of the build / restoration. production4 Mains electricity for power tools and a wood burning stove for heat. The studio has LED lighting. production5 Very little waste is generated due to traditional build techniques being used. The thinner pieces of the planks are used in the finishing of the boat. Any left over sections which are mostly the edge of the planks (which is weaker and less stable for boat building) is used as fuel in Mark's stove - this provides heat for the workshop. workshop The workshop is in a barn situated on Mark's Croftland in Loggie. It is situated just off the driveway which leads down to the house and holiday home. There is a spacious external yard area around the shed where boats and wood supplies can be stored. In June 2025 an addtional shed area was under construction to provide more workshop space. products1 Traditional wooden boats for example: 'Clinkers' and 'Sgoths.' The business model is a bespoke 1:1 client focused model. Individual items are not produced and sold unless someone has commissioned them. products2 For sailing, rowing and fishing Social Media The social media links. facebook,https://www.facebook.com/markstocklboatbuilder/?locale=en_GB; Material Larch (wood),Oak (wood),stainless steel Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Mark Stockl Type The nature or genre of the resource Artisan Identifier An unambiguous reference to the resource within a given context 136 Source A related resource from which the described resource is derived artisans,highlandandislands,people Date A point or period of time associated with an event in the lifecycle of the resource 1950s Language A language of the resource English Spatial Coverage Spatial characteristics of the resource. current,57.8644615848094,-5.12192899763092; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Europeana Data Provider The name or identifier of the organisation that contributes data to Europeana. Mark Stockl Country The name of the country of the data provider or “Europe” in the case of Europe-wide projects. Scotland Artisan An artisan Author iain Email The email address of the museum. mark.stockl@hotmail.co.uk Phone The phone number MOBILE 07903 816 508 LANDLINE 01854 655336 External ID AAS_PR_02 Knowledge Acquisition Mark "messed around in boats" throughout his childhood but his first career was as musican (classical guitarist). After becoming disillusioned with the music industry he chose to study traditional boat building at a boat building school Lowestoft in Suffolk. This was a year-long, intensive course where students spent at least 6 - 8 weeks leanring high-level joinery skills before being shown boat building techniques. after this course, Mark applied for and got a job advertised at The Ullapool Boat Builders in Scotland. In 20026 he established his own business after the Ullapool Boatbuilders closed. Knowledge Transfer Boat Building course at Plockton High School form 2007 to 2023 Field Worker Netty Sopata Gender male Area Relation native Occupation woodwork,metalwork Involvment full-time paid job knowledge1 Extensive. An understanding of the traditional wooden boat building techniques and ability to apply them through thousands of hours of practice. The sequence in which the techniques need to applied and how to accommodate solo working to accomplish the highest quality. There is an aesthetic quality to wooden boats but fundamnetally thay are a functional item used to carry people in water. The traditonal wooden 'Sgoths'. that Mark can build from start to finish, or repair, are used for sailing in some of the most challenging sea areas in Scotland. material1 Larch (wood) for planking and fittings and Oak (wood) for ribs. Copper for fixtures and fittings but also stainless steel (occassionaly). All sourced from Scotland. The furthest he has travelled to collect Larch is Perthsire. Larch is getting harder to source due to it becoming a popular choice of architects in building designs. material2 WOOD:Scotland. He does not want to import any from abroad. material3 Due to traditional techniques being used there are are very little leftovers, with the long thinner pieces of the planks being used in the final fittings of the boat. When the edges of the planks are trimmed, these are burnt and not used in the build becasue they are weaker. production4 Mains electricity for power tools and a wood burning stove for heat. The studio has LED lighting. production5 Very little waste is generated due to traditional build techniques being used. The thinner pieces of the planks are used in the finishing of the boat. Any left over sections which are mostly the edge of the planks (which is weaker and less stable for boat building) is used as fuel in Mark's stove - this provides heat for the workshop. workshop The workshop is in a barn situated on Mark's Croftland in Loggie. It is situated just off the driveway which leads down to the house and holiday home. There is a spacious external yard area around the shed where boats and wood supplies can be stored. In June 2025 an addtional shed area was under construction to provide more workshop space. products1 Traditional wooden boats for example: 'Clinkers' and 'Sgoths.' The business model is a bespoke 1:1 client focused model. Individual items are not produced and sold unless someone has commissioned them. products2 For sailing, rowing and fishing products3 The business model is a bespoke 1:1 client focused model. Individual items are not produced and sold unless someone has commissioned them. products4 New build; Renovation and repair. Surveying old boats to assess work required. products5 Yes products6 Cultural Heritage organizations. Private Collectors. Educational institutions. Private Estates. products7 No. tourism1 Yes but not directly linked to boat building at the moment. There is a holiday home the practitioner rents out through the tourist season. This is situated between the domestic house and the boatshed. The residents staying in the house often call in to see the practtioner and watch him work in an unformal way. This is welcomed, and he is trying to work through the paperwork required to run residential boatbuilding courses. tourism2 "To be honest I'm quite insular and I don't really see many tourists at all. We do have a holiday house and we do often get people staying in the house who are very interested in what I'm doing..and I'm very happy to talk to them and show them about." (-11.45) "Our thinking is about possibly doing week long boat building courses in the winter…it's going to take alot of organisation…but we can offer people accomodation and tuition in one bundle, and I enjoy teaching." (-11:15) (AAS_PR_02a(INTVW)) partnership There are no on-going work collaborations. In the past he has worked with Plockton High School, Isle of Skye (Highland Council 2022) teaching year long courses to high-school pupils as part of the school curriculum. He has also worked with Falmadair (North Lewis Maritime Trust) (Falamdair 2020) and Commun Echdraidh Nis (Ness Historical Society) https://www.nesshistorical.co.uk/galleries/previous-exhibitions/urachadh-the-renewal-of-an-sulaire/ in the restoration of traditional wooden 'Sgoths.' (CEN 2021). These partnerships have been paid commissions. The practitioner took part in the Applied Arts Scotland Rural Spot No.1 in October 2024. challenges1 Physical challenges of a cold workign environment in the winter. The hand tools absorb the heat from the body until they warmed up and power tools criculate cold air (making it colder). The sourcing of materials that are becoming rarer. But , when asked if he would change anything he expressed that the workshop is his 'haven' and that: "I'm very content doing what I'm doing." challenges2 "It can be physically quite challenging, escpecially in winter. Sourcing materials can be a challenge, and being self employed sometimes the challenge is when you get out of bed and thinking: 'What the heck am I doing today.' And what I've realised over the years is that if I don't have an end goal for the end of the day it can be futile. So, I always know when I walk through the door where I want to be at the end of the day, and that works really well for me...but not for everybody." references CEN, 2021. Comunn Eachdraidh Nis / Ness Historical Society. [Online] Available at: https://www.nesshistorical.co.uk [Accessed 19 July 2025]. Falmadair, 2020. Falmadair. [Online] Available at: https://www.falmadair.org [Accessed 19 July 2025]. Highland Council, 2022. Am Bàta: Preserving Centuries-Old Tradition at Plockton High School, Inverness: You Tube https://youtu.be/2-Ch7rlwB9Q?si=BkLwUFKExpqxxFS0. Social Media The social media links. facebook,https://www.facebook.com/markstocklboatbuilder/?locale=en_GB;instagram,stockl.mark; Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/Mark_STOCKL Biographical Text Restoration, repair and new build of traditional timber boats. Recent rebuilds include 'Jubilee' - 27', Ness Sgoth and Vine-24' Fifie. Currently building a new 23' Fifie for a customer from the Isle of Wight. Prim Media 920 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Mark STOCKL Type The nature or genre of the resource Artisan Date A point or period of time associated with an event in the lifecycle of the resource 1950s Language A language of the resource English Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 479 Source A related resource from which the described resource is derived artisans,people Spatial Coverage Spatial characteristics of the resource. current,57.8644615848094,-5.12192899763092; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Country The name of the country of the data provider or “Europe” in the case of Europe-wide projects. Scotland Europeana Data Provider The name or identifier of the organisation that contributes data to Europeana. Mark STOCKL Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://www.nationalhistoricships.org.uk/ship-shape/company/mark-stockl-boatbuilder https://culturality.museum/omeka/files/original/8c4b7e1a1199e73906a005b1b90fe33f.png 2b824c36e76fbaddaf22b5914e2ca3a7 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Museum: University of St Andrews Identifier An unambiguous reference to the resource within a given context 4 Tour Author iain Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/Mark_Stockl_Boat_Shed_Tour Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Mark Stockl Boat Shed Type The nature or genre of the resource Tour Contributor An entity responsible for making contributions to the resource iao@st-andrews.ac.uk Publisher An entity responsible for making the resource available VERAPlatform License A legal document giving official permission to do something with the resource. Creative Commons Attribution License Identifier An unambiguous reference to the resource within a given context 484 Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). 07/24/2025 12:37:33 pm Spatial Coverage Spatial characteristics of the resource. current,57.8644615848094,-5.12192899763092; Creator An entity primarily responsible for making the resource Sue Blair Date Modified Date on which the resource was changed. 09/18/2025 10:50:34 am Source A related resource from which the described resource is derived studio Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Europeana Data Provider The name or identifier of the organisation that contributes data to Europeana. University of St Andrews Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://culturality.museum/uv/uv.html#?manifest=https://culturality.museum/galleries/manifest.php?id=865 https://culturality.museum/omeka/files/original/abb1b13137aedc91e8655af472e467d8.jpg e8838ebdd45d88277d4fc2b66f5676d1 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. External ID AAS_AR_09(01) Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Mark Stockl inside a boat being renovated, holding a battery-operated drill during the "riveting" process Type The nature or genre of the resource Still Image Date A point or period of time associated with an event in the lifecycle of the resource 2025-06-19 Spatial Coverage Spatial characteristics of the resource. current,57.8644615848094,-5.121920998; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Netty Sopata Country The name of the country of the data provider or “Europe” in the case of Europe-wide projects. Scotland https://culturality.museum/omeka/files/original/413311d52c228443767f72678fd8f3b1.jpg e547bbd0cc2dc81368705d97be04686b Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. External ID AAS_AR_10(03) Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Mark Stockl inside the boat Type The nature or genre of the resource Still Image Date A point or period of time associated with an event in the lifecycle of the resource 2025-06-19 Spatial Coverage Spatial characteristics of the resource. current,57.8644615848094,-5.12192899763092; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Netty Sopata Country The name of the country of the data provider or “Europe” in the case of Europe-wide projects. Scotland https://culturality.museum/omeka/files/original/9d06d4af436e35f2a32d8b8a34c0e41d.mp4 195918ac1b8cb8bd67cfde6d121bc1fd Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Museum: Highlands and Islands Identifier An unambiguous reference to the resource within a given context 434 Panorama DescriptionEN English Description 360 degree video of Mark Stockl working on the underside of a boat in his boat shed in Loggie, Ullapool, Scotland. ry Rotation Y 180 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Mark Stockl Under a Boat Type The nature or genre of the resource Panorama Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource video/mp4 License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Spatial Coverage Spatial characteristics of the resource. current,57.86727859057576,-5.124547530994606; Description An account of the resource 360 degree video of Mark Stockl working on the underside of a boat in his boat shed in Loggie, Ullapool, Scotland. Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Netty Sopata Artisan An artisan Author iain Prim Media 130 Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/Marlén_López Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Marlén López Type The nature or genre of the resource Artisan Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 387 Description An account of the resource Marlén, biodigital architect and Manuel, biodigital designer and craftsman, make up the Laboratorio Biomimético, a project based on biomimesis, that is, on the attentive observation of nature, directly through field trips, or indirectly, with readings and documentaries. Through this observation and profound understanding, they seek to implement the solutions of nature, a designer with thousands of years of experience, to human challenges. Source A related resource from which the described resource is derived artisans Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Country The name of the country of the data provider or “Europe” in the case of Europe-wide projects. Spain Europeana Data Provider The name or identifier of the organisation that contributes data to Europeana. Marlén López https://culturality.museum/omeka/files/original/1b9babb932d93f9de5e901fa316100a3.JPG cf7d0935cb54ddabd8d4e082288df16b Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Museum: Finnskogen Identifier An unambiguous reference to the resource within a given context 936 Panorama Zoom Min 18 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Marsh Type The nature or genre of the resource Panorama Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg Source A related resource from which the described resource is derived finnskogen License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Spatial Coverage Spatial characteristics of the resource. current,60.150653,12.516436; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Artisan An artisan Contact queseriacasanchu@gmail.com Author iain Email The email address of the museum. queseriacasanchu@gmail.com Phone The phone number 985 752 222 Prim Media 1235 Biographical Text Marta Fernández Martínez was born in the village of Ambás (municipality of Grau/Grado, Asturias) on October 29, 1979. A daughter of a farming family, her childhood unfolded in the rural Asturian environment, contributing to the domestic tasks of a family farm dedicated to dairy production and cheese-making. She studied Forest Engineering at the University of Oviedo, working as such for several years on various forestry and environmental projects throughout Asturias. In 2011, after being unemployed for a few months, she decided to join her parents' family business, Filomena Martínez and José Antonio Fernández, Queisos Ca Sanchu. Nowadays, she has moved back to her hometown and runs the cheese factory together with her partner, Xel. Her full-time dedication is the small family business, her cheese factory specializing in Afuega’l Pitu cheese. External ID UNIOVI_PR_02 Knowledge Acquisition Marta learned to make cheese from her mother at the family home and also from her grandmother in the nearby village of Cubia. Cheese had always been an integral part of her family traditions, and she views the transmission of this knowledge as something natural, a genuine family legacy. From a very young age, she became familiar with the cheese-making process. Cheese production was a family activity in which even the children participated, contributing to the various tasks involved in its creation. Knowledge Transfer Marta has conducted workshops on dairy products, especially butter and cheese, aimed at students from various schools in the area. These workshops are part of educational programs designed for primary and secondary school students, where the basic processes of making butter and cheese are taught, allowing participants to create their own product. She has not provided formal training, specific courses for professionals, nor has she ever had an apprentice Field Worker Santiago Rodríguez Pérez, Llara Fuente Corripio Gender female Area Relation native Involvment full-time paid job knowledge1 Marta believes that great skill is not required to make cheese, as it is a relatively simple technical process. For her, sensitivity and awareness regarding the product being created are far more important. She does not consider it essential to have acquired the knowledge in the home where the artisan was born or to have a family tradition in the craft. In her opinion, the key is to show respect for tradition, for the generations who preserved and transmitted it, and for the production of the product in line with traditional methods. For example, the simple gesture of using the 'garciella' (ladle) to pour the cheese into molds and fill them slowly, instead of using a larger spoon or a machine to automate the process, already reflects specific qualities of the cheese and respect for its traditional production. Making it differently, in a way that does not respect traditional methods, may result in a similar product but detracts from the authenticity and attributes of the final product. According to Marta, this production method gives the cheese unique characteristics that must be protected. This issue is of great importance to the artisan. Nowadays, technological innovations even allow for modifying or adapting the flavors of cheese for different audiences through the use of flavorings, or removing the natural molds of the cheese (such as geotrichum candidum) using anti-mold products. While these practices might make the cheese more marketable, they would compromise the essence of Afuega’l Pitu cheese, which is defined by its unique characteristics. Marta believes that the product must remain true to its original nature. In fact, it is possible to clearly distinguish a cheese made according to traditional methods from one that does not follow these practices material1 The main ingredient for making cheese is cow’s milk. Additionally, rennet is used in small amounts to carry out the milk coagulation process. No other products, such as anti-mold agents, are used, allowing the cheese to naturally develop its characteristic molds. Furthermore, plastic is used for packaging, along with labels. material2 The milk comes from local farms located in villages near the cheese factory (Llamas, Santianes de Molenes), where the cows are raised grazing freely outdoors. In the past, her family had their own dairy farm dedicated to milk production. Part of that production was used to make cheese in the family business, while the other part was collected by a dairy cooperative. Currently, obtaining high-quality locally produced milk is challenging. Small dairy farms in the area are disappearing. Farmers prefer to produce beef cattle because these animals require less work than dairy farming, which demands complete dependence. Dairy farms are not profitable if they have few heads of livestock, and in the mid-mountain area where the homestead is located, it is not feasible to establish large-scale dairy farms. However, within the Protected Designation of Origin lies the municipality of Tinéu, a major dairy production center and one of the municipalities that produces the most milk in all of Spain. Nevertheless, their cheese production relies on dairy farming. Livestock farms are increasingly larger, and it could happen that they no longer supply small cheesemakers, focusing only on large cooperatives and distributors. Unfortunately, small farms that exclusively provide milk to small cheese factories are not viable, as the amount produced is too small to be profitable. Milk is purchased from dairy centers, not directly from farmers. However, they are aware of the milk’s origin because the central's truck first collects the milk from producers and then delivers a portion to the cheese factory. If they decided to make direct purchases, they would need their own truck. The possibility of having a small dairy farm has also been considered, but this would require completely rethinking their model. Producing their own milk would be a challenging endeavor. material3 The cheese factory produces hardly any cheese remnants or byproducts. All the milk received is fully processed into cheese. No surpluses are generated that require management. production1 The milk delivered to the cheese factory is stored in an outdoor tank at temperatures below 4 degrees Celsius. The following morning, it is pasteurized using a pasteurizer, subjecting it to 72 degrees Celsius for 5 seconds, which eliminates bacteria and microorganisms. Subsequently, the pasteurizer pours the milk into curdling vats, where it is maintained at an average temperature of 27-28 degrees Celsius, ideal for producing this type of cheese. Once in the vats, the milk is left for 3 to 4 hours to allow its pH to drop to a level of 4.5-5. Afterward, rennet is added. Originally, the rennet was of animal origin, though nowadays it is produced in laboratories. The amount used is 45 milliliters of rennet per 1,000 liters of milk, representing a very small quantity. Traditionally, in the production of afuega’l pitu cheese, two processes can be followed, historically documented and related to the curdling process. It is possible to curdle without rennet by utilizing temperature differences and pH reduction. However, the issue with this curd, known in Asturian as leche presa, is that it has much less consistency. If poured into a mold with holes (barreña), the curd escapes through the openings. For this reason, a piece of cloth (trapu) is used to strain the whey when pouring the curd. If rennet is used, the curd gains greater consistency and can be directly placed into the barreñas to finish draining the whey. Rennet (cuayo in Asturian) is a digestive enzyme that enables milk coagulation, traditionally obtained from the stomach of ruminants. However, in the past, this enzyme was also extracted from the intestines of pigs, which were slaughtered at home for domestic consumption during the traditional pig-slaughtering (matanzas). The curd of Afuega’l Pitu cheese is of an acid-lactic or mixed type, as the milk coagulates due to the pH reduction caused by acidity, with rennet aiding in the process. Once the milk is placed in the curdling vat, it is left to rest for 24 hours, ensuring the temperature remains constant and avoiding significant fluctuations. Nowadays, this process is carried out in a vat equipped with temperature control, which is maintained between 22 and 32 degrees Celsius. Once the curd is prepared, it is poured into molds known as barreñas. For this, a garcilla (ladle) is used, which allows the curd to be placed in layers within the molds. The process is slow and labor-intensive, as the molds must be filled one by one, working in batches of more than 100 cheeses. Nowadays, the molds, which are conical in shape, are made of food-grade plastic. In them, the curd gradually drains the whey. The cheese remains in this draining process for 24 to 48 hours, without the need for pressing. The initial result is fresh, unsalted cheese, ready for commercialization. If salted cheese is desired, a small amount of salt is manually added to the fresh cheese after unmolding it. Approximately 100 liters of milk yield around 40 cheeses, with each cheese requiring between 2.2 and 2.5 liters of milk. From this point, the processes vary depending on the type of cheese. For the Atroncáu blancu variety, the cheeses are kept in the maturation chamber for a maximum period of 20 days. The cheese maintains its conical shape and characteristic white color. In the case of Atroncáu roxu, after 24 hours of whey drainage in the barreñas, the cheeses are kneaded. For this, the fresh cheeses are placed in a kneader, where salt and paprika are added. During the kneading process, both ingredients are evenly distributed throughout the mixture. The mixture is then placed into molds using a gauze to prevent it from sticking to the mold walls. The cheese remains in the molds for one day, after which it is unmolded and transferred to the maturation chamber. Its distinctive color is reddish-orange. The Trapu blancu cheese is also made through kneading. The freshly unmolded fresh cheese is placed in a kneader. Once kneaded, it is wrapped in a cloth (trapu), which is tied to continue the whey-draining process. Afterward, it is untied and cured in the maturation chamber. The Trapu roxu is produced in a similar way to Trapu blancu, also through kneading. The difference lies in the addition of paprika to this variety during the process. Once kneaded, the cheese is wrapped in a cloth (trapu), tied to continue draining the whey, and then untied for curing in the maturation chamber. The maturation chamber is maintained at a minimum humidity of 60%. During their time there, the cheeses are turned regularly to achieve the optimal level of maturation. They are then transferred to a cold storage chamber, where they are kept at a temperature between four and ten degrees Celsius until commercialization. production2 Fundamentally, two main tools are used: the mold for curdling (barreña) and the ladle for pouring the curd into the barreña. Additionally, many others are employed, such as the pasteurizing machine, the vat for milk curdling, and the maturation chamber. production3 They are simple tools, yet essential for the production of this historic cheese. Their importance lies in the fact that, without them, it would not be possible to make this cheese. Manually pouring the curd into the molds using the ladle is a technical gesture that has been repeated throughout history and helps to give the cheese its unique organoleptic properties. production4 Electricity is essential and is used at various stages of the process. From the start, it is utilized in refrigerated tanks for milk storage, in the pasteurizing machine to heat the milk, in the curdling vat to maintain a stable temperature, in the drying and maturation chambers, in the kneading machine, and in dehumidifiers. Currently, the electricity comes from the power grid, although in the future it could be sourced from renewable energy. Marta has seriously considered this transition but faces several challenges: the cheese factory's location in a shaded area, the limited efficiency of solar panels, and the complex regulations for their installation. Perhaps the biggest issue is that the industrial refrigeration equipment requires three-phase electricity, and self-consumption renewable energy sources, for now, could only cover a small part of the electricity consumption. Moreover, the transition would require a significant investment. The workshop is heated using an aerothermal system. production5 The main waste generated by the cheese factory is the whey from the milk. This could pose a problem if the factory were located in an urban area, as it would not be possible to dispose of it via the drainage system. Part of the whey is stored in tanks, as some farmers in the area use it as animal feed, while another portion is directed to the septic tank. The cheese factory has a large septic tank, and with a spacious outdoor plot, the whey—being a biodegradable product—can be filtered through the septic tank and released into the environment. The land has sufficient absorption capacity to manage this activity. In their case, a significant portion of the surplus is used as fertilizer. The remaining waste is less significant. It is placed in trash containers for collection by the waste management service in Asturias. The management of whey is one of the major challenges for artisanal cheese factories in Asturias, of which there are many. Various projects are being developed to find new uses for whey. However, this process would require centralized management involving multiple cheese factories, as a small family business cannot handle this task alone. Whey also has potential applications for human consumption, such as a beverage, and in the production of energy drinks. workshop Marta works in a cheese factory located in the family home. It was founded by her parents in the 1980s and has undergone several renovations, expansions, and improvements over the years. Initially, they built a small facility next to the house. Later, around 1990, they constructed a larger, new building at the back of the house, which is where the cheese is currently produced. Her parents established the cheese factory when they decided to transition to professional cheese production. The workshop covers an area of approximately 80 m² and is divided into a small reception room, a restroom, a workroom, and two chambers for maturation and storage. The workroom is equipped with a pasteurizing machine, a curdling vat, several work tables (for pouring the curd into molds, kneading and preparing the cheeses, labeling, and storage), as well as stainless steel shelves with trays to collect whey while the cheese remains in the molds. Since it is a space dedicated to food production, it complies with a series of health and food regulations specific to the agro-industrial sector. Additionally, it has a traceability plan to prevent cross-contamination. products1 The Ca Sanchu cheese factory mainly produces seven products: • Fresh cheese with salt • Fresh cheese without salt (barreña) • Afuega’l Pitu cheese Atroncáu blancu • Afuega’l Pitu cheese Atroncáu roxu • Afuega’l Pitu cheese Trapu blancu • Afuega’l Pitu cheese Trapu roxu • Del Horro cheese: an Atroncáu blancu cheese with a much longer maturation process, carried out in an elevated granary (hórreo, panera), which was the traditional drying facility. products2 The main objective of all this production is its commercialization, either directly or through local sales channels, aimed at consumption. products3 The original place where these cheeses were sold, and are still sold, is the Grau/Grado Market, a weekly outdoor market where farmers used to sell surplus from their farms. Currently, Marta and her partner, Xel, continue to sell their cheeses at a stall in this market, which remains one of their most popular sales channels. Additionally, the product can be purchased in various stores across the central area of Asturias. Xel, her partner, is responsible for distributing the cheeses to small local shops, using a delivery van. products4 The only services offered are cheese transportation and distribution, as well as customer service, both in markets and for small businesses or distributors. Additionally, tourism-related services are provided, which will be detailed in the corresponding section. products5 Occasionally, tasting services were conducted, where cheese characteristics were explained to consumer and gastronomic groups, including how and at what temperature it should be consumed, and the differences between fresh, semi-cured, and del hórreo cheeses, among others. However, these activities are not frequent. products6 It caters to all types of clients, both local and international, ranging from audiences specialized in gourmet products to everyday consumers. products7 The product primarily holds the Protected Designation of Origin (PDO) as its main quality seal. It also carries the Queseros Artesanos de Asturias quality seal, which encompasses all artisanal cheese producers in Asturias. Lastly, it features the 'Alimentos del Paraíso' seal, a quality mark from the Asturian public administration aimed at protecting high-quality products made in Asturias (covering all kinds of food products). It does not have an organic product label, as the milk used in its production does not hold that quality certification. tourism1 Yes, they participate in tourism-related activities on different levels. The cheese factory organizes private visits for anyone who contacts them, whether by phone or through social media. Occasionally, owners of nearby rural accommodations reach out to coordinate visits with tourists, offering them as an additional activity in the area. In collaboration with Asturias' public administration (Turismo de Asturias), they offer experiences for tourists in the form of open house days. During these visits, the cheese factory, the cheese-making processes, the production methods, and the history of Marta, her family, and the cheese are showcased. Visitors also have the chance to taste the products, providing an in-depth experience of an artisanal product. However, tourism is not their main activity and does not represent a significant source of income. They have not considered adapting the facilities for visitors, as their primary focus remains cheese production. In contrast, other cheese factories are equipped with specific infrastructures for tourism, such as internal tours, observation windows, tastings, and other services, charging visitors for these experiences. The lack of time and availability prevents them from being more involved in this area. Despite this, they have considered expanding their tourism-related activities, as the exponential growth of tourism in northern Spain could bring interesting benefits. They have considered holding open house events and activities that establish connections between the territory, the product, and society. However, they have also had negative experiences with certain tourists who do not appreciate the place, treating it as a leisure option for rainy days, similar to visiting a bar or museum. This has led them to meticulously prepare visits, only to find that some visitors failed to confirm or, having made a reservation, did not attend. These negative experiences have resulted in the cancellation of many other visits. Tourists come from both national and international backgrounds. Their perception is that international visitors (British, Australian, Scottish, etc.) tend to value the setting of the cheese factory and the work carried out there more highly. tourism2 No vivimos del turismo. Vivimos de elaborar un producto y de venderlo. A nosotros nos genera problemas, como llegar tarde a los repartos, acumular cansancio, quitar tiempo de las tareas principales... No vivimos del turista y por tanto las visitas no están profesionalizadas. Las malas experiencias con turistas que no tienen interés, o que no cancelan y no avisan, nos hace reconsiderar la posibilidad de realizar visitas partnership Currently, she participates in the Protected Designation of Origin (PDO) and the association of artisanal cheesemakers. She is not involved in co-creation spaces nor does she collaborate with other artisans beyond the cheesemaking sector. In the world of Afuega’l Pitu, since it is an artisanal product with few producers, everyone knows and collaborates with one another. Marta does not organize events or work with other artisans, although she is open to doing so. For example, she would like to collaborate with Natalia, a ceramist from Woodic Cerámica (LAPONTE_PR_02), to design a ceramic barreña. However, the main obstacle is a lack of time. She also makes a veiled critique: often, these types of collaborations are more focused on social media promotion than on fostering truly fruitful and effective cooperation. On the other hand, she has carried out numerous collaborations with public institutions, such as the Grau/Grado City Council and the University of Oviedo. For instance, she takes part in the Master's in Food program developed by the Faculty of Chemistry, as well as in projects from the Faculty of Business Administration, contributing to approximately four academic collaborations per year. challenges1 Marta is very pessimistic about the future of rural areas and the business model they have developed. However, she highlights several positive aspects. She always wanted to live in a rural environment and has managed to do so: she has settled in the village and built a house, which she considers one of the best decisions of her life. Nonetheless, she is skeptical of the current consumption model, as living off artisanal production is very challenging. She feels fortunate to have a nearby local outdoor market (Mercáu de Grau/Grado), which allows her to sell a large part of her production sustainably and directly to the public. However, profitability is not high; it provides a decent income for a couple and allows them to hire one person in the cheese factory, but it does not leave room for luxuries. The capitalist consumption model focused on large retailers does not favor artisanal and high-quality products. Marta believes this model is largely incompatible with her smaller-scale business. Consumer habits tend toward mass consumption in large stores rather than supporting small producers. She has considered the possibility of "giving in" to the tourism model as a solution, although this idea does not appeal to her, as she fears it would lead to the "touristification" of rural areas, stripping them of much of their authenticity. Another challenge is pricing her products. Marta is committed to maintaining affordable prices so that her loyal customers can continue to access them. She does not want to create a luxury artisanal product exclusively for elites, but many people associate lower prices with lower quality. Her approach to producing quality cheese at an affordable price may harm her financially, but she is unwilling to make luxury goods at high costs. Moreover, she finds the idea of offering two differentiated product lines absurd, as she believes all consumers should enjoy the same product. Ultimately, this is a family business that relies on its sales. In general, Marta feels somewhat disheartened by the evolution of society and the economy, such as the closure of small shops. However, she remains hopeful that younger generations will appreciate quality, artisanal products and small businesses while questioning franchises and current consumption models. She acknowledges that returning to rural life is difficult and complex due to inadequate services. Physical stores in villages are increasingly scarce, and those that remain have limited customers. Telecommunications are poor, with inadequate internet access services. Additionally, logistical issues arise, such as package deliveries: couriers, often self-employed, avoid making deliveries to places like Ambás because traveling long distances is not profitable. This issue is also a consequence of the capitalist market system. Marta concludes that rural areas are becoming a scenic backdrop for tourists, but she acknowledges that reversing this dynamic is a complex challenge. challenges2 “Soy pesimista, porque no veo que cambien los modelos de consumo [...] Lo artesano, el producto de calidad, tien un canal de venta muy limitado. Por internet, la gente no compra alimentos, acuden a centros comerciales grandes, donde no hay presencia del producto artesano, por muchas razones, relacionadas con el capitalismo: se exigen grandes volúmenes y el pago al productor es muy pequeño. [...] Nuestra filosofía de vender un producto de calidad a un precio asequible nos puede perjudicar. El sistema debería cambiar” references Galán, J. F. (2019, May 19). El Afuega’l Pitu de Ca Sanchu, premiado en Avilés como mejor queso de Asturias. El Comercio: Diario de Asturias. https://www.elcomercio.es/gastronomia/noticias/afuegal-pitu-sanchu-20190519011822-ntvo.html López Murias, R. (2025, February 15). Las cinco muyeres de Grau que salvaron al ‘queisu’ que llegó a prohibirse en Asturias: El Afuega’l Pitu. ElDiario.es. https://www.eldiario.es/asturias/cinco-muyeres-grau-salvaron-queisu-llego-prohibirse-asturias-afuega-l-pitu_1_12053455.html Paredes, A. P. (2013, June 27). Ingeniera de la tradición. La Nueva España. https://www.lne.es/asturias/2013/06/27/ingeniera-tradicion-20618581.html REVIEW Presents (Director). (2025, February 16). Quesería Ca Sanchu Asturias [Video recording]. https://www.youtube.com/watch?v=yKMR_-IJMj0 Villa, O. (2020, August 9). «Cada queso habla de su tierra y de su gente. Es identidad»—Pegados a la Tierra. https://pegadosalatierra.elcomercio.es/queseria-ca-sanchu-queso-afuegal-pitu-ambas-grado/ Social Media The social media links. facebook,https://www.facebook.com/queseriacasanchu?locale=es_ES;instagram,https://www.instagram.com/picutorneru/; Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/Fernández_Martínez,_Marta Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Marta Fernández Martínez Type The nature or genre of the resource Artisan Date A point or period of time associated with an event in the lifecycle of the resource 1979 Language A language of the resource Asturian,Spanish Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 586 Source A related resource from which the described resource is derived artisans,asturiasmap Spatial Coverage Spatial characteristics of the resource. current,43.3169333969445,-6.13166887325786; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Country The name of the country of the data provider or “Europe” in the case of Europe-wide projects. Spain Europeana Data Provider The name or identifier of the organisation that contributes data to Europeana. 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Recommended best practice is to assign the type Text to images of textual materials. External ID UNIOVI_PR_02(01) Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Marta Fernández Martínez in the cheesemaking workshop Type The nature or genre of the resource Still Image Date A point or period of time associated with an event in the lifecycle of the resource 2025-01-30 Spatial Coverage Spatial characteristics of the resource. current,43.3169333969445,-6.13166887325786; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Santiago Rodríguez Pérez Country The name of the country of the data provider or “Europe” in the case of Europe-wide projects. 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Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Marta Fernández Martínez in the cheesemaking workshop Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2025-01-30 Spatial Coverage Spatial characteristics of the resource. current,43.3169333969445,-6.13166887325786; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Santiago Rodríguez Pérez Artisan An artisan External ID LAPONTE_PR_07 Place The town or city San Salvador, Quirós, Principado de Asturias, Spain Area Relation incomer Area Reason After the pandemic, they decided to leave their jobs and move from Madrid Occupation ceramics Involvment full-time paid job Biographical Text Patricia and Adrián are a couple of artisans living in a small village in the municipality of Quirós. A few years ago, they decided to leave Madrid to start their own project: a ceramics studio that combines traditional techniques with a contemporary approach. Email The email address of the museum. 34 618 92 20 67 Social Media The social media links. facebook,https://www.facebook.com/tierrayfuegotallerdeceramica;instagram,https://www.instagram.com/ceramica_tierrayfuego/; knowledge1 To create their pieces, they use a rolling pin to produce clay slabs, along with a wide range of modelling and texturing tools. These include specialised instruments, such as awls, as well as non-specialised items such as toothbrushes, utility knives, and various types of brushes, many of which are everyday household tools. Knowledge Acquisition Self-taught and thanks to his father. Knowledge Transfer Yes, they teach their skills to individuals who participate in their workshops. These training activities are conducted in their own workspace and are adapted to the characteristics and needs of the participants, whether they are adults, young people, or specific groups. Their teaching approach is based on practical demonstration and personalised guidance throughout the creative process. material1 Their work involves the use of refractory ceramic clay, porcelain, and recycled glass obtained from used bottles. Each material is selected based on the type of piece and the aesthetic effects they aim to achieve. material2 The artisans primarily use clays of Spanish origin, sourced from the regions of Tarragona and Alicante. They are also considering incorporating black clay from Asturias, although they must first conduct tests to determine its suitability for the firing temperatures required. material3 Waste generated in their working process is virtually zero. All clay scraps are fully recovered and reused, reintegrating them into the production cycle. When working with glass or other materials, any remaining fragments are reused whenever possible or managed through formal recycling systems. production1 They employ highly personal techniques developed through experimentation, self-invented methods, and adaptations of techniques used by other artisans. Their practice is grounded in an ongoing process of testing and refinement. production2 They primarily use tools inherited from one of the artisan’s father, complemented by the extensive use of their own hands, which play an essential role in the creation process. production3 They maintain both a practical and an emotional relationship with many of their tools, as many are inherited family items. Beyond their functional value, these tools carry emotional significance, connecting their work with memory and tradition. production4 They do not yet have an operational kiln. They acquired a second-hand electric kiln from the 1990s, but they still need to obtain certain components and additional tools in order to bring it into operation. production5 No waste is generated during the production process. If a finished piece is not suitable for sale, the artisans keep it for their own personal use, thereby preventing any form of disposal. workshop No, the practitioners do not have a separate space used exclusively for their own work. They use the same workshop for both their production and workshops with third parties. The workshop is located on the ground floor of their home, but it functions as an independent space with its own access and organisation, allowing activities to be carried out without interfering with the domestic area. products1 The practitioners create pieces that reproduce façades of houses and other constructions, both real and imagined. They also produce porcelain and ceramic pendants, as well as items such as incense holders and ashtrays made from a combination of ceramic and recycled glass. products2 For sale products3 Their items are sold primarily at craft markets, both in Asturias and in other regions. products4 They offer workshops for a wide range of audiences, delivered both in their own workspace and in schools and other institutions. They also manage and organise markets featuring a variety of local artisans. products5 No, they do not provide repair or reutilisation services. products6 Their customer base is highly diverse, including private individuals and tourists who attend markets, as well as local companies requesting bespoke pieces. They also collaborate with institutions, such as museums, which commission works on specific themes. Special commissions generally come from local organisations, enabling them to support and strengthen a circular local economy. products7 They do not currently hold any specific certifications. However, they are members of a local association that is exploring the possibility of establishing an artisanal designation of origin associated with the “Valles del Trubia”. tourism1 Yes, the practitioners receive a wide range of visitors and clients, including both local residents and tourists who spend weekends in the area. One of their main tourism-related activities is the offer of ceramics workshops, which can be booked throughout the year. They do not specify whether their tourists are domestic or international, as their approach does not differentiate by origin. tourism2 "Más allá de participar en mercados grandes, creo que es una parte de la democracia participar en la vida de los concejos." "No solo turistas, sino gente de la zona, eso es lo que está bien." partnership Yes, they are members of the neighbourhood association “L’Abellugu” and of the craft association “Arte por las Manos”, which has more than one hundred members. They also take part in various co-creation projects with local artisans, fostering knowledge exchange and mutual collaboration. They collaborate with various public institutions, such as local schools and museums, for which they create specific pieces or souvenir products. They do not currently engage in formal collaborations with academic research institutions. challenges1 One of the main challenges they face is unfair competition from individuals who sell products that are not genuinely handmade. This issue undermines both the recognition of the craft and the economic sustainability of those who work authentically. challenges2 No compréis por internet, ese es el mayor problema." "Cuando hablamos de comprar artesanía yo lo entiendo como comprar algo que está hecho con el alma y con las manos." "El niño seguía llorando porque quería específicamente el colgante que había visto, quería ese; son piezas únicas." Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Martínez de Juana, Andrián; Cervera Gustodio, Patricia Type The nature or genre of the resource Artisan Contributor An entity responsible for making contributions to the resource Maria José Tudela Date A point or period of time associated with an event in the lifecycle of the resource 1981 Language A language of the resource Spanish Spatial Coverage Spatial characteristics of the resource. current,43.1642031567794,-5.97880474556343; Identifier An unambiguous reference to the resource within a given context 936 Europeana Specific elements of the Europeana Semantic Elements. Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://tallerdeceramicaenasturias.wordpress.com/ Country The name of the country of the data provider or “Europe” in the case of Europe-wide projects. Spain Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Museum: Museum Nord Identifier An unambiguous reference to the resource within a given context 7 Workshop End Date 2025-09-02 Author iain Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/Melbu_-_Rural_Spot_Workshop Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Melbu - Rural Spot Type The nature or genre of the resource Workshop Date A point or period of time associated with an event in the lifecycle of the resource 2025-09-02 Identifier An unambiguous reference to the resource within a given context 522 Source A related resource from which the described resource is derived ruralspots Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). 08/05/2025 02:05:02 pm Spatial Coverage Spatial characteristics of the resource. current,68.501158,14.8008861; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Europeana Data Provider The name or identifier of the organisation that contributes data to Europeana. Museum Nord Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Museum: University of St Andrews Identifier An unambiguous reference to the resource within a given context 4 Intangible Context Oral story telling traditions and the gaelic language. Many of the traditional Melodeon songs from Ness were written by men away at sea and depict a sense of longing for home. The illegal drinking ‘Bothans’ of the 1940’s onwards in the Western Isles also facilitated a social environment where the Melodeon was played and stores were told. In a recent Fèis, young musicians were taken on a tour of the old, disused ‘Bothans’. See below for a link to the article. Field Worker Netty Sopata Climate Threats Deterioration of space Economic Threats Insufficient financial resources,Insufficient renumeration,Increased income disparity,Rapid economic transformation,Arduous training Policy Threats Educational standardisation Demographic Threats Rural-urban migration,Population Influx Decontextualization Touristification Globalisation New pastimes,Rapid sociocultural change Weakened Practice Aged practitioners,Diminishing participation,Reduced practice Loss Threats Loss of ancestral language,Loss of cultural spaces,Loss of knowledge,Loss of cultural significance Climate Actions Research,Community Engagement,Educational programs,Collaboration with other organisations SDG Quality Education,Gender Equality,Affordable and Clean Energy,Decent Work and Economic Growth,Industry Innovation and Infrastructure,Reduced Inequalities,Sustainable Cities and Communities,Life On Land External ID AAS_CP_03 Knowledge The interviewee learnt to pay the Melodeon unformally as a young child. An uncle bought one home to the island after working away on the mainland. Songs were learnt ‘by ear’ and not taught through learning to read sheet music. Knowledge Transfer Taigh Dhonnchaidh (TD)(The House of Donald)https://www.taighdhonnchaidh.com focuses on providing a place for the Ness Melodeon band to practice and to hold lessons for children. Local and National MOD competitions are also held. https://www.ancomunn.co.uk/nationalmod Practitioners There are no specific roles with the Ness Melodeon Band when they practice or perform. There is however a committee who run TD, some of whom are band members. There are no defined gender related roles but traditionally Melodeon players were male. There is one female member in the band and an increasing number of young female players progressing through TD. Function A sense relaxation and well being after playing every Thursday is always felt. The social cohesion and laughter from playing and practicing together as a band..The Thursday evening sessions at Taigh Dhonnchaidh are open to anyone who wants to attend, musical or not. Origins and change The Melodeon Player – Roddy Martin had an understanding of the instruent being played frequently in the 1920s/1930s and recalls seeing old photographs of people heading off on the may or August holidays – always with someone carrying a Melodeon, the ‘rock stars’ of their time. The regularity with which the Meloedeon is used in un-organised social settings has altered, with the ceasation of the ‘bothans’ (illegal dringing dens)and the introduction of licsenced premises. Organisations Fèisean nan Gàidheal https://www.feisean.org/en/, Bòrd na Gàidhlig https://www.gaidhlig.scot/en/ Places Taigh Dhonnchaidh, The Clan MacQuarrie Community Centre, Communn Eachdraidh Nis (The Ness Historical Society). Artefacts Melodeon AAS_AR_11I1 / I2/I3 and Videos: AAS_AR_11 How to Play Melodeon. Climate Threats Description Taigh Dhonnchaidh was given to the community by Duncan ‘Major’ Morrison a musician and local teacher. In 1990 it was renovated and although in use now requires extensive maintenance. Additonal space is also required to facilitate storage of instruments and lessons / performances. Architecture plans have been drafted fro an extension and renovation, and the committee are currently fundraising money to complete the work. Economic Threats Description Melodeon Playing is seen as an additional form of income, not main one. Policy Threats Description Resources to teach Music as a subject in schools have been significantly reduced over the decades. Within Ness the local primary schools pupils (5 – 12yrs of age) only have access to traditional music tuition through the work carried out by Taigh Dhonnchaidh. Demographic Threats Description The Western Isles have a decreasing population size and an increasing age demographic. This is due in part to young people moving away and remaining on the mainland where more options exist to earn higher levels of income. The other contributing factor are older, wealthier people moving into the community from the mainland, attracted by the comparative high levels of service provision in healthcare and lower property prices in areas that offer a higher standard of living. These deomographic alterations have also led to a reduction in Gaelic speakers, particulary within domestic environments. Decontextualization Description The cruise ship industry has just started to become established in the Western Isles and local, rural communities have been keen to capitilise by organising events in rural areas that passengers can pay to attend. This year a ‘Cruise Ceilidh’ was held at the local Social Club for such passengers. Ness Melodeon Band played at the event and it was a great success. At the second event, a younger, new band played (with a mixture of traditional instruments and all of who had learnt at Taigh Dhonnchaidh), again the event was well received and provided some much needed income for these volunteer-led organisations. Globalisation Description These deomographic alterations identified above has led to a reduction in Gaelic speakers, particulary within domestic environments. This has an impact on the evolution of oral story telling, place names and songs. There are however, some younger, Gaelic speaking musicians researching, retaining and amplifying oral story telling though song. In addition there is a strong traditonal music scene in Scotland inclusive of Melodeon players. Weakened Practice Description The Ness Meldoeon Band consists predominantly of men over 60 years of age, with one female in her 40s. Because of the work that Taigh Dhonnchaidh have done over the past thirty years there is however a foundation of younger players. But, because the children have learnt in a formal way and not ‘by ear’ they all ‘sound’ the same. It is the belief of the Melodeon player interviewed however, that once these younger players gain confidence and experiment with their technique they will also develop their own, unique sound. Although there is a reduction in practice it is a valued cultural practice in Ness and the Western Isles. Loss Threats Description As per comments above. Although there is a Gaelic Medium education system this ‘formal’ Gaelic does not have the nuances of Gaelic dialects from specific areas within the Western Isles. Traditional Ness Gaelic for example is very different to the Gaelic spoken in Barra. State of the practice stable Environmental sustainability Taigh Dhonnchaidh has solar panels installed for heating and hot water. Economic sustainability Although playing a Melodeon forms only a secondary income for most players it can still be seen as a diversification of income for some. The transition to perform for cruise liner passengers is also a new diversification. Place The town or city Taigh Dhonnchaidh, Habost, Port of Ness, Isle of Lewis, Scotland, HS20TG Place Description In 1999 Taigh Dhonnchaidh was renovated and converted into a Gaelic arts and music centre, with a strong focus on traditional elements of the local culture. The new arts centre was officially opened on 24 July 2000. Each Easter the venue hosts a ‘finis’ - a Gaelic music and cultural festival - offering tuition in instrumental music, as well as Gaelic singing, drama and art. Instrumental classes also run throughout the school session. In addition, various ceilidhs, storytelling evenings and other community events are held throughout the year and the premises is also the base for the Ness Melodeon Band. Ness is within the community owned Galson Estate, consisting of 56,000 acres of coast, agricultural land and moor in the North West of the Isle of Lewis in the Outer Hebrides of Scotland. The estate comprises of 22 villages running from Upper Barvas to Port of Ness with a population of nearly 2,000 people. The estate passed into community ownership on 12 January 2007, to be managed on their behalf by Urras Oighreachd Ghabhsainn (https://www.galsontrust.com) The area is rural, with a strong cultural heritage centered around the gaelic language, traditional music and crofting https://www.crofting.scotland.gov.uk.   Prim Media 1143 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Melodeon Player Type The nature or genre of the resource Intangible Description An account of the resource A Melodeon is an accordion that has buttons, rather than piano keys and requires a different skill set to play. The method of playing is captured and described in video: AAS_AR_13 How to Play Melodeon. Language A language of the resource Scottish Gaelic Extent The size or duration of the resource. x x Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 534 References A related resource that is referenced, cited, or otherwise pointed to by the described resource. https://www.nesshistorical.co.uk Communn Eachdraidh Nis has a section of their archive dedicated to the different ‘Bothans’ in each village the stories associated with them and the court transcripts after police raids. https://www.welovestornoway.com/index.php/articles/38185-police-raid-recalls-struggles-at-bothan A recent press article details the experience and cultural significance of the ‘Bothans’ to the transmission of oral story telling and musical skills within the community. Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). 11/08/2025 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Box Player’ Spatial Coverage Spatial characteristics of the resource. current,58.484554,-6.25749941; Date Modified Date on which the resource was changed. 13/10/2025 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Europeana Data Provider The name or identifier of the organisation that contributes data to Europeana. University of St Andrews External Item External Type Physical Object External ID 1412 Archive CINE Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Metal Can Type The nature or genre of the resource External Item External Item External Type Physical Object External ID 1411 Archive CINE Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Metal Comb Type The nature or genre of the resource External Item Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Natural Cultural Cultural External ID UAVEIRO_AR_05 Material galvanised sheet metal Function Used for signaling and communication. Used for music, sports and traffic signaling, and also for emergency signaling. Technique tinsmithing Material Source Galvanised metal Production Quality Production is carried out according to demand, the artifacts are made to order. Craft metalwork Tool The craftsman uses a pair of scissors to cut the galvanised sheet metal. The craftsman uses pliers to make bends in the metal and build the shape of the whistle. On the anvil, the sheet is given a curved shape with the help of a hammer, which is used to strike the sheet. Place The town or city Lobão da Beira, Tondela, Portugal Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Metal whistle Type The nature or genre of the resource Physical Object Language A language of the resource Portuguese Extent The size or duration of the resource. 5cm x 3cm x 2cm Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 734 Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). 27/10/2025 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Apito Spatial Coverage Spatial characteristics of the resource. current,40.521326,-8.032804; Description An account of the resource A small object wind instrument that produces a shrill sound. Creator An entity primarily responsible for making the resource 918 Source A related resource from which the described resource is derived craftedobjects,portugalobjects References A related resource that is referenced, cited, or otherwise pointed to by the described resource. https://uniaodasfreguesiastondelanandufe.pt/2022/01/18/museu-terras-de-besteiros/ Date Modified Date on which the resource was changed. 27/10/2025 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Artisan An artisan External ID LAPONTE_PR_09 Place The town or city Soto de Rey, Ribera de Arriba, Asturias, Spain Area Relation native Area Reason Miguel is a native of Soto de Rey, a village in the municipality of Ribera de Arriba in Asturias. This area (Soto de Rey) has allowed him to be in contact with various natural areas, including the forests where he obtains the wood he uses for his work. Likewise, this village is home to the Ixuxu association, to which he has belonged for three years and which has enabled him to train in woodworking. Occupation woodwork Involvment part-time paid job Biographical Text Miguel Prieto Conde is a 21-year-old who is dedicated to traditional wood carving. He was born and raised in Soto de Rey, a rural Asturian village, which has allowed him to explore the natural areas and forests where he sources his wood. During the COVID-19 pandemic, Miguel began experimenting with wood carving on his own. His grandfather taught him and left him some tools with which he began his journey to learn the craft of woodworking. Over time, Miguel met and joined Ixuxu, a cultural and environmental association where he has continued his learning under the guidance of professionals. He is currently looking for ways to become a professional carpenter and get involved in projects and the production of larger pieces, such as wooden beams for construction. In the future, he wants to devote himself entirely to woodworking and believes it is important for more young people to get involved in the world of craftsmanship in order to keep the traditions and identity of Asturias alive. Email The email address of the museum. miguelprietoconde@gmail.com Phone The phone number 34 / 634 85 97 59 Social Media The social media links. instagram,https://www.instagram.com/tayu.artesania; knowledge1 Working with wood requires a variety of skills, not only technical knowledge but also knowledge of the forest. According to Miguel, artisans who work with wood must have a deep understanding of the forest and its needs: the times of year when wood can be obtained, which trees need pruning, which branches can be cut without damaging or causing disease in the tree, etc. Carpenters can be agents that help the forest, since they cut overgrown branches that could bring down the entire tree (as with chestnut trees, which need to be pruned). Fallen wood is also collected, and the forest is cleared of debris that can cause fires in the summer. Miguel mentions that it is also necessary to have a lot of patience and dedication, as it is difficult to navigate the forest, find wood, cut/process it, and transport it to the workshop. Once in the workshop, it must also be dried, cleaned, checked for cracks, fungi, or insects, cut, sanded, etc. All these tasks are done by hand and take a lot of time. It is important to note that in the production of wooden crafts, it is not only the time spent carving the piece and applying the final finishes that counts, but also the time and work involved in going to the forest to obtain the raw material. Knowledge Acquisition Miguel taught himself how to work with wood. Since the COVID-19 pandemic began, he started picking up a knife and small pieces of wood to carve them. His grandfather taught him a little about wood carving, but nothing advanced or any particular technique, as his grandfather was not a carpenter. Over time, he continued his self-taught learning until he met and joined Ixuxu: Ixuxu is a cultural and environmental association founded in 1990 with the aim of preserving and promoting biological and cultural diversity. Ixuxu promotes a symbiotic relationship between humans and their natural environment: one that is mutually enriching and regenerative. This involves the responsible use of natural resources and ensures the creation of a cultural landscape that is unique and full of character. In this association, Miguel has received lessons from more professional carpenters on how to work with wood. Knowledge Transfer Yes, Miguel has occasionally taught basic woodcarving workshops. For example, he was invited by the La Ponte ecomuseum to give a workshop for beginners, emphasising the properties of wood, how to obtain and process this material, and the different types of tools. In addition, at the Ixuxu association, of which he is a member, Miguel has taught workshops to foreign volunteers who come for temporary stays. However, Miguel is not a professional teacher and does not make a living from formal teaching. material1 Miguel works with local woods and prefers “hardwoods” such as chestnut, oak, and ash. material2 The wood is obtained sustainably from local woods of Asturias; there are specific times of the year when this wood can be harvested, and only the parts that do not cause damage to the tree are cut, so that the tree can regenerate. Wood that has already fallen or been broken by natural causes (such as lightning, an animal breaking a branch, etc.) is also used. material3 Miguel works on a small scale using traditional methods. He does not use industrial production methods, so he does not produce large amounts of waste. Any leftover wood is always put to good use, for example, as firewood, in the vegetable garden, or in compost and compost toilets. production1 Traditional techniques for wood carving using hand tools, such as scrapers, knives, chisels, and gouges. production2 The main tools Miguel works with are: the “rasero” (a knife with two wooden handles), a pocket knife, an axe, chisels, and gouges. He also uses different types of sandpaper and, on some occasions, an electric sander, but Miguel tries to avoid using power tools because the finish is not the same. According to Miguel, traditional tools force you to work in the direction of the wood grain, while power tools can work in any direction and at a faster speed. Although the finish looks the same, the quality is not the same. Handcrafted work is always of better quality, and the pieces are more durable. production3 During the interview, Miguel mentioned that he “considers himself fortunate” in terms of obtaining tools, as they have been inherited from his grandfather or other people who want to support him in his learning. They are old tools, but of very good quality, and require constant maintenance. Miguel believes it is important to have a self-sufficient relationship with tools: you have to learn how to maintain them properly or even learn how to make them. This is part of the craft: understanding how tools work and appreciating the traditional tools that have been passed down, as this is part of passing down traditions from generation to generation. production4 It does not require any energy sources. All the work is done manually. Nor does it require fire, fuel, water, etc. Occasionally, an electric sander is used, but it is very rare and only for small jobs. production5 Miguel works on a small scale using traditional methods. He does not use industrial production methods, so he does not produce large amounts of waste. Any leftover wood is always put to good use, for example, as firewood, in the vegetable garden, or in compost and compost toilets. workshop Yes, he uses the workshop of Ixuxu, the association he belongs to. The workshop is a very simple space with stone walls, a wooden roof, and a ceramic floor. It is a type of temporary hut located outdoors that is still undergoing improvements. It contains all kinds of traditional tools, a workbench, and some spaces for storing wood. products1 At the moment, Miguel focuses on making small pieces such as spatulas, small paddles and spoons for domestic use, pendants for necklaces, key rings, pipes, and small stools. But now he is learning to make larger pieces for construction use, such as wooden beams. products2 Most of his pieces are intended for domestic use. However, in the future, he wants to focus on creating pieces specifically for construction. products3 He sometimes attends craft markets and also sells some pieces on Ixuxu. But he usually sells his pieces through his Instagram account (people contact him there), with friends or family in the local area. products4 At the moment, he does not provide any services. Occasionally, people approach him to repair things, but these are small, sporadic jobs, such as fixing the handles of agricultural tools. products5 Occasionally, people approach him to repair items such as smoking pipes or agricultural tools that need a new handle. However, Miguel does not specialise in restoration or repair services. products6 Most customers are local people, people who attend craft markets, friends, and family. products7 No. tourism1 No. Currently, the artisan does not work in any program focused on tourism. During the interview, he mentions that the Ixuxu association, of which he is a member, has a volunteer program that attracts foreigners. During their stay, they learn some things about the traditional uses of wood, but Miguel is not currently focused on launching a program specifically for tourists. tourism2 Bueno al día de hoy, no he tenido mucha relación con el turismo. Pero bueno en el programa de voluntariado de Ixuxu llegan algunos extranjeros que aprender sobre los usos tradicionales de la madera, pero el turismo no es algo que hemos trabajado. partnership Yes, 3 years ago, Miguel joined Ixuxu: a cultural and environmental association founded in 1990 with the aim of preserving and promoting biological and cultural diversity. Ixuxu promotes a symbiotic relationship between humans and their natural environment: one that is mutually enriching and regenerative. This involves the responsible use of natural resources and ensures the creation of a cultural landscape that is unique and full of character. Ixuxu has other lines of work, such as agriculture and landscape regeneration, among others, but it also has a small workshop where Miguel has become involved and collaborates on the project by doing woodwork. Ixuxu has provided Miguel with a space to work, tools, and knowledge from other people with experience in carpentry. In the interview, Miguel mentions that the small workshop was a little neglected, but that he is now looking to revitalise it. In the future, he wants to turn the workshop into an open space for co-creation, so that artisans from other disciplines can share their techniques and work on projects together, and so that other beginners can come and learn about woodworking. challenges1 Currently, Miguel's challenge is to become a certified professional artisan and make woodworking his full-time job. During the interview, Miguel comments that becoming a full-time artisan is a distant prospect, as the self-employed worker system does not provide the support and assistance he needs to take that step. He needs another job (another source of income) to cover his needs. He also questions whether it is worth registering in the self-employed system as a professional artisan, as the taxes to be paid are very high and are not in proportion to what an artisan can earn (which is generally a minimum income). challenges2 Para mí lo más difícil es dar el paso a profesionalisarse, y hacer todo en regla. Es algo que requiere tiempo, esfuerzo y estaría bien estar en contacto con organizaciones que ofrezcan ayudas a personas como nosotros que estamos iniciando proyectos. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Miguel Prieto Conde Type The nature or genre of the resource Artisan Contributor An entity responsible for making contributions to the resource Sofía Gonzalez Sandoval Date A point or period of time associated with an event in the lifecycle of the resource 2004? Language A language of the resource Spanish Spatial Coverage Spatial characteristics of the resource. current,43.3076249,-5.86046299000000; Identifier An unambiguous reference to the resource within a given context 937 Europeana Specific elements of the Europeana Semantic Elements. Country The name of the country of the data provider or “Europe” in the case of Europe-wide projects. Spain Artisan An artisan Contact cc274@st-andrews.ac.uk Author cc274@st-andrews.ac.uk Prim Media 2316 Field Worker Catherine Anne Cassidy Gender male Occupation woodwork Material Description woodworker specialising in found materials along the coast, made into unique pieces of art Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/Mike_Carter Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Mike Carter Type The nature or genre of the resource Artisan Description An account of the resource Mike Carter of Engelwoodstine is a woodworker based in the north‑east Highlands of Scotland, creating distinctive pieces from materials gathered along the rugged coastline. Drawing inspiration from the textures, forms, and histories shaped by sea and weather, their work transforms found wood into one‑of‑a‑kind artworks. Each piece reflects a deep connection to place, with driftwood and reclaimed fragments reimagined into sculptural forms that highlight the natural character of the material. Blending craftsmanship with an organic, expressive style, Mike Carter’s work captures the raw beauty of the Highland coast and gives new life to what the tide leaves behind. Language A language of the resource English Contributor An entity responsible for making contributions to the resource cc274@st-andrews.ac.uk Subject The topic of the resource Art,PEOPLE Identifier An unambiguous reference to the resource within a given context 961 Source A related resource from which the described resource is derived artisans Spatial Coverage Spatial characteristics of the resource. current,58.11668204184647,-3.655138492100112; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Country The name of the country of the data provider or “Europe” in the case of Europe-wide projects. Scotland Europeana Data Provider The name or identifier of the organisation that contributes data to Europeana. Mike Carter https://culturality.museum/omeka/files/original/dec92e53a099b83a268b0d6a4f61fdf5.jpg 218b0269e533134d0b07cda46f0d5df8 https://culturality.museum/omeka/files/original/f0c5cd3835154b420a65f0b95ebaf205.mtl a7f8cf53f0956c45249718bdfdf5d2e7 https://culturality.museum/omeka/files/original/64d5c5ab4c584237366a402b49fe9e14.obj 6e3f1f7097603b89d4598d628ad7204c https://culturality.museum/omeka/files/original/001b6e2a21d9e357367ae948d65ab71d.jpg 3b2c85cc34baa792d3b69673cdd0d534 https://culturality.museum/omeka/files/original/35f5bc848d47f0611674eaf151cea474.jpg 6c75b9625441eaf6ceb6f7df8338d0e6 https://culturality.museum/omeka/files/original/b52273b3be4b60be0d1c19e6a149851b.jpg 818ddb87a341734a73a522cadb1bf5b2 https://culturality.museum/omeka/files/original/4edbfbb75347f6447828697736253b71.glb 255c41e1b1c1e61cd14d6611e1ece58a 3D Object Vertices 175457 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Mini Anvil Type The nature or genre of the resource 3D Object Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource text/plain Alias/WaveFront Object License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Identifier An unambiguous reference to the resource within a given context ddef4324c8a64b59813e25ff6438712f Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. 3D Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://sketchfab.com/models/ddef4324c8a64b59813e25ff6438712f/embed Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Prim Media 2146 Natural Cultural Cultural Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Mini Anvil Type The nature or genre of the resource Physical Object Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 828 Source A related resource from which the described resource is derived craftedobjects,viljandicountymap Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). 19/01/2026 Date Modified Date on which the resource was changed. 19/01/2026 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Material Rauma Ullvarefabrikk's lambswool 250m/50gr. 30m=10 cm Natural Cultural Cultural Function Functional mittens Creation Purpose Exhibition Technique Stockinette, entrelac, pattern knitting Material Source The yarn Inez uses are from Norway. She finds that the norweigian yarn is of a especially high quality unlike other yarns. It is soft and easy to knit with. Inez buys her wool from a local knitting store in Sunne: www.lillagarnverstan.se. The yarn is from Rauma Ullvarefabrikk's website: www.rauma.no Conecept Inez was thought how to knit from her materna great grandmother. Entrelac/näverstickning has associations to the Finn Foest where she grew up. This technique was brought over with the forest finns who emigrated to Sweden in the 17th century. Production Quality Inez is not sure of how many mitten with entrelac she's knitted, but estimates 60 pairs. External ID RV_AR_05 Field Worker Ulrika Jäger, Sara Olsson Craft fibre and textile crafts Tool Sock knitting needles 2,5 mm., 15 cm. Safety pins, messuring tape, scissor, needle Place The town or city Sunne, Värmland, Sweden Prim Media 1054 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Mittens in entrelac Type The nature or genre of the resource Physical Object Description An account of the resource Mitten knitted in entrelac that is shaped to fit the wrist and flair out towards the arm. White, black and salmon. Pattern is knitted in a pattern of stars/eight petal rose. Date A point or period of time associated with an event in the lifecycle of the resource 2010s Creator An entity primarily responsible for making the resource 695 Language A language of the resource Swedish Extent The size or duration of the resource. 34cm x 10cm x 9cm Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 448 Source A related resource from which the described resource is derived craftedobjects,varmlandmap Date Submitted Date of submission of the resource. 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External ID RV_AR_05(01) Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Mittens in entrelac and stockinette with roses and patterns in black, white and details in salmon Type The nature or genre of the resource Still Image Date A point or period of time associated with an event in the lifecycle of the resource 2024-11-21 Spatial Coverage Spatial characteristics of the resource. current,59.8376399,13.1230106; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Ulrika Jäger, Sara Olsson Country The name of the country of the data provider or “Europe” in the case of Europe-wide projects. Sweden https://culturality.museum/omeka/files/original/b462eba188811b8d3eec9d43863cbec7.JPG 17a40bd03a75e1085302a4649ec26be7 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource MN_AR_10(07) Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2025:02:12 10:27:52 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Agnes Csenki https://culturality.museum/omeka/files/original/c542989ea46322b4b846f69f7716b3a9.mp4 e04e18dda4d9c3c87b72e0fdf7ed34ef Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. DescriptionEN English Description Ranghild Lie explains about sheep types and their wool, and the stages of preparation of the raw material Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource MN_CP_01(01) Type The nature or genre of the resource Moving Image Description An account of the resource Ranghild Lie explains about sheep types and their wool, and the stages of preparation of the raw material Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource video/mp4 License A legal document giving official permission to do something with the resource. 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This will often be the same URL as given in europeana:isShownBy. https://culturality.museum/galleries/upload/MN_CP_01_01_.mp4 https://culturality.museum/omeka/files/original/62cb0535912f72b1dac2980615e08477.mp4 45f48e96613b9debb6e8596cd56c2026 Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. DescriptionEN English Description Ranghild Lie explains about sheep types and their wool, and the stages of preparation of the raw material Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource MN_CP_01(02) Type The nature or genre of the resource Moving Image Description An account of the resource Ranghild Lie explains about sheep types and their wool, and the stages of preparation of the raw material Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource video/mp4 License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2024-12-05 Spatial Coverage Spatial characteristics of the resource. current,68.1490844508489,13.7622262690289; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. VIDEO Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Elisabeth Rosa Brusin, Rebeca Franco Valle Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://culturality.museum/galleries/upload/MN_CP_01_02_.mp4 https://culturality.museum/omeka/files/original/970347ce5be09056a4d807120b683a75.mp4 a5e9bcdccc218314f65442e98f34885c Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. DescriptionEN English Description Ranghild Lie explains about sheep types and their wool, and the stages of preparation of the raw material Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource MN_CP_01(03) Type The nature or genre of the resource Moving Image Description An account of the resource Ranghild Lie explains about sheep types and their wool, and the stages of preparation of the raw material Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource video/mp4 License A legal document giving official permission to do something with the resource. 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This will often be the same URL as given in europeana:isShownBy. https://culturality.museum/galleries/upload/MN_CP_01_03_.mp4 https://culturality.museum/omeka/files/original/3726c0a3628e272c8ac32f26fa019157.mp4 74a59cc4f4db2ecf36528feae0dc732c Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Intangible:Knitting and weaving practices Identifier An unambiguous reference to the resource within a given context 721 Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. DescriptionEN English Description Ragnhild Lie shows how to knit with circular needles. Two threads (white and brown) are used to create a pattern. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource MN_CP_02(01) Type The nature or genre of the resource Moving Image Description An account of the resource Ragnhild Lie shows how to knit with circular needles. Two threads (white and brown) are used to create a pattern. Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource video/mp4 License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2024-12-05 Spatial Coverage Spatial characteristics of the resource. current,68.1490844508489,13.7622262690289; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. VIDEO Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Elisabeth Rosa Brusin, Rebeca Franco Valle https://culturality.museum/omeka/files/original/e685a7d89affea1516ea0e035b8e21c2.mp4 c5a029b8d7f576cc33a51a1978177c2a Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Intangible:Hot and warm forging of a bird form by hand, and machanical hammer Identifier An unambiguous reference to the resource within a given context 725 Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. DescriptionEN English Description Tor-Vegard Mørkved demonstrates how he creates a bird figure by using hand hammers and mechanical hammers Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource MN_CP_03(01) Type The nature or genre of the resource Moving Image Description An account of the resource Tor-Vegard Mørkved demonstrates how he creates a bird figure by using hand hammers and mechanical hammers Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource video/mp4 License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2025-01-29 Spatial Coverage Spatial characteristics of the resource. current,68.0050057898097,13.2073345266891; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. 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Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource MN_CP_04(2) Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2025:02:25 12:49:25 Spatial Coverage Spatial characteristics of the resource. current,68.32851944444444,16.79232222222222; Europeana Specific elements of the Europeana Semantic Elements. 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Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2025:02:25 12:43:11 Spatial Coverage Spatial characteristics of the resource. current,68.32851944444444,16.79232222222222; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE https://culturality.museum/omeka/files/original/7370fb3137c56dbc3c3552b10b82338e.jpg 8cc5f79a08e6bd5c221109cb48b1f00c Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. 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Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource MN_CP_05(2) Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2025:02:25 12:44:27 Spatial Coverage Spatial characteristics of the resource. current,68.32851944444444,16.79232222222222; Europeana Specific elements of the Europeana Semantic Elements. 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Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource MN_CP_06(01) Type The nature or genre of the resource Moving Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource video/mp4 License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. VIDEO Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://culturality.museum/galleries/upload/MN_CP_06_01_.mp4 https://culturality.museum/omeka/files/original/fc09033968b5a835117463c897271c72.jpg 2f67cce94138f6602c3e9257c08202d5 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource MN_CP_06(03) Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2025:09:30 16:36:23 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE https://culturality.museum/omeka/files/original/5e0edd40a79ee7c1af17152d53a2b906.jpg 0eca741232648c54c7d976a3262c4455 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. 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