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Julio M. del Hoyo-Melndez Marion F. Mecklenburg María Teresa Domnech-Carb 《Journal of Cultural Heritage》2011,12(1):54
This paper presents the results of a light levels survey conducted at the Donald W. Reynolds Center for American Art and Portraiture in Washington DC. The museum space is shared by the National Portrait Gallery and the Smithsonian American Art Museum. After six years of extensive renovations, the building reopened to the public in July 1, 2006. The structure was not originally designed to house a museum collection since it contains numerous openings such as windows, doors and skylights, which provide a path for natural radiation to enter the building and come in contact with the artworks. From a preventive conservation standpoint, this is an important problem since sensitive works of art in the collection may be subjected to damage caused by light exposure. Environmental data loggers installed throughout the museum were programmed to take successive measurements every 10 min for 24 h a day, 7 days a week and 52 weeks a year. This light levels assessment started in November 1, 2007 and finished in October 31, 2008. This study presents a new method for determining natural radiation exposures registered in exhibition spaces that rely on both electric lighting and natural lighting, considering the growing trend of using daylight illumination in museums. 相似文献
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五月的姹紫嫣红之中,有一位精神矍铄的老人站在游人如织的西子湖边。清风拂过,他的脸上始终浮现着微微的笑意。西湖,给了他艺术创作的灵思妙感;他,也用一把刻刀将西湖展示给了全世界。这位老人,就是人称＂西湖陆＂的中国美术学院教授、 相似文献
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Irina Petroviciu Ina Vanden Berghe Ileana Cretu Florin Albu Andrei Medvedovici 《Journal of Cultural Heritage》2012,13(1):89-97
In this study, the dyes present in five 17th- to 18th-century textiles from the National Museum of Art of Romania, three religious embroideries and two brocaded velvets, are characterized and discussed, together with earlier results on textiles from Romanian collections obtained by the same research group. Dye analyses were performed using two methods: the well-established liquid chromatography-diode array detection (LC–DAD) and a recently developed liquid chromatography-mass spectrometry (LC–MS) analytical protocol. The examination of very small historical samples by both techniques allows a better insight in the advantages and limitations of the two approaches to real analyses to be obtained. LC–MS data interpretation is based entirely on the results accumulated for dye standards. Electrospray ionization (ESI) was used in the negative ion mode and an ion trap served as mass analyzer. Both single stage (MS) and tandem (MS/MS) mass spectrometric approaches were considered. The dyes and natural sources identified by both analytical techniques are discussed in the historical context of the textiles, with respect to earlier results collected for similar Romanian objects. The study showed that the dye sources found in the 17th- and 18th-century Romanian velvets and embroideries were produced using a wide variety of dye sources, suggesting influences from Europe as well as from Asia Minor. Dye sources imported from New World have been also detected. The range of biological sources is in very good correspondence with earlier results obtained from textiles in the Romanian Collections. LC-MS (single stage and tandem MS) approaches have been demonstrated to be valuable tools for dye identification in small-scaled samples from historical textile objects only if sufficient knowledge on the dyes and their biological sources is first accumulated within experiments performed on standard dyes and standard dyed fibers. 相似文献
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The environmental radiation level is unknown for objects that have been in collections for decades or centuries. We have performed dose rate measurements in museums representative of ancient castles and palaces. Annual dose rates between 0.3 and 1.3 mGy/year have been measured. There is a correlation between annual rates and the materials close to the dosimeters. The dating of objects by luminescence (TL and OSL) requires accurate knowledge of the dose rate in the minerals under investigation. An estimation of the errors on ages can be deduced from our measurements for typical situations of works of art and museum objects. 相似文献
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《Journal of Cultural Heritage》2014,15(1):68-72
Using over 100 years of biocides for preservation of collections of natural history museums has led to significant pollution of specimens and the environment of museums. Staff may be exposed to these substances as well by skin contact or by breathing dust and volatiles compounds. In this work, we present the results of a screening of volatile and semi-volatile organic compounds in the air and dust from the Natural History Museum of Rouen (Normandy, France). It is shown that the concentration in the air of the different substances is acceptable and below regulatory limits. Nevertheless, concentrations in dust especially for DDT and DDD are high and require special precautions and a regular dusting. 相似文献
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Joanna Radin 《Journal of Cultural Economy》2015,8(3):361-378
By the early 1980s, many life scientists had begun to maintain small collections of cryopreserved tissues for their own specific research purposes. It became apparent that these materials could be successfully reused as new techniques and research questions emerged. This realization led several American leaders in the field of systematic taxonomy (the science of biological classification) and conservation genetics to argue for the need to take stock of and coordinate these heterogeneous collections. Their strategy, which they called ‘planned hindsight,’ was meant to organize the present in a way that appeared to anticipate the needs of future scientists. In this paper I examine how the seemingly paradoxical strategy of ‘planned hindsight’ has functioned as a strategy for choreographing life, time, and value at two centralized biospecimen collections: The Frozen Zoo in Escondido, CA, USA, and the Ambrose Monell Cryo Collection at the American Museum of Natural History in New York City. I conclude that, in practice, ‘planned hindsight’ not only contributes to the endurance of frozen tissues but also preserves widely divergent speculative visions of the many different individuals involved with their creation, maintenance, and re-use. 相似文献
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Tomas Ariztia 《Journal of Cultural Economy》2018,11(3):209-224
This paper aims to reflect on some key issues linked to the production of digital objects in business settings. In doing so, it problematizes current social science scholarship, which emphasizes the analysis of digital data and analytics, and reinforces the magnitude of its consequences and ‘data power’. The paper proposes making three corrective ‘movements’ that might enrich our approaches to how databases and analytics are assembled in business settings. The first movement involves the problem of ethnographic access to data-making practices. We propose taking seriously the issue of fabricating an ethnographic encounter where the process of making digital objects is exposed. The second movement concerns the visibility and the type of politics taking place in data practices. We argue for the need to displace attention from data impacts and results to the myriad of mundane practices and devices through which these objects are assembled. The third movement we suggest requires a focus on examining error and failure as key aspects of the manufacturing of consumer databases. Each of these movements is illustrated by ethnographic vignettes from a 9-month ethnographic experiment that involved participating in the first stages of the manufacturing of an online financial retail company's consumer database. 相似文献
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Agnès Lattuati-Derieux Céline Egasse Sylvie Thao-Heu Nathalie Balcar Gilles Barabant Bertrand Lavédrine 《Journal of Cultural Heritage》2013,14(3):238-247
In recent years, plastics are designated as a source of indoor pollution and particular attention has thus been devoted to the identification of emitting low molecular weight compounds. Headspace-solid phase microextraction-gas chromatography coupled with mass spectrometry (HS-SPME-GC/MS) has been already successfully applied for screening emissions from synthetic materials. This analytical tool being also non-invasive, it has been already successfully applied in the field of cultural heritage science for the identification of volatile organic compounds (VOCs) emitted from various museum objects made of natural materials. In this research, we aimed at assessing the use of HS-SPME-GC/MS as an in situ non-invasive analytical tool for a better knowledge of the volatile organic compounds emitted by plastics in collections. The possibility of characterizing plastics based on their emission signatures was also evaluated. Twelve new standard plastic samples, belonging to seven main polymer families widely present in museum collections as well as three naturally aged museum objects, were investigated. In this paper, we provide a survey of the VOCs emitted, and the use of HS-SPME-GC/MS for identifying volatile marker compounds, degradation products, additives, and monomer residues of the plastic synthesis is evaluated. More than 200 different VOCs were identified from the new standard samples. Two categories of VOCs were distinguished: “non-specific” and “specific” ones. We showed that based on the “specific” VOCs, it was possible to identify the nature of the polymeric matrix itself or at least to unambiguously distinguish a plastic by family. Emissions from the museum objects were then characterised, and main volatile degradation compounds considered as degradation markers of the natural deterioration of polymeric matrices, were identified. This identification procedure could be further exploited for the characterization of VOCs emitted by objects made of multiple synthetic polymers. Complementary to other techniques, this analytical tool is an interesting way to assess the risk for the objects stored in the vicinity of emitting plastics. 相似文献
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《Journal of Cultural Heritage》2014,15(5):511-521
This article evaluates the compatibility of the adaptive reuse of heritage buildings in Egypt given that a growing number of projects featuring innovative building reuse are currently emerging nationwide. Accordingly, this research focuses on three objectives. The first objective is the evaluation of indicators drawn from literature, namely architectural integrity, public perception, form and new building function, with reference to the specific case of Alexandria National Museum. The second objective is the investigation of the sustainable adaptation of the Museum. The third objective is the assessment of the capacity of the heritage building to meet the criteria for reuse. The integration of the literature review and the case study is verified by examining research indicators. Semi-structured interviews with stakeholders, including laypeople and professionals are utilised in the assessment of Alexandria National Museum adaptive reuse project. Research results show that interviewees agree that the process preserved the building's architectural integrity and that its new cultural function (i.e. as a museum) represents the optimal reuse of the building. In addition, the research highlights diversity amongst the stakeholders and the drawbacks of the sustainable adaptation indicator, including the absence of community participation. 相似文献
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A collaborative project between the Materials Department of Imperial College, the Victoria & Albert Museum, Natural History Museum and the Tate Gallery was initiated with the objective of introducing laser cleaning in these London-based museums and establishing a long-term research collaboration. An access to these material conservation departments means that materials like traditional statuary materials, heavily corroded metals, ivory, palaeontological samples, textiles, stained glass, plaster and some modern materials can be used to investigate the usefulness of laser cleaning and study their effects using a wide range of analytical techniques. 相似文献
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We survey more than twenty studies estimating rates of return of investments in single art objects and whole collections and evaluate the various approaches to art price movements taken so far. The majority of the estimates find lower returns for investments in art objects than for investments in financial assets. However, most existing analyses are restricted to auction data and neglect transactions cost and taxation. They partly focus on mechanistic calculations and disregard the distinguishing institutional and behavioral characteristics of art markets. We look into the possibilities to capture and empirically estimate psychic returns from owning art. 相似文献
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Pablo Jaramillo 《Journal of Cultural Economy》2018,11(4):277-290
This article analyses the implementation and operation of a wind farm in ancestral indigenous lands in Colombia. A wind farm operates at different levels: creating energy, social programmes, jobs, carbon credits and revenues. However, such emerging objects are distributed unevenly. To understand the hierarchy in place in the carbon market, this article explains the disconnection between clean energy production sites and carbon funds in which credits are created. Given the fundamental need to understand the creation of objects of property that are, nevertheless, not fully interchangeable between the site and the fund, this article aims to draw renewed attention to the concept of spheres of exchange. The argument is built upon ethnographic fieldwork undertaken on-site in the Utility Company’s offices and the World Bank headquarters. 相似文献
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ABSTRACTPrevious studies have overlooked how intermediaries and their digital cultural capital enhance the relationship between brand values and consumer identities; their specific uses of digital technologies; and how those uses are displayed in activities where intermediaries create consumer experiences. This paper thus explores the role that cultural intermediaries (music bloggers and an advertising agency) and their digital cultural capital play in making and communicating a branded music event. Briefly, intermediaries used a set of digital technologies (social media, guest lists, blogs, and websites) to create and orchestrate an authentic and exclusive experience between brands and consumers. We draw on empirical material from interviews and ethnographic work conducted in Santiago, Chile. Our study identifies digital technologies used by cultural intermediaries in communicating branded music events, including as: promotional tools; advertising campaign efficacy evaluation mechanisms; and relational objects that connect advertising agencies, music bloggers, brands, and consumers. By exploring the tensions and conflicts that arise among bloggers and advertising executives, we shed light on the uses and exchanges of digital cultural capital for commercial purposes, resulting from the connections between intermediaries that come from different fields of cultural production. 相似文献
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《Journal of Cultural Heritage》2014,15(5):470-478
The use of phase change materials (PCMs) in civil buildings as an effective thermal energy storage solution has been well documented in literature and proven in the field. When applied to Cultural Heritage, PCMs’ technology needs to be adapted to specific requirements. Besides the important objectives of economic return and human comfort, the indoor microclimatic conditions have to be suitable for conservation purposes. The application of PCMs’ technology to Cultural Heritage has been investigated within the European MESSIB (Multi-source Energy Storage System Integrated in Buildings) project. Firstly, several methodologies of incorporation of PCMs in different materials were studied and tested. The thermal properties of gypsum panels and silicon coatings incorporating micro-encapsulated PCMs in the form of powder and emulsion were analysed in the laboratory. Then, PCMs incorporated in gypsum panels in contact with a wooden panel were tested and their effect on the thermal behaviour of the wooden panel was evaluated under thermal cycles in a climatic chamber. PCMs incorporated in silicon coatings in contact with a painting were also tested. Moreover, gypsum panels containing PCMs were tested in the S. Croce Museum in Florence, Italy, where the microclimatic monitoring has shown thermal conditions potentially dangerous for the works of art preserved. The research performed both in the laboratory and on the field confirmed the effectiveness of the PCMs as thermal storage solutions, but also gave evidence on an important drawback when the material incorporating PCMs is in direct contact with an object of art. 相似文献
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《Journal of Cultural Heritage》2000,1(1):37-43
In March 1997 the excavation team of Edward Keall, Head of the Department of Near Eastern and Asian Civilization of the Royal Ontario Museum, Toronto (Canada) found the remains of an apparently prehistoric site in a region that was supposed to have been uninhabited until the Middle Ages. On the site there are megalithic pillars of granite and basalt, weighing around 6 tons; some were part of what looks like a rectangular building. A cache of copper-based objects – consisting of two adzes, two daggers, four points, two razors and a leaf-shaped object – was found under one of the fallen megaliths. The authors present the as yet unpublished results of the chemical analysis carried out by ICP and the observations obtained by SEM/EDX and discuss briefly the significance of the data and the problems encountered while studying the items of the newly discovered civilization. The stylistic comparisons and the chemical composition of the objects suggest a date around the end of the 3rd or the beginning of the 2nd millennium BC, while other finds on the site seem to indicate a later period. 相似文献
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InMaking the Mummies Dance, Thomas Hoving, former director of the Metropolitan Museum of Art, articulates a blistering defense of his, admittedly minority, view; namely, that trading directly with dealers when selling deaccessioned works of art or adding to museum collections is preferable to buying and selling in the open auction market (Hoving, 1992). Hoving has been severely criticized for his trades during his tenure at the Metropolitan, as well as for his assessment of the market for fine arts, which runs counter to the prevailing views held by many American public officials, professional art critics and museum boards. We shall present a theoretical model in support of Hoving's argument that trades made at auctions may not serve the public interest. We shall also statistically investigate the stochastic processes which characterize the tertiary art market. 相似文献