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Ian Wedde

and in its mission statements that the work of ‘designing the future’ goes well beyond conserving cultural memory for consumption by future audiences. The project’s multidisciplinary goals are expressed in activist terms; memory is given explicit agency in a future imagined as potentially dystopian. Current global crises and transformations (from climate change to mass migration) highlight the need to develop more sustainable and resilient future making practices, and encourage different areas of interest to pursue common goals and learn from one another.4 ‘The

in Curatopia
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Katherine Fennelly

was a canny Leeds pipe manufacturer aware of a growing Irish market. The use of this pipe to the point of discard suggests that the user could have been Irish or had links to Ireland and, as such, took steps to assert his distinctive identity by using a pipe marked ‘Dublin’. Mass migration from Ireland in the mid-to-late nineteenth century as a result of famine, economic instability, and rural evictions brought many Irish people to the industrial centres of England and the United States. Historian of medicine Catharine Coleborne has

in An archaeology of lunacy