Museum professional, lover of all collections work, former collections manager of the TECHNOSEUM in Mannheim, Germany. Now Professional Services Specialist for Gallery Systems. Independent museum professional.
Cat wrangler and #SciFi enthusiast.
Views are my own. Of course, they are. I can't make anybody responsible for the garbage my brain produces!
Aberdeen South Breakwater Head Lighthouse (built 1815), picture by Jamie McLennan via Pixabay
Just a short update: Work on the next edition of “Managing Previously Unmanaged Collections” has begun. I start with doing a complete read-through, marking passages that are outdated, clumsily worded (I often used “he or she” which will now become “they”, for example), or could use a bit more clarification. If you have found something along these lines, please, let me know, a second pair of eyes is always best.
I have found a few colleagues willing to contribute real world examples and success stories, but I could still use a few examples from indigenous collections (preferably taken care of by people who have ties to the nations involved, but not a must) and digital collections.
If you happen to know someone who happens to know someone who knows someone… please spread the word!
In other news, I will be visiting Aberdeen at the beginning of September, doing my own version of work and travel – I will train a client and do some sightseeing and hiking in between. I am excited because the city itself and Aberdeenshire were still missing on my map! If you happen to live in the area and would like to get together over a coffee or a tea and some collections management chit-chat, drop me a line.
As a former collections manager it shouldn’t have come as a surprise that if you leave a blog mainly unattended for nearly 4 years it gathers dust. Well, not real dust, more… virtual dust?
After some research, I found a Feedburner alternative in follow.it. So, if you receive updates from a different service, now, it is because of that. I hope it works well, if it doesn’t, please let me know.
The next thing that has been on my to-do list for years was finding a theme that works well on mobile devices. This was rather time-consuming and I lost the language-sensitive header and some of the look-and-feel in the process, but I hope this one works well for you. Feedback about it is also appreciated.
Finally, I will probably not be as active as I was a few years back, too many things have changed, but this blog is still around, so if you got interesting stories or articles concerning our profession to share, please, get in touch!
It has been seven years since “Managing Previously Unmanaged Collections” first saw the light of day. Rowman & Littlefield kindly asked me if I want to do a new edition and I am inclined to shout: “Heck, yeah!”
But it has been a long while since the first edition and basically, I said all I had to say back then. So, I am handing it over to you: What do you want to see enhanced? What did you miss? What was unnecessary and can be “deaccessioned” in the new edition?
Also, I like to include more of your stories. Has the book helped you tackling a messy collection? Do you like to write a short real-world example? Please, get in contact, I would be delighted.
Have you used the book and it shows because it is dog-eared and full of notes? Please, I want to see those photos of the book in action! I also would very much like to show them on here.
The world has changed, but some things didn’t. Even after so many years not active here, you can still reach me under angela.kipp AT museumsprojekte.de
With the overtaking of twitter by some people I would rather not be affiliated with, and not making profit of me, I have changed to Mastodon as the friendlier alternative. You can find me there as @registrartrek@glammr.us although I am still in the process of figuring out what and how much I want to do over there.
Ah, yes, the Registrar Trek Blog is its own instance as well, you can get updates by following @admin@world.museumsprojekte.de from your Mastodon account.
Take care and I am looking forward to hearing from you!
accidentally, a test post was sent out earlier today. It was a post set up to experiment with the functionality of this site and, well, yes, it still works. I set it to a date in the future years ago and apparently, the future is today. So, sorry about that!
I suspect this is some kind of sign I should resume work on this site again, but, honestly, I’m still in the process of finding my feet and with family and work being all but unproblematic I have to ask for your patience.
The past year has been not a good one, so I’m looking forward to 2020. For the happier news I was able to do a trip to London and Scotland in September and met a few fantastic colleagues there. I will be leading a course on managing preciously unmanaged collections again, starting February 3 and there are some signs that the 6th Edition of our “bible” Museum Registration Methods will be out this year.
Until I feel able to write again, enjoy a few pictures of my trip.
Best wishes
Angela
My email provider has changed and I know I lost a few emails in the process of changing. From now on, would you all please use: angela.kipp (at) museumsprojekte.de Thanks!
I always loved Scotland and I fell even more in love with it with this trip. I was travelling by train without a real aim apart from meeting people and taking in the atmosphere.Traveling up North I missed the train to Thurso due to a delay. Scot Rail organized a taxi to catch the missed train. I really wished such a service existed in Germany. Lovely overland trip, too.One day I found myself on a ferry, heading for the Orkney Islands. By chance (and by bus) I found myself in St. Margaret’s Hope, a lovely place. If you ever stop by, taste the scallops at the Murray Arms Hotel, the owners are scuba divers and fish them themselves. BTW I took the advice of an inhabitant to “Wait til the sunn cumms uuut” for this picture. As I was soaked on my way from the Standing Stones I sought shelter and tea at the Maeshowe visitor center and met those lovely fellows. Yes, vikings didn’t have horns on their helmets. But you know what? If they don’t care, neither do I. As a Whovian, I was very pleased with this discovery in Glasgow (I could argue the thing with the test post had to do with wibbly-wobbly, timey-wimey stuff happening, but I guess this reference would probably not convince most of you). The thing I will remember the most about the trip will probably be the politeness of the people I met. As a representative, take this tea bag that only suggests how to treat it. Interesting enough, the only highland cattle I met up close lives just about 5 km from my home town in Germany, so that’s that.
The Hausbachklamm near Weiler-Simmerberg, Bernd’s home town.
It is my sad duty to inform you that on March 25, exactly 11 years after his father, 4 days after his 51st birthday, my colleague, partner, soulmate and best friend Bernd passed away, suddenly and unexpected. I’m in the process of recollecting myself and at the moment I can’t carry on taking care of this blog. I hope to get back to it some time in the future, as he always said working on this project made me noticeably happy.
Meet the colleagues at Brandenburg / Havel Foto: Fritz FabertFrom 15th until 17th of April 2019 the specialized congress FOCUS: museum takes place at the archaeological state museum in Brandenburg an der Havel. This year is all about depot arrangement and collection management.
In numerous speeches, case studies and discussion formats the three-day congress at the Paulikloster in Brandenburg an der Havel is devoted to the issues: integrated project management for new building and rebuilding or rather refurbishment of collection depots, removal management, logistics and transportations, collection management, security, emergency and risk management, pest prevention, storage technology, collection software, inventory, indoor climate, light protection, energy efficiency, conservational aspects, funding opportunities as well as operational concepts.
The FOCUS event covers various culture institutes like big and small museums, archives plus the special case archaeological collections.
In the attendant communication formats like workshops and a fishbowl discussion, but also a joint dinner on the first or rather a small get-together on the second day of the event, there is the possibility to establish contacts with the participants and to discuss interdisciplinary issues. As usual, technical products and a range of services offered by specialist companies will be presented on the area in the approximately 1000m ² historic nave.
The program, further information and tickets are here available: www.focus-museum.de.
FOCUS: MUSEUM is organized by the non-profit organization “Friends of the archaeological state museum Brandenburg e.V.” (FALB) by order and in collaboration with the Brandenburg state office for the preservation of monuments and archaeological state museum (BLDAM).
Übertragung aus dem Deutschen ins Englische von Lina Lassak.
I know what you are thinking after reading our first two parts of this series: What dataloggers should I buy to measure my climate? There are loads out there and some are pretty expensive!
Here’s the thing: What makes dataloggers expensive is accuracy, especially when it comes to measuring relative humidity. You can buy pretty cheap models, but what makes them cheap is usually cheap sensors. Now, you probably wonder how bad it is to have a cheap sensor. As nearly always, it’s a “depends”. Depending on what? Depending on how stable your “room climate” (although we already saw that there is no such thing) is and how accurate you need your measurement to be.
One thing you have to know is that sensors have a range they operate in, humidity sensors usually and logically between 0 and 100% relative humidity. Within this range they might vary in accuracy. Humidity sensors are typically most accurate in the middle range around 50% rH and become less accurate at the edges under 10% or over 90% rH, they also might become less accurate in very cold or very hot surroundings. Usually, you find these error ranges as graphs in the datasheet of each sensor or device.
That’s pretty theoretically, so I made a test to show you what this can mean (in retrospective I should have used a more diverse set of colors for the diagram, my apologies for that). I put in the same spot three sensors:
A pretty cheap DHT22/AM2302 1 which is a very common temp/rH sensor in the maker/microcontroller scene and which you will find frequently in DIY devices. It is given with a normal accuracy of +/- 2% RH and +/- 5% RH maximum discrepancy (in which range it reaches this maximum discrepancy isn’t given).
This is the light green line.
A mid-priced generic Chinese version of a Sensirion SHT31 2 which you will also find in more refined DIY projects. It is also given with a +/- 2% RH accuracy.
This is the dark blue line.
A high-priced original Sensirion SHT35 3 which you will find in professional devices. It is given with an accuracy of +/- 1.5 % RH in a range between 0 and 80% relative humidity, which means it becomes less accurate above these values.
This is the green line.
In addition, you will find a blue line: This is the linear correction of the DHT22 sensor which is based on the measurements I did with this sensor compared to an Assmann psychrometer. I found the DHT22 was 31 percentage points off the “real” relative humidity I found with the Assmann at 55%. So, I subtracted 31 from the value the DHT22 measured. 4
So, what does the graph show us and what can we learn from it?
All sensors are pretty much the same when it comes to temperature. This tells us that if we only want to measure temperature, we can go with a cheap device.
When it comes to humidity, things become really interesting:
The original DHT22 readings show a much too high humidity, something we already expected because of our measurements with the psychrometer. Naturally, as the sensor can only read 100% max, the lines are cut at 99.9%. As our correction of the sensor is mainly a linear subtraction, it transfers the straight line to 68.9% for our corrected values in these cases (blue line).
The expensive original SHT35 and the cheaper generic SHT31 are not really far apart. When humidity crawls towards the 70% and over it, it seems that the cheaper one (dark blue line) measures a little less humidity than the expensive one (green line). 5
What is really funny is that the cheap sensor seems to have a tendency to over-dramatize events. As we take a closer look at a drop (and later rise) in humidity on July 27 the DHT22 shows a dramatical decrease from 100% in the morning down to 49.7% at 3 p.m. Its corrected version sees an equally dramatic event from 68.9% to 18.7%. As we take a look at the other two sensors nothing this dramatic happens. The most expensive one sees a drop from 66.3% to 40.7%. Still a mild catastrophe if this were a gallery or storage room (it wasn’t), but a huge difference to have a 25% drop than a 50% drop.
A close look at July 27
Especially the last point tells us a lot about cheap and expensive dataloggers. Not because cheap devices necessarily contain an old, beat up DHT22, but because it shows us the general problem with sensors: they are not necessarily acting linear. They’ll need adjusting.
Now, every adjusting is an expensive step. Devices are adjusted to reference points which means the manufacturer does more or less what I did with the DHT22: they measure it against a calibrated source (i.e. a salt solution) and then adjust the output accordingly.
If it is a cheap device it might be only adjusted to one reference point, resulting in what we see in the DHT22. Just because it was 31 percentage points off at 55%, this isn’t necessarily true for the whole range. Instead, it is very unlikely for a sensor to react linear throughout the whole spectrum. It will react differently for different humidity ranges. This is why expensive devices are measured to more reference points and calibrated accordingly, resulting in much more accurate readings throughout the whole range.
I assume that the generic SHT31 was also only tested against one reference point and that the difference we see in the readings against the original Sensirion when the humidity rises is already a sign of it, but as it is still within the possible error range, I can’t prove that.
For me personally, I wouldn’t use DHT22 anymore, for obvious reasons. I can live with the generic SHT31 for cases where I need to get an idea of a setting and in less problematic areas. I’d always go with the high-priced original parts if I have to depend on the readings for loans or critical storage environments.
So, more generally speaking: can I cut costs by buying a cheap device? Yes, if you just have to measure temperature. And yes, if the only thing you need is a rough idea of what happens in regards of rising and dropping or the humidity, but not detailed values. You have to be aware of the fact that it might show a more dramatic drop than what actually happened as well as it is thinkable that it shows you a less dramatic change than what actually happened.
You might want to turn to high quality products when it comes to your more critical applications and it’s always a good idea to take a critical look at the datasheets to know what you are buying.
May your storages and galleries always have a nice and stable climate!
To be fair, I didn’t treat this particular sensor nice in the past years, so it was already a bit old and used. I have found a lot of DHT22 more close to original humidity values and usually don’t use sensors that are more than 2% off the mark for fieldwork. But as you read on, you will understand why I don’t use them for anything critical anymore.
If I take the most extreme discrepancies, they are in the range of 2-3 percentage points, which would still mean they are in their acceptable error range if I grant one sensor to err on the plus and one to err on the minus side of its spectrum.
Boxes, boxes, boxes…The days around Christmas are usually a bit calmer and easy going than the rest of the year. For me, it’s traditionally the time to tidy up my room and prepare for the upcoming year. I usually end up with a lot of boxes, one saying “projects in the works” for things I started off working on but for one reason or the other couldn’t follow through. There are a lot of things inside this time and there would be even more if it could contain virtual things like blog posts.
Looking forward to 2019 I can see it becoming an even more stressful year than 2018, both at work and in private. So, while I will work on (and hopefully finish) some of the blog posts in my virtual “projects in the works” box, I also know that I won’t be able to hang around the usual forums of museum professionals this year and thus won’t be able to frequently place a “Hey, how about writing something for Registrar Trek?” when I stumble upon some great story.
Whether it’s hands-on or more about theory, we need your help!So, now it’s up to you. I ask you to either contribute your own stories and articles or encourage others who did something you think should be featured here. I can provide some help with editing and of course, we do have our team of translators on board, but we need you to help us with new blog posts!
Picture by Alexas_Fotos via pixabay CC0A common misconception is that sensors know the room temperature and relative humidity. They don’t. There is no weather fire dwarf who walks to the artifacts and says “Well, here we got 51% relative humidity”. A sensor measures what the temperature and humidity is right where it is. If it sits 2 meters above the ground, it may measure a beautiful 51% and 21 °C (70 °F) while your artifacts are overheating at 28 °C (82 °F) and dry out at 34% behind the glass in your display case with a badly done light installation. You might panic glancing at the 32 °C (90 °F) in your gallery while in fact it’s just that direct sunlight falling on your sensor. Or, for that matter, it’s placed over one of those heaters and gets roasted.
One of the difficulties you face when you decide on where to put a datalogger is that only in very rare cases there is something like a “room climate”. In most rooms, there are several climates. There is that outside wall that is always a little colder than the rest of the room. There is that wall that has bright sunlight from 11 a.m. to 2 p.m. in winter and 9 a.m. to 4 p.m. in summer. There is the space at the entrance which always gets a flush of cold and damp air as soon as someone opens the door. Then, there are your display cases.
All things try to reach equilibrium, which means that they strive to reach a common room climate, but while doing so, they create different and sometimes problematic room climates. The warmer air will inevitably go to the colder areas, but when reaching there, the once nice 51 % at 21 °C (70 °F) might become 68% in that 16 °C (61 °F) corner of two outside walls. 1
To get a good idea of what happens where in your room or gallery, you might wish to place several sensors. Life and the museum sector being what it is, you probably don’t have money to do that. What you can do, however, is measure at different areas, moving your datalogger to get an idea what happens where. Then, for the permanent location of your datalogger, choose the place that captures the climate your artifacts experience best.
Next up, we want to take a look at the difference between cheap and pricey sensors, which is – besides other things like WiFi functionality – what determines the price of a datalogger.
Stay tuned for part 3 of this article.
Fun fact: This is why you often end up with a damper cellar when you try to dry it out by opening the windows in summer, but have a good chance to succeed in winter.
Professional association gets the award endowed with 2,200 Euro
On the 8th of November 2018 the award “Riegel – KulturBewahren. Preis für Schutz, Pflege und Ausstellen von Kunst- und Kulturgut” (The Lock Bar – Preserving Culture. Award for safeguarding, caring and exhibiting of art and cultural heritage) was granted. The award that comes with an endowment of 2,200 Euro went to the »Registrars Deutschland e.V.«
Central hub of manifold functions
The association Registrars Deutschland e.V. was founded 2004, one of the reasons being to actively raise awareness and understanding for the work and the significance of the registrar in museums, collections and exhibitions. In the meantime, the association has more than 140 members who meet for annual assemblies, workshops and further trainings. Networking is done on an international level.
Reasons for the award 2018
Part of a registrar’s job is everything that has to do with the movement and storage of artworks and cultural heritage inside and between museums. Furthermore, the occuptional profile encompasses transport, (inter-)national loans, packing, documentation and registration, as well as cataloging, security and insurance – registrars are perfect managers of time and data (Kähler).
In Germany, registrars are known for over 30 years for a wide range of manual, technical, commercial and legal processes regarding the handling of artworks and cultural objects of all kind. In spite of this central function this professional guild is working comparably invisible inside the cultural institutions. The award Riegel – KulturBewahren is aiming to make a contribution to foster understanding for the work and significance of the registrar. One of this aims is to develop commonly approved standards and enforce them throughout the area of responsibility of the registrar.
Volker Thiel and Nicole Schmidt, chair and vice chair of the Registrars Deutschland e.V. have accepted the award and the 2,200 Euro grant on behalf of the registrars. Both were clearly moved by the attention and recognition that the award Riegel – KulturBewahren means.
Around 70 experts from museums, associations and businesses took part in the awarding ceremony at the Bach-Archiv in Leipzig. The event on the 8th of November was part of the 5th international conference “KULTUR!GUT!SCHÜTZEN! Sicherheit und Katastrophenschutz für Museen, Archive und Bibliotheken” (Culture!Property/good!Preserve! Security and emergency preparedness for museums, archives and libraries).
• ArchiBALD Regalanlagen GmbH & Co. KG, Dissen (Superior)
• Dussmann Service Deutschland GmbH, Leipzig (Sponsoring)
• hasenkamp Holding GmbH, Köln (Premium)
• IBB • Ingenieurbüro Bautechnischer Brandschutz, Leipzig (Premium)
• Image Access GmbH, Wuppertal (Classic)
• miniClima Schönbauer GmbH, Wiener Neustadt (Classic)
• SchmittART. Beratung │ Konzeption | Public Relations, Leipzig (Classic)
• Tandem Lagerhaus und Kraftverkehr Kunst GmbH, Frechen (Superior)
• Zilkens Fine Art Insurance Broker GmbH, Köln (Premium)
The Riegel – KulturBewahren
There are many awards for creating artworks. But when it comes to preserving mobile art and artifacts there is next to nothing comparable in Germany and Europe, at least no awards that go along with a grant. It is the aim of “Riegel – KulturBewahren. Preis für Schutz, Pflege und Ausstellen von Kunst- und Kulturgut” (The Lock Bar – Preserving Culture. Award for safeguarding, caring and exhibiting of art and cultural heritage) to change this. The “Riegel” was first awarded in 2016, the minimum grant is 500 Euro.
The awarding of the “Riegel – KulturBewahren 2018″ is a common initiative of SiLK – SicherheitsLeitfaden Kulturgut (security guideline for cultural heritage), Bundesamt für Bevölkerungsschutz und Katastrophenhilfe (Federal Office for Civil Protection and Disaster Assistance) and SchmittART.
The award itself is an initiative of the professional periodical “KulturBetrieb. Magazin für innovative und wirtschaftliche Lösungen in Museen, Bibliotheken und Archiven” (Culture business. Periodical for innovative and economical selutions in museums, libraries and archives) and the online portal “KulturBewahren. Forum für Bewahrung, Pflege, Sicherheit und Präsentation von Kunst- und Kulturgut” (Preserving culture. Forum for preservation, caring, safeguarding and exhibiting of art and cultural heritage) .
Information / Contact
SchmittART, Wielandstraße 5, D-04177 Leipzig
Dr. Berthold Schmitt
Tel 0049 / 341 / 5296524
Mobil 0049 / 1522 / 2807125
mail@schmitt-art.de www.riegel-preis-kulturbewahren.de
A project to break down language barriers and connect registrars worldwide