Times are changing at historic house museums and no one is more aware of this than the fourteen contributors to Interpreting Historic House Museums. These respected museum professionals consider the history of house museums and the need to look at familiar issues from new perspectives and using new methods. If your site isn't using a comprehensive interpretive plan, how can you create one? While doing so, how do you address contemporary issues like race and gender? Don't forget the physical either does your property need a landscape plan as well as a furnishings plan? And, when your visitors arrive to see all your hard work, how accessible is your property? If the answer is not very, what can and should you be doing to address that? Once inside, how good are your tours and guides, and does your furnishings plan allow visitors to maximize their experiences in areas without guides? Interpreting Historic House Museums captures the big picture and the important details. Its discussion of contemporary issues and successful programs, its practical guidelines and information, up-to-date references, and lively illustrations will make it useful and relevant for both students and practicing professionals."

This book brings together leading scholars and practitioners to take stock of the frictions generated by a tumultuous time in the Australian art field and to probe what the crises might mean for the future of the arts in Australia. Specific topics include national and international art markets; art practices in their broader social and political contexts; social relations and institutions and their role in contemporary Australian art; the policy regimes and funding programmes of Australian governments; and national and international art markets. In addition, the collection will pay detailed attention to the field of indigenous art and the work of Indigenous artists. This book will be of interest to scholars in contemporary art, art history, cultural studies, and Indigenous peoples.

The year 2018 marks the twentieth anniversary of the signing of the Belfast Agreement that initiated an uneasy peace in Northern Ireland after the forty years of the Troubles. The last twenty years, however, has still not been sufficient time to satisfactorily resolve the issue of how to deal with the events of the conflict and the dissonant heritages that both gave rise to it and were, in turn, fuelled by it. With contributions from across the UK and Europe, Heritage after Conflict brings together a range of expertise to examine the work to which heritage is currently being put within Northern Ireland. Questions about the contemporary application of remembering infiltrate every aspect of heritage studies, including built heritages, urban regeneration and planning, tourism, museum provision and intangible cultural heritages. These represent challenges for heritage professionals, who must carefully consider how they might curate and conserve dissonant heritages without exacerbating political tensions that might spark violence. Through a lens of critical heritage studies, contributors to this book locate their work within the wider contexts of post-conflict societies, divided cities and dissonant heritages. Heritage after Conflict should be essential reading for academics, researchers and postgraduate students engaged in the study of the social sciences, history, peace studies, economics, cultural geography, museum heritage and cultural policy, and the creative arts. It should also be of great interest to heritage professionals.

Global and World Art in the Practice of the University Museum provides new thinking on exhibitions of global art and world art in relation to university museums. Taking The Fowler Museum at UCLA, USA, as its central subject, this edited collection traces how university museum practices have expanded the understanding of the 'art object' in recent years. It is argued that the meaning of cultural objects infused with the heritage and identity of 'global culture' has been developed substantially through the innovative approaches of university scholars, museum curators, and administrators since the latter part of the twentieth century. Through exploring the ways in which universities and their museums have overseen changes in the global context for art, this edited collection initiates a larger dialogue and inquiry into the value and contribution of the empirical model. The volume includes a full-colour photo essay by Marla C. Berns on the Fowler Museum's 'Fowler at Fifty' project, as well as contributions from Donald Preziosi, Catherine M. Cole, Lothar von Falkenhausen, Claire Farago, Selma Holo, and Gemma Rodrigues. It is important reading for professionals, scholars and advanced students alike.

This book focuses on a forgotten place-the Khami World Heritage site in Zimbabwe. It examines how professionally ascribed values and conservation priorities affect the cultural landscape when there is a disjuncture between local community and national interests, and explores the epistemic violence that often accompanied colonial heritage management and archaeology in southern Africa. The central premise is that the history of the modern Zimbabwe nation, in terms of what is officially remembered and celebrated, inevitably determines how that past is managed. It is about how places are experienced and remembered through narratives and how the loss of this heritage memory may mark the un-inheriting of place. Memory and Cultural Landscape at the Khami World Heritage Site, Zimbabwe is informed by the author's experience of living near and working at Great Zimbabwe and Khami as an archaeologist, and uses archives and traditional narratives to build a biography for this lost cultural landscape. Whereas Great Zimbabwe is a resource for the state's contentious narrative of unity, and a tool for cultural activism among communities whose cultural rights are denied through the nationalisation and globalisation heritage, at Khami, which has lost its historical gravity, there is only silence. Researchers and students of cultural heritage will find this book a much-needed case study on heritage, identity, community and landscape from an African perspective.

Most museums collections contain a wide variety of natural materials, and a diverse range of knowledge is necessary to keep so many types of objects at their best. This book studies the composition, structure and properties of natural materials such as wood, paper, amber, coral and feathers, and discusses the potential hazards they face, as well as the appropriate conservation techniques to use for each. Providing plenty of detail in an easily accessible format, Natural Materials is a useful resource for students, professionals and collectors alike.

A Practical Guide to Fundraising for Small Museums: Maximizing the Marketing-Development Connection turns the traditional development program on its ears, as it starts with the needs of donors rather than the needs of the organization. Just like marketing for other goods and services, museums must begin with aligning their products with their audiences. Then they can develop fund strategies that keep their audiences in mind. While the book covers traditional strategies (such as membership and events), it approaches them from a new point of view and provides tips and sample ideas all along the way for small and mid-sized museums to implement a successful development plan. Complete with sample forms, this book is a must-have for every museum development professional, volunteer, and student who wants to succeed.

Concentrating on the explorer and naturalist Joseph Banks (1743-1820), this book explores the early history of collections at the British Museum. Taking Banks' extraordinary career as its basis, it examines the changes that took place during a period of transition that led to collecting on an increasingly global scale.

Museums and Social Change explores the ways museums can work in collaboration with marginalised groups to work for social change and, in so doing, rethink the museum. Drawing on the first-hand experiences of museum practitioners and their partners around the world, the volume demonstrates the impact of a shared commitment to collaborative, reflective practice. Including analytical discussion from practitioners in their collegial work with women, the homeless, survivors of institutionalised child abuse and people with disabilities, the book draws attention to the significant contributions of small, specialist museums in bringing about social change. It is here, the book argues, that the new museum emerges: when museum practitioners see themselves as partners, working with others to lead social change, this is where museums can play a distinct and important role. Emerging in response to ongoing calls for museums to be more inclusive and participate in meaningful engagement, Museums and Social Change will be essential reading for academics and students working in museum and gallery studies, librarianship, archives, heritage studies and arts management. It will also be of great interest to those working in history and cultural studies, as well as museum practitioners and social activists around the world.

Based on extensive research and decades of experience, museum analyst and planner John W. Jacobsen provides both the theoretical underpinnings and the operational pragmatics of measuring any museum's intentional impact and performance by using 1,025 indicators drawn from 51 expert sources. Measuring Museum Impact and Performance: Theory and Practice provides museum professionals internationally with a clear, very open process that will improve their museum's value and performance by selecting indicators that monitor whether they are realizing their desired public, private, personal and institutional values. The book is not prescriptive, but liberating, as the framework recognizes that each museum needs to decide on its own purposes and priorities. The book is organized in two parts: "Part 1: Theory" is scholarly and builds on the museum field's rich literature; and "Part 2: Practice" provides step-by-step methods for any museum to set up its own dashboard of prioritized impact and performance indicators. Substantive attachments include: the list of the 51 source documents for the MIIP indicators; definitions of terms and data fields; a long list of precedented museum impacts; measurement formulas and worksheet templates, filled in for a sample museum; and the MIIP 1.0 database available online. Readers will get the following benefits: *A literature review of prior work on measuring museum value *An analysis of eleven well-established evaluation frameworks that synthesize into a revolutionary, yet practical, Museum Theory of Action *A robust and searchable menu of 1,025 existing and aspirational indicators (the MIIP 1.0 database) that you can use to start your own selection *An analysis of the MIIP database using the Theory of Action that reveals 14 areas of potential museum impacts and benefits *A process to select and prioritize your museum's intentional purposes and desired impacts *A process to determine, measure and compare your museum's key performance indicators (KPIs) *A process to set-up and conduct peer museum comparisons *Procedures and examples of how to capture and report data used in your selected indicators *Principles for using indicator data to inform museum management decisions

Historic reconstructions have been a consistent part of the historic preservation and heritage conservation movements in the United States and Canada. Indeed, reconstruction has been the primary tool at the most influential historic sites, for example: the Governor's Palace and the Capitol at Colonial Williamsburg, USA, and in Canada, the Fortress of Louisbourg. Dozens of other reconstructions have appeared during the past century in North America, undertaken by individuals, communities, states, and provinces, and by national agencies responsible for cultural heritage. Despite this prevalence, historic reconstructions have received little scholarly attention and the question of what motivated the proponents of these projects remains largely unexamined. This book explores that question through detailed studies of ten historic reconstructions located throughout Canada and the United States, ranging from 1908 to 2011. Drawing upon diverse archival sources and site investigations, the proponents of each site are given voice to address their need to remake these landmarks, be it to sustain, to challenge, or even subvert a historical narrative, or - with reference to contemporary heritage studies - to reclaim these spaces. Reconstructing Historic Landmarks provides a fascinating insight into these shifting concepts of history in North America and will be of considerable interest both to students and scholars of historic preservation and indeed to heritage professionals involved in reconstructions themselves.

Controversy in Science Museums focuses on exhibitions that approach sensitive or controversial topics. With a keen sense of past and current practices, Pedretti and Navas Iannini examine and re-imagine how museums and science centres can create exhibitions that embrace criticality and visitor agency. Drawing on international case studies and voices from visitors and museum professionals, as well as theoretical insights about scientific literacy and science communication, the authors explore the textured notion of controversy and the challenges and opportunities practitioners may encounter as they plan for and develop controversial science exhibitions. They assert that science museums can no longer serve as mere repositories for objects or sites for transmitting facts, but that they should also become spaces for conversations that are inclusive, critical, and socially responsible. Controversy in Science Museums provides an invaluable resource for museum professionals who are interested in creating and hosting controversial exhibitions, and for scholars and students working in the fields of museum studies, science communication, and social studies of science. Anyone wishing to engage in an examination and critique of the changing roles of science museums will find this book relevant, timely, and thought provoking.

Museums and the Ancient Middle East is the first book to focus on contemporary exhibit practice in museums that present the ancient Middle East. Bringing together the latest thinking from a diverse and international group of leading curators, the book presents the views of those working in one particular community of practice: the art, archaeology, and history of the ancient Middle East. Drawing upon a remarkable group of case studies from many of the world's leading museums, including the British Museum, the Louvre, the Metropolitan Museum of Art, the Ashmolean Museum, and the Vorderasiatisches Museum in Berlin, this volume describes the tangible actions curators have taken to present a previously unseen side of the Middle East region and its history. Highlighting overlaps and distinctions between the practices of national, art, and university museums around the globe, the contributors to the volume are also able to offer a unique insight into the types of challenges and opportunities facing the twenty-first century curator. Museums and the Ancient Middle East should be of interest to academics and students engaged in the study of museums and heritage, archaeology, the ancient Near East, Middle Eastern studies, and ancient history. The unique insights provided by curators active in the field ensure that the book should also be of great interest to museum practitioners around the globe.

"Museums and the Combating of Prejudice" addresses an increasingly significant issue for museums internationally but one which has, to date, received very little theoretical or empirical investigation. In recent years there has been a growing interest, within the academy, and amongst cultural policy makers and practitioners, in the social role, impact and responsibility of museums. It is possible to detect a growing confidence amongst practitioners, internationally, in articulating goals which position museums as agents of positive social change. The volume is not focused on a singular, specific type of prejudice but is concerned rather more broadly with the ways in which the "other" is constituted and perceived resulting in wide-ranging forms of prejudice on the basis of, for example, sexual orientation, race, gender, disability, religious faith and so on.
Though there is considerable rhetoric surrounding the museum's role in this area there is both a paucity of empirical evidence anda lack of theoretical interrogation with which to inform and substantiate these assertions. "Museums and the" "Combating of Prejudice," uniquely, blends leading-edge theory with in-depth empirical research to investigate the processes through which museums inform audiences' values and attitudes and, alongside other media, contribute towards broader social change.
Interest in the social role of museums and their potential to combat prejudice extends to many parts of the world. Alongside a small but growing number of specialist museums whose primary purpose and rationale is built around the combating of prejudice, museums of all kinds are increasingly concerned to represent variously constitutedforms of cultural difference through their collections and displays. The book reflects this by drawing upon a wide range of international examples including those in the US (e.g. initiatives at the Smithsonian Museums, the United States Holocaust Memorial Museum, Lower East Side Tenement Museum, Museum of Tolerance), Canada (e.g. the proposed Canadian Museum for Human Rights), South Africa (e.g. Constitution Hill and the Apartheid Museum), Australia (Migration Museum, National Museum of Australia). In addition, the book draws on empirical data generated from interviews with museum audiences and staff at the Anne Frank House (Amsterdam, Holland) and St Mungo's Museum of Religious Life and Art (Glasgow, Scotland).
"Museums and the Combating of Prejudice" brings together contemporary theoretical developments in sociological, media and audience studies, combined with in-depth field research (from a number of different research projects), to explore the ways in which museums might achieve their goals of combating prejudice. It focuses, in particular, on the ways in which audiences "read," engage with, and construct meaning from museum exhibitions and displays that purposefully seek to combat prejudice but also considers the curatorial implications arising from the museum's engagement with these issues.
"Museums and the Combating of Prejudice" addresses issues of critical importance for those working in and thinking about museums and make a unique contribution to live debates within sociology, media and audience studies.

What is the relationship today between museums, galleries and learning? The Responsive Museum interrogates the thinking, policies and practices that underpin the educational role of the museum. It unravels the complex relationship of museums with their publics, and discusses today's challenges and the debates that have resulted. The highly experienced team of writers, including museum educators and directors, share their different experiences and views, and review recent research and examples of best practice. They analyse the implications of audience development and broadening public access, particularly in relation to special groups, minority communities and disabled people, and for individual self-development and different learning styles; they explore issues of public accountability and funding; discuss the merits of different evaluation tools and methodologies for measuring audience impact and needs; and assess the role of architects, designers and artists in shaping the visitor experience. The latter part of this book reviews practical management and staffing issues, and training and skills needs for the future. This book is for students, museum staff, especially those involved in education and interpretation, and senior management and policy-makers. This is a much-needed review of the relationship between museums and galleries and their users. It also offers a wealth of information and expertise to guide future strategy and practice.

The Role of Today's Museum provides a thorough investigation of what museums do and why. Arguing that museums are multifunctional institutions, the book examines the consequences of this for the services that museums provide, the publics to whom they are provided and the providers themselves. Adopting a wide perspective on understandings of the roles of museums and considering the different environments within which museums operate, Gray and McCall provide a new perspective on how transformations, as well as the gaps between intended policies and the actual work that is undertaken within museums, can be both identified and understood. By differentiating between social, economic and political visions and expectations of museums, the analysis in this book allows for a fuller understanding of what these organisations do and provide for their societies and the struggles and negotiations that surround their existence. The Role of Today's Museum takes a critical, interdisciplinary approach to studying museums and museum policy. As a result, the book will be of interest to academics and students engaged in the study of museums, cultural policy, social policy, cultural sociology, public policy and cultural and political economy. Highlighting the gaps that exist between policy ideals and museum practices, the book also provides valuable insights to policy-makers and practitioners.

"Museums and the Combating of Prejudice" addresses an increasingly significant issue for museums internationally but one which has, to date, received very little theoretical or empirical investigation. In recent years there has been a growing interest, within the academy, and amongst cultural policy makers and practitioners, in the social role, impact and responsibility of museums. It is possible to detect a growing confidence amongst practitioners, internationally, in articulating goals which position museums as agents of positive social change. The volume is not focused on a singular, specific type of prejudice but is concerned rather more broadly with the ways in which the "other" is constituted and perceived resulting in wide-ranging forms of prejudice on the basis of, for example, sexual orientation, race, gender, disability, religious faith and so on.
Though there is considerable rhetoric surrounding the museum's role in this area there is both a paucity of empirical evidence anda lack of theoretical interrogation with which to inform and substantiate these assertions. "Museums and the" "Combating of Prejudice," uniquely, blends leading-edge theory with in-depth empirical research to investigate the processes through which museums inform audiences' values and attitudes and, alongside other media, contribute towards broader social change.
Interest in the social role of museums and their potential to combat prejudice extends to many parts of the world. Alongside a small but growing number of specialist museums whose primary purpose and rationale is built around the combating of prejudice, museums of all kinds are increasingly concerned to represent variously constitutedforms of cultural difference through their collections and displays. The book reflects this by drawing upon a wide range of international examples including those in the US (e.g. initiatives at the Smithsonian Museums, the United States Holocaust Memorial Museum, Lower East Side Tenement Museum, Museum of Tolerance), Canada (e.g. the proposed Canadian Museum for Human Rights), South Africa (e.g. Constitution Hill and the Apartheid Museum), Australia (Migration Museum, National Museum of Australia). In addition, the book draws on empirical data generated from interviews with museum audiences and staff at the Anne Frank House (Amsterdam, Holland) and St Mungo's Museum of Religious Life and Art (Glasgow, Scotland).
"Museums and the Combating of Prejudice" brings together contemporary theoretical developments in sociological, media and audience studies, combined with in-depth field research (from a number of different research projects), to explore the ways in which museums might achieve their goals of combating prejudice. It focuses, in particular, on the ways in which audiences "read," engage with, and construct meaning from museum exhibitions and displays that purposefully seek to combat prejudice but also considers the curatorial implications arising from the museum's engagement with these issues.
"Museums and the Combating of Prejudice" addresses issues of critical importance for those working in and thinking about museums and make a unique contribution to live debates within sociology, media and audience studies.

This collection of thirteen vignettes addresses several important episodes in the history of Russian temporary architecture and public art, from the royal festivals during the times of Peter the Great up to the recent venues including the Sochi Winter Olympics. The forms and the circumstances of their design were drastically different; however, the projects discussed in the book share a common feature: they have been instrumental in the construction of Russia's national identity, with its perception of the West - simultaneously, a foe and a paragon - looming high over this process. The book offers a history of multidirectional relationships between diplomacy, propaganda, and architecture.

This monograph uses the national pavilions of the Venice Biennale as a vehicle to examine the development of international contemporary art trends within the Asia-Pacific region, including Australia, Japan and Korea and 16 additional national entities who have had less continuous participation in this global art event. Analysing both the spatial and visual representation of contemporary art presented at the Venice Biennale and incorporating the politics behind national selections, this monograph provides insights into a range of important elements of the global art industry. Areas analysed include national cultural trends and strategies, the inversion of the peripheral to the centre stage of the Biennale, geopolitics in gaining exhibition space at the Venice Biennale, curatorial practices for contemporary art presentation and artistic trends that seek to deal with major economic, cultural, religious and environmental issues emerging from non-European art centres. This monograph will be of interest to scholars in art history, museum studies and Asia-Pacific cultural history.

Small museums face the same challenges as large museums on a tighter budget and with fewer resources. Navigating these obstacles requires strong leadership and effective governance. The creation and use of planning documents and a clear mission and vision are essential to pursuing the long-term health of an organization. This book features concise, grounded approaches to finding and articulating the mission and vision of a small museum. Because a few tools have been invaluable to small museum leaders, the book also highlights the MAP and CAP assessment process, accreditation, and provides an overview of the StEPs program.

Based on extensive research and decades of experience, museum analyst and planner John W. Jacobsen provides both the theoretical underpinnings and the operational pragmatics of measuring any museum's intentional impact and performance by using 1,025 indicators drawn from 51 expert sources. Measuring Museum Impact and Performance: Theory and Practice provides museum professionals internationally with a clear, very open process that will improve their museum's value and performance by selecting indicators that monitor whether they are realizing their desired public, private, personal and institutional values. The book is not prescriptive, but liberating, as the framework recognizes that each museum needs to decide on its own purposes and priorities. The book is organized in two parts: "Part 1: Theory" is scholarly and builds on the museum field's rich literature; and "Part 2: Practice" provides step-by-step methods for any museum to set up its own dashboard of prioritized impact and performance indicators. Substantive attachments include: the list of the 51 source documents for the MIIP indicators; definitions of terms and data fields; a long list of precedented museum impacts; measurement formulas and worksheet templates, filled in for a sample museum; and the MIIP 1.0 database available online. Readers will get the following benefits: *A literature review of prior work on measuring museum value *An analysis of eleven well-established evaluation frameworks that synthesize into a revolutionary, yet practical, Museum Theory of Action *A robust and searchable menu of 1,025 existing and aspirational indicators (the MIIP 1.0 database) that you can use to start your own selection *An analysis of the MIIP database using the Theory of Action that reveals 14 areas of potential museum impacts and benefits *A process to select and prioritize your museum's intentional purposes and desired impacts *A process to determine, measure and compare your museum's key performance indicators (KPIs) *A process to set-up and conduct peer museum comparisons *Procedures and examples of how to capture and report data used in your selected indicators *Principles for using indicator data to inform museum management decisions

This cross-disciplinary book, situated on the periphery of culture, employs humour to better comprehend the arts, the outsider and exclusion, illuminating the ever-changing social landscape, the vagaries of taste and limits of political correctness. Each chapter deals with specific themes and approaches - from the construct of outsider and complexity of humour, to Outsider Art and spaces - using various theoretical and analytical methods. Paul Clements draws on humour, especially from visual arts and culture (and to a lesser extent literature, film, music and performance), as a tool of ridicule, amongst other discourses, employed by the powerful but also as a weapon to satirize them. These ambiguous representations vary depending on context, often assimilated then reinterpreted in a game of authenticity that is poignant in a world of facsimile and 'fake news'. The humour styles of a range of artists are highlighted to reveal the fluidity and diversity of meaning which challenges expectations and at its best offers resistance and, crucially, a voice for the marginal. This book will be of particular interest to scholars in art history, cultural studies, fine art, humour studies and visual culture.

This interdisciplinary study participates in the ongoing critical conversation about postwar American poetry and visual culture, while advancing that field into the arena of the museum. Turning to contemporary poems about the visual arts that foreground and interrogate a museum setting, the book demonstrates the particular importance of the museum as a cultural site that is both inspiration and provocation for poets. The study uniquely bridges the "dual canon" in contemporary poetry (and calls the lyric/avant-garde distinction into question) by analyzing museum-sponsored anthologies as well as poems by John Ashbery, Richard Howard, Kenneth Koch, Kathleen Fraser, Cole Swensen, Anne Carson, and others. Through these case studies of poets with diverse affiliations, the author shows that the boom in ekphrasis in the past 20 years is not only an aesthetic but a critical phenomenon, a way that poets have come to terms with the critical dilemmas of our moment. Highlighting the importance of poets' "peripheral vision"-awareness of the institutional conditions that frame encounters with art-the author contend that a museum visit becomes a forum for questioning oppositions that have preoccupied literary criticism for the past 50 years: homage and innovation, modernism and postmodernism, subjectivity and collectivity. The study shows that ekphrasis becomes a strategy for negotiating these impasses-a mode of political inquiry, a meditation on canonization, a venue for comic appraisal of institutionalization, and a means of "site-specific" feminist revision-in a vital synthesis of critique, perspicacity, and pleasure.

Religion is a subject often overlooked or ignored by public historians. Whether they are worried about inadvertent proselytizing or fearful of contributing to America's ongoing culture wars, many heritage professionals steer clear of discussing religion's formative role in the past when they build collections, mount exhibits, and develop educational programming. Yet religious communities have long been active contributors to the nation's commemorative landscape. Exhibiting Evangelicalism provides the first account of the growth and development of historical museums created by white evangelical Christians in the United States over the twentieth and twenty-first centuries. Exploring the histories of the Museum of the Bible, the Billy Graham Center Museum, the Billy Sunday Home, and Park Street Church, Devin C. Manzullo-Thomas illustrates how these sites enabled religious leaders to develop a coherent identity for their fractious religious movement and to claim the centrality of evangelicalism to American history. In their zeal to craft a particular vision of the national past, evangelicals engaged with a variety of public history practices and techniques that made them major players in the field—including becoming early adopters of public history's experiential turn.

Answering key questions in the study of how museums communicate, Louise Ravelli provides a set of frameworks to investigate the complexities of communication in museums:
* What is an appropriate level of complexity for a written label?
* Why do some choice in language make a more direct relation to visitors?
* Is there a correct way of presenting a particular view of content?
* How do design practices contribute to the overall meanings being made?
The frameworks enhances the way we critically analyze and understand museums text, both in the sense of conventional written texts in museums and in an expanded sense of the museum as a whole operating as a communicative text.
Using a wide range of examples to demonstrate that all communication needs to be understood in relation to its social context, Ravelli argues that communication contributes fundamentally to what a museum is, who it relates to and what it stands for.
Not only museum studies and communications studies students, but also professionals in the field will find "Museum Texts "an indispensable guide on communication frameworks.