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after a loss of at least 20 to 40 per cent of bone mass has occurred (Grampp, Steiner and Imhof 1997: S11). Osteoporosis is equally difficult to detect from plain film radiographs, and an individual must lose between 30 and 50 per cent of bone mass before it can be detected by this method (Harris and Haeney 1969: 193). It is clear, therefore, that there is no definitive dividing line which would allow a clear distinction between diagnoses of osteopaenia and osteoporosis to be made from plain film radiographs. Variations in film exposure and developing technique can

in Mummies, magic and medicine in ancient Egypt

facilitated a series of workshops to ‘enable these young people to record – through words, film, photography, and visual art – the joys and difficulties of their experience as they settle into a new way of life in New Zealand’.44 History at Te Papa in 2017 consisted of a rather conventional periodisation of migration, with a heavy focus on the nineteenth century, and a twentieth-century overview that covers the conventional ‘big’ themes and events of New Zealand history. This, in part, was a product of problems with history curatorship. For example, subsequent directors put

in Curatopia
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buildings as filming locations or as ‘haunted’ attractions. The ‘dark’ heritage – associated with human suffering or death – of former lunatic asylum buildings and their frequent grouping with prisons and workhouses has impacted their study as built heritage, as well as their development. Indeed, the problematic legacy of the buildings has overshadowed their role as large-scale employers, suppliers, customers, venues for community building, and dwelling places, with the result that redevelopment rarely considers the impact of a modified landscape or rebranding on the

in An archaeology of lunacy
Pluralism and the politics of change in Canada’s national museums

previous exhibits commemorating wars, it recalls the classic Japanese film Rashomon, with its impartial and inconclusive retelling of the story of a rape and a murder from the perspectives of the woman, her husband, a bandit and an onlooker.10 The visitor then entered ‘the hub’, a circular space which provided a floor plan of the four roughly equal wedge-shaped galleries that led out of it, each recounting the war from a different perspective (Figure 9.1). Within each, a further diversity of perspectives was also provided. For example, the American story included an

in Curatopia