Tag Archive for collections management

Registrar’s Shoes – More Thoughts on Professional Footwear

Working as a registrar might require unexpected skills: Like being all dressed up for the big opening and still be able to deliver a cart of desperately needed tools to the mount-maker.

Working as a registrar might require unexpected skills: Like being all dressed up for the big opening and still be able to deliver a cart of desperately needed tools to the mount-maker.
Thanks to Lisa Kay Adam for the picture.

Three things happened in the last four weeks:

1. I changed offices and decided t get rid of my very first safety boots.
2. My current summer safety boots died the usual unpleasant death that awaits all my safety boots.
3. I re-read the piece about shoes at conferences by Janice Klein.

It inspired me to write a piece about a registrar’s working shoes. It’s the same problem like with shoes for conferences, only worse. As a registrar in a small museum you need to be one moment on the top of the ladder, exchanging the light bulb, at the next moment guiding a group of students and yet the next moment shake hands with the president of your university.

As a registrar in a larger museum, you are not really better off: You have to walk miles in the gallery spaces, again climb ladders and if you enter visitor’s spaces you should look halfway presentable.

Each task requires different clothing and it is likely that you have several working outfits in your locker. Along with them there is an army of different working shoes, from rubber boots for the annual springtime water leak in the cellar to high-heels that fit your evening dress for events. A male registrar’s arsenal might be slightly smaller, but I don’t know a single registrar who can work with just one pair of shoes.

There are some advantages of being a collections manager at a science and technology museum.

There are some advantages of being a collections manager at a science and technology museum.

As a collection manager in a science & technology museum with the history of working conditions in its mission, I’m slightly better off. I decided a long time ago that I’m a living representation of working conditions and therefore usually wear working attire no matter what (with a few exceptions, like opening ceremonies and lectures). However, this comes with a downside:

Because I wear my safety boots almost every time at work they tend to die an unpleasant death within a timespan of about a year to a year and a half. This is a problem because a the same time it’s incredibly hard to find safety boots in size 37 (U.S. size 6 1/2). My very first safety boots – the ones I ditched and which are still under consideration to be accessioned for our collection of working clothes – were 36 (5 1/2) because I couldn’t find safety boots my size on the market. The first two years of my career I worked in boots that were too small. In fact, according to a friend, they were the “cutest little safety boots I ever saw”. So, everytime a pair of boots start to show signs of weakness, I search frantically for new ones my size. An exhausting race against time.

Fortunately, this time I’m spared: my niece has exactly the same shoe size and gave me the safety boots she got for her summer job. As she graduated to become an elementary school teacher last year, she doesn’t need them anymore.

Always keep your feet on the ground!
Angela

And for your amusement: A gallery of shoes that were killed in action:

light summer safety shoe

Light summer safety shoe, bought 2015. The seam that tied the leather to the sole snapped and the leather ripped. Probably due to the stress imposed on this part of the shoe by standing on my toes frequently. To make matters worse, I often need the fine feeling of my toes to give the forklift truck the exactly right dose of gas when handling a delicate load. A former more sturdy all-year safety boot, I think it was the 2007/2008 one, died exactly the same way.

sole of a safety boot

The most common way my safety boots die is however that the sole becomes so thin that they start to leak. You usually realize this when you are standing in a puddle of water. If it’s a dry season, you realize it when you suddenly feel every stone you walk over like you walk barefoot.

hiking boot without sole

This is the shoe that died the most spectacular way. These were pretty good light hiking shoes I loved to wear when there were no heavy duty jobs that require safety boots, only light work that requires a lot of walking. In the middle of an exhibit installation in 2011 parts of the sole literally fell off.

Got boots that died a similar – or more spectacular -way? Share your photos and send them along with their story to story@museumsprojekte.de!

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Mercury – A Tale of the Importance of Good Documentation

It’s a strange thing. The topic of hazardous materials in collections pops up every once in a while but as human beings we tend to forget about it because we consider that – of course – we know these hazards are there, but, then again, we are rather sure we know our own collection well and that if we act according to our safety precautions we are safe.
When mercury was found in the air in one of our storage areas during a pollutant analysis, I was shocked and surprised. Of course I knew we had mercury in our collection. We own a considerable number of thermometers and mercury switches. But until this day I considered our handling instructions and other precautions safe enough. This mercury was all contained, right? Yes, it was. But we never had thought of other sources, open sources that were hidden in our collection.

Discovering open sources of mercury & lessons learned

Automatic organ containing open mercury source (sorry for the poor quality of the pcture).

Automatic organ containing open mercury source (sorry for the poor quality of the pcture).

As we started to research our objects through the lens of “mercury” we discovered that, in fact, there were a couple of objects we never thought of. It turned out that there was an automatic organ which operated with contacts that dipped into mercury in some ceramic containers. In our medical history collection we had devices for counting thrombocytes in blood samples that operated with open mercury. However small, given that mercury evaporates at room temperature, even small outlets are an issue! There were barometers and even chronometers with open mercury sources. It was quite an effort to find out which sources we had. Even more to either remove or contain the mercury and seal and label the contaminated objects properly.
We learned quite a few lessons along the way:

  • Never assume you know everything about your collection
  • Never assume your policies and procedures cover every aspect
  • Never assume that you are safe, keep an eye on recent research

But maybe the most important lesson was about the importance of good documentation. And we learned it the hard way.

All expert knowledge at hand, but still…

Looking back, if someone had thoroughly researched the working principles of said objects, he or she would have discovered that they needed mercury to work. We don’t know if someone knew this when the objects were acquired. At least whoever did it, didn’t mention that they contained mercury in the documentation and the catalog entry.

Mercury switch inside of the automatic organ

Mercury switch inside of the automatic organ

It’s the disconnected working processes that are the real health hazard here! When we look at the classical museum setting there are different people with different knowledge involved in the documentation process. People whose skillsets are perfect matches but all their knowledge is useless if it isn’t interlinked in the workflow:
The curator might know best that mercury was necessary to make an object work, but might not be aware that mercury is a problem. The conservator has, due to his or her education, deep knowledge about dangerous substances but not about the object and might not see the object before it is stored if it is in good condition. Even if he or she checks its condition before it goes off to storage, the mercury might be hidden inside, so the conservator isn’t aware of the danger. The collections manager has some knowledge about dangerous substances but not about the object and might not be able to spot the danger if it isn’t widely known to his/her profession (like arsenic in taxidermied specimen is). The database manager has the knowledge about how to make dangerous substances retrievable in the database and maybe even know how to label them properly, but again, as he or she doesn’t have knowledge about the object, he or she doesn’t know there’s a problem.
Although all the experts work for the same institution, if they don’t assess the object together and bring their knowledge together, they are likely to overlook a danger and impose a health risk on colleagues, future researchers and visitors.

The importance of knowledge in cataloging

It is also obvious how dangerous it is when whoever is doing the catalog entry doesn’t have indeep knowledge about the objects. There is a tendency in museums to think that cataloging is a task that can be done by “whoever”. Knowledge isn’t important, every intern can key in a short description and some measurements, right? Of course we all know that’s nonsense, but arguing against it is tough. It’s hard to communicate what damage it does if dates, measurements and categorizations aren’t correct. With hazardous materials the danger should be obvious: someone doing the catalog entry who hasn’t enough knowledge to understand the working principles is likely to overlook the danger and therefore imposes a life threat to his or her colleagues and visitors.
If the curator can’t do the catalog entry him-/herself for a good reason (And: no, being too lazy/old/busy to learn how to do it isn’t a good reason, at least in my book!) he or she has to share his/her knowledge about the object with whoever does the catalog entry.

How to do it better

Objects containing mercury labeled according to international standards.

Objects containing mercury labeled according to international standards.

There are a few things that can be done to avoid unpleasant surprises:

  1. When an object is acquired, consult with everyone involved in the process. All the expert knowledge at one table will help to discover as many potential hazards as possible.
  2. If you are a one woman/man museum, make sure to reach out to experts in your area, your regional museum association or international experts via listservs and online groups to learn about the possible dangers your new acquisition contains.
  3. If the hazard is new, define safety precautions in handling and storage. If the hazard is long known, make sure your handling and storage precautions are still up to date with current research.
  4. In the database: make sure the hazardous material is named. In an ideal setting you do have a thesaurus of dangerous substances to pick from which are linked to safety precautions and correct labeling.
  5. In the database: make sure an object that contains dangerous substances is clearly distinguishable from other objects so everybody is aware that there might be special handling and storage precautions.
  6. In the storage: label dangerous substances according to international standards.
  7. In the storage: store hazardous materials according to the safety precautions. This might involve special containers or rooms with a ventilation system and handling instructions clearly visible on the container.

Live long and prosper!
Angela Kipp

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Just one of the small, hidden, big hazards

Last week our electrical devices were checked.

One of the power cables taken out of service due to the check...

One of the power cables taken out of service due to the check…

This happens regularily as safety regulations in Germany require that all equipment is safe to work with.

...it soldered itself to a three way adapter, the connection was nearly inseparable.

…it soldered itself to a three way adapter, the connection was nearly inseparable.


That’s a good thing, because you certainly don’t want to be electrocuted by a defect device, nor do you want your storage burning down because of a malfunctioning power supply. So, if this isn’t a requirement in your country, it’s maybe a good idea to let them check, anyway…

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Mostly Underwhelming – A Registrar’s Month

I didn’t come to post on this blog for a whole month, mainly because I was teaching a course on Managing Previously Unmanaged Collections for Museum Study which was simply eating up all the spare time I am willing to give to museum topics while not on clock. So, I was looking back at the work I did last month.
At first, I found it disappointing. I didn’t save the world. I didn’t save the big opening. I didn’t negotiate that one important contract. Heck, I didn’t even have that one genius idea that freed up more space than expected.
Instead, it was business as usual. But then I thought, maybe that’s well worth a post. Because it is the business as usual that, in a way, is the stepping stone for others to do magnificent things. So, here we go:

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Radios and other home entertainment equipment selected for the move.


We are uniting our newly aquired collection of radio and broadcasting equipment with the collection we already have. This means we select what will go to a new storage space and what stays where it is.

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Packing cases folded, labeled and ready for packing.


The selection is packed, correctly labeled and the objects and boxes are tracked in the database. Note: the “real work” is done by two young emerging museum professionals. I’m just the database and logistics consultant, box provider and forklift truck driver.

Boxes packed, ready for transport.

Boxes packed, ready for transport.

I’m often smiled upon or even challenged because I insist on documenting every move of an object, even if it’s “just” from one offsite storage to another or the museum. But just this month it happened that I accidentally found an object which was missing for quite a while and suspected to be stolen. It didn’t leave its box ever. If the location of this box was correctly documented, no one would have wasted his/her precious time searching it. Seems no one ever has the 30 seconds for changing a location, but always the hours for searching.

Radios still to be processed.

Radios still to be processed.

It seems useless to bring all the radios together in one place. In the end, what is a database there for? But having them together has a lot of advantages: similar object groups have similar storage needs and are endangered by the same kind of pests. Some radios are duplicates, bringing them together at one place will help us to decide if we really need a second or third one or if we just keep the best. Finally, it’s much easier to prepare loans and exhibitions on this topic if we don’t have to go to different locations for it.

Several small bike related labels and pins.

Several small bike related labels and pins.


Our bicycle exhibition is open and doing fine, but there remained a lot of artifacts which were in the first selection but didn’t make it in the final selection. When putting them back to their original location I check the database entries and fill in what is missing. Measures, descriptions, conditions… some I sent off to our photographer to have their mugshots taken, so to speak. When preparing an exhibition there is never enough time to do this. You can only do it for the things that really go on display. By doing it now, future curators will have better data and more time for other duties.
Assmann psychrometer on a tripod.

Assmann psychrometer on a tripod.


I checked the calibration of our dataloggers with an Assmann psychrometer.
20170214_120213
I also checked the reliability of our sensors against two different salt solutions. That way we know our climate data is reliable for the moment. We will check them again every 6 months.

Roll of polyethylene tube for packing maps.

Roll of polyethylene tube for packing maps.


Together with the responsible curator I packed about 200 rolled maps. They always gave me headaches because I found no good way to store them. Then the curator took over a large collection of maps along with a wall rack designed to hang them. Because there are more hanging spaces than maps we can now store all our maps hanging.
A pallet of bagged maps.

A pallet of bagged maps.


This means that we have to bag them all and apply a hanging system for those who have no hook.
Because we will hang them high above the ground this will create free space where they were stored previously, which is great. But I can’t claim this success, as it was the idea of the curator.
Empty shelves, ready to be filled again.

Empty shelves, ready to be filled again.


So, this month passed by. Of course there were many more things to do, each underwhelming in itself, but important in the big picture.
So, as you are all struggeling with your daily underwhelming tasks, never forget that you might not save the world, but doing major improvements in the way you eat an elephant: one piece at a time.

Keep up the good work!

Angela

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Holy Crap – Something’s in There!

Objects Containing Ingredients in Collections

Recently I stumbled upon this article on Piero Manzoni’s work “Artist’s Shit”: https://www.sartle.com/artwork/artists-shit-no-014-piero-manzoni

It reminded me of a problem that hits every collections manager at least once in his or her career. The object that contains something. Not always the content is as debatable as canned crap, but from arsenic to zwieback there is an endless list of ingredients that can give you headaches for various reason. Now, what does the responsible collections manager do in those cases? It sure doesn’t come as a surprise that he or she is asking a variety of questions before he or she decides what to do.

Does it fit into the collection?

The can reads “no shit” in German, thus avoiding copyright infringement. “Kein Scheiß” in Germany means both  “no shit” and “I am not kidding you”.

The can reads “no shit” in German, thus avoiding copyright infringement. “Kein Scheiß” in Germany means both “no shit” and “I am not kidding you”.

This is – or should be – of course the first question with every object that is presented to a collecting institution like a museum. The question here is whether the object supports the mission and fits into the collections policy. But isn’t this the same thing? As far as we all know a collections policy should always elaborate on an institution’s mission statement. Yes, but a collections policy might limit what you collect anyway.

Your mission might say that you are collecting Italian art from 1960 to 1970, so Piero Manzoni’s work might well fit in there. But your collections policy might limit this down to paintings and works on paper for the reason that your storage is only suitable for these materials and you don’t have the capacity to store sculptures or other three dimensional objects. In this case, a can of artist’s you-know-what is luckily none of your business.

 
 

What’s important? The container, its ingredient or both?

If you come so far that the object fits into your collection, the next question is if this holds true for all of it.

If you are a museum for industrial design chances are you want to preserve the container. If the can held meat extract instead of this artist’s… product… you would probably have no problem with carefully opening and emptying the can in the least invasive form possible to preserve the original design of the container.

If you are a museum whose mission is to educate people about feces (nope, I so totally didn’t make this up: https://www.poomuseum.org/ ) and therefore you preserve that stuff, you might likely be more interested in preserving the ingredient than the container. In real collections life, this often means that you have to remove the content from the original container to store it in a more appropriate container for long-term preservation. Now, I haven’t done any research on this concerning human feces, but my gut feeling tells me that a tin can is probably not the best container for their long-term storage.

Then, there are the cases where both, ingredient and container are worth preserving. I think we are safe to say that this is the case with “Artist’s Shit”. The age long questioning if Piero Manzoni really did it, if the can really contains what is said on its label is a strong evidence. A container just saying “Artist’s Shit” but obviously being empty would be somehow pointless. So would be preserving Mr. Manzoni’s feces, I guess. Although I’m not completely sure about this. Some future art historian might be interested in having it analyzed in a lab to find out about the artist’s lifestyle habits. After further consideration: it MIGHT be worth preserving it, as long as it fits into your collections policy and you solved the issue of long-term preservation.

But in this case, both, content and container form the artwork, so we certainly want to preserve both. And for that matter, we can’t separate the container from its ingredient, even if feces might demand other storage conditions than tin cans. We would alter the original condition of the artwork, which we strive to avoid as museum professionals. As a side note: countless collections managers have missed the chance to become artists themselves by leaving Manzoni’s work untouched – someone did open a can and it is now an artwork itself: http://beachpackagingdesign.com/boxvox/opening-can-boite-ou%C2%ADver%C2%ADte-de-pie%C2%ADro-man%C2%ADzo%C2%ADni

Is it hazardous?

It’s one of the key questions for every collections manager. The question goes different ways: is it harmful for itself and the other collections items and is it harmful for those working with the collection? On a sad note, I never, ever encountered a collections manager who is asking these questions in a different sequence, although, really, we should!

The question if it is harmful for itself is one that also plays a role when deciding on whether or not separating the ingredient from the container. Some things can destroy themselves if locked in an air-tight container. I’m sure every museum with a collection of celluloid items has a story about it. Concerning feces I would consider this risk rather low. However, I’m not an expert.

Whether or not the object is a threat to the rest of the collection is a key question before accepting an object. As there is quite a bandwidth of dangers that range from highly dangerous to mostly harmless under most conditions this kind of risk analysis can keep a collections manager up all night.

In the case of Manzoni’s artwork… well, there is a certain possibility that the feces inside (if they are inside) start fermenting, especially if it is too hot in the storage. There is a certain likeliness of the artwork becoming a fragmentation bomb under these circumstances. This could be avoided when stored properly.

The hazard for people handling it goes into the same direction. However, the risk is not so high that it would justify denying the acquisition (like it would probably be if someone offers the museum some live chemical agent). There should be a written procedure for the handling, for example containing that staff should check the can regularly for swelling. It should also be noted that there is a potential biohazard as we don’t know if there are real feces inside and we can’t be completely sure that Manzoni was in the best of health when he… safety first, right?

Summing up

After the collection manager knows

  • if the object fits into the collection,
  • if the content and its container are worth preserving,
  • if they can be separated of have to stay together unaltered, and
  • if they are hazardous and what these hazards are,

the collections manager will

  • advise on whether or not to acquire the object,
  • store the container and its ingredients in the most appropriate way,
  • label hazardous objects if necessary, and
  • write handling procedures for future colleagues.

I desperately tried to find a closing sentence for this article that is not a bad pun or for other reasons inappropriate. I failed. So I just write: Stay safe!

Angela

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How Should Museums Equip Themselves For Rapid Response Collecting?

by Kathleen Lawther

by Liz Lemon via flickr (CC0)Following the Women’s March on Washington and the marches which took place around the world in solidarity on Saturday 21st January, I began to see posts popping up on Twitter and from the Museums Association in the UK highlighting the fact that museums wanted to collect protest signs, pink pussy hats and other artefacts relating to the marches. It’s great that museums want to document this moment and this movement, but I wonder if by the time museums have put out the message that they were collecting, it is already too late? Do people commonly bring their signs home with them? I didn’t personally attend a women’s march on the 21st but I have been to demonstrations before and I certainly didn’t lug any cumbersome signs home with me at the end of the day. They are not objects which are meant to last longer than a day or serve a purpose other than getting a specific message across at the specific time. This does not mean museums should not be collecting them, museums have always collected and preserved things which their makers never intended to last. But it does make the business of physically collecting them that much harder.

By Mobilus In Mobili via flickr (CC BY-SA 2.0)One of my concerns about museums putting a call out for signs after the fact is that the available signs are limited not only by the amount of people who will have bothered to take their signs home with them after the march, but by the amount of these people who will see these call outs and volunteer to donate their signs. This reduces the amount of available material to a tiny proportion of the millions of signs created for the day. It is therefore unlikely that museums will be able to pick and choose acquisitions which reflect the diversity of signs on the marches, from funny, light-hearted but pointed attacks on the new administration to signs highlighting the importance of intersectionality and making links to other movements such as black lives matter and LGBTQ (lesbian, gay, bisexual, transgender and queer) rights. You cannot encapsulate the breadth of these events in a pink pussy hat. Again, collecting specific items which stand for themes and events and using them to reflect on those themes is part of the everyday work in museums, but doing so at speed makes the process much harder. Social media also means that the people all over the world have already seen and shared images of the most thought-provoking, powerful and funny signs from the day, so if a museum is only able to collect a couple of items that don’t measure up to what has already been shared from the marches, people will know that what has been collected is not a true reflection of the protest.

by Liz Lemon via flickr CC0What is the solution to this? To be able to collect the best and most relevant objects from a protest, museum staff would need to be there at the event, either physically taking in objects on the spot, or at least handing out flyers with contact details and information about how to donate. Both of these approaches have their practical problems. To take in items there and then, museum staff would need to have entry forms on them, take the time to explain the donation procedure to protesters, and get them to sign the forms, all of which is taking up time in the day of someone who is there to take action, not record that action for posterity. By just handing out information, you place the burden on donors to take their sign home, keep it safe, and then bring it to the museum on a later date. A further option could be an alternative entry form designed for rapid response collecting, something quicker and easier to administer on the spot, which would allow museums to take in items with the minimum of fuss for donors and collectors, while upholding good documentation practice.

by  AnubisAbyss via flickr  (CC BY-NC-ND 2.0) That is just the practical side of things. First a museum has to make a decision that an upcoming event will be significant enough to warrant on the spot collecting. It’s easy to say in hindsight that the Women’s March was significant and that items from the march should be preserved. But in the current climate protests are happening all the time, in quick reaction to new events. On 28th January people flooded the terminals of several US airports in protest at the executive order banning refugees, the following day spontaneous protests also happened in US cities. How can a museum as an institution react quick enough to be on the ground collecting at protests that erupt in multiple locations on a Saturday night? An individual member of staff could, perhaps, but would they be able to represent their museum in these circumstances without approval from their institution?

by Liz Lemon via flickr CC0The other question this raises for me is whether it is ethical for a museum, or the representative of a museum, to attend a protest just to collect donations? A relevant parallel might be that of journalists and photographers, who attend protests as observers and recorders. In reacting to current events museums may have to act more like journalists, covering events with a detached eye. But museum staff and established museum practices for collecting are not prepared for this type of fieldwork. The protesters being asked to donate may be sceptical of museum workers being there in this context, especially if they believe the museum to be at odds with their cause, or taking a neutral and unhelpful stance on whatever they are protesting. There is something uncomfortable for me in the idea of a museum taking up space, and taking up people’s energy and time at a protest if the museum is ultimately only there to serve its own interests. Perhaps this will change in time if museums do take up a more active social role, as opposed to their more traditional role of collecting and recording.

by Liz Lemon via flickr CC0The answers to at least some of these questions come down to individual museums having a clear mission and a collecting policy which supports it, as well as robust collections management and documentation processes which can meet the needs of rapid response collecting. Museums have traditionally been reactive and they need to find ways to be more proactive. This might mean the staff who are usually responsible for approving new acquisitions taking the time to look ahead to upcoming local events which have the potential to produce interesting ephemera or other objects worth collecting, and assigning someone to go out and actively seek donations. It definitely means museums putting targeted policies and processes, like an on the spot temporary entry form, in place now if they want to be equipped to act quickly to what is happening around them. Like so many things it comes down to good collections management: museums really knowing their collections, and knowing what they want their collections to achieve.

Kathleen Lawther is keeper of local history & archives at Hastings Museum & Art Gallery in South East England, and a freelance museum consultant with an interest in collections management, learning and engagement and the places where they intersect. She has worked in a range of organisations in the U.K. from small local authority museums to a national museum. She writes a personal blog about current issues in museums as acidfreeblog.com

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New Unknown Pest Detected – Have Your IPM in Place!

Last week there were several sightings of a new pest. Colleagues especially from the U.S. and Germany reported having spotted unknown species in their galleries and storage areas. Even the administrator of this page was not spared, see the picture.

The odd thing is that this new pest seems to be only detectable by using smartphones or tablets. They seem to pass sticky traps unhindered. So far, museumpests.net has not listed them.

Pokemon in the admin's storage area

Pokemon in the admin’s storage area1

As the senior and mid-career museum colleagues were clueless, some younger colleagues stepped up and offered help. They were able to catch some specimen and pointed to resources like this one to find out what was caught. It seems that they all belong to a family called “Pokémon” with a whole range of different species. The one depicted here seems to be called a “Pidgey”.

So far there was no immediate damage to collections reported. However, as registrars and collections managers we stand on guard. Some interns and student assistants pointed out that these pests can be trained and become much stronger, which doesn’t sound good. But they also pointed out that the real problem might be the trainers who want to catch more “pokémon” and therefore tend to ignore their own safety and the safety of their surroundings.

Being aware that we still do not know the extend of this new infestation, nor if it causes damage to collections, we at Registrar Trek have collected some recommendations on an new IPM – Integrated Pokémon Management:

  • The trainers catching these “pokémon” might not be fully aware of their surroundings – remind them in an appropriate and polite way that they have to follow your house rules and respect the safekeeping measurements for your objects and fellow visitors.
  • If there are serious issues with a gathering place of those creatures (“pokestops”) or places where trainers meet for challenges (“gyms”), you can report them on this website: https://support.pokemongo.nianticlabs.com/hc/en-us/articles/221968408-Reporting-Pok%C3%A9Stop-or-Gym-Issues, i.e. you can ask for having them removed from the game.
  • As there are now a couple of people in the vicinity of your museum that might not be the typical visitors but maybe an audience you like to involve more – how about talking to them, learning what they are interested in and inviting them inside? How about a reduced entrance fee for pokémon trainers that are first time visitors? (unlike pokémon, you don’t have to catch them all, but attracting a few would be an idea…).

We keep watching this new phenomenon and might inform you on further ideas for Integrated Pokémon Management.

Angela

  1. Note that some of the boxes in the picture are positioned directly on the ground, which is NOT how you should store them. Unfortunately, the pokémon decided to pop up where we were preparing some objects for transportation, so you can see a collections management fail at the same time. Always level your boxes above ground, so they won’t be damaged by water or feet, folks!
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Registrar Trek goes Milano!

Dear Registrar Trekkers,

I’m all excited that I will present a short paper together with Rupert Shepherd from the National Gallery in London at the CIDOC Conference in Milano. It is called ”Spreading the word: Explaining what Museum Documentation is and why it’s important“. We are part of the ”Introduction to Documentation Standards“ session that is scheduled for the 4th of July, 4 to 6 p.m.

photo by hikersbay via pixabay

Duomo di Santa Maria Nascente (photo by hikersbay via pixabay)

At the moment we are finetuning our talk which will be about the importance of initiatives like the hashtag #MuseumDocumentation, this very blog and all other projects who aim to make documentation and collections management more visible for the public and decision makers.

As the CIDOC conference is part of the big ICOM conference it will also be a great opportunity to meet colleagues I haven’t seen in years as well as meeting people I know so far only from the internet. I’m especially excited that I will meet our Italian translator Marzia Loddo in person. 🙂

And of course, I will write a short report on how it’s been when I’m back. Don’t forget to follow the hashtag #CIDOC2016 if you want to know what is going on.

See you in Milano!
Angela

This post is also available in Italian translated by Silvia Telmon.

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A thing that can do things – Taking a look at the Arduino from the perspective of a collections specialist

An Arduino with a LAN shield - a thing that can do MANY things

An Arduino with a LAN shield – a thing that can do MANY things

Being the collections manager for a Science and Technology Museum has a whole range of downsides. For example, you never, ever get big industrial storage halls so tight that dust and pests aren’t an issue, people think you are crazy when you insist on various security systems and archival packaging for “old junk” and one of your duties is to explain that, no, you don’t sell spare parts for vintage cars or old radios. But sometimes it has its advantages, for example that you are much closer to all those techy, nerdy things that happen “out there” (Because, yes, there IS a world outside of the museum, I know people who have been there).
One day a colleague showed me a little blue thing that was blinking frantically.

“What’s that?” I asked.
“An Arduino”, he replied.
“What’s an Arduino?”
“It’s an amazing little thing! It’s a thing that can do things. It can do everything!”

Basically, when he showed it to me all it could do was blink a little red LED. But as I was digging deeper I discovered that there is a whole community of makers out there who do amazing projects with that little thing. You can really do everything, from reading sensor data to steering an electric motor and everything in between. When I saw that someone had realized a game of Tetris inside of a pumpkin (https://www.youtube.com/watch?v=8PCp5xk-9Qo) I was sold. I needed such a thing.

Actually, if you look sharp at the picture on the post for our second Registrar Trek Birthday 2015 you get the idea when I first made contact with this thing...

Actually, if you look sharp at the picture on the post for our second Registrar Trek Birthday 2015 you get the idea when I first made contact with this thing…

Granted, the moments when a registrar or collections manager is in urgent need of a tetris in a pumpkin are rather rare. But for a whole range of tasks it would be useful and – compared to a computer game in a pumpkin – not too hard to put into action.

How about an alarm when it’s much too bright in a gallery and someone should close those curtains? Or a data logger that writes temperature and humidity in your off-site storage to a SD card? If there is LAN or even WiFi available, it’s starting to get really interesting as you can monitor the climate via the internet and even get alerts on twitter or in your mail when someone turns on the light or a climate value exceeds a certain level.

The big advantage of the arduino is that you can do those projects yourself and at a reasonable price. It requires that you familiarize with the topic, but, compared to former times, you don’t have to be an expert in electronics to do it. The few necessary components are available via the internet and thanks to a large, world-wide community that is committed to the spirit of Open Source you find a solution or even complete code to nearly every problem which you can adapt to your own situation with a little thinking and a few changes.

The first thing that can do things that actually DOES things for the TECHNOSEUM: A data logger that records the climate in a certain area of our museum.

The first thing that can do things that actually DOES things for the TECHNOSEUM: A data logger that records the climate in a certain area of our museum.

Recently I have experimented a lot with this “thing that can do things”, so I plan to use this blog to present some of my projects that have to do with museum work every now and then for you to have a look and maybe try yourself. Our readers who are not so much into technology will hopefully forgive me. One or the other might even feel inspired to have a closer look into the world of microcontrollers…

For a start I suggest the starter kits who contain not only an arduino but a whole bunch of useful accessories like resistors, sensors and LEDs so you can experiment right there and then. There’s nothing more frustrating than missing one little component when you start learning and who has a fully equipped electronics workshop at home? Usually those kits come with some instructions for simple experiments (if they don’t, you can find plenty of them on youtube) that I highly recommend to conduct. Along with a general understanding of the topic you explore what can be done, may it be a tetris in a pumpkin or a data logger.

And there is one thing I can promise: when you manage that a little red LED is blinking exactly how you planned it for the first time, you get a feeling like you just discovered new territory…

This post is also available in Russian translated by Helena Tomashevskaya.

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