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Digital Preservation Workflows for Museum Imaging Environments
The 11th International Symposium on Virtual Reality, Archaeology and Cultural Heritage VAST (2010) A. Artusi, M. Joly, D. Pitzalis, G. Lucet, and A. Ribes (Editors) Digital preservation workflows for museum imaging environments Michael Ashley1 1 Cultural Heritage Imaging, San Francisco, California, USA From: Principles and Practices of Robust, Photography-based Digital Imaging Techniques for Museums. Contributors: Mark Mudge, Carla Schroer, Graeme Earl, Kirk Martinez, Hembo Pagi, Corey Toler-Franklin, Szymon Rusinkiewicz, Gianpaolo Palma, Melvin Wachowiak, Michael Ashley, Neffra Matthews, Tommy Noble, Matteo Dellepiane. Edited by Mark Mudge and Carla Schroer, Cultural Heritage Imaging. The 11th International Symposium on Virtual Reality, Archaeology and Cultural Heritage VAST (2010) A. Artusi, M. Joly, D. Pitzalis, G. Lucet, and A. Ribes (Editors) This is a pre-print copy of a paper that is currently under review. Please respect the intellectual property of the authors and the efforts of the publishers and reviewers until its publication. If you find any errors that need modification please contact the author at [email protected]. Meanwhile this pdf is distributed to interested readers under a Creative Commons 3.0 license. M. Ashley / Digital Preservation Workflows For Museum Imaging Environments Digital preservation workflows for museum imaging environments Michael Ashley1 1 Cultural Heritage Imaging, San Francisco, California, USA Abstract We discuss and demonstrate practical digital preservation frameworks that protect images throughout the entire production life-cycle. Using off the shelf and open source software coupled with a basic understanding of metadata, it is possible to produce and manage high value digital representations of physical objects that are born archive- ready and long-term sustainable. -
Introducticn Tc Ccnservoticn
introducticntc ccnservoticn UNITED NATTONSEDUCATIONA],, SCIEIilIIFTC AND CULTIJRALOROANIZATTOII AN INIRODUCTION TO CONSERYATIOI{ OF CULTURAT PROPMTY by Berr:ar"d M. Feilden Director of the Internatlonal Centre for the Preservatlon and Restoratlon of Cultural Property, Rome Aprll, L979 (cc-ig/ws/ttt+) - CONTENTS Page Preface 2 Acknowledgements Introduction 3 Chapter* I Introductory Concepts 6 Chapter II Cultural Property - Agents of Deterioration and Loss . 11 Chapter III The Principles of Conservation 21 Chapter IV The Conservation of Movable Property - Museums and Conservation . 29 Chapter V The Conservation of Historic Buildings and Urban Conservation 36 Conclusions ............... kk Appendix 1 Component Materials of Cultural Property . kj Appendix 2 Access of Water 53 Appendix 3 Intergovernmental and Non-Governmental International Agencies for Conservation 55 Appendix k The Conservator/Restorer: A Definition of the Profession .................. 6? Glossary 71 Selected Bibliography , 71*. AUTHOR'S PREFACE Some may say that the attempt to Introduce the whole subject of Conservation of Cultural Propety Is too ambitious, but actually someone has to undertake this task and it fell to my lot as Director of the International Centre for the Study of the Preservation and Restoration of Cxiltural Property (ICCROM). An introduction to conservation such as this has difficulties in striking the right balance between all the disciplines involved. The writer is an architect and, therefore, a generalist having contact with both the arts and sciences. In such a rapidly developing field as conservation no written statement can be regarded as definite. This booklet should only be taken as a basis for further discussions. ACKNOWLEDGEMENTS In writing anything with such a wide scope as this booklet, any author needs help and constructive comments. -
Selection in Web Archives: the Value of Archival Best Practices
WITTENBERG: SELECTION IN WEB ARCHIVES Selection in Web Archives: The Value of Archival Best Practices Jamie Wittenberg, University of Illinois at Urbana-Champaign, United States of America Abstract: The abundance of valuable material available online has mobilized the development of preservation initiatives at collecting institutions that aim to capture and contextualize web content. Web archiving selection criteria are driven by the limitations inherent in harvesting technologies. Observing core archival principles like provenance and original order when establishing collection development policies for web content will help to ensure that archives continue to assure the authenticity of the materials they steward. Keywords: Web Archives; Archival Theory; Digital Libraries; Internet Content; Selection and Appraisal Introduction The abundance of valuable material available online has mobilized the development of preservation initiatives at collecting institutions that aim to capture and contextualize web content. Methodologies for web collection practices are institution and collection-specific. Among institutions charged with preserving cultural heritage, web archiving has become commonplace. However, the disparity between institutional selection and appraisal criteria reveals the absence of standardization for web archive establishment. The Australian web archive, for example, accessions content that it evaluates as having long-term research value. The Library of Congress web archive, represented by its Minerva team, established a collection -
Concepts and Applications in Veterinary Toxicology an Interactive Guide Concepts and Applications in Veterinary Toxicology PK Gupta
PK Gupta Concepts and Applications in Veterinary Toxicology An Interactive Guide Concepts and Applications in Veterinary Toxicology PK Gupta Concepts and Applications in Veterinary Toxicology An Interactive Guide PK Gupta Toxicology Consulting Group Academy of Sciences for Animal Welfare Bareilly, Uttar Pradesh, India ISBN 978-3-030-22249-9 ISBN 978-3-030-22250-5 (eBook) https://doi.org/10.1007/978-3-030-22250-5 © Springer Nature Switzerland AG 2019 This work is subject to copyright. All rights are reserved by the Publisher, whether the whole or part of the material is concerned, specifically the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfilms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed. The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specific statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use. The publisher, the authors, and the editors are safe to assume that the advice and information in this book are believed to be true and accurate at the date of publication. Neither the publisher nor the authors or the editors give a warranty, express or implied, with respect to the material contained herein or for any errors or omissions that may have been made. The publisher remains neutral with regard to jurisdictional claims in published maps and institutional affiliations. This Springer imprint is published by the registered company Springer Nature Switzerland AG The registered company address is: Gewerbestrasse 11, 6330 Cham, Switzerland Preface The book entitled Concepts and Applications in Veterinary Toxicology: An Interactive Guide covers a broad spectrum of topics for the students specializing in veterinary toxicology and veterinary medical practitioners. -
Record of Decision (ROD)
U.S. ENVIRONMENTAL PROTECTION AGENCY EPA REGION 1 – NEW ENGLAND RECORD OF DECISION NYANZA CHEMICAL WASTE DUMP SUPERFUND SITE OPERABLE UNIT 02 ASHLAND, MASSACHUSETTS JULY 2020 PART 1: THE DECLARATION FOR THE RECORD OF DECISION A. SITE NAME AND LOCATION B. STATEMENT OF BASIS AND PURPOSE C. ASSESSMENT OF SITE D. DESCRIPTION OF SELECTED REMEDY E. STATUTORY DETERMINATIONS F. SPECIAL FINDINGS G. DATA CERTIFICATION CHECKLIST H. AUTHORIZING SIGNATURES PART 2: THE DECISION SUMMARY A. SITE NAME, LOCATION, AND BRIEF DESCRIPTION B. SITE HISTORY AND ENFORCEMENT ACTIVITIES 1. History of Site Activities 2. History of Federal and State Investigations and Removal and Remedial Actions 3. History of CERCLA Enforcement Activities C. COMMUNITY PARTICIPATION D. SCOPE AND ROLE OF OPERABLE UNIT OR RESPONSE ACTION E. SITE CHARACTERISTICS F. CURRENT AND POTENTIAL FUTURE SITE AND RESOURCE USES G. SUMMARY OF SITE RISKS 1. Human Health Risk Assessment 2. Supplemental Human Health Risk Assessment 3. Supplemental Evaluation Following Risk Assessment 4. Ecological Risk Assessment 5. Basis for Remedial Action H. REMEDIAL ACTION OBJECTIVES I. DEVELOPMENT AND SCREENING OF ALTERNATIVES J. DESCRIPTION OF ALTERNATIVES K. SUMMARY OF COMPARATIVE ANALYSIS OF ALTERNATIVES L. THE SELECTED REMEDY M. STATUTORY DETERMINATIONS N. DOCUMENTATION OF NO SIGNIFICANT CHANGES O. STATE ROLE Record of Decision Nyanza Chemical Waste Dump Superfund Site: OU2 July 2020 Ashland, Massachusetts Page 2 of 73 PART 3: THE RESPONSIVENESS SUMMARY APPENDICES Appendix A: MassDEP Letter of Concurrence Appendix B: Tables Appendix C: Figures Appendix D: ARARs Tables Appendix E: References Appendix F: Acronyms and Abbreviations Appendix G: Administrative Record Index and Guidance Documents Record of Decision Nyanza Chemical Waste Dump Superfund Site: OU2 July 2020 Ashland, Massachusetts Page 3 of 73 PART 1: THE DECLARATION FOR THE RECORD OF DECISION A. -
A New Method for the Conservation of Ancient Colored Paintings on Ramie
Liu et al. Herit Sci (2021) 9:13 https://doi.org/10.1186/s40494-021-00486-4 RESEARCH ARTICLE Open Access A new method for the conservation of ancient colored paintings on ramie textiles Jiaojiao Liu*, Yuhu Li*, Daodao Hu, Huiping Xing, Xiaolian Chao, Jing Cao and Zhihui Jia Abstract Textiles are valuable cultural heritage items that are susceptible to several degradation processes due to their sensi- tive nature, such as the case of ancient ma colored-paintings. Therefore, it is important to take measures to protect the precious ma artifacts. Generally, ″ma″ includes ramie, hemp, fax, oil fax, kenaf, jute, and so on. In this paper, an examination and analysis of a painted ma textile were the frst step in proposing an appropriate conservation treat- ment. Standard fber and light microscopy were used to identify the fber type of the painted ma textile. Moreover, custom-made reinforcement materials and technology were introduced with the principles of compatibility, durabil- ity and reversibility. The properties of tensile strength, aging resistance and color alteration of the new material to be added were studied before and after dry heat aging, wet heat aging and UV light aging. After systematic examina- tion and evaluation of the painted ma textile and reinforcement materials, the optimal conservation treatment was established, and exhibition method was established. Our work presents a new method for the conservation of ancient Chinese painted ramie textiles that would promote the protection of these valuable artifacts. Keywords: Painted textiles, Ramie fber, Conservation methods, Reinforcement, Cultural relic Introduction Among them, painted ma textiles are characterized by Textiles in all forms are an essential part of human civi- the fexibility, draping quality, heterogeneity, and mul- lization [1]. -
2016 Technical Guidelines for Digitizing Cultural Heritage Materials
September 2016 Technical Guidelines for Digitizing Cultural Heritage Materials Creation of Raster Image Files i Document Information Title Editor Technical Guidelines for Digitizing Cultural Heritage Materials: Thomas Rieger Creation of Raster Image Files Document Type Technical Guidelines Publication Date September 2016 Source Documents Title Editors Technical Guidelines for Digitizing Cultural Heritage Materials: Don Williams and Michael Creation of Raster Image Master Files Stelmach http://www.digitizationguidelines.gov/guidelines/FADGI_Still_Image- Tech_Guidelines_2010-08-24.pdf Document Type Technical Guidelines Publication Date August 2010 Title Author s Technical Guidelines for Digitizing Archival Records for Electronic Steven Puglia, Jeffrey Reed, and Access: Creation of Production Master Files – Raster Images Erin Rhodes http://www.archives.gov/preservation/technical/guidelines.pdf U.S. National Archives and Records Administration Document Type Technical Guidelines Publication Date June 2004 This work is available for worldwide use and reuse under CC0 1.0 Universal. ii Table of Contents INTRODUCTION ........................................................................................................................................... 7 SCOPE .......................................................................................................................................................... 7 THE FADGI STAR SYSTEM ....................................................................................................................... -
Art Deaccessioning Policy
Deaccessioning Policy Document No. CUR 4.0 – Deaccessioning Policy Page 1 Approved: December 2020 Approved by: National Gallery of Australia Council next review due: December 2022 Summary Name of Policy Description of Policy Deaccessioning Policy Policy applies to ☒ NGA wide ☐ Specific (eg. Department) Policy Status ☐ New policy ☒ Revision of Existing Policy (previously Art Acquisition Policy) Approval Authority Director Responsible Officer Assistant Director, Artistic Programs Contact area Artistic Programs Date of Policy Review* October 2022 Related Policies, Procedures, National Gallery Act 1975 Guidelines and Local Protocols Public Governance, Performance and Accountability Act 2013 Council Instructions including Financial Delegations Aboriginal and Torres Strait Islander Cultural Rights and Engagement Policy Due Diligence and Provenance Policy Acquisitions Policy Research Library Collection Development Policy Research Archive Acquisition Policy The Copyright Act 1968 The Privacy Act 1988 Privacy Policy Australian Best Practice Guide to Collecting Cultural Material 2015 Collections Law: Legal issues for Australian Archives, Galleries, Libraries and Museums *Unless otherwise indicated, this policy will still apply beyond the review date. Approvals Position Name Endorsed Date Assistant Director Natasha Bullock Yes Director Nick Mitzevich Yes Council Ryan Stokes Yes Document No. CUR 4.0 – Deaccessioning Policy Page 2 Approved: December 2020 Approved by: National Gallery of Australia Council next review due: December 2022 Table of contents -
Conservation of Cultural and Scientific Objects
CHAPTER NINE 335 CONSERVATION OF CULTURAL AND SCIENTIFIC OBJECTS In creating the National Park Service in 1916, Congress directed it "to conserve the scenery and the natural and historic objects and the wild life" in the parks.1 The Service therefore had to address immediately the preservation of objects placed under its care. This chapter traces how it responded to this charge during its first 66 years. Those years encompassed two developmental phases of conservation practice, one largely empirical and the other increasingly scientific. Because these tended to parallel in constraints and opportunities what other agencies found possible in object preservation, a preliminary review of the conservation field may clarify Service accomplishments. Material objects have inescapably finite existence. All of them deteriorate by the action of pervasive external and internal agents of destruction. Those we wish to keep intact for future generations therefore require special care. They must receive timely and. proper protective, preventive, and often restorative attention. Such chosen objects tend to become museum specimens to ensure them enhanced protection. Curators, who have traditionally studied and cared for museum collections, have provided the front line for their defense. In 1916 they had three principal sources of information and assistance on ways to preserve objects. From observation, instruction manuals, and formularies, they could borrow the practices that artists and craftsmen had developed through generations of trial and error. They might adopt industrial solutions, which often rested on applied research that sought only a reasonable durability. And they could turn to private restorers who specialized in remedying common ills of damaged antiques or works of art. -
Rule 391-3-6-.03. Water Use Classifications and Water Quality Standards
Presented below are water quality standards that are in effect for Clean Water Act purposes. EPA is posting these standards as a convenience to users and has made a reasonable effort to assure their accuracy. Additionally, EPA has made a reasonable effort to identify parts of the standards that are not approved, disapproved, or are otherwise not in effect for Clean Water Act purposes. Rule 391-3-6-.03. Water Use Classifications and Water Quality Standards ( 1) Purpose. The establishment of water quality standards. (2) W ate r Quality Enhancement: (a) The purposes and intent of the State in establishing Water Quality Standards are to provide enhancement of water quality and prevention of pollution; to protect the public health or welfare in accordance with the public interest for drinking water supplies, conservation of fish, wildlife and other beneficial aquatic life, and agricultural, industrial, recreational, and other reasonable and necessary uses and to maintain and improve the biological integrity of the waters of the State. ( b) The following paragraphs describe the three tiers of the State's waters. (i) Tier 1 - Existing instream water uses and the level of water quality necessary to protect the existing uses shall be maintained and protected. (ii) Tier 2 - Where the quality of the waters exceed levels necessary to support propagation of fish, shellfish, and wildlife and recreation in and on the water, that quality shall be maintained and protected unless the division finds, after full satisfaction of the intergovernmental coordination and public participation provisions of the division's continuing planning process, that allowing lower water quality is necessary to accommodate important economic or social development in the area in which the waters are located. -
Creativity Matters: the Arts and Aging Toolkit © 2007 by the National Guild of Community Schools of the Arts, 520 8Th Avenue, Suite 302, New York, NY 10018
NATionaL GUILD OF CommUniTY SchooLS OF The ARTS CREATIVITY NATionaL CenTer For CreaTIVE Aging NEW Jersey PerForming ARTS CenTer MATTERS THE ARTS AND AGING JOHANNA MISEY BOYER TOOLKIT CREATIVITY MATTERS THE ARTS AND AGING TOOLKIT Creativity Matters: The Arts and Aging Toolkit © 2007 by the National Guild of Community Schools of the Arts, 520 8th Avenue, Suite 302, New York, NY 10018 All rights reserved. Published 2007 Printed in the United States of America Evaluation: Performance Results, Inc., Laytonsville, Maryland Editing: Ellen Hirzy, Washington, DC Design: fuszion, Alexandria, Virginia Photo Credits: Cover (top) and 14: PARADIGM, Solomons Company/Dance, Inc., New York, NY; cover (center): detail of work by Hang Fong Zhang, Center for Elders and Youth in the Arts, Institute on Aging, San Francisco, CA, Jeff Chapline, artistic director; cover (bottom) and 184: Concord Community Music School, Concord, NH, National Guild member since 1984; xxii, 32, 174, 178: Stagebridge Senior Theatre Company, Oakland, CA; 44: Amatullah Saleem (storyteller), Pearls of Wisdom program, Elders Share the Arts, Brooklyn, NY; 24: Alzheimer’s Association Orange County, Irvine, CA; 70: detail of work by Celia Sacks, Center for Elders and Youth in the Arts, Institute on Aging, San Francisco, CA, Jeff Chapline, artistic director; 122: The Golden Tones, Wayland, MA; 146: Irv Williams and Carla Vogel (musician and dancer), Kairos Dance Theatre, Minneapolis, MN; 164: Jesse Neuman-Peterson and Moses Williams (dancers), Kairos Dance Theatre, Minneapolis, MN. The author would like to acknowledge the support of Neil A. Boyer and the inspiration of the ladies on the garden level and her own well elder, Edward G. -
Provenance in Digital Collections, Margo Seltzer
Provenance in Digital Collections Margo Seltzer Harvard School of Engineering and Applied Sciences September 20, 2012 Provenance: Special Metadata • From the French word for “source” or “origin” • The complete history or lineage of a object • In the art world, provenance documents the chain of ownership of an artifact. • In the digital world, provenance records: – The process that created an artifact – The transformations applied to an artifact – The human and computational agents that operated upon an artifact – Open question: sufficient information to reproduce the artifact? Designing Storage Architectures: 9/20/12 2 Example: Art Designing Storage Architectures: 9/20/12 3 Example: Art with Provenance Provenance < 1662 Simon de Vos, Antwerp (possibly) by 1662 Guilliam I Forchoudt, Antwerp (possibly) to 1747 Jacques de Roore, The Hague 1747 - 1771 Anthonis de Groot and Stephanus de Groot, The Hague 1771 - ? Abelsz to 1779 Jacques Clemens to 1798 Supertini and Platina, Brussels to 1814 Pauwels, Brussels to 1822 Robert Saint-Victor, Paris 1822 - ? Roux to 1924 Marquise d'Aoust, France 1924 Galerie Georges Petit, Paris to 1940 Federico Gentili di Giuseppe, died 1940, Paris 1940 - 1950 Mrs. A. Salem, Boston (Mr. Gentili di Giuseppe's daughter ) 1950 - 1954 Frederick Mont and Newhouse Galleries, New York 1954 - 1961 Samuel H. Kress Foundation, New York 12/09/1961 Seattle Art Museum Designing Storage Architectures: 9/20/12 4 Example: Data with Provenance Meleana e From the Library of Congress National Jukebox From the page: Musical Group: Irene West Royal Hawaiians Label Name/Number: Victo 17864 Matrix Number/Take Number: B‐15530/2 Recording Date: 12/19/1914 Location: Camden, NJ Size: 10” From http://www.loc.gov/jukebox/about/making‐the‐jukebox: “A slip that provides the elements of the filename of the digital copy is inserted in the sleeve of each selected disc: institution/collection code, label name, label number, disc copy, matrix number, and take number are all noted on the slip.