RATS in Context Annual Meeting 7
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IAEA-TECDOC-1803 IAEA-TECDOC-1803 IAEA TECDOC SERIES Trends of Synchrotron Radiation Applications in Cultural Heritage, Forensics and Materials Science Forensics Applications in Cultural Heritage, of Synchrotron Radiation Trends IAEA-TECDOC-1803 Trends of Synchrotron Radiation Applications in Cultural Heritage, Forensics and Materials Science @ TRENDS OF SYNCHROTRON RADIATION APPLICATIONS IN CULTURAL HERITAGE, FORENSICS AND MATERIALS SCIENCE The following States are Members of the International Atomic Energy Agency: AFGHANISTAN GEORGIA OMAN ALBANIA GERMANY PAKISTAN ALGERIA GHANA PALAU ANGOLA GREECE PANAMA ANTIGUA AND BARBUDA GUATEMALA PAPUA NEW GUINEA ARGENTINA GUYANA PARAGUAY ARMENIA HAITI PERU AUSTRALIA HOLY SEE PHILIPPINES AUSTRIA HONDURAS POLAND AZERBAIJAN HUNGARY PORTUGAL BAHAMAS ICELAND QATAR BAHRAIN INDIA REPUBLIC OF MOLDOVA BANGLADESH INDONESIA ROMANIA BARBADOS IRAN, ISLAMIC REPUBLIC OF RUSSIAN FEDERATION BELARUS IRAQ RWANDA BELGIUM IRELAND SAN MARINO BELIZE ISRAEL SAUDI ARABIA BENIN ITALY SENEGAL BOLIVIA, PLURINATIONAL JAMAICA SERBIA STATE OF JAPAN SEYCHELLES BOSNIA AND HERZEGOVINA JORDAN SIERRA LEONE BOTSWANA KAZAKHSTAN SINGAPORE BRAZIL KENYA SLOVAKIA BRUNEI DARUSSALAM KOREA, REPUBLIC OF SLOVENIA BULGARIA KUWAIT SOUTH AFRICA BURKINA FASO KYRGYZSTAN SPAIN BURUNDI LAO PEOPLE’S DEMOCRATIC SRI LANKA CAMBODIA REPUBLIC SUDAN CAMEROON LATVIA SWAZILAND CANADA LEBANON SWEDEN CENTRAL AFRICAN LESOTHO SWITZERLAND REPUBLIC LIBERIA SYRIAN ARAB REPUBLIC CHAD LIBYA TAJIKISTAN CHILE LIECHTENSTEIN THAILAND CHINA LITHUANIA THE FORMER YUGOSLAV -
Macro-Évaluation Et Respect Des Fonds. Réflexion Sur Leur Mise En Œuvre Au Sein Du Gouvernement Du Canada
Macro-évaluation et respect des fonds. Réflexion sur leur mise en œuvre au sein du gouvernement du Canada Robert Nahuet Keywords: Records Appraisal / Évaluation des documents Archival Selection of Government Archives / Sélection des archives gouvernementales Principle of Provenance / Principe de respect des fonds Introduction Le fonds d’archives est une notion fondamentale de l’archivistique qui englobe la production organique et consignée d’une personne ou d’une organisation jouissant d’une certaine autonomie. La production documentaire de cette personne physique ou morale est à l’image de ses activités; elle reflète sa mission et son mandat spécifiques. Le principe de respect des fonds vise, d’une part, à conserver groupés les documents produits par une personne physique ou morale et, d’autre part, quand cela est possible, selon leur ordre originel : ce qui correspond respectivement au premier et au second degré de ce principe. Tant la notion de fonds d’archives que le principe de son respect constituent des fondements de l’archivistique qui ont été établis il y a plus de 150 ans. De nos jours, dans le contexte de l’interaction et de l’interdépendance entre institutions, ces notions sont-elles encore valables et peuvent-elles être mises en œuvre dans le cadre des organisations contemporaines? Par ailleurs, une saine gestion des organisations impose de procéder à une évaluation et à une sélection des masses documentaires produites afin de juguler cette “marée blanche”, mais surtout de retrouver l’information pertinente ainsi que d’identifier et de conserver les archives historiques. À cet égard, nul ne saurait mettre en doute la nécessité de la sélection, mais surtout de l’évaluation qui permettra de séparer le bon grain de l’ivraie1. -
William B. Bailey and Company Fonds 1963.110
Kamloops Museum and Archives William B. Bailey and Company fonds 1963.110 Compiled by Jaimie Fedorak, May 2019 Kamloops Museum and Archives 2019 KAMLOOPS MUSEUM AND ARCHIVES 1963.110 William B. Bailey and Company fonds 1902-1924 Access: Open. Textual 0.09 meters Title: William B. Bailey and Company fonds Dates of Creation: 1902-1924 Physical Description: 9 cm of textual records Administrative History: William B. Bailey and Company was a storage and forwarding agency headquartered in Ashcroft, B.C., which served the Cariboo region. The company was operated by William B. Bailey, who was also business partners with Oliver Harvey in similar enterprises in Ashcroft and Enderby. Scope and Content: Fonds consists of two books of waybills, one Day Book, and one Journal for William B. Bailey and Company. Custodial History: Accession 1963.110 was donated to the Kamloops Museum and Archives on November 9, 1963 by E.J. Maloney, after being found in Ashcroft. 2 KAMLOOPS MUSEUM AND ARCHIVES 1963.110 William B. Bailey and Company fonds 1902-1924 Access: Open. Textual 0.09 meters Notes: Source of supplied title: Title based on contents of fonds. Arrangement: Order that fonds arrived in was maintained by the archivist. Access restrictions: No restrictions on access. The archivist reserves the right to restrict access to any fragile material for preservation purposes. Terms governing use and reproduction: No reproduction permitted without consent of copyright holder. It is the researcher's responsibility to obtain permission for the reproduction of materials for publication or dissemination. Finding aids: File list is available for this collection. -
Cultural Collections Digital Preservation Policy
Digital Preservation Policy Version: 1.0 Last Amendment: 22/11/2019 File name: CC_DigitalPreservationPolicy_Final Policy Owner/Sponsor: Debra Hiom Policy Contact: Debra Hiom Prepared By: Digital Archival Management Working Group Approved By: Digital Archival Management Project Board Date Approved: 07/02/2020 Next Review: 2022 Availability: Public University of Bristol’s Cultural Collections Digital Preservation Policy 1. Introduction 1.1 Cultural Collections at the University of Bristol collects and preserves archival materials to support the University and wider communities in accessing and unlocking the potential of these unique collections. Through preserving and providing access to digital collections it aligns with the University’s Strategic Plan, to ‘revamp our digital infrastructure to make it more resilient, scalable, flexible and secure’ meeting the University’s dual ambitions to become a truly civic university and ‘to provide a welcoming, well-maintained and inclusive campus that provides the infrastructure, both physical and digital, that our staff and students need to succeed individually and to flourish as a community’. 1.2 The Digital Preservation Policy covers the Cultural Collections of the University of Bristol, namely the collaboration between the University of Bristol Library Special Collections, and the Theatre Collection. These organisations are planning to co-locate to a Cultural Collections Centre in a New University Library, and a Cultural Collections Transition Board will be set up for this purpose. 1.3 The University recognises that both archive services are increasingly being asked to care for collections which have been digitised or created in digital form which carry a high risk of becoming obsolete, lost, corrupt or unreadable, if not managed and preserved. -
Pragmatic Audiovisual Preservation
http://doi.org/10.7207/twr20-10 Pragmatic Audiovisual Preservation Ashley Blewer DPC Technology Watch Report October 2020 © Digital Preservation Coalition 2020 and Ashley Blewer 2020 ISSN: 2048-7916 DOI: http://doi.org/10.7207/twr20-10 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, without prior permission in writing from the publisher. The moral rights of the author have been asserted. First published in Great Britain in 2020 by the Digital Preservation Coalition. Pragmatic Audiovisual Preservation Foreword The Digital Preservation Coalition (DPC) is an advocate and catalyst for digital preservation, ensuring our members can deliver resilient long-term access to digital content and services. It is a not-for- profit membership organization whose primary objective is to raise awareness of the importance of the preservation of digital material and the attendant strategic, cultural and technological issues. It supports its members through knowledge exchange, capacity building, assurance, advocacy and partnership. The DPC’s vision is to make our digital memory accessible tomorrow. The DPC Technology Watch Reports identify, delineate, monitor and address topics that have a major bearing on ensuring our collected digital memory will be for the future. They provide an advanced introduction in order to support those charged with ensuring a robust digital memory, and they are of general interest to a wide and international audience with interests in computing, information management, collections management and technology. The reports are commissioned after consultation among DPC members about shared priorities and challenges; they are commissioned from experts; and they are thoroughly scrutinized by peers before being released. -
CONSERVATION PERSPECTIVES the Gci Newsletter
CONSERVATION PERSPECTIVES THE GCI NEWSLETTER SPRING 2020 CONSERVATION SCIENCE A Note from As this issue of Conservation Perspectives was being prepared, the world confronted the spread of coronavirus COVID-19, threatening the health and well-being of people across the globe. In mid-March, offices at the Getty the Director closed, as did businesses and institutions throughout California a few days later. Getty Conservation Institute staff began working from home, continuing—to the degree possible—to connect and engage with our conservation colleagues, without whose efforts we could not accomplish our own work. As we endeavor to carry on, all of us at the GCI hope that you, your family, and your friends, are healthy and well. What is abundantly clear as humanity navigates its way through this extraordinary and universal challenge is our critical reliance on science to guide us. Science seeks to provide the evidence upon which we can, collectively, make decisions on how best to protect ourselves. Science is essential. This, of course, is true in efforts to conserve and protect cultural heritage. For us at the GCI, the integration of art and science is embedded in our institutional DNA. From our earliest days, scientific research in the service of conservation has been a substantial component of our work, which has included improving under- standing of how heritage was created and how it has altered over time, as well as developing effective conservation strategies to preserve it for the future. For over three decades, GCI scientists have sought to harness advances in science and technology Photo: Anna Flavin, GCI Anna Flavin, Photo: to further our ability to preserve cultural heritage. -
Digital Preservation, Fall 2018 University of Maryland College of Information Studies, LBSC 784
LBSC 784 Digital Preservation Fall 2018 1 Digital Preservation, Fall 2018 University of Maryland College of Information Studies, LBSC 784 Instructor: Trevor Owens ([email protected]) Office Hours: I am available after class, or by appointment (in-person or online) Location: Susquehanna Hall Rm. 1101 (SQH 1101) Time: Thursdays, 6:00–8:45 p.m. Website: http://dighist.org License: This work is licensed CC-BY Course Description This course focuses on issues and practices regarding digitization of analog materials and preservation of digital materials, both digitized and born digital. Course Goals This course will acquaint students with best practices in digital preservation. Students will explore current questions and issues that archivists and digital curators are currently confronting, and provide students with an opportunity to embark upon digital preservation planning and policy development with relevant organizations. Learning Outcomes After completing the course, students should be able to: ● Identify and assess standards for digital preservation ● Assess and understand digital preservation policies and organizational structures to determine readiness for digital preservation projects ● Evaluate digital preservation strategies, methods, and tools and decide what may be appropriate for particular content types and user communities ● Locate resources for keeping up with rapid developments, standards, and tools for digital preservation ● Communicate with a variety of stakeholders about technical, social and policy issues related to digital preservation Materials The textbook for this course is The Theory and Craft of Digital Preservation. You can access a PDF copy of the text through ELMS. Beyond this, there are a range of course readings. Most readings are openly available on the web. -
SYNCHROTRON RADIATION in ART, ARCHAEOLOGY and CULTURAL HERITAGE SCIENCE Dipartimento Di Fisica E Di Scienze Della Terra Univers
SYNCHROTRON RADIATION IN ART, ARCHAEOLOGY AND CULTURAL HERITAGE SCIENCE Dipartimento di Fisica e di Scienze della Terra Università di Messina Viale Ferdinando Stagno d’Alcontres 98166 Messina S. Agata, Italy Abstract The scientific investigations aimed to the study, characterization and conservation of archaeological and artistic finds are in general based on a strong interdisciplinary approach, which implies the collaboration among scientists and archaeologists expert in many different fields. The knowledge transfer between different research groups is in particular required by the considerable amount of different conventional and advanced techniques which can be applied to ancient materials. This requires that researchers have specific technical and scientific background. One of the main requirement imposed by the archaeologists in the studies of ancient and precious materials is that the selected techniques must be non-destructive (or at most micro-destructive). In this scenario, synchrotron radiation-based methods can play a central role, being specifically suitable for micro-non-destructive analyses. The objective of this lesson is to show how synchrotron radiation-based experiments, employing highly brilliant and collimated micro-beams of X-rays can be exploited in diffractometric, spectroscopic and imaging investigations of archaeological and artistic objects, obtaining results with unprecedented space and energy resolution. Introduction The application of synchrotron radiation (SR) in archaeological and cultural heritage (CH) science is relatively recent, dating to the end of ’80s, and it became wide spread only in the last years, thanks to a more continuous dialog between archaeologists and experts of the physical and chemical techniques based on the use of SR and neutrons. This welcome development is mainly due to the fact that, for many reasons, SR is a very suitable and powerful tool in the investigations of very rare and fragile objects, on which no damages must be induced and only non-destructive analyses are allowed. -
Virtual Restoration and Virtual Reconstruction in Cultural Heritage: Terminology, Methodologies, Visual Representation Techniques and Cognitive Models
information Article Virtual Restoration and Virtual Reconstruction in Cultural Heritage: Terminology, Methodologies, Visual Representation Techniques and Cognitive Models Eva Pietroni * and Daniele Ferdani CNR, Institute of Heritage Science, Research Area Rome 1, Via Salaria Km 29,300, Monterotondo St., 00015 Rome, Italy; [email protected] * Correspondence: [email protected]; Tel.: +39-06-9067-2721 Abstract: Today, the practice of making digital replicas of artworks and restoring and recontex- tualizing them within artificial simulations is widespread in the virtual heritage domain. Virtual reconstructions have achieved results of great realistic and aesthetic impact. Alongside the practice, a growing methodological awareness has developed of the extent to which, and how, it is permissible to virtually operate in the field of restoration, avoid a false sense of reality, and preserve the reliability of the original content. However, there is not yet a full sharing of meanings in virtual restoration and reconstruction domains. Therefore, this article aims to clarify and define concepts, functions, fields of application, and methodologies. The goal of virtual heritage is not only producing digital replicas. In the absence of materiality, what emerges as a fundamental value are the interaction processes, the semantic values that can be attributed to the model itself. The cognitive process originates from this interaction. The theoretical discussion is supported by exemplar case studies carried out by the authors over almost twenty years. Finally, the concepts of uniqueness and authenticity need Citation: Pietroni, E.; Ferdani, D. Virtual Restoration and Virtual to be again pondered in light of the digital era. Indeed, real and virtual should be considered as a Reconstruction in Cultural Heritage: continuum, as they exchange information favoring new processes of interaction and critical thinking. -
Respect Des Fonds D'archives: Theory and Application Danielle K.L
Western University From the SelectedWorks of Danielle K.L. Lee-Muma March 8, 2012 Respect des fonds d'archives: Theory and Application Danielle K.L. Lee-Muma, University of Western Ontario Available at: https://works.bepress.com/daniellemuma/2/ Lee-Muma 1 Danielle Lee-Muma 8 March 2012. Respect des fonds d’archive: Theory and Application In order to examine the principle of respect des fonds d’archive (henceforth referred to as respect des fonds) and its application, this paper will examine the principle, its history and reason for becoming a dominant principle, and what its aspects mean: interpreting original order as an internal arrangement, and discussing external arrangement in the principle of provenance. Case studies (both real world examples and hypothetical examples based on real fonds and archives) will be used to discuss how the twin principles of respect des fonds, original order and provenance can be put into practice. The case studies will also be used to discuss what problems can arise in the application of respect des fonds. The French Ministry of the Interior passed the decree of respect des fonds in 1841, and created a commission of administrative historians to oversee their departmental archivists (Bartlett 110). The men of the commission explained their reasoning for the implementation of respect des fonds as “le classement par fonds n'empêche pas d'obtenir tous les résultats qu'on espère d'un ordre plus élevé” (Bartlett 111). This sentiment translates roughly as “the classification by fonds does not impede the results hoped for in a higher order,” meaning that the application of respect des fonds would make it possible to preserve evidence, even in the face of novice archivists. -
Action Plan for Digital Preservation
Appendix 3: Action Plan for Digital Preservation Contents Introduction ............................................................................................................................................. 4 Abbreviations .......................................................................................................................................... 6 Section A – Executive Summary ......................................................................................................... 9 Section B - Digital overview................................................................................................................11 B.1 The Museum’s digital holdings and assets ......................................................................11 B.2 Museum’s current status re preservation and vulnerabilities ........................................19 Section C – Strategic background .....................................................................................................13 C.1 Rationale ...................................................................................................................................13 C.2. National and international polices ........................................................................................15 Section D – Digital preservation plan ................................................................................................17 D.1 Introduction to the plan ........................................................................................................17 -
Analysis of Diagnostic Images of Artworks and Feature Extraction: Design of a Methodology
Journal of Imaging Article Analysis of Diagnostic Images of Artworks and Feature Extraction: Design of a Methodology Annamaria Amura 1,*, Alessandro Aldini 1 , Stefano Pagnotta 2 , Emanuele Salerno 3 , Anna Tonazzini 3 and Paolo Triolo 4 1 Department of Pure and Applied Sciences, University of Urbino Carlo Bo, 61029 Urbino, Italy; [email protected] 2 Department of Earth Sciences, University of Pisa, 56126 Pisa, Italy; [email protected] 3 National Research Council of Italy, Institute of Information Science and Technologies, 56124 Pisa, Italy; [email protected] (E.S.); [email protected] (A.T.) 4 Department of Earth Sciences of the Environment and Life, Methodologies for Conservation and Restoration of Cultural Heritage, University of Genoa, 16126 Genova, Italy; [email protected] * Correspondence: [email protected] Abstract: Digital images represent the primary tool for diagnostics and documentation of the state of preservation of artifacts. Today the interpretive filters that allow one to characterize information and communicate it are extremely subjective. Our research goal is to study a quantitative analysis method- ology to facilitate and semi-automate the recognition and polygonization of areas corresponding to the characteristics searched. To this end, several algorithms have been tested that allow for separating the characteristics and creating binary masks to be statistically analyzed and polygonized. Since our methodology aims to offer a conservator-restorer model to obtain useful graphic documentation in a short time that is usable for design and statistical purposes, this process has been implemented in a Citation: Amura, A.; Aldini, A.; single Geographic Information Systems (GIS) application.