The entry into force of the 2001 UNESCO Convention on the Protection of the Underwater Cultural Heritage
On 2 January 2009 the Convention on the Protection of the Underwater Cultural Heritage (CPUCH; Paris, 2001) entered into force for the first 20 States that decided to become parties to it. The CPUCH can be seen as a reasonable defence against the disastrous regime on underwater cultural heritage set forth by the United Nations Convention on the Law of the Sea (UNCLOS; Montego Bay, 1982). In fact, the UNCLOS allows for a “freedom-of-fishing” regime where a State which has a cultural link with the objects cannot prevent the pillage of its historical heritage. The picture is worsened by the reference in the UNCLOS to “the law of salvage and other rules of admiralty” which have been intended by United States courts as meaning the application of a first-come-first-served approach in many cases relating to the underwater cultural heritage. The basic defensive tools included in the CPUCH are the elimination of the undesirable effects of the law of salvage and finds, the exclusion of a first-come-first-served approach for the heritage found on the continental shelf, and the strengthening of regional cooperation.
The protection of the underwater cultural heritage : national perspectives in light of the UNESCO convention 2001
The legal protection of the underwater cultural heritage is a field in which there is growing international interest. Shipwrecks and other underwater cultural remains in every maritime zone are threatened both by activities 'directed at' them, such as treasure hunting, and by activities 'incidentally affecting' them, such as mineral exploration and exploitation, pipeline and cable-laying, dredging, and fishing. Since the first edition of this collection (published in 1999), the urgent need for an international legal framework to regulate these activities has been formally recognised by the adoption in 2001 of the UNESCO Convention on the Protection of the Underwater Cultural Heritage. While the prospects for this Convention remain uncertain, it will undoubtedly have a profound influence on national laws and practice in this field. This second collection of essays examines the present state of law, policy and practice in sixteen different jurisdictions around the world in light of the 2001 Convention. Among other things, the viewpoint of each jurisdiction in respect of the Convention is considered and the impact that the Convention is already having, and is likely to have in the future, is explored. Eight of the essays are entirely new, and several new jurisdictions are covered (Finland, the Federated States of Micronesia, the Netherlands, New Zealand, and Norway). The other essays have been thoroughly updated and revised to take account of the Convention. The contributors come from a variety of backgrounds, but all have specialist knowledge and experience of their particular jurisdiction and a keen interest in the field.
Creativity profile of university and conservatory dance students.
What are dance students' creative potential, Special personality characteristics and preferences for high energy activities? Using standardized and original paper and pencil instruments, comparisons were made among dance students in university and conservatory settings, college students and art students. The results demonstrated that dance students are creative, show strong preference for dynamic figures, and have distinct personality characteristics. The university dance students differed from the conservatory students in several important ways.