I work in DC at the National Archives. I’d love to meet you after following your work & reading your book & blog. Want to meet up for a quick tour and a coffee? I’m usually at work by 7:45 if meeting early is ok with you. Say around 8am? Before the archives open at 9am. If not, we’ll try to figure something out!
Sounds good. I am usually an early riser (no idea if I still am if I am jet lagged, but, hey, I’ll find out), so that sounds absolutely doable. Drop me a line at angela.kipp (at) museumsprojekte.de so we can chat about the details.
Same here, always love seeing your name pop up. Which reminds me that I have a half-finished answering email to you sitting in my mail since forever which I had totally forgotten about! 😛
Angela, it is so nice to see you back! Thanks for sending this, indeed I had not seenthe other message.
I’ll have to re-read your book to see if I have any suggestions. In the meantime, I would like to say that your book is gaining popularity in the world of film archives, and that’s a very good thing – there are so few books with a practical and pragmatic approach to collection management!
I’m looking forward to read your posts, even if they are not so frequent as they used to be.
Hi Catherine,
oh, that’s so great to hear it becomes popular within film archives. If you know somebody who might be willing to share a real world example for the next edition, I would be delighted to include it. Also, whatever input you might have to include for those special cases, this would be appreciated.
Imagine being asked to transport the most iconic guitar in the world. This is exactly what happened when the guitar belonging to John Lennon was to be transported from Seattle to New York. This blog will explain the journey and what happened along the way.
One drawer in my desk was devoted entirely to shoes in my first position as a registrar. When I was working with a collection that had a major moth infestation, I had to wear very careful shoes, even if I did not have trouble finding work shoes
Angela –
Glad you are taking the time you need. You will know when you are ready to come back. The pictures from your trip are beautiful and giving me a lovely change of scene on a cloudy dreary day here today.
Continue to heal and find your way back, and know that your Museum-family is thinking of you.
Diane Lee (currently in Hartford, Connecticut)
Hi Angela,
So glad to hear from you and to see that you took some time just to relax. My one and only experience with a highland cow was at the border the first time I crossed into Scotland from England. I just assumed he was put there by the local chamber of commerce to welcome visitors. Never saw another one, although there were lots (lots!) of sheep.
Thinking of you and wishing you a good 2020.
Janice
Dear Angela,
Thank you for the photos! Glad you are taking time for yourself. We have not met either although I hope to one day as well. I enjoyed your book and found it very helpful in my work. Best wishes to you in 2020.
I miss reading Registrar Trek and it’s nice to hear from you however briefly. I wish you all the very best for 2020 and I look forward to the day you’re feeling up to continuing with this project. May 2020 be a good year for us all!
it’s so nice to hear from you again! Take your time to find your balance again, we will wait in patience and hope.
I wanted to tell you: I have finally read your book (I should have done so long before) and found it very interesting and inspiring. My field is quite different (audio-visual collections) but I could immediately make connections and see where your suggestions are useful despite the different challenges. I’ve also recommended it to a colleague in the same field, who came back with a similar positive opinion. There are so few books on collection management from the point of view of the practitioner! It’s a gem.
So thank you for writing it.
We’ve never met but I hope it will happen one day.
Oh, thank you so much for your comment, Catherine. It’s very good to hear that you found the book useful despite it being for a different field. Keep doing the good work, and I hope to meet you sometime in the future, too!
Dear Angela,
Any British commuter will tell you that you are much more likely to be abandoned to your fate if you miss your train due to a delay. You were very lucky!
Hope 2020 is a better year for you.
Best wishes,
Barry
oh yes, I heard that, too. However, I found myself seated in a taxi with 4 other passengers who drove 3 of them to their destinations, while unloading another one and me at a station where we caught the missed train.
I was very surprised as the next train to Thurso was running a few hours later and I could have easily taken that one.
Thanks for your good wishes and a good 2020 to you, too!
Estimaado Branko:
Muchas gracias por tus comentarios y felicitación. Son un gusto para mí. Y bien que estamos en el mismo ámbito profesional del museo; que nos siga yendo muy bien.
NOTA: desde 2012 me separé de este blog, que la colega alemana Angela Kipp co-fundó conmigo. Estoy revisando algunos de mis artículos, hoy, en 2019 y me disculpo contigo por no haber respondido antes, pues no vi tu comentario.
Great story, good thing you got the job done safely. John Lenon is a great legend. If I had been the owner of that car & someone had even touched it with dirty hands, then I think I might’ve blown a fuse run that guy down with it.
Dear Angela,
I’m so sorry for your loss. I hope you can find the space you need to heal. We will be here when you return, but will miss you in the meantime.
Words cannot express how you must feel. I am deeply sorry for your loss and you are in my thoughts. even though we have never met, I feel as though I have met you and know you. Your work in registration is amazing and I hope you are able to find peace.
There are no adequate words to comfort you at this time. I pray that you will find the strength to go on and that family and friends will be there for you when you need them most. Please accept my heartfelt condolences.
I’m so sorry to hear this. For now, look after yourself; but I do hope that, in due course, you’ll feel able to start writing again. In the meantime, we’ll miss you.
Sorry to hear this. Take time to take care of yourself. I hope you’ll find your writing drive again at some point: this has been both a great resource and an enjoyable reading.
Dear Angela, so sorry for your loss. My partner Alistair died less than four months ago. The support of my friends, colleagues, and family has been invaluable. My condolences and best wishes to you. Rachelx
Oh, Angela. May you find the strength you need during such a difficult time. May your family and good friends be constant in their support, and may your loving memories always remain in your heart.
Please accept my heartfelt condolences.
Diane
Diane Waterhouse Barbarisi
Registrar
SPRINGFIELD MUSEUMS
Springfield, MA 01103-1733 dwbarbarisi@springfieldmuseums.org http://www.springfieldmuseums.org
My condolences on your loss, Angela. I look forward to hopefully reading your blog again in time and I will miss it in the meanwhile. Take care of yourself.
Dear Angela,
I’m sorry for your loss. My heart goes out for you. Take all the time you need, your health and well being is of utmost importance.
(If I may be so bold) hugs,
Dear Angela, Please accept my deepest condolences on the loss of your dear loved one. My heart goes out to you and Bernd’s family and friends. Take care of yourself. We will all be here when you are ready or need us.
Great project for beginner like me. The presentation and explanations are very good. However i can’t find any reference to how to initially set the RTC to the correct time. Advice here would be helpful.
Hi there! thanks for your hard work. I would love to contribute but my expertise is not related directly to Registrar… although I do interviews to artists to document them ideas in conservation.
On the other hand, I would be happy to help with the translation from English to Spanish if you need so.
Don’t worry, it’s a Garter snake who mainly live in North America. Their venom is not very harmful (they were long thought to be completely non-venomous).
I love your story Angela!
I think my Rotronic dataloggers must have Swiss Weather Dwarfs inside – the Wetterfeuerzwerge unroll the red lines when I draw graphs, and the Wetterfeuchtezwerge unroll the blue lines!
Hello,
I built this datalogger some time ago. It is now in a box, all disconnected, would you have the schematics so I can rewire it properly without plunging back into electronics books (the logger link is dead)?
BTW, I really appreciated this article.
Thank you,
Pascale
Met data loggers yonks ago, about the same time that I met lock in amplifiers.
Thinking of revisiting them.Is it possible to start with discrete transistors and a sensor to build a simple, very simple data logger ?
full disclosure: I never built something from gound up with discrete transistors, so take everything I write with a grain of salt.
Short answer: It’s probably possible, however you will sure need a bunch of other parts to make it work, especially if you want to make use of it in a real-world setting, so the question will arise if it makes sense to built it this way.
Long answer: For someone who understands lock-in amplifiers the electronics behind arduino and friends are probably not much of a secret and it won’t take long to find out that there are a bunch of unnecessary parts for your project on the board. The original idea of an arduino was to have an easy development/prototyping tool where you can experiment and once you are satisfied with the prototype results you build the final device with only the necessary parts.
So, back to your original question: theoretically you can built a very simple datalogger with transistors and a sensor, but I’m rather sure you also want it to either display or store the data somewhere. So you need an LCD, or control a pen on a paper strip, or need an internet connection to a server, or an SD-Card, or whatever suits your needs and fits your energy requirements. You will also want to log the correct time, so you need to include a quartz or something that serves as a clock, or you need an internet connection to sync with a time server. A lot of tasks to achieve if you want to built it from ground up. They nearly shout for a microcontroler to help you. You can buy a development board like the arduino, experiment with different setups, displays, realtime clocks, whatever tickles your developer’s nerves and once you are satisfied you buy the parts you need and an additional ATMEGA328, flash the software, solder it together and that’s that.
As prices for those boards are rather low (at least in Germany) it might even not be worth to invest time in building your own thing and just use the prototyping board in the final application. I did this especially with the ESP8266 on a NodeMCU board where I have all the neccessary things like WiFi and USB on board but which is still rather small.
This is what finally convinced me that conservators and registrars must have been seperated at birth, since at least half of these apply to us as well – just last week I was indeed ready to threaten physical harm to someone who used my conservation-only scissors for cutting sticky tape (and then simply put them back without cleaning!).
I would suggest Karen’s suggestion. Certainly the sealed container can/should be left as it is. I would check with a conservator about any problems that might be caused by an unsealed, but securely closed container of alcohol, but unless there is a major hazard problem I would also leave the second bottle as it is. Should the whiskey in the second bottle need to be disposed of, I don’t think any of your collections colleagues would fault you should you choose a more personal way of safely disposing of the liquid.
My always caveat when dealing with liquids. If it is sealed and stable, leave it alone, but keep an I eye on it for changes. Why mess with something you don’t have to. If it is leaking, can cause a mess if accidentally tipped over, or strange substances appear on the exterior, time to do some dumping.
As for question #2, it’s gotta be pretty smooth by now… Just sayin“…
hi. sorry for asking. i’m a final year student and do the project related to this datalogger with BPW34 photodiode to detect the irradiance of solar and record it. but there are problem with the connection and the coding. can i ask your opinion about it?
I worked with an exhibit developer who was „famous“ among the collection staff for never putting objects back on the right shelf. We finally figured out that his standard behavior was to pick up an object, look at it, and put it on the shelf behind him! Whenever we couldn’t find an object we knew he had worked with, we always looked diagonally across the aisle and, more often than not, found the missing piece! Not sure if this is funny or tragic.
I am the first collections manager for the agency I work for. My entire career revolves around trying to reconcile Deeds of Gift, Loans, Transfers, etc., from as long as 102 years ago. This is always on my mind and everything I do, including writing our Collections Program Best Practices Manual is making sure that standards we put in place today are relevant, meaningful, and carefully explained as well as carried on. Obviously as laws and standards change, our practice will too, but it is my job to make sure we move forward with all of these things in mind for the future and those that come after us. Leaving the statewide collection better organized, more concise, healthier, meaningful/significant, and relevant is our main focus in this program. Looking forward to seeing more on this topic!
Love it! I had a volunteer catalogue an iron eagle as a FIC last week. Yesterday I came across a picture of a stove with same eagle on top! What a feeling of satisfaction!
Wow Angela, you certainly haven’t lost your touch! The cat analogy works very well, and I love the way you point out the connections to collections work, just in case any of us missed them. I also enjoyed the creativity in finding ways to entice the cat to take her meds, and the clarity explaining the methods. You are a consummate communicator and a born teacher!
Happy New Year Angela and colleagues, from rainy Amsterdam.
And thank you so much for all the good work you are doing with this blog! It’s a pleasure to read, food for thought and a useful resource all rolled into one.
I also love cats (have 4) and this analogy is spot on! It’s a good teaching tool for those at your museum who have no clue about what collections management is all about. But they do understand taking care of animals. Thank you so much for sharing this.
A very sympathetic way to explain how complex documentations should and could be and that every single step has its own importance and consequences for future works.
I recently watched the documentary Art and Craft which led me here. I read Mr. Leiniger’s posts and to be frank, I found him to come off as rather full of himself as he was in the documentary. In his posts he repeatedly refers to himself in first person and seems to portray himself as a man who cured cancer instead of finding a forger.
He talks about his life as a Registrar as if he was the most important person at the museum yet now years later he drops out to work in an Amazon warehouse? He wants us to see him as a big star in the Museum world yet he is very unwelcome back in the world. He claims he doesn’t want to get back into the Art World but clearly he is saying that to protect his own ego. If Mr. LEiniger did this amazing feat as a registrar by discovering Landis, why hasn’t he had numerous job offers, or even one job offer as a registrar? Why was he shut out of the Art world when he brags about himself being one of the best registrars in the world since others never caught Landis before him? Could it be that Mr. leiniger’s own words in blogs and in interviews made him equally unlked in his field as well as people who read his blog and watched him in the doc? Humility, compassion and self grandiosity are clearly three traits Mr. leiniger doesn’t possess. Perhaps if he did people would want him to work in their museums. I wouldn’t donate a painting I owned to a museum if I had to interact with LEiniger and I believe that is why he isn’t working in his field. Cultivating relationships with collectors to benefit the museum is vital in his field yet I haven’t found one friend I have asked who would want to deal with him ever. We will gladly find another museum to donate to just so we wouldn’t have to listen to LEiniger brag about himself one more time. I have had the misfortune of hearing him speak a few times and would like that time spent with him, back. Concenus says I’m not the only person who feels this strongly.
A great project using LInked Open Data is the American Art Collaborative. You can find information about it at americanartcollaborative.org. The Executive Director is Eleanor Fink.
I don’t think that the issues are subject-specific. Museums record the historical context of their objects, and this could form part of a Linked History resource. However, they lack tools to render their catalogue data as Linked Data properties and classes, and we all lack a shared framework with which to build a shared web-scale history database.
I thoroughly appreciate this article! As the Registrar of a mid-sized museum, I have my everyday wear (nice-ish boots or close-toed shoes, nice pants/jeans, casual but nice shirt), but in my desk drawer and under my desk I have my steel-toed work boots, a pair of black high heel dress boots, a sloppy t-shirt, and a dress jacket. You never know what will happen on any given day!
Hello Angela,
An interesting article about an important topic and often neglected practice. I more often than not wear my safety shoes as required. My problem is that as they age and breakdown I’m loath to replace them as they have conformed themselves to my feet and are really quite comfortable! My current pair have a crack in them and I’ve tried twice to replace them but have not yet found a pair that work for me. Keep your feet safe!
I am guilty of not wearing the footwear I should and I have yet to buy a pair of safety boots. Anything heavier than a pair of sandals make my feet feel like they are on fire! I do wear rubber boots for certain jobs. One problem Northern Collections Managers have is winter wear, winter boots, inside shoes, rubber boots for the snow melt in late winter. You have guilted me into safety boots though so I had better start hunting for a size 7!
Wonderful article (but of course I already qualify as being more than reasonably interested in foot wear). In my first registrarial job I had one whole drawer of my desk devoted to shoes. While I haven’t struggled with finding work shoes, I did have to think very carefully about what I was wearing while working with a collection that had a major moth infestation (no wool – all synthetics!).
You left out from the list museum managers who are told about the hazards but cant be bothered to inform themselves, too lazy to do anything, pretend an expertise they dont have, think it will be too expensive or will create bad publicity, thereby leaving their collections staff and volunteers at risk. Think that cant happen? Try working for a Local Authority run museum.
I know it too good, Bryn, I know it too good. Sometimes a hint that this can become rather expensive if a former staffer, volunteer, visitor or researcher sues the museum can do something to get lazybones-in-chief to do something about it. Also, asking insurance questions can help.
I once found a puddle of mercury splashed onto a layer of tissue packing in a crate where it had been left without a lid at the bottom of a shelving unit. It was a completly inexplicable how it had got there or what object it might have come from. This may explain the mysterious source.
So, so true! Now imagine that you are like me, I wear a size 4 shoe! Worse, my feet are short AND narrow, a phenomenon shoe manufacturers seem to deny even exists (double A’s widths often start at a size 7 shoe length. Not only is it as hard as Janice says to find an appropriate shoe that can take you from walking miles of conference site halls by day to dancing at night, imagine that you can only fit into 2% of all the shoes you ever see! Thank goodness that kid shoes are getting quite sophisticated (sad for the kids though) but comfort along with style are still very hard to come by!
Great advice. When staff bring kettles, toasters, and so on to work they seldom (if ever) bring in the newest leaving older ones with faulty power cords at home! All of these should be properly inspected by a qualified electrician before being allow in a collection housing building.
I LOVE your remark….“It seems no one ever has the 30 seconds for changing a location, but always the hours for searching!“ So True. That fits many other scenarios…do it right and completely the first time, if possible to save a lot of extra work later!
Great post, I love hearing about the day to day activities. Makes us feel less alone. I also keep like objects together as it makes it easier to search for missing items.
This topic might be of interest for ICOMS international committee for Collecting and Collections COMCOL. I recommend to take contact with them for further discussion. They may have strategies to deal with this because they have many specialist in documenting the present. For more information an contact details see here: http://network.icom.museum/comcol/who-we-are/board-members
Thank you, Kathleen, for your post. It is not only timely, but even in just the past sixteen years within the US, rapid response collecting seems to be becoming more of a reality for many of our colleagues not previously exposed to such professional experiences (I am thinking about organizations such as the Orange County Regional History Center that has been tasked with collecting and preserving items from the memorials, etc., created in response to the Pulse Night Club shooting). I agree that some clarification on how museums, and other similar institutions, respond or react to such events is, or should be, dictated by having a clear mission and a collecting policy. There might also be a whole separate web of complications to consider, such as museums learning how to navigate the sensitive and emotional cloud that can surround such tragic and devastating events. How do we express the arguable importance of rapid response collecting to individuals or organizations directly affected by such tragedies without seeming to minimize their feelings and experiences? I think this would be a very valuable topic to share or discuss at an upcoming conference or workshop. I know I would find the conversation invaluable, and in our changing and growing world,many others may, as well.
And then there was the large 19th c. ceramic jug we were trying to identify. As I went to turn it over to view the bottom, we heard a bit of rustling. „Sounds as if there’s something inside,“ I said. I up-ended it and out fell a wad of dust with bits of straw ane other detritus, along with a thoroughly mummified mouse. This was no canopic jar, and we are not a natural history museum, so I deaccessioned the wee corpse and chucked it in the trash.
The idea of rapid response collecting does not only have applications to protests and marches but also tragic events. In the aftermath of the Boston Marathon bombings, local museums and other institutions came together to try to decide how to best preserve the materials that were left behind as memorials to the events. How do you decide which institution should preserve these materials? Should they be shared across many institutions or kept at one site where visitors will know how to best access the collection? This post definitely poses a good question. Give the current climate, its best for museums to determine their role in advance. Thank you!
I one hundred percent agree. Museums should not be involved in rapid on the spot collecting and I don’t know of any collections policy that allows for this. Ethically, if we have a policy we have to adhere to it. Also I agree that museums should be detached and neutral at these events and individuals should not act as if they represent their museum as a whole. Personal politics should be left as personal politics. How are to judge that what happened a week ago is really that earthshattering without at least by distancing ourselves from that event by time so we can compare it as a whole to what is going on.
Interesting post and it definitely reflects my thoughts as well. I often face the same issue at work where the different groups of specialists work in their own group, not realizing that others are working on related topics. It is a waste as I believe a topic will be much more interesting when it is being presented from various angles. 🙂
Dear Angela,
I don’t think I can give a hard-and-fast answer to your questions, because a lot depends on factors such as the logging interval (5 mins, 15 mins, 30 mins?) and the space where the logger is installed. Is it physically possible for the RH to have increased by 5% in 10 mins? Or is it more likely that a passing member of staff blew on the sensor „to see if it was working“? If you have just one high reading (as you have in your graph above), I would be inclined to blame that, or just a momentary malfunction of the logger – a glitch.
Regards,
Barry
Once again, Angela, you have provided a clear, funny analysis of why this is our busy season! It’s a terrific explanation that every registrar and collections manager out there can provide to their bosses.
Very interesting – we see this a lot in our own organisation, with people pursuing their own course of action, apparently oblivious to developments in other areas until the paths are forced to intersect.
(Also, I have a similar picture taken from a train window as I shuttled through Sweden – by the time I clicked the button the thing I really wanted to photograph was out of sight, which could well be another metaphor)
I have faught for over 30 years about documentation in databases. Far too often I have found documentation such as „a table“ or „porcelain company products“. Databases are the heart of any institution. Far to often Boards and Archivists fail to realize the importance of documentation and lose the history of their community or institution.
Highly recommended. But, I am sure that all of you have considered this: it can be used terminologies besides the documents by themselves: Tags as „significative evidences“ of those connections between two or more objects (I mean terminology gathered in thesauri).
I usually use Tags (naming them „Referencias“ in Spanish) assigned to each object, as part of its technical data. So, any used software can make „match“ with the objects marked with the same Tag, showing on screen, and in a printed list, those results.
These Tags will gather those terminologies as „clues“ matching the objects, its documentation and its significances as „evidences“.
I completed too a kind of „Directory of Tags“ for each collection of some museums. By this way, the people and investigators can consult it and find the specific object (with its documentation) depending on the own interest.
This is a mission for Curators, Registrars, Collections Managers, Documentalists and Educators in the museum, applying resources as those you are referring. Thank you.
I also took it for granted that connections between artefacts and archival material would be documented on the database. Sure it takes longer but is essential.
Alert Programming! Vigilant curators, registrars, collections managers, and other behind the scenes staff have noted an uptick in the number of persons keenly interested in photographing artifacts and historic site structures in their quest for these creatures. Encourage „capture“ as long as it is in public areas and not in violation of museum policy and try to engage these Pokemon-hordes in sharing the unique history, art and science they experience while they are in your museum! Online gamers have lots of friends and they like to invite them to play along, repeat visitors Yay!
These pests are capable of surviving all environmental controls. Beware! They are often found in packs and love storage facilities. They can be found on all shelving levels. Many infest the exterior of Historic Monuments such as the Columbus Street Watertower. Hordes of followers aare attracted to cemeteries. SURVIVAL IS NOT ASSURED!
Congratulations, Angela! It’s a great book, you did a wonderful job!
I’m sure it isn’t going to be your only book— Best wishes from Judith Vance (Darlene’s friend)
I have attemped to make exhibits, walks, programs and recorded interviews accessible for peoplewith all disabilities. My volunteer workers have always included students and adults with disabilities. I included students who had visual disabilities. After my resignation as City of Sun Prsirie Museum Curator these programs stopped.
I am now a Board Member and Advisor for the Island Church Foundation in Waterloo Townshipsith the provision that alll students and adults are welcome as volunteers.
The crucial point with any datalogger, commercial or home-made, is the quality of the sensors – particularly the RH sensor. Cheap sensors may be unreliable, especially at high or low RH, and they may lose their calibration quite rapidly. We all know there is a temptation to skimp on calibration, or to rely on the data uncritically, so my advice is to buy the best sensors or loggers you can afford and to calibrate them regularly.
Hi Barry,
you are right, the sensors are key, so is checking and calibrating them regularily. This post is just the Quick Start Guide, the next posts will take a deeper look at the used components and discuss the options. So, next up will be:
1. Arduino and shields
2. Sensors
3. Coding
Maybe some additional considerations, let’s see.
Of course interchanging with other posts, so the readers not interested won’t get bored 😉
Checking RH calibration beyond the effective use of an aspirating psychrometer is rarely done. However, with several loggers, typically $120USD each, you can gather them once or twice a year and compare readings. Replace any loggers that are out of acceptable range (though you can continue to use them for temperature logging). This is the most prudent and cost-effective data logger approach.
Actually, just to compare readings can lead to mistakes, as their sensors might have the same drift, especially when purchased around the same time. Your loggers might all show 10% off but you don’t realize because they all show aroud 35% instead of 45%, which seems reasonable. What proves quite effective is comparing their readings in a container with NaCl athmosphere (75%) and MgCl athmosphere (33%). You get an idea if they drift, in which direction they drift, if the drift is linear and if their reaction time is still okay.
Since you point out that commercial loggers are available to do this same task, can you cite reasons or link us to a discussion to the problems a DIY logger solves? Maybe a case study would help, including a cost comparison of commercial vs DIY.
thanks for the input. Unfortunately, I haven’t taken a note everytime I saw someone asking for recommendations for affordable dataloggers on the MUSEUM-L or RC-AAM listserv but I’ve seen quite a few and some of them asking if some cheap gadgets for about 50 € can do the job just as well. Well, for the same price you can build your own, of course if you don’t count the costs of your own working hours. I see the following advantages:
– For the same price a comparably cheap off-the-shelf solution costs you get a logger you know what it is capable of because you know the components you used.
– If the sensor loses reliability (of course you have to check and calibrate it on a regular basis, like every logger), it is easy to replace at a reasonable price (the comparably expensive one I used here is at around 8 Euros (9 USD)). I will discuss this in the part about chosing the sensor which is coming up, this is just the quick start guide.
– As grants for preventive conservation are few but there is a high interest in supporting STEM education, it’s a win-win if you do this as a project together with your local highschool. The kids learning about coding and microcontrollers and at the same time about the importance of preventive conservation and how climate data is used at their local history museum.
– If you build it yourself, you learn a lot about coding and microcontrollers, which opens up new possibilities both for your institution as well as you personally.
Again, if you do have the money to buy a commercial logger and the money to have it calibrated regularily, go for it. There are pretty good ones on the market, of course not mentioning names here. But I know that especially small museums struggle with getting money for such devices and for them it might be easier to find technically interested volunteers to help them with building such a thing.
Of curse, if anyone is aware of a case study, I would be interested in sharing it here.
Thank you for all your efforts bringing this to those of us in need, Angela! I have a feeling a great many of us need help rescuing our collections from poor collections management of the past. Thanks for the lifeline!
Dear Angela,
I am sorry to hear you will not be able to attend, I was hoping to meet you there! I am writing up a report for my colleagues in any case, and will try to write up a special report about a session that catches my particular interest for this website!
best wishes,
Catharina van Daalen
Stedelijk Museum Amsterdam
thank you so much. I’m looking forward to your report. I’m really sad I can’t attend, too, because it would have been a great chance to meet many of our contributors and readers. But, as much as I love museums and my work, family comes first.
Any thought of posting instructions for the do-dads that you make? I have an Arduino user in-house (one of my kids) and if I was able to just hand him instructions and a bribe (most likely more parts or coffee!) he’d probably make them for me.
I can also see this as a great source of projects for a teen group at a museum or maybe the local library.
Yep, next up will be a step-by-step guide for a logger that logs to SD card. Hope your in-house expert will approve – although I’m pretty sure it’s too simple for him. 🙂
I work for a history museum that shares an atrium with a car museum. We had an old car that we had to move from one end of our museum to another, taking off doors in the process so that it would fit. Someone had to sit inside and steer, we had to lift and pivot at points…all in all, it took half a dozen of us over two hours to move the car. At the end of our task, one of the curators from the car museum came over and simply asked, „Why didn’t you just borrow our go-jacks?“ *sigh*
I have to say, that for the carriages we didn’t had the idea at first…
We move the two biggest ones (5 tons & 2,5 tons) with 6 persons… At the end of the day, the leader of the handlers says :“OK, tomorrow for the other ones, we come with „Kojaks“…“ – „Ko-WHAT ?????“….Now I know…..
Is that really a q-tip (cotton swab) sticking up out of the little gadget you made? My dad would have been all over the Arduino. If he were still here among us, there would have been blinking lights all over the house, in the car, who knows, fastened to the cats. Sounds like great fun.
Oh no, it’s a very special, cozy restart-device! No, actually it’s a q-tip. This logger was an urgent call from our conservators in need of a logger and when I made a case for it I realized that it was impossible to reach the restart button inside without having to take the whole thing apart. I first drilled a hole in the case so you could restart it with a pencil (remember the old days, when this was the way you could restart a PC?). Re-considering that you probably don’t have a pencil at hand when you need it the most I searched for some replacement for the pencil and the first thing I found was a q-tip. I glued a small plactic piece on the other side of the q-tip so it hits the button reliably. In addition I think „just hit the q-tip for restart“ is a great thing to read in a user’s manual. 😉
I accepted a request from members of the Island Church Foundation to serve as s Board Member and as an advisor to the Board. The Board is commited to establishing a climate controlled display space, including a work area and storage area in a building separate from Saint Wenceslaus Church.
The Board Also committed itself to search for students, who will be considered as equal to adults volunteers.
This is a huge committment from the Island Church Foundation for insuring the future if its heritage. The Bosrd is also working with the University of Wisconsin-Milwaukee in creating an Intern position with a stipend to assust with the cataloging the current collections of the Foundation.
This is an exciting time to work for the future of the Foundstion.
Ah, I see. Put unwanted emails into properly labeled old unwanted crates and, and . . . I could use the crate as a planting container in my garden! Old emails don’t take up much room, might help with drainage.
See how easy it is?
To think that I passed this crate for over a month without discovering what a gem it is. Our chemist got the idea the very moment he saw it….
Congratulations on the project! Very elegant and simple solution to the situation. The Museum looks to have a sustainable system to move forward with thanks to the effort put into the initial cataloging and description effort. Very glad the Museum stakeholders had the foresight to allow the „nuts and bolts“ of inventory,cataloging, photography and numbering to happen during a closed period. They will reap the benefits for a long time in terms of ease of access and ease of sustaining the system. Great article on the process.
Thanks. I really hope you like it. I feel a special obligation to the readers of this blog as you all supported this project with your comments and support!
cheers,
Angela
Angela, I’m afraid that „numbers, spellbound by“ will have to stay. Although perhaps „confounded by“ or „bamfoozled by“ or „head-scratchingly befuddled by“ might also work. Good luck with the „process, unforeseen complications thereof!“
Anne
Wonderful idea to share this drawing! No one outside of collections staff really knows how far we will go to prepare supports and packaging to keep our collections safe! I think o fit as one of the perks of the job to create custom supports!
Yeah, like: okay, this is going to be dirty, dusty and you are mainly pushing a rock uphill. But: you can build as many custom boxes as you like. Deal?
A great little mystery that I experienced when I forgot I had a logger in my hand from another storage room through a hallway to another room. The hallway is not climate controlled and created another variable that I could not explain. It took me days to solve the mystery.
Angela, du gehst dorthin, wo noch kein Registrar jemals zuvor gewesen ist…
Schöne Idee und schöne Seite. Wissädälerisch zählt wohl nicht als neue Sprache in die ich übersetzen helfen könnte.
I would suggest that the logger was actually removed from it’s original location. The changes in humidity are being driven by the changes in temperature. Looking at the conditions before and after the fluctuations the conditions are fairly stable. The sudden change in temperature could be caused by someone accidentally putting the logger into their bag that has come from a warmer environment, walked out of the building allowing the temperature to cool, then got in a car,driven home with the air con on, got home at about 17:30, the car is left in the evening sunlight allowing the car to warm up before the sun disappears giving a gradual cool down overnight. At 07:30 next morning, the person drives into work, realises they have taken the logger home and puts it back in situ.
I agree with Kathy Karkut, something has fallen over the datalogger unit creating a microclimate – a sheet of bubble wrap or tissue – or some creature has interfered with the sensor – or maybe there is a ghost in the machine…
My first avenue of inquiry would be to confirm the integrity of the datalogger; was the data compromised in its collection, interpretation, storage or transmission?
Secondly, was there any other evidence of the T and RH fluctuation?
Thirdly, what are the items in storage? Could anything there be a cause?
Potentially something was dropped over the data logger such as a box or bubble pack, etc. and the readings are for a very small contained space surrounding the DL. The next time someone was near the DL they removed the covering.
I would think someone took the datalogger to another room (warmer, dryer) and then maybe outside in the car for a night, to put it back the 3th september…?
The weather was mild during early September 2013, with daytime temperature at around 24 deg C. However, yourT changes are too rapid to be caused by normal daily fluctuations. The RH changes in this case are counter correlated with your T changes, which suggests that something affected T but confirms you have no independent RH control. As you say there is no HVAC an equipment malfunction can be excluded. Something lead to the steady then rapid T increase, then slow drop during thenight, followed by rapid normalisation of conditions. Do you have central heating in the building which came on, the store got too warm, someone opened a window in the evening of the 2nd which was left open over night then closed in the morning of the 3rd?
Your considerations regarding the daytime temperature are correct, as you can see by the weather dates of the nearby weather station: http://archiv.mannheim-wetter.info/2013/pcws/20130902.gif
The steady increase until about 16:30 is pretty normal, regarding the outside temperatures and the nearly not insulated storage, nothing to be proud of, but nothing to be particularily concerned about.
I like your idea with the central heating gone mad, we have one but it wasn’t turned on because of the rather mild temperatures. And no, no one opened a window to regulate the temperature.
Hi, dear Angela!
With great pleasure I read about Your project through LinkedIn. Your activity seems very significant for the Museum community. I work in the position of scientific secretary at the All-Russian Decorative-applied and Folk Art Museum (vmdpni.ru). I’d be happy to help in texts translation from English into Russian.
With best regards,
Helena
I just saw the film. I am intrigued by the question of whether Landis’s actions have been harmful, or not. The passion displayed on this very page is proof that others are intrigued as well. Speaking of due diligence let me say up front that I have not read the piece in the Financial Times, nor in the New Yorker. I’m hoping that these sources will help me get a handle on the issues.
For now, though, I can say with certainty that I feel Landis is a dyed-in-the-wool con man. It is amazing the way he lights up in the museum reception scene. One can sense immediately how a museum curator might be taken in. If he is a con man, one can easily find nature or nurture arguments which attempt to explain why this is so, but the fact remains that at the end of the day, we are responsible for our actions. It is simply wrong to defraud others. To fault Leininger because he insists that Landis is a con artist is absurd.
A question which I hope to resolve by further research is how the big media reported this story, i.e., in what tone, in what depth, and what conclusions they drew, if any, about the case. The film was rather coy about drawing conclusions. They certainly could have made professionals at the major institutions squirm far more than they did. Yet this part of the story (how DO you authenticate artwork?) went unexplored. This lack of reporting on what institutions should have been doing makes Leininger’s taking up the slack more understandable, a point that is made in the film but rather weakly. Landis’s personality, as odd, wandering, and fractured as it is, makes for a compelling subject, and the filmmakers used this to their advantage. The question arises as to whether they were themselves exploiting Landis. I wonder. At the very least, they cast Landis as an idiot savant, which I think is only one of his facets. They certainly let him play to the camera. On the other hand, the filmmakers left plenty of film running so that viewers could make up their own mind as to the man’s character. As I have said, my conclusion is that Mark Landis reveals himself in the film to be an artist, after all. A con artist.
What a wonderful study; I wish all museum people could read this to get an idea of how easily mistakes are made, and why those of us in charge of artifacts demand we be allowed to follow our protocols, methodologies, and Best Practices. Every time I break one of those, I pay for it later in the time (and stress) it takes to straighten things out. thank you!
My only complaint is that the book isn’t available now!!! My site had a major water event and everything is more of a mess than usual so I’m taking it as an opportunity to finally gain full physical and intellectual control of the collections and this sounds like the perfect guide.
Congratulations on completing your manuscript.
Thanks Deborah. NOW is always the best starting date and if you can turn this unfortunate event to a stepping stone for improvement it’s wonderful. All good wishes to your project, I’m sure you’ll do awesome!
Thank you Angela, for creating a book that is really needed in our profession! Numerous times with the changing economy, museum staff assumes responsibilities that they really don’t know much about, such as the stewardship of a collection. This book will be the guiding light for them, ‘newbee’ collections staff and non-museum trained volunteer run organizations. Looking forward to ordering my copy!
Bravo Angela!
It took courage to tackle this „unmanaged“ issue, and to seek out others with different perspectives to enrich your work. I look forward to reading and learning.
Lisa Mibach
We’re big fans of reusing gallery furniture for improvements elsewhere on the campus. We try and reuse as much material as possible.
„If it’s free, it’s for me“ like my Mom used to say!
I am afraid to admit that the error rate I have found in accessioning and accessioning by location is closer to 25%. So many records are incomplete that it can take a team of two or three people to actually correct the information, find the proper location, and enter it into the database over an hour for one item. Many are easier to find but often we have found that either the accession number is wrong or that the person entering the information failed to do it.
I always give breaks to students and adults working with me. I definitely need breaks during work so I make them take breaks. I have found that younger adults do better because they have far greater experience with databases, computers, and cell phones. My worry is that some people will change the information after it is entered without understanding the process .
What a timely article. this week I spent 20 minutes figuring out where an artifact was – extrapolating my knowledge of the collection, where it could not be in a room containing a couple thousand items in various size containers and shelving configurations, and finally found it with an incorrect Object ID tag, in a box where a previous „curator“ had placed a number of other like items, some of which had correct location coding either.
Would love to emulate your process and track some of this effort in a quantifiable way!
Thank you so much! the vindication alone is wonderful.
I would be curious to know what you found out about RFID. Exactly what were the pros and cons? I have heard from some folks that they didn’t like it but I can never seem to get an exact answer as to why. Thank you, Sue
glad to answer that one (and it reminds me that I wanted to write a blog post on „why technology questions in museums often remind me of religious wars“ but haven’t gotten to it, yet). We took a look at all available technologies and figured out what they are good at and what they are not so good at.
RFID is very powerful when it comes to track a chip or the label the chip is attached to (to attach it directly to the object was never an option for us). You can stand in a room with a scanner and it will tell you exactly if the chip you search for is in this room or not. You can narrow the range of the scanner down to a few inches and will be able to track that chip resonably exact. This ability solves a big issue in museums: you can search for objects that are „lost“ and you have a ver easy inventory control.
Let’s take a look at the things RFID is not so good at: The scanners are not good at single operations. The scanner narrowed down to scan only an inch away will still display all the RFIDs it has in range. This makes it a bit cumbersome to edit a data base entry for a single object, especially in a storage with many objects.
How does it look on the material side? You have a mixture of materials, containing metal and plastics, and all RFID we researched where glued to an object or label.
What does it take to implement an RFID system? You can either order the chips from a factory or produce them yourself on specialised RFID printers.
How did these findings influence our decision making process?
When we took a look at our interaction with objects we found that the vast majority are operations with a single object. The cases where we actually wanted to search for an item in the storage where there, but it made only about 5-10% of our operations, at least in the storage. We have a very rigid location tracking, which means that most of the time IF an object has a location entry in the data base it can be found there. Most of the time we took an object out, did something with the data base entry and then put it back in its place or packed it for transport. This means that 95% of our working processes where those where RFIDs don’t have their greatest strength.
We are always trying to change non-archival materials to archival ones and the manufacturers couldn’t guarantee us that their materials are archival. In fact, none had even thought about the issue to have a material mix in a closed-up zipp-lock bag, nor where there researches on longterm stability. Together with the comparably high costs of scanners and printers RFID drpped out very early in our process. But this isn’t to say that they are not good for any other museum who has other issues than we had.
Generally, reponses are hysterical laughter or seizures. With textiles, my particular field, we saw thousands of ancient textiles marked directly with what were then known as Magic Markers, black, and reliably indelible. This was during the late ’80’s, when I began, in the U.S., and one can see this to this very day all over Latin America.
Just take a deep breath and call it „part of the history of the piece.“ What’s done is done.
Nobody is perfect, and these examples show the importance of correct training of both staff and volunteers if they’re going to be handling and marking objects. It’s always disheartening to find something. Our objects were collected originally by a surgeon Mr. George Marshall, who would not have been aware of best practice when it came to museum objects. Lots of adhesive tape was used, and „PROPERTY OF…“ ink stamps on the back of photographs, which wouldn’t have been too bad had they let the ink dry before stacking the photographs together.
However, more recently there are very terrible examples of museum professionals (within the last 10 years – and the first few years of the museum opening), with ink marked on leather and rubber, ink without paraloid on the front and centre of beautiful boxes of surgical kits etc. etc. The best yet is a lovely box of histology slides, where the person responsible (and I know who it is…) thought it would be more useful if people knew what the slides were by writing IN BIRO opposite each one on a sticky label on the inside of the lid. The mind boggles.
This could be a good blog share though….to provide examples to our staff and volunteers!
This will help settle the shyness of various sister institutions in sharing their historical documents for reference only and not for re-publication (or single publication rights) while they retain all their property rights to the original material.
I’d like to add my plea to other requests asking for the best methods accepted today for ID-ing hard goods, where attaching a stringed tag won’t work or you don’t want a tag visible. The literature still seems to suggest painting on white or clear paraloid B-72, letting it FULLY dry, then paint on number, let it fully dry (so it doesn’t smear), then paint on clear sealer, and let it fully dry. I feel like I’d be dead by the time we did that for all our hard goods! Is there no simpler safe and dependable method?
I guess I’ve seen just about all of the cited examples of how not to number in my 50+ years in the museum field, but one that really stands out in my mind was a preserved sculptor’s studio in which numbers were painted in red (at least 2″ high) numerals on white marble statuary — and on the sides visible to the public, to boot.
I think the following section of the text is very fair „As funny as all of these things are, we should remember that at some point people thought they were doing the right thing with their marking. I wonder what future registrars will be saying about us in 50 years…“ We are very horrified to read those examples (the restorers of the 19th century where very proud and confident of what they’ve done…). Before the marking shouldn’t be reversible, today it’s the contrary. Let’s laugh about those examples but let’s be humble regarding to our job as well :))
I have found so many paper accession numbers around my museum over the years. We had no access to the Modes system so we could find out which of the objects they belonged to.
At least I have not found any more numbers in the last year or so. And we now have access to Modes if we do.
Luckily I have never seen nail varnish used, but I may have seen typpex !
Excellent article, Angela! I am currently undergoing the removal of tons of nail polish applied in years prior on most 3-D objects in the collections at Living History Farms, plus the scary discovery of some other items marked up with ink without the slight use of a buffering shield. I guess it could be called ‚job security‘ when seen from the positive side.
I would love to post this as a link for my Collections Management Class in the online Museum Studies MA program at the University of Oklahoma, but I know the next question will be, is there also an article on how to do it right??
Thanks,
Caroline
While choosing from 300 or so Nazi weekly flyers for a propaganda exhibit, I was sad to discover each had been rubber stamped on the *front* with „John A. Doe Collection“ and then the name of our foundation. Every. Single. One. We also have sloppy (and obvious) red paint on artifacts too. And don’t get me started on the lack of paperwork for some of these…
To follow up on my post earlier, I was a poetic savant. I even submitted a few poems, to my luck to have 2 of them presented within this poetry book. But I surely know that I’m not good enough to earn a consistent stipend for them. What Landis should have done was work in a museum when younger and made friends with the staff or important patrons.
Iron
How the weight on these bars scars my arms deep,
It seeps to my subconscious, wincing with unbearable pains,
Stains my pores, the blood & tears will then weep,
All the agony lugging those rusted plates up high,
I can’t deny for my fate is sealed deep upon every warped number,
My slumber disturbed by ambiguous passes,
my glasses often tinted dark to ward off the lifeless stares,
My temper flares, blares cold as steel,
Hard to reveal the soul behind the shield,
I won’t yield the power behind the smite,
For they lack the insight to deal with my nature.
Landis is a person deep in denial about how society views him. To be an odd bird is something society holds in great disdain. I personally have tested this theory by submitting car alterations and designs to some major companies to of course receive nothing in return. Landis may have, when younger done the same with his own art, only to be denied recognition. What he fails to realize is that the world is a complex and cruel place, and it takes both luck, connections and great perseverance to succeed. To submit ‚designs‘ that are not of your own doing but mere copies is to be in denial of oneself. I was able to come to the truth that I am not well liked … perhaps with help he can too. It would be the only way he will stop.
I think that over the years since 1967 that we have made all of these mistakes and more. Often these „mistakes“ were from professional literature at the time or from representatives of the State Historical Society. I hope that the museum is doing better. The computer information is often vague or missing, examples; a table, a black blouse, a chair. Now I have a crew with our Inventory by Location database going over these identifications and replacing them with information about the owner, how it was used, and then descriptions of the item often relying on the Internet for basic information. I am the only person whose experience with the museum extends back to 1975 in one role or another. A long process and probably still riddled with errors. The database should be any museum’s main source of information.
Unfortunately as a community museum often with untrained staff bad advice is given in the most innocent and harmlessly meant ways. We were advised about 10 years ago by a „professional“ that using whiteout to number items was a great way to do it and so many of our items are numbered that way before we came up with better methods. Its sad and can be humorous but it also shows how important it is to share proper methods especially with smaller museums that have no choice due to finances but to hire untrained staff (ie:students) or volunteers.
Not exactly on topic but similar in the weird non-collection managers approved way of doing things: a large dental donation included a rare hand written document on vellum for a dental apprentice from the 1860’s and came fully protected because is was covered on both sides in clear Mac-Tac. To keep the appearance of the ragged paper edges, the plastic covering was meticulously cut around the non-linear edges. This was explained by the donor that the document could be handled and still protect it.
Excellent comments about numbering of museum objects. Adhesive tape is a NO,NO. We have several objects in the Jewish museum that are destroyed by the ad. tape. It is very important to do research and learn before touching anything especially in a museum.
Any insight as to the improvements or additions for the archaeological and ethnographic lexicon in 4.0?
The lack of specific terms other than unclassified object, which is everywhere in the data, is somewhat problematic when making catalog records for archaeological artifacts. For right now I have decided not to use Nomenclature for that reason but if the newer version has significant improvements in that area, I may consider giving it a go.
Jennifer:
My apologies for not realizing that you left this comment / question until now. Please email me at jennifer.toelle@salina.org
I will connect you with the members of the task force that directly reviewed and included new terms to the lexicon in the areas of archaeological and ethnographic materials.
Thanks,
Jennifer Toelle
I already have 3.0 and really don’t have $115 to spend on the new version. Any thoughts on whether or not it’s worth buying the new edition? I suppose I could find someone to donate the funds but I’d rather spend it on archival supplies. Thanks for the update on the edition though.
I guess it’s the big „depends“. If you are going to accession a huge new collection or if you are revising a lot of old data base entries (or bringing them from paper into computer) I’d buy the 4.0. If you don’t have much cataloguing on the plate and burning archival supply issues I guess the 3.0 will do for some time.
Do you have any specifics on the additional anthropological/archaeological/ethnographic additions to the nomenclature? I work at a natural history museum and one of our main issues is defining archaeological artifacts.
Thanks!
Sarah Aisenbrey
Dayton Society of Natural History, Dayton, Ohio
Sarah:
My apologies for not realizing that you left this comment / question until now. I’ll try to find your email address and so that I can connect you with the members of the task force that directly reviewed and included new terms to the lexicon in the areas of archaeological and ethnographic materials. Or feel free to email me at jennifer.toelle@salina.org
Thanks,
Jennifer Toelle
I’ve recently assumed the role of registrar at a small museum, and this article struck a chord/made me laugh. I go through the same thing every day. I’m at a relatively new museum that has collections from a previously dissolved collection. Documentation is a nightmare, so I’ve taken to simply opening boxes and going from there. Some boxes take a manner of minutes, while others are turning into week-long affairs. So, yes, it takes me a week to go through one archival box, but that involves sorting out photos, documents, and 3D artifacts of mixed media, not to mention location and documentation updates (they are never correct) and rehousing. But I love it. I wouldn’t do it otherwise.
Just reading Sarah Sutton’s new book on sustainability in museums and thought… Wouldn’t it be great if a museum actually made gallery furniture out of crates like this? They could rotate them in and out of public areas as the crates are needed.
I remember „my“ museum reused the exhibit architecture of an exhibition on genetics for the next exhibition about coffee in 1999. It involved a lot of carpentry and paint jobs but was awesome. Of course it doesn’t save that much money because you need creativity and manpower, but it sure saved natural resources!
I watched the film last night, and am struck by Mark Landis‘ comment that we are all different, and all the same. There is so little separating us, the line between art and craft is implied to be one of integrity, but Mark clearly has a sense of doing something right, though he must come close to lines he knows will cross over into „wrong“. At the end of the film he works out a new strategy, apparently, where he does as asked and stops donating „famous“ pieces to museums, but now will simply return lost items to their owners. All human interaction is a kind of theater, and hard work in many ways. With both of the M.L.s I saw struggle, and a degree of success, in bridging the distances that isolate and challenge us. If art is an artifact that makes us consider our humanity, then Landis, as well as the filmmakers, Cullman, Grossman and Becker, certainly succeeded.
thank you for the ideas and the information.
Actually you can create thewandering site for the exhibition easily!
You have all the information about the item . You need just to add an activity to each item, and then you are ready to create a station.
when you have 9 stations you can gather them together to a puzzle.
Looking forward to hearing fro you talilay@gmail.com
The salient bits of this film reveal a lonely, mentally challenged, but very talented and likeable man who is at least as smart as, if not smarter, than the target museums and other institution snobs who profess to champion and know so much about fine art (like the guy from the Cleveland Museum–„right out of central casting,“ Landis says).
The real fraud exposed by this film is not Landis, though. It’s the cabal of mediocre, ill-informed or, worse, lazy staff, faculty, etc who run these art museums/institutions who were duped for 30 years!Frames purchased at Wal-Mart?! Digital copies that were simply painted over?! Landis has exposed these people for who they are: bitter, posturing hacks with more ambition than knowledge or talent. Naturally, a man like Landis would raise some hackles. All of the offended (embarrassed)–the hyper-educated art „experts“–were outwitted by a timid, reclusive loner with limited social skills, schizophrenia, and a high school education. THAT’S the real issue here! Does anybody else see that?
Leininger is no hero. He comes off like a floundering bully with not much going for him. What exactly was he pounding his chest about Landis for? Who is he protecting? The phonies in the art world who clearly can’t even tell a blatant fake when they see one? The public? If Landis stops, what really changes? I’m a huge art fan, and I applaud Landis for his creativity, ingenuity, and balls. I hope he was paid and paid well for his participation in this film. The true fraud he helped expose is far more valuable to society than the ridiculous „cons“ he pulled off!
My favorite „Grandmother’s Fix“ is to encourage tidiness. While I certainly don’t want to encourage a volunteer to go to town on an artifact with a sponge and a bottle of Windex, there is no reason why that same cleaning-happy volunteer shouldn’t be encouraged to regularly sweep or vacuum the floors and corners around collections storage areas. A side benefit to this is that institutions this size usually don’t have an IPM plan or inspection schedule, so encouraging regular room cleaning might be the only way that they detect a pest infestation, water leak, or other problem. Also, most small institutions I have worked at seem to acquire a lot of non-collections materials that wind up encroaching on their limited collections storage space, like extra desk chairs or stacks of printer paper or plastic storage bins with no lids. Get rid of that extra stuff and make your collections storage spaces roomier and better cared for without even having to touch the artifacts!
This is such a fantastic idea! I have been making something of a career of assisting small, all-volunteer institutions with their unmanaged collections, and I would LOVE to be able to point them toward a book that is designed to help them take first steps, especially with a limited budget and access to professional assistance. I would be overjoyed if I could assist you in any way with this book by sharing any of my experiences, solutions, horror stories, etc. Good luck!
We have a large panel of side art – the kind of heavy decal that covers the side of a video arcade machine – that provided a real challenge. At 6’long and 36″ wide, we had no space to store it flat. If you rolled it, it flattened itself into pancake, so it couldn’t be rolled and stored in a tube. And it had to be rolled with a large diameter, or it would crack. With archival tubes costing hundreds of dollars, we needed an alternative. I bought, at the building supplies tube, a concrete form tube (Sonotube, in the US) with an 8″ diameter. A volunteer wrapped the tube in aluminum foil (yes, Margaret – we buy it in bulk these days!), covered it with acid free tissue (or maybe he used Tyvek), wrapped the side art panel around it, and wrapped the whole thing in Tyvek. WE already had Tyvek left over from another project, so the whole outlay was $10 for the Sonotube and whatever the aluminum foil was from Costco. And after a minor flood issue, we wrapped wooden shelves more of the foil to give us some off-the-ground storage space.
Simple white wallpaint – as we painted them from the outside there were no worries concerning offgassing (not that anyone had ever really cared about offgassing in this collection up to that point…).
My favorite „Grandmother’s Fix“ in collections care is using heavy duty aluminum foil as a vapor barrier on non-archival surfaces such as wood surfaces (i.e. wood shelving; wood drawers) and wood-based materials (i.e. acidic cardboard boxes) and as the core of shaped inserts to pad out objects (the crumpled foil is covered with a fabric or nonwoven before being inserted in to the object). Of course, I use NEW aluminum foil. My grandmother would probably have re-used her foil (after first carefully washing with soap and water)!
I broke out laughing when I read the article and comment. It is so true and so frustrating. One thing not mentioned is that the original notation is sometimes incomplete. It may take an hour, a day, or even longer to locate the information and verify it before it can be entered into the computer and added to the original notation. People do wonder why storage takes so long. I wonder how it goes so quickly.
Peter Klein
It takes so long because there are SO MANY objects to organize! There are so many little details, and the last person who was trying to do it skipped something, or a file is missing, or the phone rang, and I had to drop what I was doing to handle the next perceived emergency.
You might be… if: You visit an archive and the first thing you look for is the fire suppression system, and the second is any artifacts that will be damaged if it goes off.
Sounds familiar Janice. The worst thought to cross my mind was always ‚Oh, this will be easy to do, I’ll just do this one thing really quickly and….‘ As soon as the thought crossed my mind I would wince, because I knew I had doomed myself to exactly what you said. It was always a Pandora’s box of other things to get fixed. My consolation was that if I took the time then to fix it, I would never have to worry about that one thing again. (And would also save my successors from having to deal with it!)
I am reminded of what I’ve called Klein’s Third Law of Museum Work:
There is no such thing as an easy household – or museum – task.
My mother – who as an architect was the handyman in my house growing up – points out that it is impossible to just hang a picture or replace a washer. One thing leads to another and before you know it you have to go to the hardware store – at least twice – to buy a new piece for the toilet. Similarly I find that I can’t just file a document in an accession file or photocopy a record for a researcher. Two hours later, I’ve had to assign five new catalogue numbers and revise twenty computer entries.
Christina Casey is clearly fooled by the deceptively charming facade of an extremely mentally ill man. Her gullibility is almost as scary as her inability to distinguish right from wrong. Landis wasn’t being gracious, he was trying to avoid admitting responsibility. He needs to be in a group home, somewhere where he can be supervised and prevented from harming himself and others. Matt Leininger is a hero for standing up for the truth. As usual, no good deed goes unpunished.
What kind of person is Matt Leininger, who hunts downs and says he’s going to „get“ Mark Landis? When Mark Landis is a harmless elderly man who is autistic, and has a host of other mental diagnosis’s, and in nobody’s care, and with no living family members (as you might see in the documentary Art & Craft. If it werent for Mark Landis, who was very gracious to Leininger, he would have no extra attention at all.
I have been working on a project for around 6 months now beginning to get to grips with a previously unmanaged collection in a British local authority run museum. I’d be happy to contribute if it would help. Alongside all the issued others have identified (and it’s nice to know I’m not the only one) I’ve found managing expectations and changing behaviours is also an issue.
If a collection has been unmanaged for several decades I will not be producing a fully searchable online catalogue with images within 2 years. Also managing the collection does mean we cannot take everything people want us to and you will need to fill in this documentation correctly!
Worst case scenario? Try this one. An all volunteer museum that began collecting items in 1991. Since then the collection has grown to somewhere close to 500,000 pieces; there have been 5 diffirent amature curators and dozens of volunteers; the records have been all paper based using at least 6 diffirent numbering systems; both the records and the collection have been physically moved 3 times and at present the records and the collection are located in 2 diffirent locations; the Museum has not been open for over 10 years and the collection is housed in a borrowed space, mostly untouched since it was put into boxes in a very hasty and unorganized manner; now we’re open again as a Museum in a third location and I am the basically the only one charged with accessioning and registering these items and putting them into an organized manner that will at least slow down the deteriation of our library/archives/photo/objects collections and get them into an electronic program. All on a very, very tight budget. Help!!!!
Hi Ron, I think you may have won the prize for worst case in Documentation!
many people are using FileMakerPro for museum databases-it is fairly easy to set up, and takes both text and photos.
If you can, try to find out the exhibit history of artifacts (how long, how much light, did they travel? for example. This will help in selecting less damaged objects for future displays.
I am a conservator specializing in museum surveys for collections care; I have written an article called „What to Do When You Can’t Afford to do Anything“-if you send me your email I will gladly send it to you. It contains sources of supplies for the US and Canada.
A fascinating subject, indeed the first impression of a collection unmanaged is usually fatal, it also gives me the same impression a collection that was administered and for some reason forgot care
not necessarily, in my thinking. Sometimes you have to stay anonymous to protect the innocent.
Besides, I doubt that pointing fingers ever helped improving a collection. A institution that admits it made mistakes has my deepest respect for acting professional and showing the will to improve. But that doesn’t necessarily mean that there isn’t professional work done in institutions that don’t want to be named.
I’m collecting those stories not with the intend to write up who has done something wrong. I collect them to encourage those confronted with an unmanaged collection. It can be a shattering experience. Knowing that others were confronted with similar or worse experiences helps.
The worst I had was a completely unmanaged Dentistry Collection. Sadly, this collection had once been a well-run collection of historic dental implements and teaching tools such as human, hominid and other osteological material. When I accessed it, you could not move in the room. There had been a leak of hydraluic fluid from an old dental chair. There were beautiful ivory elephant tusks that had been left on a dental chair in the sun for probably 30+ years and were incredibly fragile. The worst was when we located contact explosives and the bomb squad had to come in. All in all, after 3 years of work, I have a wonderful before and after shot to show the difference. I’d be happy to share.
Hi Angela,
I have some experiences to contribute to your book. Can I share them off-line (via email)? I would want the people/institutions be kept anonymous.
Best,
Laura
I have an antique vase and the inside inscription says that is from 490 BC. I would like to send pictures and I will appreciate if you could give me your opinion of its value.
thank you
Robert John Davidson
I’m sorry to inform you that talking about values is regarded as unethical behavior for registrars and other collections professionals in most countries of the world. Further, most professionals who can give a suggestion about values (i.e. appraisers) won’t do this on the basis of mere pictures.
Sorry I can’t give you a more positive reply.
As a side note, if it is really an inscription that says „490 BC“ on the artifact itself, not just a label or a document I can at least inform you that it is a very rare piece. There is strong evidence that someone built a time machine, travelled back in time, made the vase and, knowing when Christ will be born, made the inscription in relation to this birth date. However, I must inform you that leading museologists suggest that in this case the date of manufacturing has to be set no earlier than the date the actual time machine was built.
Lovely box! We have a lot of plastic guitars from various music video games like Guitar Hero (we’re a video game museum), and one of our volunteers crafted a beautiful box for them that he modeled on the multi-guitar cases that rock bands travel with. He used pool noodles for the foam separators and supports and tied the guitars in place with archival cotton tape. It’s great fun to open it and show visitors. Your box is much more elegant, though.
Very nice article Anne. I can relate to this because I studied archival management as a Sport Historian and was very concerned about the long term damage that boxes could have on the contents. But I saved the boxes anyway and stack them separately, lol. I bought the specialized containers as I needed them, trays for coins and medals, deeper trays for larger memorabilia, acid-free boxes for papers, etc. I used to sit in French class and design sports stadiums, lol. Your work is nice – we will ask for your help when we actually have a building.
I’ve been managing the same collection part-time for 18 years and still have quite a ways to go. When I came on board as the first professional curator, the collection had already been growing for 30 some-odd years. There was a minimal paper trail, sometimes just consisting of post-it notes or notes on scraps of paper.
I spent the first 15 years improving the physical condition of the collection; shelving, boxes, sealing the basement storeroom, improving drainage, etc. Now I am moving forward on intellectual control.
Professional standards are necessary but not always based in reality when one is worried about keeping bats out of the piano.
Kudos for constantly pushing your collection towards better standards. It’s the consistend work over years that makes all the difference. Good luck in gaining intellectual control.
You never know what is in a donation until you unpack everything so be wary. I found five small bullets on the bottom in a box of nursing sisters regimental uniform buttons, badges, etc. from WWII. Of course they are live! Now on to locating the best place to have them deactivated.
Dear Mr. Leininger – I have watched, for the first time, “Art and Craft”, and found it to be a wholly different kind of story than I had expected. I was very touched by the history of Mr. Landis, and the kind of loneliness and psychological fragility that motivated his “philanthropy” over the last 30 years or so.
I do not know Mr. Landis’s whole story, so I was quite disturbed that you were so dogged in your pursuit of him, wanting him to stop what he had been doing in terms of his art forging activities. With respect to you as an art professional, I do, however, take issue with your attitude, and with this quote from Alec Wilkinson’s article “The Giveaway” in The New Yorker (8/26/2013):
“I’m not angry anymore, but if I find that he is still at it I would be. About his only next option, though, is to shave that grizzly face of his and tuck those ears back and put on a wig and go as a woman.”
Firstly, although I know that art forgery is wrong, Mr. Landis was not taking money for it. The thing that gave him pleasure, immersion in art, acting as a philanthropist, did not hurt anyone. He was not violent nor threatening, but polite and mild-mannered, and I assume that he was motivated by a need to be loved, to have some refuge from the loss of his parents. And yet, I find your words, as quoted above, to be illustrative of a complete absence of empathy and compassion for Mr. Landis, focussing on small things about his physical appearance that obviously irritate you, even encouraging further deception (that he “go as a woman”).
Mr. Leininger, you are younger and stronger than Mr. Landis. You have a family and very likely friends too. I have read also that you are a printmaker, so I assume that from your involvement, both academic and practical, in the art world, you would have some innate sensitivity. And yet, none of that is apparent in your relating to Mr. Landis.
So, this is a plea from the heart. There are many people in the USA and the world who have certain gifts, who are odd, who are annoying (I meet them every day too), but who harm no-one and who are often deeply unhappy and lonely inside. Please learn compassion.
I only discovered your blog a few months ago and totally love it. It is great to see so much experience shared without borders and always interesting how things done in one part of the world can be applied anywhere else.
I have worked in a couple of exhibit and storage upgrades in the past and I am just finishing a contract with a small history museum in Western Canada where for two years we surveyed a collection that had not been cared for, or managed properly, for many, many years. The collection has everything from huge machinery and industrial equipment to delicate tea cups and First Nations art. The storage facility is off-grounds, not climate controlled, overcrowded and, up until a year ago or so, only had the cracks in the back wall to serve as emergency lighting (not kidding). Sounds like it fits your description to the T.
A few years ago I started taking photos of the changes that happened during these types of projects, as things got moved, cleaned and rearranged. I have some interesting images I could share, specially if you have a specific topic in mind or something you want to illustrate but maybe have no photos of your own.
Send me an email and we can figure out how I could help.
I was hired as a curatorial consultant in 2011 at the Derby Historical Museum in Ansonia Connecticut and was confronted with a collection where there had been no standard accessions protocol for the entry of objects into the collections thus very few even had accessions numbers assigned and many had no records at all. There had been no curator/collections manager to care for the collection in years and assist with the transition of what few paper records there were into PastPerfect. I was only on a limited contract so I developed a guide to objects accession and taught volunteers how to process objects. I relied on previous experience and the legal forms that they had been using for many years and would have loved to have a book that contained tips on how others had handled a similar situation. If you would like this as a case study I would be happy to provide details
Great idea for a book on this topic. I am a volunteer registrar at a small museum on N. Wales. When I took over records were (mostly) in Excel. Now transferred to MODES. I have catalogue numbers for most items but some (about 25% – mostly photographs) have no donor / lender details or date of acquisition. Most frustrating. We undertook to do retrospective documentation as part of accreditation. But for some items I have no clue where to start. Some people involved with the collection left the museum before I joined and have not responded to e-mails etc.
Another problem has been with copyright on photographs etc.
Like Angela I have found that taking photographs (or scanning in the case of photographs etc) is essential. Some lithographs I have been able to identify by uploading onto Google Image Search
wow, sounds like quite an endeavor! Objects without provenance are indeed a huge issue. Sometimes there are clues deep down in the archives of the institution or town but sometimes you invest a lot of legwork and end up with nothing. I found the most annoying thing about it that you don’t have a chance to deaccession them properly if they don’t fit into the mission…
A very good idea and hopefully an useful instrument for people who have to manage previously unmanaged collections in the future!
During the period between 2005 and 2009 I was project manager of a rather huge deaccession project. When I started the project I noticed that we had to deal with an enormous various collection situated in a former laundry building. The storage, not build for museum storage and not situated adjacent to the museum building was one of the main reasons why the collection was not managed properly for some years.
I would love to join you in your interesting journey. So if you are interested in our project (incl. practical solutions – where to start?/ open communication about the project i.g. by an exposition about deaccessioning/ pictures) feel free to contact me.
I was the Director of Collections and Programming at an agriculture museum. When I came on board the collection hadn’t been inventoried in 15yrs, and more than 85% had never been cataloged in the first place. There’s more to the story – if you’d like to chat I’d be interested in participating.
Angela, this is excellent! I’ve been in historical collections that were in exactly this situation as well as been in an art museum with a particularly troublesome piece made from animal bones…I would love to try to contribute a write-up about these experiences.
I love this idea because I’ve thought about creating a document that is geared towards practical collections care for people who can’t do full-on museum storage for their personal collections but could also apply to those coming into a situation like you describe. Something about stages of care…thanks for taking this on!
this sounds good. Yes, I hope this will be a handbook practical enough to help people to get a start at improving their collection. Of course, a collections manager’s duty is never done, but my focus is to say: don’t look yearning at the perfect storages of big art museums, just start doing something about YOUR collection TODAY and keep improving.
Hello Angela,
When I began my tenure as Collections Manager at a state university’s Historic Textile & Costume Collection (very part-time in 2006) donor’s weren’t required to sign a gift agreement form. The collection, about 60 years old, had „loans“ from people long-dead as well as other organizations in which the staff had completely changed. Accessioning was in full swing but de-accessioning…. non-existent. I put together a donor agreement form and contacted a reputable auction house to begin creating a more select collection. We still, however, have debates and the need to pare down the Collection’s size.
I’d be happy to contribute more if you would like it. What a great idea – I’m looking forward to reading more.
this sounds indeed very interesting. You are right, one key issues is to define what belongs into a scope of a collection and what doesn’t. If you just take „everything“ you are in trouble soon. That’s why it is so important to put a collections policy into place. I’d love to hear more about your endeavor!
Often what we should be asking is how to improve conditions in storage/display. Many years ago I participated in a ICCROM course with African delegates. Who said to me I know that lighting museum by candle light is not best practice but without electricity we have no other options?
I also gave advice to a regional museum in a historical building
which had a storage area below the nearby river water level. The river had flooded and caused significant water and mould damage.
thank you so much. Yes, this is a good example. You always have to look which materials are available and how you can achieve a maximum of object safety under the given circumstances! I would love to exchange some thoughts.
das ist ein großartiges Projekt. Es gibt im Sammlungsbereich viel zu wenig praktische Anleitungen und Handreichungen. Es freut mich sehr, dass Ihr so etwas aufziehen möchtet. Vielleicht kann ich auch ein Beispiel dazu beitragen: wir haben vor sieben Jahren angefangen, die große, ziemlich unorganisierte Sammlung eines großen Unternehmens aufzuarbeiten. Schreib mir ein kurze E-Mail, wenn Du Interesse hast, dann kann ich genaueres erzählen.
You have a wonderful and much needed project, and timely too! I will be embarking on a new project to assess / evaluate an unmanaged defunct museum collection. I’ve taken initial photos of the storage areas and have found the typical problems of incorrect storage such as a 120 year old crocheted bedspread folded up as tightly as possible and stored in a cardboard box. Evidence of old pests on textiles, items in full sun, assorted types and weights of hats jumbled in a large box, stored in unheated concrete warehouse style of building in Canadian winters, storage rooms are not secure in a public building, etc. I’m ‚itching‘ to begin the project to sort it out and make sense of it. Of course the budget is really low and the oversight committee are non-museum folks. I can contribute various aspects of this project to your book if required.
thank you so much for chiming in. This sounds indeed like a collection that holds many good examples. I drop you a mail and maybe we can exchange thoughts in the process.
From what I’ve gathered, the defunct museum operated for 30+ years by well meaning non-museum volunteers. No donor information or inventories and everything was jumbled together in a room for tourist viewing in a unheated space. When it closed in 1999 many folks felt that their families stuff should be returned and literally walked in and took it home. In 2006 I volunteered my expertise to sort the collection and provide elementary storage solutions, to a great effect I could see the vast majority of the items are beyond hope of keeping. I took images of the original storage condition (literally a town employee would take a box at the end of a shelf and sweep his arm over the contents to dump everything into a box. I will look for these images.
Maybe some inspiration can also be found in the ReOrg-method for storage reorganisation developped by ICCROM, aimed at converting overcrowded storage-spaces into workable safe storage. More information and lots of examples you can find on the project-website http://www.re-org.info/en. Later this year I hope to be attending an ICCROM-workshop on the ReOrg-method in Brussels. As a consultant in preventive conservation I often encounter unmanaged collections in professional and non-professional heritage organisations in Flanders (Belgium). A joint approach of these collections should be developped. I’m looking forward to your guide. Let me know if I can help. Would it be possible to get a copy of your article in Museum Magazine?
Liebe Angela,
vielen Dank für den interessanten Artikel.
Ja, das ist ein wichtiges Problem. Auch ich hatte schon mit derartigen „textilen Neuzugängen“ in unserem Museum zu tun.
Ein wichtiger Arbeitsschritt beim Aufnehmen einer neuen Sammlung ist die prophylaktische Stickstoff-Begasung, um ein Einschleppen von Schädlingen zu vermeiden.
Weiterhin finde ich es wichtig, dass jegliche Hinweise auf frühere Behandlungen mit Bioziden dokumentiert werden, d.h. Aufheben/ Dokumentieren von in der Nähe des bisherigen Ortes der Objekte gefundene derartige Tütchen, Mottenpapiere, Informationen uä.,um den weiteren Umgang mit den Objekten zu bestimmen oder eventuelle Reaktionen am Objekt erklären zu können.
Ist die Sammlung erst einmal vom bisherigen Ort entfernt, sind solche Informationen meist verloren.
Ich hoffe, diese Hinweise helfen weiter bei der Problematik. Für eventuelle Rückfragen stehe ich gern zur Verfügung.
vielen Dank für die Hinweise! Genau, das Dokumentieren sämtlicher Hinweise, die zur Sammlung gehören könnten ist sehr sehr wichtig und leider wird oft viel zu schnell erst einmal etwas weggeräumt und weggeworfen, obwohl es ein wichtiger Hinweis war.
I was so glad to come across this. I am a seasoned art museum curator who has worked in medium to large institutions who (generally) have it together regarding collections management. For the last year I have been the director at Andalusia Farm, the home of Flannery O’Connor. We steward 544 acres and 12 historic structures on this former dairy farm and the picture you paint of unmanaged collections fits us to a T. Less than one month into my tenure, a tree fell on an already compromised 3200 sf historic Equipment Shed. It was filled to the brim with all manner of tools and implements, farm machines, broken furniture, random kitchen ware, architectural salvage, horse tack, and various mysterious bottles with weird liquids etc. So yes! Your book is sorely needed and we are happy to provide stories and photos of this and other ‚collection‘ finds (e.g. the graveyard of rusted farm machinery, the hillside of buried gin bottles near a rumored still, the textiles in Flannery’s chiffenrobe). Happily we rescued the items from the Equipment Shed and are currently rebuilding the structure but are still faced with what to do with the thousands of items ranging from hand forged nails to a vintage tractor. Let me know how we can contribute to your effort. Thanks.
Hello Angela,
While visiting the small museum in Folsom, New Mexico several years ago I wished I had a copy of the book you are about to write. The situation may have changed since I was there, but I would love an excuse to travel back there for some documentation. There were huge holes in the roof of the building, allowing rain, snow, and myriad insects to get into a historic building featuring local historic artifacts, books, fossils, and natural history specimens.
I hope that this book would benefit not just the museum professionals working on on contract who are confronted with similar problems, but also those folks who run the small places with grand items that need attention, too.
Please let me know if I can help.
Cheers,
Jeff
sounds like a prime example of an unmanaged collection in need of the book. Not so sure if they are keen to serve as a worst case example, though. 😉
Actually, I hope I write as cleary and hands-on that you don’t necessarily need a museum studies degree to understand it. And I will try to point to professional resources where someone who is new to the field can find some help.
Fernando, felicitaciones por tu trayectoria a partir de las artes que dan una visión universal del Hombre y sus obras.
Me formé como Profesor de Artes Plásticas y como dibujante científico documental(Chile) , „sin querer queriendo“, ingresé al mundo de los museos que ha sido mi pasión,amplificada en la perspectiva de gestión del patrimonio. Ahora estoy jubilado y aporto como voluntario registrador de colecciones en un pequeño Museo Histórico (Argentina),Un abrazo
Branko (bmarinovm@gmail.com)
Hello Angela. This project sounds like a great idea, the basic „GUIDE TO MANAGING A COLLECTION“ type of book. I will be happy to contribute ideas and photos as I have experienced these issues since 1968. Oh, and today is my 65th birthday – see my Facebook page for details. ANYWAY, everyone should start out with a camera and take hundreds of images from every conceivable angle of the material before anything is touched. General photos of the room, the piles, the damages if any, then closeups of everything. This documentation is like archaeology – documenting the items the way there were found and later it helps to clarify any relationships. It also has side effects of being evidence for insurance purposes, legal purposes, historical purposes, etc. Well done!
thank you, I’m looking forward to your contributions!
Yes, when working with an unmanaged collection your first approach is „hands off“. I already introduced the mantra „Take more pictures – touch less things“ in one of the first chapters. It’s a great danger to destroy connections – physical as well as those who have to do with provenance – when moving things too fast and too early in the endeavor.
Felicitaciones por la edición del Manual! Los manuales siempre son buenos compañeros en el trabajo, tanto para los viejos olvidadizos, como para los jóvenes aprendices
My partner, Carol Borow, sent me on your article. With our experience, this comes as no surprise to me. However, I wonder if you’d be interested in one additional experiment. Here goes.
My understanding is that solar fading damage is caused (approximately) by Ultraviolet radiation (40%); Visible Light (30%); and Infrared radiation (30%); and that installing Ultraviolet-blocking film will give you protection against only 40% of the sun’s damaging rays. At the same time, there are spectrally-selective (virtually clear) window films, e.g., VKool VK-70, which block not only all of the sun’s UV rays, but all of the sun’s IR radiation as well; thereby providing protection against 70% of the sun’s damaging rays.
If you wish to experiment with both a UV film and a spectrally-selective UV/IR film, let me know. Should provide a vivid demonstration of how solar fading happens, and what you can do to mitigate the damage that results.
It would appear that the study of dust particles or bunnies would reveal a story about its past and present locations which could be used to possibly map its travel adventures through the floors of its existence. Could their be a sequel?
I am laughing after reading this because I have finally found somebody in the world who is as „weird“ as me. Almost everyone thinks I am „off the wall“ because of the many things I do that are similar yet perfectly based in science – look closer at that stuff with a microscope and you would probably get sick. when I sold my home and packed my 6,000 volume library I insisted on using a vacuum cleaner on every individual book before I wrapped and packed them for storage. Nobody understood my explanation and simply accused me of „stalling“ the move. Are we surrounded by idiots? I think yes. People do not understand the relationships between and among dust, mold, temperature, humidity, light – did I miss anything? The idiots say „just box it up“ as they hand you an empty banana box with nice handles. I am also an amateur photographer but the close-ups that I do are for medals, coins, stamps and other collectibles. Klaus – you may have my vacuum bag anytime you want it for your next book!
You can make rather nice paper from dryer lint. The color tends to be gray, although the bright red lint we got after washing new flannel sheets for the first time was lovely. It’s the same process as making it from any fabric fiber.
Matt, you are like the George Zimmerman of the art world. There is a reason you were a registrar and not an artist – you lack vision and creativity. Its the same for all of those stuffy attendees to your „exposé.“ All of you talentless shards trying to tell Landis what he should do with HIS art… please… You people wouldn’t understand art if it crapped on your face. Why don’t you go to see the New York Philharmonic and tell them that they should write their own music and stop putting their title in front of Beethovens. You’re pathetic, and completely useless. Do you have any idea the skill and passion it takes to pull of a masterful forgery??? No you don’t, because the only thing you ever created was an inflated ego. Listen to yourself… „I’m the registrar that made it all happen“ – no jackass…you’re a hall monitor…and the closest you will ever come to knowing talent is when Landis shook your hand. You owe him a huge apology, and a debt of gratitude. Without him you’re nothing.
Wow, Derek, what a story! No wonder you’re taking another job. Makes our upcoming need to move a small covered wagon look like a mere trifle. Best of luck in your new career.
A former colleague had a story about care handling unseen/unknown items on a top shelf: she pulled a reed bundle to the edge of the shelf and something fell out and nicked her skin. It was a poisoned arrow (South Seas – New Guinea?); as it was over 100 years old she was not killed, just in bed for some three weeks.
Auf der letzten ICOM-CC Konferenz im Sebtember in Melbourne wurde auch im Rahmen der Vorträge in Preventive Conservation über den Umgang mit Waffen und Munition im Museum of London berichtet.
I remember visiting a depot once, where they had a sea mine from the second World War in storage. Apparently a local archaeologist transported the thing in the trunk of his car from the Belgian coastline all the way to Brussels, on one of the busiest highways in Belgium. To my own surprise, the people managing the storage facility weren’t sure if the mine had already been defused. I sincerely hoped so, because I was standing next to the thing! In Belgium in the region of Ipres even nowadays farmers often plow up live ammunition (grenades etc.) form the First World War. We have a special military demining service (DOVO) specialised in destroying or defusing these ‚artifacts‘: http://www.mil.be/nl/eenheden/dovo (only in Dutch and French I’m afraid).
One of the first things I learned from my antique collecting uncle was that even if the weapon was a muzzle loader to always insert a rod into the barrel… Hundred year old gun powder can still ignite! Also be aware with stone tools, obsidian tools can be sharper than surgical knives
I can definitely see myself on both ends of the spectrum. I try to think outside of the box and usually succeed in facilitating access, exhibits, and program use of collections objects and archival material in many different ways. However, sometimes I do have to come in from the „old school“ side of things and advocate for old fashioned collections protection and care. Usually I can collaborate with colleagues to find a middle ground. But the lines have to be clear to everyone – and the reasons for them. Recently I took a humor approach to getting museum staff to consume or take home their Halloween candy. I forwarded a particularly graphic image of beetle larvae in an old chocolate candy from a webinar presentation presented by a respected colleague. it made the point, candy was consumed while fresh and the excess was placed in ziplock bags. Problem solved.
what a wonderful way to get the message across! In fact, I think if the „why“ is communicated clearly it’s most of the time no issue to reach middle ground. Even our local TV team called for gloves, recently. Mission Accomplished!
OMG the German version of this cartoon hung in my father’s office for ages! Thanks for the memory, Janice!
It was an amazing experience taking part in this conference which was so well organized. I especially loved this particular panel, but the others were a blast, too. Still working on the final session panel which is especialy difficult because I was so nervous because mine was the last part…
I just assembled my first Seville Classics Ultra HD rolling storage cabinet, and I am floored! It assembles and is engineered as if only Germans worked on it, but it comes from California (USA)! Everything is so well thought-out. They even broke the back panel into two pieces so you could attach the top one upside down to the wood top without contorting yourself as the thing was inverted on the floor. They even provided a magnetic-tip screwdriver that is just small enough to fit in all the spaces it needs to turn in. They thought of everything! Best of all, it’s not very expensive. They make other storage cabinets and worktables also. You can even get two units and assemble them as a double that shares one top. The singles are designed to roll right under their worktables.
So, if you need tool storage, I recommend them highly.
Here’s the link:
By the way, these may be useful for archival storage, but I really don’t know. I know the drawer pads are not, but they don’t even have to be put in. The drawer glides have some plastic parts, so they may be an archival concern. Otherwise, they are stainless steel with stainless steel ball bearings (very smooth action). The finish is stainless steel and powder-coated steel. The tops are solid maple, but I don’t know if they have a finish. They are very smooth, so they may be at least oiled. The bumpers are some sort of flexible, rubber-like plastic.
I couldn’t agree more! Its nice to know I am not alone. My children have been afflicted as well. They always notice whether labels are on straight or are about to fall off or if the case needs to be dusted.
Thank you! Our archive policy committee and collection caretakers (curators) recognized the need for shared terminology, written policies (thank you, SPECTRUM), but the IT team tries to employ these terms, that they then imbue with meaning that is at odds with conventional museum biz uses. So, there’s a push/pull between the camps in the ways we try to organize metadata and collections. I’d be interested to know more about how small or mid-sized museums are dealing with this.
Thanks Victoria. In my opinion, IT should look to make it fit to our requirements, not the other way round. Or, better, both parties try to understand where to aim at, together. But this is an extremely interesting topic, I will take it to our group at linkedin and maybe some others will show up with ideas.
That moment when you lean in to look closer and realize you’re trying to figure out how they made the mount. The piece is lovely but damn that mount is invisible! Again, thank you for voicing our shared head space. I always enjoy your postings.
Yes! I also spend far more time looking at how the items are mounted, lighted, placed in the case, arranged, etc. and reading/critiquing the labels, to actually pay attention to what is happening.
Exactly! We’re the people who go into an exhibition and wonder about indemnity arrangements and forget to look at the art. Inside the mind of a Registrar is a frightening place to be some times…
I wish there was a law that says all paintings hanging in restaurants must be level. It’s so hard for me to eat while looking at poorly hung artwork. My husband has to make sure my seat does not face one of these poor paintings, for fear I will get up and straighten it (which I have done more than once).
So very, very true! I can’t remember the last time I enjoyed an exhibition solely for its aesthetic..it’s always how would I ship that? Is that the best way to display? OMG think of the logistics of traveling that through the building! and on and on… 🙂
ach wie schön, dass es eine Ehrensache für dich ist bei meinen Aktionen mitzumachen – vielen Dank für diesen ungewöhnlichen, da in der Blogparade noch nicht vertretenden #KultTipp!
Spannend finde ich den Ansatz, dass man sich für Sendezeiten bewerben kann – prima! Während ich den Artikel las, dachte ich noch, Heidelberg, mensch, kann ich den Radio-Sender auch in München empfangen. Am Ende löst du es auf – danke für den Livestream-Tipp. Ich werde da mal reinhören, wenn ich erst einmal verschnauft habe. Die Blogparade läuft gigantisch, herrliche Tipps sind da und kommen vielleicht noch. Das Technoseum ist ja auch vertreten. Es ist eines von sieben Museen und ich verrate, dass noch Museumsblogs etwas schicken werden.
Ups, ich habe einen Roman geschrieben – pardon, nochmals ein herzliches Dankeschön!!!
danke für den Aufruf. Ja, die eigentlich nur regionale Verfügbarkeit war der Haupthinderungsgrund, warum ich nicht früher geschrieben habe. Dann habe ich aber nachgesehen und den Livestream entdeckt und damit stand der Beitrag. So kann man sich auch ein bißchen Mannheimer Lokalkolorit ins ferne München holen – bunt isse, die Rhein-Neckar-Kulturszene 🙂
Die bisherigen #KultTipp-Beiträge waren klasse und ich bin auf die noch folgenden gespannt!
Great article about the film, your life and tracking the forger for all that time. Would you have any problem with posting this on the PACCIN list? Good story to share.
Dear Mr. Leininger;
I am in position of a couple of Mr. Landis’s fake art pieces but
don’t know what to do with them.
If he’s really the big faker everyone thinks , I know a way to
‚get‘ him.
I believe he’s NOT really Schizophrenic! That’s all bull-shit
he’s Really putting on an act! He couldn’t be so consistent
and be :
[Schizophrenia is a mental disorder that makes it hard to: Tell the difference between what is real and not real; Think clearly; Have normal emotional responses; Act normally in social situations]
What do you think? we should brain storm this .
..AW
Latest for the wishlist – smart software which will tell you when inventory records deviate from the norm. Or when someone is going „off-reservation“ in their data entry!
Something to alert me that a custom support was not replaced after someone was taking images or used for a quick display. The object is back on the shelf without its supports and the supports are no where to be found.
Interesting 2009 article on contractor vehicle tracking strategies. things that worked well for me for moving tens of thousands of rare and circulating books from city to city was routine communication with drivers, shippers, and receivers; regular planning meetings (beyond scheduling – route, process, etc.); documentation; and post-project analysis (close-out, post-mortem, etc.). These not only helped with sustaining schedules, but also seemed to keep everyone focused and funny business at a minimum.
you write about „scrunching“ labels and having problems with reading printed barcodes. Both problems can be easily avoided. There are Barcodeprinters which are build to print readable barcodes. If you buy a better one, they come with integrated dispenser. They are also really fast.
This way you would press print on the PC und when you turn around the already pealed perfectly printed label is already waiting for application.
Also the thermo-transfer barcode printers can print on many materials and the print is very durable. If you use polyester labels and a resin ribbon you could get very durabele (weather proof!) labels with guranteed scanability.
I hope your project works out and good luck with the RFID.
Thanks very much for your comment – I think these ideas could be useful for future barcode projects. It’s always a learning process when you do things you haven’t tried before – and sometimes all sorts of compromises are involved too.
Hola buenos días,quisiera poder saber si ustedes no han propuesto a realizar cursos de capacitacion a personas que trabajan en Museos y que realizan este tipo de trabajo que han sido puestos por que no hay mas personal, son funcionarios Publicos, cooperadores, etc.
En mi caso soy funcionario Municipal de la Municipalidad de osorno, Chile, estudie Tecnico en Bibliotecologia para bibliotecas privadas y publicas, Universidades publicas y privadas.Al llegar al Museo se me destino como encargado del deposito del Museo Histórico y me dieron la mision de clasificar catalogar y posterior registro de lñas colecciones que cuenta este Museo, que hay desde fosiles, telas, insectos ,coleecion mapuche, ceramica, artefactos antiguos de la epoca, cuadros de pintura,armas etc….. como vera tuve que adecuarme a lo que habia con un pequeño inventario que data de la creacion del Museo y actualizando las colecciones,ahora quisiera poder saber si ustedes pueden realizar algun curso para latinoamerica en este ambito que ustedes estan realizando para poder de esta manera ir aprendiendo nuevas tecnicas, nuevos sistemas , software etc. hay una entidad en españa , la corporacion iberoamerica de españa que relaiza curos para latinoamerica donde uno postula a estos cursos, mire le dejo esta pagina para ver si le interesa http://www.aecid.org.py/ desde ya muchas gracias.
This is very interesting thanks Sheila! Looking forward to reading how this was implemented as we’ve considered using barcodes but have not figured out how to do this with thousands of ethnographic and archaeological objects! Would love to hear from any readers out there who have attempted this.
Too often, the odds are stacked against those protecting the art or those attempting to recover it. So, it’s nice to see when things turn out well for the good guys.
When planned appropriately, the security system helps to deter theft OR for the “undeterred” thief, the system provides the ability to detect them, delay them, defend against them, and forensically support their identification and prosecution. As most of us know, the sooner the thief is detected and identified, the better the chances to recover the art, or even thwart the theft altogether. In terms of security systems, the use of people, effective security procedures, and physical and electronic technology should always be considered in a multi-layered approach.
Unfortunately in many cases, these security systems are lopsided in their application and do not provide the appropriate overlapping or concentric circle approach; which often creates gaps in coverage. The trained thief or even the opportunist looks for these gaps as avenues to steal art.
In most circumstances it’s nearly impossible to understand all motivations for stealing art. It’s even more difficult to know the methods a thief will take to steal art. Therefore, a multi-layered security approach of concentric circles has always been the proven technique to securing art. When planned appropriately; use of detection, delay, and defense concepts will either deter the thief, deny the thief access, or when thief succeeds – provide sufficient forensic techniques to quickly identify the thief and recover the art. When using a multi-layered security approach; a loss of single security system function (i.e., forgetting to turn on a sensor, or not locking an exhibit case) would not render the security system ineffective.
I am astonished to hear and read your story. I am arthistorian and worked as registrar and head collections and depot in a local museum in Eindhoven town (The Netherlands). Our museum closed in 2012, most of the people (including me) were losing their jobs in 2011 and still I am without a job, without an income and my future is uncertain, it freigthens me a lot. I feel there will be no more chances for me to survive this. If you have some little savings in this country you have to use them and governmental support keeps out.
Thanks for your open story and wish you all the luck with your wife and daughter,
Peter
I am sorry to hear that Peter. Stay strong and stay the course. Plans for your future have been laid out and it will take patience and perseverence to get thru, but it will happen. Best, Matt
Bravo Angela and Derek and all the others who have contributed to this wonderful site. You are all what makes our profession worthwhile (beside getting to play with the collections :-)).
It was a great conference and we hope to encourage colleagues around the globe to do their everyday work with the due dillingence and pride – and not be afraid of telling their stories.
Very nice work. I have a question. Do you have some mechanism for lifting individual trays out of the box? Or do you perhaps use a drop-front box so you can slide them out?
Anne Lane
Mountain Heritage Center
Western Carolina University.
We considered tabs but as our preparator makes such strong and sturdy dividers between the buttons, we grab the dividers themselves at outer points, to lift the trays out. None of the trays are heavy and the dividers are really quite strong.
Erica Blumenfeld
Senior Registrar Museum of Jewish Heritage
My job is the historian for the history of the Smithsonian and my office is attached to Smithsonian Archives. I know how crucial documentation is. So in an exhibit in 1996,“Eyes on Science: Illustrating Natural History,“ I found a way to demonstrate this. I placed a large attractive shell on a table – it is the shell you pick up on the beach while on vacation. But I also had a scrim and when the lighting switched regularly, the visitor now say the shell surrounded by its accession card, field notebooks, scientific illustrations, museum label, conservation report, etc. It demonstrated what made an object „museum quality“ – and that was documentation. Without our documentation that object has no real meaning. Visitors we spoke to seemed to really understand the concepts we were trying to communicate.
I’ve used a similar technique in other exhibits to make visitors understand what a museum object is. I think museums should think about including facsimiles of documentation in exhibits more often, to demonstrate how we know what we know about an object.
Pamela, thanks. That’s exactly the sort of thing I’d like to see happen more often: an imaginative explanation of what museums do, their role as resources for research, and – of course – the crucial part that documentation, too, can play in this.
Thanks, Derek – an interesting experiment, and one which I’ll share with my colleagues and bear in mind as we review our acquisition procedures at the Horniman Museum. Although only quarterly, our meetings can be very long – sometimes well over two hours.
Mark makes an excellent point about needing to evaluate light damage relative to other risks to the collection in order to understand its importance. It would be a shame to keep objects from view only to have them degrade in other ways or be lost to fire, flood, or theft long before their useful display life has been used. Recognizing the importance of considering risks in context is the driving force behind leading institutions now embarking on comprehensive collection risk assessments. If there are one or more risks other than light damage that dominate the risk profile to a collection then there may be little point to rotating which objects are on exhibit.
It is also important to realize that rotating objects from the collection on and off exhibit does not reduce light damage to a collection as a whole but simply alters its distribution. In some cases distributing light damage more broadly through the collection will result in greater loss of value from the collection. The change in object value seldom has a simple, straight line relation to extent of light damage. Usually the change from a “pristine” state to a “just noticeable change” results in a much greater loss in value than a just noticeable change step somewhere in the mid-range between pristine and completely damaged. This is generally recognized by herbaria who, knowing that dried plant specimens are extremely light fugitive, will choose only one page of a bound herbarium to be opened on exhibit. In this way light damage to the contents of the book is restricted to a single page. The remaining pages remain in the near pristine state for occasional viewing. In contrast, if the book has 100 pages and a different page is displayed each month then it would only be a matter of decades, if not just years, until every plant specimen in the book was severely faded.
Agnes Brokerhof and colleagues presented this issue well in their 2008 paper:
Brokerhof, Agnes W.; Reuss, Margrit; MacKinnon, Fiona; Ligterink, Frank; Neevel, Han; Fekrsanati, Farideh; and Scott, Graeme
Optimum access at minimum risk: the dilemma of displaying Japanese woodblock prints.
In Book. Conservation and access: contributions to the London Congress 15-19 September 2008. Saunders, David; Townsend, Joyce H.; and Woodcock, Sally (Editors). International Institute for Conservation of Historic and Artistic Works, London, United Kingdom (2008) pp. 82-87 [English w. English summaries]. 6 figs. (4 color), 3 tables, 11 refs. [ISBN 0-9548169-2-7].
I don’t know of any materials that rejuvenate from light induced damage in dark storage. I do know of materials that continue to degrade due to light-induced damage after removal from display and subsequent dark storage. I also can cite materials that can recover from some discoloration by fresh exposure to light, but it’s kind of a catch-22 as some components (e.g., inks on paper) in the artwork are being further degraded while other components (e.g., color of the media) are being improved by further exposure to light.
The key knowledge to be acquired by curators and conservators is not easy to gain in many instances, but it is how the light fade resistance compares to other degradation pathways. When a material is very light sensitive, it’s pretty much guaranteed that light exposure on display will be a major factor of concern, but with materials of moderate or high light fade resistance, then other weak links like gas fade resistance, thermal and humidity degradation, etc., may prevail in such a way that worrying about amortizing the time in the light on display may be totally irrelevant. Policies for storage and display need to be decided based on better understanding of all the likely variables of decay and not just one variable only since the variable in question may not be anywhere close to being the weak link in the chain.
What research has there been to discover whether ‚rest periods‘ actually halt deterioration? Some materials will continue to suffer light damage after the light source has been removed. It’d be good to know what materials benefit from a ‚rest period‘ and those that don’t.
Very helpful analogy (which I shall use!) I’ve found it to be quite a common misconception that ‚rest periods‘ involve recuperation or recovery of an object in some way.
Liebe Angela,
gerne fange ich für unser Blogteam das Stöckchen auf, vielen Dank! Manche Deiner Fragen haben wir für uns oder andere schon einmal beantwortet (wenigstens vorläufig). Aber ob wir uns mit unseren ganz unterschiedlichen Hintergründen auf ein Museum und noch dazu einen Standort einigen können – wer weiß! Vielleicht wird es ein Mehrspartenhaus oder ein fliegendes Museum. Wir melden uns auf alle Fälle an dieser Stelle zurück, sobald unser Blogbeitrag dazu online gegangen ist.
Mit herzlichen Grüßen
Katrin
superfein! Jetzt bist du als Person und Idealistin pro Kultur für mich greifbarer geworden. Ich habe mir schon gedacht, dass ich spannendes über RegistrarTrekDe via #BestBlog Blogstöckchen erfahren werde. Mir war nicht klar, dass du für das Technoseum arbeitest. Das freut mich sehr, da das Blog des Museums sehr agil ist und tolle Blicke hinter die Kulissen gewährt.
Jetzt finde ich es herrlich, noch mehr über deine Arbeit im Depot zu lesen. Eine Tätigkeit, die dem Laien nicht so bewusst ist, vor allem wenn parallel mehrere Ausstellungen vor- oder nachzubereiten sind. Ich liebe diese Geschichten und bedanke mich ganz herzlich bei dir für dieses wunderbare Blogstöckchen. Bin auch sehr neugierig, wie es mit dem Weiterwurf weitergeht.
I agree with Janice Klein: Many congratulations. Your work on behalf on international registrars deserves this kind of recognition. Now we just have to get you to Canada for a meeting.
Many congratulations. Your work on behalf on international registrars deserves this kind of recognition. Now we just have to get you to the US for an AAM meeting.
I love reading this insiders scoop this morning. Reminds me a little of Cordelia Rose’s CourierSpeak in Six Languages, which as it turns out is actually a flow chart for the courier’s work. Brilliant. I wonder if these abbreviations might be graphically placed to create a visual teaching tool? Keep up the good work, all of you.
Thanks, Mary. We haven’t thought of something like that but if you have an idea how to do it – or know someone who does, we will be glad to feature it on Registrar Trek.
Thanks for this wonderful effort. I hadn’t heard the term „proper“ used for condition reporting, and wonder if that’s more commonly-used, AND whether it will be understood 100 years from now. We’ve used „viewer’s left“, etc. or „subject’s hand at viewer’s left“.
Hi Victoria, that’s interesting, we will put that into our next update. In Germany, we use „heraldisch rechts“, „heraldic right“ because it was used in heraldry when describing to which side a figure looks or is ascending. „Viewer’s left“ will mean to me the left hand as I look at it, which would be the „proper right“, if I understand you right?
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What a good idea. Thanks for sharing it. At my last job, we used the term ACP (rather than AP) for Abandoned Cultural Property. The name term is from the South Carolina law governing the settlement of such property.
Hello fellow museum professionals,
Glad I found this blog. Would someone know how and whom to contact in Japan for the Japanese National Museum?
Cheerfully,
Norman
Matt, the traditional abbreviations for manuscript and manuscripts are MS and MSS. And for the general abbreviations much in use, a couple degrees beyond the overused LOL: ROTFL – Rolling on the floor laughing; ROTLMAO – Rolling on the floor laughing my, er, rear end off.
In books, recto/verso is only right page/left page for languages written left to right – my rule of thumb is that the side that’s foliated is the recto.
And one for your list:
UFP = unfit for production (i.e. can’t be exhibited, loaned or issued in the reading room and probably in need of TLC)
I’ve seen others such as OS (for oversize (whatever that might mean)) and MAN (manuscript) for communicating on projects with other departments. Every organization I’ve worked with has had a few idiosyncratic acronyms to boot.
I have to agree that this was a great rebuttal to the argument that museum’s have become too child friendly. Like Anne Lane I do not have children, however some of my earliest and fondest memories are from days out to the Melbourne Museum with my grandparents. My brother and I were always encouraged to be inquisitive; we asked questions, we attended school holiday programs and as such both remain committed to going to the museum with our younger family members. I actively believe that we need to bring our collections to the children, to get them actively involved with our history – whether that is through open days, discovery centres or a more multimedia/interactive approach. One of the many aspects of my job is the recommendation to preserve or conserve objects. This is not for me, but for the future generations that should be able to connect with our past. As cliche as it sounds, the children ARE the future. Certainly the future for museums.
Ouch !!!! Quelque chose dans ce style m’est arrivé…Je me suis servi d’un aimant pour le récupérer… Dans ton cas, il est peut-être possible de le faire tomber dans un endroit plus „discret“…
English:
Ouch!!! Something like that happened to me, too… I could solve the problem with a magnet… Maybe in your case you can use one to move it to a more inconspicuous place…
Thanks Eosclio. Fortunately, we were able to open the small glass front on the side of the rack and fetch it with the grip tongs. A magnet would have been another good idea!
Alana, I finally got around to reading your wise comments. My mother took me on the train to the Art Institute of Chicago on Saturdays when I was a kid. (The trains had wicker seats that flipped back and forth according to the direction of travel – yep, eons ago). Even before I worked in museums I would take my kids. When my daughter was about 12 she was a volunteer at the Madison Children’s Museum. Later when she moved back to Madison to get her undergrad degree – she did another stint there again. While her field is rather far removed from museum work – she hasn’t lost the appreciation. When she comes to NY to visit – we make our forays into the city’s museums. What goes around comes around. I’ll be looking with fresh eyes at families learning together from now on – thanks to you.
Making a courier trip to Lyon, France, and have not handled an international courier assignment in a while. Large exhibition with beaucoup crates. Any tips?
Angela, we are getting close to finishing the first draft of an emergency response plan for our museum, and just having gone through the process of imagining a disaster and our response, as well as going through your scenario and imagining pur (or my) response, is hugely helpful. Thanks so much for sharing!
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Great article. A good, thoughtful read to inspire all of us to embrace learners of all ages. Accessibility and transparency, are key in this industry. We must engage our constitutes and community; engaging them and meeting their needs or we, as cultural institutions, will no longer be relevant.
Bravo Alana! The original article was so distasteful that I tried to ignore it, but your response is worth saving and repeating as often as necessary.
One of the things I now enjoy most about museums is watching families learn together and use the information and ideas we provide as a jumping off place for discussion of their own histories and interests. It’s great to watch kids and parents (and grandparents) share stories that start with what they see at the museum and go on beyond that.
I once had the pleasure of telling a child who was being „shushed“ by an adult, that, as director, I was the only one who got to tell him to be quiet, and I was fine with the noise he was making.
Thank you, Alana! A great rebuttal to a truly bad argument. I have no children, but my parents took us to museums all the time when we were children. Mom always said to me, „You should work in a museum.“ Mom, look at me now. I learned not only to value, and to learn from, but to love museums, and while I did not set out with a position in one as a career goal, it happened. And the sounds of a class of children interacting with artifacts and our education guy is music to my ears.
I would air on the side of not moving the vehicles. I would look for a temporary method of fire monitoring: install a temporary fire detector in the area. I would then wait for the warmer weather on Monday and open the gate to use the cherry picker. I would also consider moving the monitor at the same time to an accessible position.
The photo and „Don’t mess with the collection!“ would make a great t-shirt. After your comments on diplomacy, I’m starting to thing that the ideal registrar is a Teflon-coated bulldog!
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Another T-shirt idea inspired by my years at a university art museum: „Touch me, not the Art!“ 😉
I have an installation kit for non-museum-venue installations where I can’t count on anyone else having what I need. I’ve found some of the most useful items in my kit (which is now big enough to need an entire small suitcase to itself) are office supplies (including a rainbow of Sharpies), a small bubble level, a clip-on book light, and small cards wrapped with plastic wrap and aluminum foil.
I’d love to see what everyone else has that’s maybe less expected than the traditional setup!
Wow! I just felt the need for a signal injector, and I googled to see if someone still sells them. I got this hit as one of the few. and this signal injector is identical to the one I had as a kid. It takes a 1.5v battery (size AA) just as a flashlight where the + touches the metal tap on the black part (wich is in fact the top of an old fashioned transistor), and there should be a spiral spring at the bottom of the cover. When you twist it to a click you turn it on(off) and the light should show on state (if the bulb works).
This pen will inject some buzz noise into any circuit and it is (or rather was) used to test/debug electronic circuits.
I am not 100% sure about this, but it might have been bought from Maplin electronics back in the late 70’s or 80’s.
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¡Caray! Tenía la necesidad de un inyector de señal, y busqué en Google para saber si alguien aún los vendía. Tengo este logro como uno de los pocos, y este inyector de señal es idéntico al que tenía cuando era chica. Éste acepta baterías de 1.5 voltios (talla AA) tal como una linterna, donde el positivo (+) toca el contacto de metal en la parte de color negro (como suele estar, de hecho, en la parte superior de cualquier viejo transistor pasado de moda), y debe haber un resorte en espiral en la parte inferior de la cubierta. Cuando lo mueves para hacer el clic de encendido (desde off), la luz debería mostrarse en estado encendido (on, si el bombillito funciona).
Este bolígrafo inyecta un suave zumbido en cualquier circuito, y es (o más bien, era) usado para probar/depurar circuitos electrónicos.
No estoy 100% segura sobre esto, pero pudo haber sido adquirido de Maplin electronics allá por los tardíos 70s u 80s.
yeah, it’s exactly that way you describe! So happy to hear of someone who knows this exact model. Makes it even more valuable for our collection.
Cheers!
Angela
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Hola Morton:
síp, ¡es exactamente del modo en que lo describes! Me hace muy feliz escuchar de alguien quien conoce exactamente ese modelo. Eso lo hace incluso más valioso para nuestra colección.
Great story! And I love the photos. My sister’s cat once fell from a 5th floor window, and we speculate from her almost complete lack of injury that she rode down on the window screen, which was found next to her.
Cheers!
Anne
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¡Grandiosa historia! Y amo esas fotos. El gato de mi hermana una vez cayó desde un piso 5, y especulamos sobre su casi total falta de lesiones, pues se deslizó encabalgada sobre la pantalla de la ventana que se encontraba a su lado.
¡Salud!
Anne
Brilliant. You may be too young for this TV reference, but I call this doing a MacGyver. Or that I am Ms. MacGyver.
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Brillante. Puede que tú seas demasiado joven para esta referencia de la televisión, pero yo llamo a eso hacerlo a lo MacGyver. O que yo soy la Sra. MacGyver.
Terrific idea! Conservators are constantly required to improvise or „play it by ear,“ so this was particularly meaningful to me (and I have had my share of dozens of cats over the years).
There’s a term used commonly in Guatemala (I don’t know if it is known in the rest of Latin America)- „chapuz.“ It is the equivalent of „jerry-rigged“ (probably British) and refers to a job done with improvised pr readily available materials and not much know-how. So this concept is well-known, perhaps especially in the third world, where formal education and funds for suitable materials are not abundant.
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¡Es una idea fabulosa! Los conservadores están constantemente obligados a improvisar o a „tocar de oído“, por lo que fue especialmente significativa para mí (y mira que yo he tenido mi parte del asunto, con docenas de gatos en los últimos años).
Hay un término comúnmente usado en Guatemala (desconozco si existe en el resto de Latinoamérica): „chapuza“. Es el equivalente (probablemente británico) de realizar un trabajo con materiales improvisados y fácilmente disponibles, y sin mucho de „saber-cómo“. Así que este concepto es bien conocido, tal vez especialmente en el tercer mundo, donde la educación formal y los fondos para los materiales adecuados no son abundantes.
Thanks, Molly. We in Germany sometimes use the term „mit Bordmitteln“ = „with what’s on board“, which derives from shipping. If you are on the ocean, you have no chance to fix something by buying the right supply. You just have to see what you’ve got and fix it with this. Common practice not only in the so called third world countries…
Cheers!
Angela
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Gracias, Molly. Nosotros en Alemania algunas veces utilizamos el término „mit Bordmitteln“ = „con lo que esté a bordo“, lo cual se deriva de la navegación. Si tú estás en el océano, no tienes oportunidad de arreglar algo comprando el repuesto adecuado. Solo puedes contar con lo que tengas. Es una práctica común no solo en los llamados países del tercer mundo…
P. S. If you ever make it to Brooklyn, there is a very cool wallpaper designer/manufacturer in the ‚hood. A must visit! http://www.flavorpaper.com
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Post Scriptum: Si no has ido en Brooklyn, hay un muy buen diseñador/fabricante de papel tapiz en la vecindad. ¡Una visita obligada! http://www.flavorpaper.com
Congratulations Angela – you must feel pretty good ( and you should!). I’ve been to the Wall Paper Museum in Kassel. Who could resist! On the same day I visited the Museum of Sepulchral Culture. As a grad student I studied the history of papermaking and 16th C. German graphics. Does Durer’s wallpaper have a place in your book? (Just curious). It sounds like it was tremendously interesting. One of my clients published a book called „Wallpaper and the Artist: From Durer to Warhol“ by Marlyn Oliver Hapgood. I wonder if you encountered it in your work on the Backstory book? I suspect not too much is written – but I may be wrong. Good to add to the literature.
All in all, a very nice diversion for you. Cheers, Suzanne
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Congratulaciones, Angela. Debes sentirte muy bien (¡y deberías!). He estado en el Museo del Papel Tapiz en Kassel. ¡Quién podría resistirse! El mismo día visité el Museo de Cultura Sepulcral. Como estudiante graduada, estudié la historia de la fabricación del papel y la gráfica alemana del siglo 16. ¿Tiene lugar en tu libro algún tapiz de Durero? (solo por curiosidad). Eso suena tremendamente interesante. Uno de mis clientes publicó un libro titulado „El papel tapiz y el artista: de Durero a Warhol“, por Marlyn Oliver Hapgood. Me pregunto si diste en tu trabajo con el trasfondo histórico. Sospecho que no mucho ha sido escrito -pero puedo estar equivocada. Conviene agregarlo a la literatura.
En general, una muy buena diversión para ti. Salud, Suzanne
actually, I was sniffing at the fresh book and turning the pages again and again for about 8 hours when the book arrived from the printer. One had to remind me that it’s dinner time… 🙂
I know both museums in Kassel and they are great. Unfortunately, the Tapetenmuseum is closed at the moment. Can’t wait to see it re-opened in new rooms!
Dürer is a little too early for the book. It starts at around 1650 when you find the first signs of wallpaper actually applied in the resources (trade cards, letters, bills…) and ends in 1750 when wallpaper was a well-accepted feature in households across Europe and the American Colonies.
Thanks for the link. Definitely something I will place on my „to visit“ list if I happen to come to your area.
Best wishes
Angela
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Gracias, Suzane,
de hecho, estuve olfateando el libro cuando llegó de la imprenta, pasando las páginas una y otra vez por cerca de 8 horas. Alguien tuvo que recordarme que ya era la hora de la cena… 🙂
Conozco ambos museos en Kassel, y son grandiosos. Infortunadamente, el Tapetenmuseum está cerrado en este momento. ¡No puedo esperar para verlo re-abierto, con sus nuevas salas!
Durero es un poco demasiado anterior para el libro. Éste comienza alrededor de 1650, cuando encuentras los primeros indicios de papel tapiz ya aplicado en variados recursos (tarjetas comerciales, cartas, billetes…) y finaliza en 1750, cuando el papel tapiz fue una característica bien aceptada en los hogares de toda Europa y en las colonias americanas.
Gracias por el link. Definitivamente, es algo que pondré en mi lista de „por visitar“ si se me ocurre ir a tu zona.
Hi Matt, I just read the New Yorker article today and found a Wikipedia article on Landis, which I did some minor editing on. After coming across this blog I added it to the „See Also“ section, but I don’t know if you want it that public. You could go into „Edit source“ on the article and make any changes you think necessary.
Sorry about your unemployment troubles. I had a museum career that basically ended in 1998; haven’t found a museum job since.
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Español:
Hola Matt. Acabo de leer el artículo del New Yorker hoy y encontré un artículo de Wikipedia sobre Landis, y le hice algunas modificaciones de menor importancia. Luego de descubrir este blog lo he añadido a la sección „Vea también“, pero no sé si quieres que se haga público. Puedes ir al „Editar fuente“ en el artículo y hacer cualquier cambio que consideres necesario.
Siento lo de tus problemas de desempleo. Yo hice mi carrera en los museos, que finalizó en 1998; desde entonces no he encontrado empleo.
Thank you! I know my mother was fearing the worst when I arranged all of her food storage containers and lids in bins by color and type when I visited last. When I explained that I had just finished walking an intern through an inventory/rehousing project and was still in sorting mode she relaxed.
I also find myself critiquing artifact supports, proofing label text and looking for neat id number marks on objects when in a museum exhibit. Alas, my dad now knows what to look for and will track down a curator to offer a compliment on a well-supported or well cared for object. Even to to point of calling a curator at his favorite museum at home to let her know how great her exhibit looks. Good thing she is also a good friend.
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¡Gracias [Maria]! Sé que mi madre temía lo peor cuando la visité la última vez, y le organicé todas sus friambreras según el tipo y color de las tapas. Sólo se tranquilizó cuando le expliqué que yo acababa de terminar un recorrido con un becario para un proyecto de inventario/realojamiento [de las colecciones del museo] y todavía yo estaba en “modo clasificación”. También a veces me encuentro a mí misma criticando los soportes de algún objeto, chequeando la prueba del texto del rótulo [de la pared] y buscando el número de identificación cuando está expuesto. Por desgracia, mi padre ahora sabe qué y cómo mirar [a los objetos expuestos], y localizará al conservador para ofrecerle un cumplido por algún objeto bien dispuesto o bien cuidado. Incluso, él llega al punto de llamar al curador de su museo preferido para hacerle saber lo grandiosa que quedó la exposición. Por suerte también [ella, la curadora] es una buena amiga.
Dear Angela and Fernando,
Thank you for this initiative. Indeed registrars around the world need to share more! I’ll be happy to contribute to translate from english to french if needed.
Helene
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Español:
Queridos Angela y Fernando:
Gracias por esta iniciativa. ¡Sin duda los registradores alrededor del mundo necesitan compartir más! Estaré feliz de contribuir con traducciones del inglés al francés cuando sea necesario.
Helene
Thanks, Héléne! We keep sharing all the knowledge of our colleagues. And many thanks for your disposal to contribute with our translations english-french. Thank you, in the name of Angela and myself!
Fernando
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Español:
¡Gracias, Héléne! Nos mantenemos compartiendo todo el conocimiento de nuestros colegas. Y muchas gracias por tu disposición para contribuir con las traducciones inglés-francés. ¡Gracias, en el nombre de Angela y el mío!
Thanks, Héléne! We keep sharing all the knowledge of our colleagues. And many thanks for your disposal to contribute with our translations english-french. Thank you, in the name of Angela and myself!
Fernando
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Español:
¡Gracias, Héléne! Nos mantenemos compartiendo todo el conocimiento de nuestros colegas. Y muchas gracias por tu disposición para contribuir con las traducciones inglés-francés. ¡Gracias, en el nombre de Angela y el mío!
You’re absolutely right, Angela. But since I’m the „Grammar Police,“
as well as a conservator, I always read the chat cards very carefully after the exhibit is mounted. I can’t tell you how many typos, misspellings, grammatical errors and other cardinal sins are released to the unsuspecting public. If you can’t trust the writing, are the facts wrong, too?
I think you should have a special bin for checking the written word.
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Español:
Tienes toda la razón, Angela. Pero como yo soy la „Policía de gramática“, además de conservadora, siempre leo las notas del chat con mucho cuidado después de montar la exposición. No puedo decirte cuántos errores tipográficos, faltas de ortografía, errores gramaticales y otros pecados cardinales se publican para el público desprevenido. Si no puedes confiar en lo que dicen esos escritos, ¿será que los hechos también estaban mal?
Creo que deberías tener un recipiente especial para el seguimiento de las palabras escritas.
Liebe Frau Kipp, seitdem ich erstmals Ihren Registrar-trek entdeckt habe, lese ich ihn regelmäßig und bewundere Sie für Ihre Energie, denn die braucht es ja , um dran zu bleiben bei so einem Unternehmen.
Nachdem ich seit wenigen Tagen pensioniert bin (bisher Konservator am Badischen Landesmuseum) habe ich mir überlegt, ob ich Ihnen irgendwie helfen kann. Am ehesten vielleicht bei den Übersetzungen: aus dem Englischen, Französischen und Italienischen könnte ich ziemlich problemlos ins deutsche übersetzen, haben Sie da noch Bedarf?
Hello, I didn’t spot your call for translators in July and hope it’s not too late. I would be happy to share some English-Italian with Andrea if you wish. That would be good as I’m always busy with applications and study. Please let me know. Thank you, kind regards
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Hola, no vi vuestro llamado para traductores hasta julio pasado, y espero que no sea demasiado tarde. Me encantaría compartir algo de inglés-italiano con Andrea si Uds. quieren. esto podría ser bueno, pues siempre estoy atareada con mis aplicaciones y mis estudios. Por favor háganme saber. Gracias, y cordiales saludos.
Hola,
Soy una Registradora de collecciones en el Museo de Oakland de California. Mi lengua materna es el espanol pero mi trabajo en museos se ha desarrollado en los Estados Unidos. Puedo traducir del espanol al ingles, y viceversa. Mi especialidad es en arte e historia
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Hello,
I am a registrar of collections in the Oakland Museum in California. My mother language is the Spanish, but my museum work has been developed in USA. I can translate from English to Spanish and viceversa. My specialty is Art and History.
En el nombre de Angela y el mío te damos la bienvenida a nuestro equipo de traductores. Es muy gentil de tu parte que te ofrezcas para colaborar con nosotros en nuestra apasionante profesión y blog. Te comentamos que tenemos ya una multitud de colegas que traducirán muchos artículos del español al inglés; sin embargo, sabemos que también podremos contar contigo para eso. Bienvenida a bordo.
Angela y Fernando
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Susana, hello:
In the name of Angela and myself welcome you to our team of translators. It’s very kind of you to offer yourself to work with us on our exciting profession and blog. I commented that we already have a multitude of colleagues who will translate many articles from Spanish into English, but also know that we can count on you for that. Welcome aboard.
If you still need people to edit texts in Greek/English, I am all ears! I have a PhD in Museum Studies from University College of London and ¡I love reading museum-related stuff!
Español:
Si aun necesitan gente para editar textos del griego al inglés, ¡soy todo oídos! Tengo doctorado en Estudios Museales por el Colegio Universitario de Londres, y amo leer materiales relacionados con el museo!
Hi everyone,
My name is Fanis, i am a conservator of antiquities and works of art and i am about to finish my studies in Heritage Management. i would be happy to help on this effort. I speak English, Spanish and Greek.
best wishes
Fanis
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Español:
Hola a todos,
Mi nombre es Fanis, y soy conservadora de antigüedades y obras de arte, y estoy por finalizar mis estudios en Gerencia del Patrimonio. Estaría feliz de ayudar con este esfuerzo. Hablo inglés, español y griego.
Cordiales saludos,
Fanis
Just a brief update on the text. After this text was written the so-called General Secretariat for Culture has become a separate Ministry again (!) and is now called „Ministry of Culture and Sports“. The relevant website is http://www.yppo.gr/0/esitemap.jsp
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Solo una breve actualización acerca de mi texto. Luego de que este texto fuera escrito, la así llamada Secretaría General para la Cultura se convirtió en un Ministerio separado otra vez (¡!) y ahora es llamada „Ministerio de Cultura y Deportes“. Su destacado sitio web es: http://www.yppo.gr/0/esitemap.jsp
Not sure if my reply was posted but a good question! I guess I was the lucky one to do my due diligence as a registrar and not be afraid to ask questions or question a gift or a donor. When something does not seem right, it probably isn’t and here we are today!
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No estoy seguro de si mi respuesta fue publicada, ¡pero es una buena pregunta! Supongo que fui el único afortunado en hacer las debidas diligencias como registrador, y no temer preguntar algo o cuestionar una donación o un donante. Cuando algo no parece estar correcto, probablemente no lo está, ¡y aquí estamos hoy!
Well, all I can say is that over a 30 year plus period that Landis has been active, unfortunately museum and gallery professionals did not due their due diligence in researching a new donor or if they did know who Landis was, did not share the information at the time. However I manned up and let people know in any avenue I could including this blog. Does that help?
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Español:
Bueno, todo lo que puedo decir es que por un período de más de 30 años Landis ha estado activo, y desafortunadamente los profesionales de museos y galerías no hicieron la debida investigación a ese nuevo donante, o no sabían quién era Landis, o no compartieron la información a tiempo. Sin embargo, procedo sobre eso y le hago saber a la gente de cualquier modo acerca de lo que se pueda decir en este blog. ¿Eso ayuda?
This article was a great piece on the extensive detective work that goes into the initial investigation of an object and the mammoth task of the ongoing search for background information, context and connection to community that makes artifact collections a living, breathing entity. It is very hard to explain what I „do all day“ sometimes. I may just send a link to this website to a few more people – have already sent it to my departmental colleagues!
Thanks for the information on radio research – I am inspired to investigate further!
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Español:
Este artículo es una gran pieza en el extenso trabajo detectivesco que continúa desde la investigación inicial de un objeto, y la gigantesca tarea de su búsqueda permanente de información básica, del contexto y la conexión con la comunidad, que es lo que hace que las colecciones de artefactos sean una entidad viviente. A veces es muy duro de explicar lo que yo „hago todo el día“. Solo puedo enviar a unas pocas personas el vínculo de este sitio web – ¡lo he enviado a mis colegas del departamento!
Gracias por la información sobre la investigación en la radio – ¡Me siento inspirada para seguir investigando!
Glad you liked it, Sharon! And feel free to share it with whoever may be interested. I think it’s very important to share so people know what we do all day.
Cheers!
Angela
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¡Me encanta que te guste, Sharon! Y siéntete libre de compartirlo con quien esté interesado. Pienso que es muy importante compartir, de modo que la gente sepa que „hacemos todo el día“.
Hi,
I’m French and have lived and worked in English-speaking countries for the past 13 years (3 years in the UK and, more recently, 10 years in the Republic of Ireland).
11 of these years have been working for Natural History Museums (London and Dublin).
So I’d be happy to help with translations from English to French or from French to English.
Great initiative!
Sylviane
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Español:
Hola,
Soy francesa y he vivido y trabajado en países de habla inglesa por los últimos 13 años (3 años en el Reino Unido y, más recientemente, 10 años en la República de Irlanda), 11 de ellos trabajando para Museos de Historia Natural (Londres y Dublin). Así que estaría feliz de ayudar con las traducciones del Inglés al Francés o del Francés al Inglés.
¡Grandiosa iniciativa!
Hola, mi nombre es Rosana Calderón, soy Perito en Restauración, y he trabajado en el inventario y registro de colección del Instituto Nacional de Antropología e Historia, controlado más de 600,000 objetos. El Proyecto Registrar Trek as translator, me parece una gran aportación global, y si puedo apoyarlos, me encantará. Puedo ayudar en traducciones inglés-español y viceversa.
Saludos
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Hello, my name is Rosana Calderón, I am Proficient in Restoration, and have worked in the inventory and registration of collection of the National Institute of Anthropology and History, controlled more than 600,000 objects. Register Trek Project as translator, I think a global contribution, and if I can support, I love it. I can help with translations English-Spanish and vice versa.
Regards
Hi!
I’m portuguese and i’m proficient in english, I can translate portuguese/english. I’m finishing my master’s program in museum studies and I have a few years of experience in museums, cataloguing and documenting collections.
It would be a pleasure to join your team!
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Español:
¡Hola!
Soy portuguesa y proficiente en inglés. Puedo traducir portugués/inglés. Estoy finalizando mi programa del máster en estudios de museos y tengo unos pocos años de experiencia en catalogación y documentación en museos.
¡Sería un placer unirme a vuestro equipo!
Hi!
I speak english, german, a little french and my mother tongue is ….. GREEK! I have studied Art Histoy in the US and currently work as a registrar of a photography collection in a folklore research institute in Greece. I‘ ll be happy to help and become memeber of the team.
Cleo
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¡Hola!
Hablo inglés, alemán, un poco de francés y mi lengua materna es …¡GRIEGO! He estudiado Historia del Arte en los EEUU y actualmente trabajo como registradora de una colección fotográfica en un instituto de investigación folclórica en Grecia. Estaré feliz de ayudar y convertirme en miembro del equipo.
Cleo
I work at the Brussels Museum for Natural Sciences as a science communicator, but I’m very interested in the registrar world! If you ever need any English/Dutch translations, don’t hesitate to contact me! I also dabble in French …
Kind regards,
Jiska
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Hola,
Trabajo en el Museo de Ciencias Naturales de Bruselas, como comunicadora de ciencia, ¡pero estoy muy interesada en el mundo del registrador! Si alguna vez necesitas traducciones Inglés/Holandés/, ¡no dudes en contactarme! También chapuceo en francés…
I’ve already done Spanish/English translating for publications by the Ixchel Museum of Textiles in Guatemala.I’m a textile conservator and therefore know the vocabulary. I’d be delighted to help you.
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Español:
Ya he realizado traducciones Español/Inglés para publicaciones del Museo de Textiles Ixchel de Guatemala. Soy conservadora de textiles y por lo tanto manejo el vocabulario. Será un gusto colaborar con ustedes.
Muchas gracias por compartir tu artículo y tu experiencia como registradora en el Museo Arocena de Torreón, México.
Te enviamos nuestros saludos cordiales.
Fernando
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English:
Hello Ruth:
Thank you very much for sharing your article and your experience as a register in Arocena Museum of Torreon, Mexico.
We send our best regards.
Muchas gracias por compartir tu artículo y tu experiencia como registradora en el Museo Arocena de Torreón, México.
Te enviamos nuestros saludos cordiales.
Fernando
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English:
Hello Ruth:
Thank you very much for sharing your article and your experience as a register in Arocena Museum of Torreon, Mexico.
We send our best regards.
I’m sure there must be a similar list for Museum Education Officers…with bags full of other people’s activity sheets and museum trails, photos of interactives and dressing up costumes, getting funny looks from the gallery attendants when you spend so much time in the children’s areas with no kids……and boxes of recycling at home that is sure to come in useful for a Tudor, (or Saxon or Victorian…) craft workshop one day….
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Estoy segura de que existe una lista similar para los trabajadores del Departamento de Educación del Museo… con maletas llenas de las actividades de otras personas, fotos de interactividades y cambios de vestimentas, recibiendo miradas divertidas de los asistentes a las salas cuando pasas tanto tiempo en las zonas de los niños, sin niños… y cajas de material reciclado en casa que seguramente devendrán útiles para un taller artesanal para los estilos Tudor (o Sajones o Victorianos)… algún día…
if there is, we will be glad to publish it on Registrar Trek in the sense of interdisciplinary collaboration (besides, some of our colleagues serve not only as registrars, but also as educators) 🙂
Cheers!
Angela
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Hola Liz:
si hubiera algo de eso, nos contentará publicarlo en el Registrador Trek, en el sentido de una colaboración interdisciplinar (además, algunos de nuestros colaboradores trabajan no solo como registradores, sino también como educadores) 🙂
A variation on the lightbulb joke –
Q: „How many registrars does it take to screw in a light bulb?“
A: „LIGHTBULB!!! You must be kidding – do you know what the UV range is on that thing?!!! Get it out of here!!!“
OK, so you know what I’ve been doing today? Removing fluorescent tubes and calculating the cost to UV shield the rest. I want gloom!
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Español:
Una variante del chiste del bombillo –
Pregunta: „¿Cuántos registradores se necesitan para poner un bombillo?“
Respuesta: „¡¡¡BOMBILLOS!!! Debes estar bromeando – ¡¡¡¿Sabes el nivel de Rayos Ultravioleta de esa cosa?!!! ¡¡¡Llévate eso de aquí!!!“
OK, así que, ¿sabes qué he estado haciendo hoy? Removiendo los tubos fluorescentes y calculando el costo de los filtros Ultra Violeta del resto. ¡Quiero oscuridad!
Hi, just wanted you to know that I love your articles, the way you tell a story and the story itself.
Regards from Rio de Janeiro,
Claudia Porto
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Hola, solo para que sepan que amo vuestros artículos, el modo como cuentan una historia, y la historia en sí misma.
Saludos desde Río de Janeiro,
Claudia Porto
I agree. I am trying to teach this to my comrades at the National Guard Museum in Sea Girt. We are diligently trying to recover, rehabilitate the collection on hand.It will eventually be moved to off-site storage.
Gilda Healy
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Estoy de acuerdo. Estoy tratando de enseñar eso a mis compañeros en el Museo de la Guardia Nacional en Sea Girt. Estamos tratando con diligencia para recuperar y rehabilitar la colección que tenemos a la mano. Con el tiempo se trasladará a un sitio externo de almacenamiento.
Gilda Healy
Oh, how true. I have seen far more collection spaces than exhibits of local museums. And from here on, I will certainly start calling my son 1982.001. Thanks for the suggestion!
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Ah, cuan cierto. He visto muchos más espacios de colecciones que exposiciones en los museos locales. Viéndolo desde aquí, ciertamente comenzaré a llamar a mi hijo 1982.001. ¡Gracias por la sugerencia!
I so can relate! on a recent trip to Washington and the Smithsonian’s, I kept checking for the guards to gather round me as I was checking the mounting and to see where the hygrometers were in the displays. Also when going through my photos to share with family, I found that most of them were of the mounts, the fonts and the way the descriptives were used for the displays!
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¡Puedo corroborarlo! en un reciente viaje a Washington y al Smithsonian, comprobé que los guardias estuvieron rodeándome mientras chequeaba el montaje y veía dónde estaban dispuestos los higrómetros. También, al chequear mis fotos para compartirlas con mis familiares, ¡me di cuenta de que la mayoría de ellas era sobre el montaje, la tipografía y el modo en que la rotulación era usada para los textos de los paneles!
Thanks to all that put this „e-news“ together. I have been following the „you might be a registrar“ but having them all in one publication is fantastic. Danke,Gracias,Merci,Grazie
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Español:
Gracias a todos por compilar estas „e-news“. He estado siguiendo el „Tú puedes ser un registrador“, pero tenerlas todas en una misma publicación es fantástico. Danke, Gracias, Merci, Grazie.
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Deutsch:
Danke für das Zusammentragen dieser „E-News“. Ich habe die ganzen „Du könntest ein Registrar sein…“ Mails verfolgt, aber sie zusammen veröffentlicht zu haben ist fantastisch. Danke,Gracias,Merci,Grazie
Schade, der Titel klang vielversprechend. Leider berichtet der Beitrag – außer andeutungsweise im letzten Satz – nicht über den Tagesablauf griechischer Kuratoren. Ein Kuratorenportait wäre schön gewesen.
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What a pity, the title sounded promising. Unfortunately the article doesn’t – except covertly in the last sentence – talk about the everyday work of greek curators. A portrait of a curator would have been nice.
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Español:
Qué lástima, el título sonaba prometedor. Lamentablemente el artículo no habla -sólo encubierto en la última oración- de la labor cotidiana de los conservadores griegos. Un retrato de un conservador habría sido agradable.
Stimmt! Ein Kuratorenprortrait soll auch geschrieben werden. Aber, mein Absicht hier war zu berichten, dass unser Tagesablauf immer mehr Bürokratie auf Koste von Kultur betrifft!
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That’s right! A curator’s portrait shall be written, too. But, it was my aim with this article to show that our everyday work contains more and more bureaucracy instead of cultural work!
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Español:
¡Es correcto! El retrato de un curador deberá ser escrito, también. Pero, que era mi objetivo con este artículo demostrar que nuestro trabajo diario contiene más y más burocracia en lugar de trabajo cultural!
Da Bürokratie fast zu einem Schimpfwort degradiert worden ist, und im Grunde genommen nicht mehr Politik, EU Programme und Projekte vor Ort auseinander hält, kann solch eine Beschreibung wie in diesem Artikel leicht zu Mißverständnissen verleiten.
Es stimmt allerdings daß die Kultur fast keine eigene Stimme mehr hat, aber dies ist politisch gewollt. Innerhalb des Strukturfonds hatte die Kultur noch ein eigenständiges Rahmenprogram 2000 – 2006; in der anschliessenden, jetzt zu Ende gehende Phase (2007-2013) war die Kultur bzw. das Kulturministerium nur indirekt beteiligt. In den Neuverhandlungen mit der Kommission wurde Kultur durch das seit 2009 bestehende Ministerium für Kultur und Tourismus nur indirekt vertreten. Und wie im Artikel erwähnt, gibt es heutzutage nur noch das Ministerium für religiöse Angelegenheiten, Erziehung, Kultur und Sport. Mit anderen Worten, die Frage von Identität soll nicht länger von der Kultur, sondern von der Religion behandelt werden. Premierminister Samaras setzt auf die Kirche als eine der tragenden Säulen und das neben Tourismus und Schiffsfahrt. Die Krise von Griechenland kann darum auch als Verlust an literaischer Aufklärung angesehen werden. So soll das EKEVI – Das Zentrum zur Förderung des Buches – geschlossen werden. All das deckt sich mit der Tatsache daß in griechischen Schulen kein Kunstunterricht statt findet. Wenn also Kultur derartig in den Hintergrund gerät, dann deshalb weil auch die EU Kommission nur noch die Kreativ- und Kulturwirstschaft fördern will d.h. Kultur die einen nachweisbaren ökonomischen Wert hat. So als bräuchten die Menschen keine Reflexionsmöglichkeiten ihres Selbstverständnis. Oft wird vergessen oder übersehen daß Karamalis nicht nur Premierminister ab 2004 war sondern auch Kulturminister bis 2006. Seine rechte Hand war Zachopoulos, General Sekretär des Kulturministeriums der nur ein Konzept hatte, und zwar neue NGOs zu fördern weil die bestehenden in der Mehrheit die PASOK unterstützt hatten. So vergab er Gelder auf eine Weise die das Kulturministerium außer Kraft setzte. Und er konnte das als General Sekretär leichter als ein Minister tun, weil stets unterhalb des Radarschirms von politischer Verantwortung. Somit wird das selbe Spiel weiter getrieben. Entscheidungen werden weitgehend außerhalb der Öffentlichkeit beatrieben und nur das öffentliche Gut dann in Anspruch genommen, um neue Privatisierungsprojekte zu legitimieren. Wie gesagt, noch viel mehr kann dazu gesagt werden, aber Bürokratie als Begriff reicht nicht aus um das was tatsächlich gespielt wird beim Namen zu nennen.
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Bureaucracy has become nearly synonymous with a dirty word but too often it is used to blame everything on it while politics, EU programmes and projects are no longer distinguished as the case in this article. Hence everything can easily become one big misunderstanding.
Nevertheless it is true that culture has hardly a voice of its own, but this is due not the outcome of bureaucracy but due to a political policy being followed in Greece already for some time now. Take the example of the Structural Fund and how culture is financed in Greece, during the funding period 2000-2006, culture had its own operational program. In the current but now ending period 2007-2013, culture had not such an own programme administered by the Ministry of Culture, but at both national and regional levels two such programmes were given to Ministry as part of an agreement between various ministries. Now that negotiations with the Commission about the new funding period are under way, culture is represented only indirectly. For Papandreou formed a new ministry in 2009 to combine tourism and culture, while the current government under Premierminister Samaras created the Ministry for Religious Affairs, Education, Culture and Sport. This explains why the leading person for culture is the general secretary and not a minister, but as shall be shown this was already the case when Karamalis and Nea Democratia gained power in 2004 and Karamalis was as well Minister of Culture but in effect his general secretary Zachopoulos was in charge.
These shifts in responsibilities allocated to different ministries indicates that the delicate question of identity should no longer be handled by culture, but by religion. Prime Minister Samaras has declared that the key pillars to bring Greece through the crisis are the church, tourism and the shipowners. Consequently the crisis of Greece can be understood equally as a loss of literacy with culture either only cheap entertainment or a privilege for those who can still afford going to cultural events. One indication for that is that EKEVI, the National Book Centre is going to be closed, if no resistance shall come from the cultural sector. Designed to promote the book, it was set up to facilitate both writers and publishers in coming together and to promote Greek literature abroad and through various book fairs. At the same time, the renewed influence of the church in times of crisis reflects itself a reversal of the tendency towards openness as with the return of the spirit of orthodoxy it rationalizes as well why Greek schools do not give art lessons. As if creativity outside the normed schemata is not wanted.
Once culture is pushed so far into the background, then also because the EU Commission wishes to promote only the Creative and Cultural Industry since culture is only then recognized when it has a proven economic value. As if people do not need any other kind of possibility to reflect upon their own self understanding.
Often it is forgotten or overlooked what happened when Karamalis and Neo Democratia returned to power in 2004, the year when the Olympic Games were held. Karamalis was not only prime minister but named himself as well Minister of Culture. He kept that dual post until 2006. The real person in charge of culture was his general secretary Zachopoulos, a former school teacher from Thessaloniki. Zachopoulos had the insight that all NGOs of the cultural sector tended to support the PASOK party, the main rival of Nea Democratia. Consequently he used the double funds available by the Ministry of Culture, namely not only the EU money for culture but as well Lotto funds, to support NGOs which would give their support to Nea Democratia. Everyone praised him for he would simply write a cheque when someone came into his office. He by passed in effect all the departments of the Ministry of Culture and therefore destroyed already the basis for any possible policy implementation in future. Zachopoulos could act like this because as General Secretary he acted below the radar screen focusing on Ministers and their actions alone. This is how taking responsibility in public can be avoided, and is a game often being played. That is now being continued but for another reason. For now any claim to be doing something in the name of the public good is used to justify some new privatisation scheme, but one which is the outcome of a crony system. In short, a lot more can be said about what and why it is happening to culture in this critical phase, but surely the term ‚bureaucracy‘ does not suffice to explain what is happening. But to really name things by their true name the self understanding of culture as a search of truth has to be reactivated.
Great story. Thanks for bringing the images — and book — to our attention. It’s nice to find someone who appreciates museum storage, rather than criticising us for not showing „everything“, no matter how inappropriate that might be.
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Gran relato. Gracias por traernos las imágenes — y el libro– a nuestro conocimiento. Es bueno encontrar a alguien que aprecia las áreas de depósitos en el museo, en vez de estar criticándonos por no mostrar „todo“, sin importar lo inapropiado que eso pueda ser.
Dear colleagues of the blog of Alaska State Museum / Museum Bulletin:
Thank you very much for adding our weblink to your section „Professional Time Wasting on the Web“. It is a pleasure to have to all of you in our professional field.
Best regards,
Fernando
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Queridos colegas del blog del Alaska State Museum / Museum Bulletin:
Muchas gracias por agregar la dirección web de nuestro blog a vuestra sección „Professional Time Wasting on the web“ [„Tiempo profesional invertido en la web“]. Es un placer tenerles a ustedes en nuestro campo profesional.
Your initiative is excellent. The development of an updated list of new items not yet recognized, the risks that threaten the progress of works of art, and especially art objects and new atypical hardly been recognized by the New Generation, and undoubtedly will be highly valued by all who appreciate the history of culture. I think this interesting topic can also serve as the basis for an attractive educational outreach action.
This creative field is expanding very fast and the previous safety regulations to protect the works of art do not seem enough. Rightly indicated fragments of texts published by You. However, it might be advisable to stipulate more emphasis this unexpected but real influence of new technologies in the imaginative world of art in widely separated areas. It could also be shown the interest of young people in this relationship between art and technology.
Contributions to the topic requested by you, and also those modest and simple, could be published in a local newspaper eventually, with additional information. Perhaps the issue could cause a public interest generally attract attention and lead to greater professional recognition of their ideas. I think that the issue might appeal to many readers, especially if the main ideas become conceptually presented in a compelling, surprising, brief and clear.
I greet you, wishing you much success.
Anna Gradowska
Canada, BC.
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[Texto escrito por Anna Gradowska].
Apreciados Amigos, Fernando y Ángela:
Vuestra iniciativa es excelente. Enfrentamos una gran necesidad de la lista de riesgos no reconocidos todavía entre las normas de conservación vigentes, y esta situación puede amenazar la seguridad de algunas obras de arte contemporáneo, y especialmente de los objetos novedosos y atípicos, reconocidos apenas recientemente por la Nueva Generación. Creo que su iniciativa debe ser valorada por todos los que aprecian la historia de la Cultura.
Pienso también, que el tema planteado por Ustedes podría servir como base para una atractiva acción social de alcance didáctico. Como Ustedes lo indican en su trabajo, el campo de la creación artística esta extendiéndose muy rápido y las normativas de conservación existentes ya no son suficientes para el arte contemporáneo.
Estoy convencida de que es conveniente indicar con mayor énfasis esta inesperada pero real influencia icónica de las nuevas tecnologías en el campo de arte expresada en algunas disciplinas alejadas entre sí. Podría evidenciarse el interés de los jóvenes en la tecnología actual y también su agrado con el campo artístico contemporáneo. Los aportes a este tema solicitados por Ustedes, también los modestos e ingenuos, podrían ser publicados en algún periódico local interesado en este campo, y acompañados en casos que lo exigen por breves comentarios aclaratorios profesionales. Así el tema puede llamar la atención del público común interesado en el arte, y conducir al mayor reconocimiento social y profesional de sus ideas.
Deseándoles mucho éxito.
Anna Gradowska
Canadá, Columbia Británica
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Liebe Freunde Fernando und Angela:
Eure Initiative ist ausgezeichnet. Es gibt einen großen Bedarf für eine Liste mit Erhaltungs-Standards für Objekte, die bislang nicht untersucht wurden. Die Risiken, die Kunstwerke bedrohen, besonders, wenn sie neuartige und atypische Dinge umfassen, wurden erst vor kurzem von der neuen Generation erkannt. der nicht erfassten Risiken aus laufenden Erhaltungs-Standards, und dies kann die Sicherheit von einigen zeitgenössischen Kunst, und vor allem das neuartige und atypische Objekte, erst vor kurzem von der neuen Generation anerkannt bedrohen. Ich denke, dieses interessante Thema kann auch Ausgangspunkt für eine attraktive Bildungsaktion sein, die über die Grenzen des Museums hinausgeht.
Das kreative Feld entwickelt sich sehr schnell und die bisherigen Maßnahmen, Kulturgut zu schützen, scheinen nicht ausreichend zu sein, wie Dein Text deutlich herausstellt. Es wäre aber auch anzudenken, dass man diesen unerwarteten aber realen Einfluss von neuen Technologien in der kreativen Vorstellungswelt nutzt, um damit Menschen für die Kunst zu begeistern, die bisher davon ausgegrenzt waren. Man könnte es nutzen, um junge Menschen für die Zusammenhänge von Kunst und Technik zu interessieren.
Ihr könntet um Beiträge zu diesem Thema bitten und diese, auch wenn sie einfach und bescheiden sind, könnten in einer lokalen Zeitung veröffentlicht werden. Vielleicht könnte so mehr öffentliche Aufmerksamkeit für das Thema erreicht werden, was wieder zu erhöhter Wahrnehmung im professionellen Bereich führen könnte. Ich glaube, dass das Thema vielen Lesern gefallen könnte, besonders, wenn man es überzeugend, überraschend, kurz und klar darstellt.
As the director of a videogame museum, I am continually frustrated by trying to manage a collection of bits and bytes, degrading plastic, exploding capacitors, and wonderful creations that get little respect from non-gamers. Reading this suddenly made my problems seem trivial. It’s all relative. Thanks for brightening my day! 😉
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Como directora de un museo de videojuegos, estoy continuamente frustrada al tratar de manejar una colección de bits y bytes, plástico degradable, condensadores que explotan, y maravillosas creaciones que reciben poco respeto por parte de los no jugadores. Leyendo esto, repentinamente me hizo ver mis problemas como algo trivial. Todo es relativo. ¡Gracias por iluminar mi vida! 😉
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Als Direktorin eines Videospielemuseums gehört die andauernde Frustration dazu, zu versuchen, eine Sammlung von Bits und Bytes, verfallendem Plastik, explodierenden Kondensatoren und wundervolle Kreationen, die wenig Respekt von Nicht-Spielern erhalten, zu verwalten. Diesen Artikel zu lesen ließ meine Probleme plötzlich trivial erscheinen. Alles ist relativ. Danke, dass ihr meinen Tag erheitert habt! 😉
Besides, your museum owns the very first joystick I ever held in hands (from an Atari 2600, the console worked still a few years ago when we exhibited it with a historical car race game („Indy 500″…)), so, kudos to you and keep up the good work!
Angela
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Hola Judith:
¡Qué grandioso es que pudimos iluminar tu día! 🙂
Además, tu museo posee el primer joystick [palanca de mando] que tuve en mis manos (de un Atari 2600), la consola funcionaba aun hace pocos años cuando la expusimos con un histórico juego de carros de carrera („Indy 500“)), así que, felicitaciones para ti, y sigue tu buen trabajo!
Angela
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Hi Judith,
toll, dass wir Ihren Tag aufheitern konnten! 🙂
Übrigens besitzt Ihr Museum den ersten Joystick, den ich je in Händen hatte (der von einem Atari 2600, die Konsole funktionierte vor ein paar Jahren immer noch, als wir mit ihr ein historisches Autorennen-Spiel („Indy 500″…) ausgestellt hatten). Also, Hut ab und machen Sie Ihre gute Arbeit weiter!
Your comments are welcome, and I think my aforementioned article should add a paragraph dedicated to the struggles of the registrar to videogames. Some of these factors you mention could well be part of the technical data of the parts, as the number of bits and bytes involved. I see this as something trivial, on the contrary!
Greetings and thanks for your inspiring comment.
Fernando
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Hola Judith:
Es bienvenido tu comentario, y creo que a mi referido artículo habría que agregarle un párrafo dedicado a las luchas del registrador para registrar videojuegos. Algunos de esos aspectos que comentas bien podrían ser parte de los datos técnicos de las piezas, como la cantidad de bites y bytes involucrada. No lo veo como algo trivial, ¡al contrario!
Saludos y gracias por tu inspirador comentario.
Fernando
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Hallo Judith:
Ihr Kommentar ist uns hochwillkommen, und ich denke, in meinem oben stehenden Artikel fehlt noch ein Absatz, der dem Kampf des Registrars mit Videospielen gewidmet ist. Einige der Faktoren, die Sie erwähnen, sollten Teil der technischen Daten der Objekte sein, wie die beteiligten Bits und Bytes. Das ist aus meiner Sicht alles andere als trivial, im Gegenteil!
Viele Grüße und Danke für Ihren inspirierenden Kommentar.
As a medical history museum we have similar issues with medical equipment. The majority of our equipment collection arrives from hospitals because they are not working or a newer model replaced them.
We also confirm that any radium is removed from the item prior to donation. Last year an x-ray tech brought his Geiger counter over to confirm items in the storerooms do not have radiation issues. This is a concern for many students working with unfamiliar equipment and insurance companies.
The other issue is determining if the object is missing critical parts. We have wonderful specialist in their fields that volunteer their time to assess the equipment. If the bowel stapler is missing the ’stapler‘ then the item is a good candidate to be deaccessioned.
Kathy Karkut Collections Manager Museum of Health Care
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Como museo de historia médica, tenemos problemas similares con el equipo médico. La mayor parte de nuestro equipo médico llega de hospitales porque ya no funcionan, o porque fueron reemplazados por modelos más recientes.
Asimismo, nos aseguramos de que todo residuo de radio sea removido del ítem antes de concretar la donación. El año pasado un técnico de rayos x trajo a su contador Geiger para confirmar que los items en los almacenes de depósito no tuvieran problemas de radiación. Esta es una preocupación para muchos estudiantes que trabajan con equipos desconocidos y compañías de seguros.
El otro problema es determinar si el objeto tiene partes críticas faltantes. Tenemos maravillosos especialistas en sus respectivos campos, quienes voluntariamente ceden tiempo para evaluar los equipos. Si en la engrapadora de intestino no se encuentra la „grapadora“, entonces este item es un buen candidato para ser retirado.
Kathy Karkut Gerente de Colecciones Museo de la Salud
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Als ein medizinhistorisches Museum haben wir ähnliche Probleme mit medizinischen Geräten. Der Großteil unserer Gerätesammlung kommt aus dem Krankenhaus, weil sie nicht mehr funktionieren oder durch neuere Modelle ersetzt wurden.
Außerdem müssen wir sicher gehen, dass alles radioaktive Material aus den Objekten entfernt wurde, bevor es gespendet wird. Im vergangenen Jahr kam ein Röntgentechniker mit seinem Geigerzähler vorbei, um sicher zu gehen, dass wir keine Strahlungsbelastung in den Lagerräumen haben. Das ist ein Anliegen vieler Studenten, die mit unbekannten Materialien arbeiten und von den Versicherungen.
Das andere Problem ist, festzustellen, ob dem Objekt wichtige Teile fehlen. Wir haben wunderbare Spezialisten auf ihrem Gebiet, die uns freiwillig ihre Zeit opfern, um unsere Ausrüstung zu beurteile. Wenn dem Darmhefter der Hefter fehlt, ist das ein guter Kandidat für die nächste Aussonderung.
Kathy Karkut, Sammlungsmanagerin, Museum of Health Care [Museum für Gesundheitsfürsorge]
oh, yeah, medical history… a really not-that-easy part of a collection. I’m really happy that the retired curator that was responsible for this part of our collection shows up every now and then so one can bother him with questions (like: is the stapler to this bowel stapler missing or is this a bowel stapler at all? Sometimes it turns out that a part from the car mechanics workshop just landed there by mistake).
And, yeah, you never know when a Geiger tube comes in handy. For we are surrounded by nuclear power plants you can never be too sure about anonymous donations…
Cheers to you!
Angela
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Hola Kathy,
Oh, sí, historia de la medicina… una parte realmente no-tan-fácil de una colección. Yo estoy muy feliz de que el curador retirado, que fue el responsable de esta parte de nuestra colección, se presente de vez en cuando, por lo que uno le puede molestar con preguntas (como: ¿falta algo a esta grapadora o se trata de una grapadora intestinal, o ésta se halla totalmente completa? A veces sucede que una pieza del taller mecánico de los automóviles acaba de aterrizar ahí por error).
Y, sí, nunca se sabe cuándo un tubo Geiger resulta apropiado. Porque estamos rodeados de plantas de energía nuclear, y nunca se puede estar demasiado seguro de donaciones anónimas …
¡Éxitos para ti!
Angela
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Hi Kathy,
oh, Medizintechnik… ein wirklich nicht einfacher Teil in einer Sammlung. Ich bin wirklich froh, dass der Wissenschaftler, der sich bei uns früher um diesen Bereich gekümmert hat, noch ab und zu vorbei schaut, obwohl er in Ruhestand ist, so dass man ihn mit Fragen löchern kann (wie zum Beispiel: Fehlt der Klammerer dieses Darmklammerers wirklich oder ist das überhaupt ein Darmklammerer? Manchmal stellt sich heraus, dass ein Teil aus der Autowerkstatt versehentlich in der Medizintechnik-Sammlung gelandet ist).
Und, oh ja, man weiß nie, wann so ein Geigerzähler ganz praktisch ist. Da wir von drei Kernkraftwerken umgeben sind, kann man bei anonymen Spenden nicht vorsichtig geung sein…
Congratulations Fernando and Angela with opening this blog and giving opportunity to registrars to communicate and share with ideas.
Bumaa D.
Mongolia
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Congratulaciones Fernando y Ángela por la apertura de este blog y por darnos la oportunidad a los registradores de comunicarnos y compartir ideas.
Bumaa D.
Mongolia
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Glückwunsch an Fernando and Angela für die Eröffnung dieses Blogs und die Möglichkeit, dass Registrare miteinander reden und Ideen austauschen können.
In order to improve Mongolian museum collection registration and develop young registrars I interest this site. and this address passing to my students. Is it OK?
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Con el fin de mejorar el registro de las colecciones de museos mongoleses y desarrollar a los jóvenes registradores, estoy interesada en este sitio; transmito esta dirección a mis estudiantes. ¿Está bien?
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Um die Registrierung in mongolischen Museumssammlungen zu verbessern und junge Registrare zu schulen ist diese Seite sehr interessant. Deshalb würde ich diese Adresse gern an meine Studenten weitergeben. Ist das in Ordnung?
Hi there,
sure, feel free to pass it to your students. And we’d love to hear about what you do in Mongolia!
Cheers to the Mongolian registrars!
Angela
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Hola:
Seguro, siéntete en libertad de transmitirlo a tus estudiantes. ¡Y nos encanta saber sobre lo que haces en Mongolia!
¡Saludos a los registradores mongoleses!
Angela
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Hallo,
sicher, fühlen Sie sich frei diese Seite an ihre Studenten weiterzuempfehlen. Und wir würden gerne etwas darüber erfahren, was Sie in der Mongolei tun.
You and your students are welcome to our blog! We hope that our materials will be useful to young registrars of Mongolia.
Thank you! Cheers!
Fernando
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Hola BUMAA:
¡Tú y tus estudiantes son bienvenidos a nuestro blog! Esperamos que nuestros materiales les sean de utilidad a los jóvenes registradores de Mongolia.
¡Gracias. Saludos!
Fernando
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Hallo BUMAA:
Sie und Ihre Studenten sind uns auf unserem Blog herzlich willkommen! Wir hoffen, dass unsere Materialien für die jungen Registrare in der Mongolei hilfreich sind.
Lisa, I’ve worked with some pretty amazing art handlers and preparators. And I have had the good fortune, indeed, to discover museum work. Like one of my previous careers, calligraphy, it allows you creative use of both mind and physical skills. We work hard, but we’re a lucky bunch.
Anne
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Lisa, he trabajado con algunos muy impresionantes manipuladores y embaladores de arte, y he tenido la gran suerte, sin duda, de descubrir el trabajo museístico. Como en una de mis previas carreras profesionales, la caligrafía, éste te permite un creativo uso tanto de la mente como de las destrezas físicas. Trabajamos duro, pero somos un grupo afortunado.
Anne
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Lisa, ich habe mit ein paar wirklich fabelhaften Kunstspediteuren und Ausstellungstechnikern zusammengearbeitet. Und ich hatte das wirklich große Glück, die Museumsarbeit für mich zu entdecken. Wie eine meiner früheren Karrieren, die Kalligraphie, ermöglicht sie die kreative Verknüpfung von geistigen und körperlichen Fähigkeiten. Wir arbeiten hart, aber wir sind ein glücklicher Haufen!
Anne
I agree with Angela, by the following: when working with the museum collection and studying an object one examines a mechanical and technological dimension in a way that is not limited to the use and mechanical purposes of the object only, like mechanical technicians do. In the museum’s collection, registrars tackle its material dimension, mechanical purpose and also its cultural context; they go into detail, like a Swiss watchmaker. And there is much that we must care for: codification (varnish-paint-varnish), labels, input references, study materials, packaging and placement in the storage area, consider things like weather conditions and adequate lighting, etc. Our computerized databases may contain just as much technical data as the data base of a technician, but many more fields for other information.
Mechanical technicians do not need all that, because their role is to make our bikes work well. For them, the work of the collections manager or registrar looks boring, like it is for us to watch them dismantling and assembling engines. We both do an indispensable role, and we measure with different value scales.
Cheers!
Fernando
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Hola Angela y Cliff (y todos):
Estoy de acuerdo con Angela, por lo siguiente: cuando en la colección del museo uno examina y estudia un objeto mecánico y tecnológico, se aborda una dimensión material que no se limita a su uso, función y finalidad meramente mecánica, como sí lo hacen los técnicos mecánicos. En la colección del museo, los registradores abordamos su dimensión material, su finalidad mecánica y además su contexto cultural; detallamos con „precisión de relojería suiza“ sus componentes. Y es mucho lo que debemos cuidar
para su codificación (barniz-pintura-barniz), etiquetas, referencias de entrada, estudio de materiales, embalaje y colocación en depósitos con condiciones climáticas y de iluminación adecuadas, etc. Nuestras bases de datos computarizadas tienen MUCHOS MÁS CAMPOS de información que las de los técnicos mecánicos.
Los técnicos mecánicos no necesitan hacer todo eso, pues su rol es hacer que nuestras motocicletas funcionen bien. Si para ellos nuestro trabajo de registradores de colecciones es aburrido, para nosotros lo es más verlos a ellos desarmando y armando motores, aunque ambos tenemos un papel indispensable, y nos medimos con escalas de valores diferentes.
Of course, as a collection manager of a science and technology museum I have to slightly disagree with Fernando. For us, it’s never boring to watch an engine being dismantled and re-assembled. It’s one of our sources to learn about the objects we are working with.
And this takes me a step further from the previous comments. Sure, watching mechanics at work creates a sense of wonder. A great starting point. But if we want to have great, innovative and intelligent mechanics in the future, we have to go the step further and tell the people, especially young people, what they see.
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De hecho, como gerente de colecciones de un museo de ciencia y tecnología tengo un leve desacuerdo con Fernando. Para nosotros, nunca es aburrido observar un motor que esté siendo desarmado y re-armado. Esta es una de nuestras fuentes para aprender acerca de los objetos con los que trabajamos.
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Natürlich muss ich als Depotleiterin eines Technikmuseums Fernando da ein bißchen widersprechen. Für uns ist es nie langweilig dabei zuzusehen, wie ein Motor auseinander- und wieder zusammengebaut wird. Es ist eine der Quellen, bei denen man etwas über die Objekte lernt mit denen wir zu tun haben.
Und das führt mich noch einen Schritt weiter weg vom Ursprungskommentar. Natürlich, Mechanikern bei der Arbeit zuzusehen kann das Gefühl erzeugen, einem Wunder beizuwohnen. Das ist ein großartiger Ausgangspunkt. Aber wenn wir zukünftig großartige, innovative und intelligente Mechaniker haben wollen, dann müssen wir einen Schritt weiter gehen und den Leuten, besonders den jungen Leuten, erklären, was sie sehen.
“ So many people have no idea what goes on behind the locked doors of a collections department.“ Perhaps, it is time to bring those functions into public view. In a typical museum, motorcycle shop, auto dealership, appliance store, etc, the mechanics/technicians, like us, usually conduct their work walled away from public view. I recall the Slegers-Forbes motorcycle in Whippany, N.J. caused quite a sensation in the 1970s when they separated the showroom from the shop with a glass wall! The public could witness the work and the mechanics could concentrate on their duties. The few times I was at Slegers-Forbes, there where aways people glued to that glass, and gaining a real appreciation for the work on the other side, which shocked me because action was so slow in the shop, with the mechanics meticulously adjusting or torquing this or that. Perhaps it is time to expose that 90% of the work done in our museums to public view with a similar arrangement.
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„Mucha gente no tiene idea de lo que sucede tras las puertas cerradas del departamento de colecciones“. Tal vez, pero es tiempo de llevar esas funciones a la vista del público. En un museo típico, o en una tienda de motocicletas, ventas de autos, tiendas de accesorios, etc., los técnicos/mecánicos, como nosotros, usualmente hacen su trabajo separados de la vista del público por medio de paredes. Recuerdo el Slegers-Forbes motorcycle in Whippany, N.J., que causó total sensación en los años 70 cuando ellos separaron el área de exposición de la de la tienda ¡con una pared de vidrio! El público podía ver el trabajo y los mecánicos podían concentrarse en sus tareas. Las pocas veces que yo estuve en la Slegers-Forbes, vi que había varias personas pegadas al vidrio, obteniendo una real apreciación del trabajo hecho en el otro lado, lo cual me impresionó pues la actividad en el sitio era tan lenta, con los mecánicos ajustando o torsionando meticulosamente esto o aquello. Tal vez es tiempo de exponer a la vista del público ese 90% del trabajo hecho en nuestros museos, con una disposición similar.
to show what work is done behind the scenes was one of the initial thoughts that started this blog. In fact, there are some museums that offer a window to their collections where visitors can look into a selected storage area and can even spot a registrar working from time to time. Of course, it won’t work like in the garage you describe. There are too many security issues involved. Plus, seeing a car mechanic explains itself in many ways. Seeing a registrar staring and typing in a data base doesn’t.
Best wishes
Angela
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Hola Clif,
Mostrar el trabajo que se hace tras bastidores fue una de las consideraciones iniciales que motivaron este blog. De hecho, hay muchos museos que ofrecen una ventana a sus colecciones, a través de la cual los visitantes pueden ver una área seleccionada de almacenamiento, e incluso de vez en cuando pueden avistar a un registrador trabajando. Claro, eso no funcionará como en el garage que tú describes. Hay demasiados asuntos de seguridad involucrados. Además, ver a un mecánico de automóviles es algo que se explica por sí mismo de muchas maneras. Ver a un registrador mirando y escribiendo en una base de datos no lo hace.
Hi Anglia,
Au contraire, most of what makes our technological world work is, in reality, magic to most people. They know how to use it. They may know what it does. But, do they actually know how and why it works at the component level? Observing a mechanic/technician troubleshooting a problem on – you pick a product – by staring at computer or meter screens is not really that much [different] than observing a registrar process metadata on an object. As Paul noted, seeing the effort and tedium that registrars expend as they type details into a data base that makes the user’s computerized access so easy and creates the interpretive exhibit signage can only expand their appreciation. – sense of wonder!
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Hola Anglia [sic]:
Al contrario, la mayoría de las cosas que se hacen en nuestro mundo tecnológico en realidad resultan mágicas para mucha gente. Ellos [los técnicos/mecánicos] saben cómo usarla. Ellos pueden saber cómo funciona. Pero, ¿no saben ya ellos cómo y porqué funciona cada componente? Observando a un técnico/mecánico en plena resolución de un problema -elige tú el caso-, mirar fijamente a la computadora o a un instrumento de medición no es realmente muy diferente a observar el trabajo del registrador procesando la data de un objeto. Como observara Paul, es muy fácil ver el esfuerzo y el tedio que los registradores emplean al escribir información en una base de datos computarizada que facilita el acceso del usuario, y eso contribuye a crear la gestualidad interpretativa de una exposición, lo cual amplía la capacidad de apreciación. ¡Maravillante!
[just corrected the different so people can follow up with this discussion.]
I totally agree that nowadays the daily work of a mechatronic troubleshooting a problem looks very much like the work of a registrar, it’s working with a computer. But that takes them both on the same level: when you watch what they do, you don’t understand what they do. While this may lead to a level of appreciation and wonder like you say, it can also backfire. If you watch our work without explanation, you may wonder why we work so incredibly slow. Why we not just write the number on the artifact and off it goes, but take the effort to add a layer of varnish first, let it dry, then paint the number and then add again a layer of varnish. Why we bother to leave something unpacked until we are sure what material it is exactly made of to avoid damage by the wrong packing material. The things we do are based on research, long-term experience and the knowledge that we are working with irreplacable originals. Though, in a world trained to look at working processes with the eye of „where to cut costs“ I think you shouldn’t let people watch a registrar without him/her having the chance to explain what he/she does and why – or with a professional educator at hand who explains it.
Best wishes
Angela
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[ajustes solo para que las personas de ramos diferentes puedan seguir esta discusión.]
Estoy totalmente de acuerdo con que hoy día la diaria resolución de problemas en la mecatrónica se parece mucho al trabajo del registrador: es un trabajo con computadora. Pero lo que les pone a ambos en el mismo nivel es que cuando ves lo que hacen, no entiendes lo que hacen. Si bien esto puede llevarnos a un nivel de apreciación y maravilla, como tú dices, también puede ser contraproducente. Si observas nuestro trabajo sin recibir ninguna explicación, te podrías preguntar por qué trabajamos tan increíblemente lento. Porque no solo escribimos el número sobre el objeto y listo, sino que nos tomamos el esfuerzo de agregar una capa de barniz primero, dejándola secar, y luego escribimos el número para después agregar otra capa de barniz. Y porque nos fastidia dejar algo desempacado si no estamos exactamente seguros del material con el que está hecho, para evitar daños que cause el uso de un material de embalaje equivocado. Las cosas que nosotros hacemos se basan en la investigación, en la prolongada experiencia y en el conocimiento de que estamos trabajando con materiales ireemplazables y originales. Aunque estemos en un mundo entrenado para mirar los procesos de trabajo con ojo de „dónde recortar gastos“, creo que no se debe dejar que la gente vea a un registrador sin que él o ella tengan la oportunidad de explicar lo que están haciendo y por qué lo hacen, o al menos sin contar con un educador profesional a la mano que lo explique.
I was a high level PA for many years, requiring me to be meticulous in detail, well versed in documentation and electronic media and highly organised. Three years ago I had a change of direction and am just about to complete a BSc in Conservation and Restoration with high grades. During my free time I have also volunteered in museums, working with conservators and care of collection managers and including data base entry and lots of documentation as well as object handling etc.. The role of the Registrar or Collections Manager sounds like it would be an excellent fit for my skills and wondered what route you would suggest I take next? Would you recommend trying to get experience or into an MA or similar? I am based in London, UK so a good choice of museums here! I love the blogs and find them very interesting to read.
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Yo fui Asistente de Personal de alto nivel por muchos años, y se me requería ser meticulosa con los detalles, muy versada en la documentación y en medios electrónicos, y altamente organizada. Hace tres años tuve un cambio de dirección, y estoy por terminar mi Licenciatura en Conservación y Restauración con altas notas. En mi tiempo libre he sido también voluntaria en museos, trabajando con los conservadores y atendiendo la gestión de colecciones, incluyendo el ingreso a la base de datos de mucha documentación, así como la manipulación de objetos diversos, etc. El rol del Registrador, o del Gerente de Colecciones suena como si calzara excelentemente con mis destrezas, y me pregunto cuál dirección me sugerirían uds. que pueda yo tomar como próximo paso. ¿Me recomendarían uds. intentar obtener más experiencia o comenzar un Máster o similar? Estoy radicada en Londres, Reino Unido, ¡y hay muchos museos selectos aquí! Amo los blogs y los encuentro muy interesantes de leer.
I hope someone from UK can add more specific thoughts on this.
I have a little insight into the way things are in the US and Germany, not in the UK. Generally speaking, German museums put more emphasize on formal education, in US museums it’s experience that counts more. Of course, having both is best and that’s only a general rule of thumb, each museum and each HR department is different.
Personally, I think you should head for a little museum practice next, maybe through an internship. How it reads and how it really is to work with collections differs. It might sound phantastic, in reality you might find that you have problems with the dust and spider webs, with working 8 hours under artifical light or with having a job that is nearly not noticed nor appreciated by your colleagues. Or you find out that it’s really what you want to do for the rest of your life and then feel affirmed for putting the effort in this goal.
Best wishes
Angela
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Hola Linda:
Espero que alguien del Reino Unido pueda agregar consideraciones más específicas sobre esto. Se me ocurre algo en cuanto al modo en que piensan los museos en EEUU y en Alemania, pero no los del Reino Unido. En términos generales, los museos alemanes ponen más énfasis en la educación formal; en los de EEUU lo que cuenta es la experiencia. Claro, teniendo ambas cosas es mejor, y es solo como una regla general, pues cada museo y cada departamento de Recursos Humanos, es diferente.
Personalmente, pienso que podrías enfocarte en la obtención de alguna experiencia, quizás un internado. Difiere mucho lo que se dice de lo que realmente es el trabajar con colecciones. Puede sonar fantástico, pero en realidad debes afrontar que tendrás problemas con el polvo y las telarañas, con el trabajar 8 horas bajo luz artificial o un trabajo que ni de cerca es notado o apreciado por tus colegas. O encuentras que eso es realmente lo que quieres hacer por el resto de tu vida, y entonces te sientes como reafirmada para poner tu esfuerzo en esta meta.
I absolutely love your line „The critical registrar re-learns permanently and joyfully“ One of my fascinations with the job is that there is always something else to learn, and no matter how rote and habitual the task, there is always some way to improve it, streamline it, or scrap it entirely to make way for new procedures and/or technology.
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Amo absolutamente tu línea [que dice] „El registrador crítico re-aprende permanentemente y con alegría“ Una de mis fascinaciones con este trabajo es que siempre hay algo más que aprender, y no importa cuán rutinaria y habitual sea la tarea, siempre hay alguna manera de mejorar, racionalizar, o desechar por completo para dar paso a los nuevos procedimientos y / o tecnología.
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Ich liebe Deine Formulierung „Der kritische Registrar lernt ständig und gerne neu“ Eines der Dinge, die mich an meinem Job faszinieren, ist, dass es immer wieder etwas anderes zu lernen gibt und egal, wie sehr eine Aufgabe Routine und Ritual ist, es gibt doch immer etwas zu verbessern, es rationeller zu gestalten oder es einzustampfen, um neuen Abläufen und/oder neuen Technologien Platz zu machen.
Thanks, Anne! Certainly, what you add with your comment is very meaningful to us and our partners, because the more fascinated we are with our work, the better our professional service. Our blog proves it!
Fernando
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¡Gracias, Anne! Ciertamente, lo que agregas con tu comentario es muy significativo para nosotros y nuestros colegas, pues mientras más fascinados estemos con nuestro trabajo, mejor será nuestro servicio profesional. ¡Nuestro blog lo demuestra!
Fernando
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Danke, Anne! Ganz sicher ist das, was Du anmerkst für uns und unsere Kollegen von großer Bedeutung, denn je mehr wir von unserer Arbeit fasziniert sind, desto besser ist auch unsere professionelle Dienstleistung. Unser Blog beweist das!
Tracey, your career path sounds as convoluted as mine. I love your line „art history, carpentry, power tools, and diplomacy.“ Best of luck in your new position.
Anne
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Tracey, tu trayectoria profesional suena tan complicada como la mía. Amo tus lineamientos „historia del arte, carpintería, herramientas eléctricas, y diplomacia“. La mejor de las suertes para tu nuevo cargo.
Anne
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Tracey, Dein Berufsweg sieht genau so zusammengeschustert aus wie meiner. Ich liebe Deine Zeile „Kunstgeschichte, Tischlerei, Elektrowerkzeuge und Diplomatie“. Viel Glück auf Deiner neuen Stelle.
Anne
What a lovely inspiring story. I can really relate to you. I have 4 young kids and work full time for my partner in adminastration duties with our small business. Having completed my degree part time over centuries! I have a passion for objects too! There is a lot of history in the area I live but unfortunately no money or museums. You’ve inspired me
Thanks Bel
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Qué hermoso e inspirador relato. Puedo realmente compararme contigo. Tengo 4 chicos y trabajo con mi socio a tiempo completo en las responsabilidades que tengo en nuestro pequeño negocio. Después de haber obtenido mi título a tiempo parcial ¡hace siglos!, ¡también siento pasión por los objetos! Hay mucho de historia en la región donde vivo, pero desafortunadamente no hay dinero ni museos. Tú me inspiras.
Gracias. Bel
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Was für eine schöne, inspirierende Geschichte. Ich kann mich damit wirklich identifizieren. Ich habe vier kleine Kinder und arbeite Vollzeit für meinen Partner, indem ich mich um die Verwaltungsaufgaben für unsere kleine Firma kümmere. Ich habe meinen Abschluß über Jahrzehnte nebenher gemacht! Ich habe auch eine Leidenschaft für Objekte! Es gibt sehr viel Geschichte in dem Landstrich, in dem ich lebe, aber leider kein Geld und auch keine Museen. Du hast mich inspiriert
Bel,
Thank you for your post! The road to „success“ takes so many different paths- I think that those who have a straight path to success are a rare minority. So many of us have come from diverse backgrounds, but we all do it for the love of art or objects, no matter how we got here. Best of luck to you!
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Bel,
¡Gracias por tu comentario! EL camino al „éxito“ toma caminos muy diferentes. Creo que aquellos que tienen un camino directo al éxito son una rara minoría. Muchos de nosotros hemos venido de diferente formación, pero todos lo hacemos por amor al arte o a los objetos, no importa cuántos tengamos allá. !La mejor de las suertes para ti!
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Bel,
Danke für Deinen Beitrag! Der Weg zum „Erfolg“ nimmt so viele Bahnen – ich denke, dass die, die einen geraden Weg zum Erfolg haben, in der Minderheit sind. So viele von uns kommen aus so unterschiedlichen Erfahrungshintergründen, aber wir tun es alle aufgrund unserer Begeisterung für die Kunst oder für Objekte, ganz gleich wo wir hergekommen sind. Viel Glück für Dich!
Hi Sharon – What a great story! Interesting about finding the perfect weather condition for the wax to dry. I’ve spent lots of time on (scissor) lifts – from cleaning ceilings to hanging sculptures – they take a bit of getting used to, and your article described the experience well.
Thank you for sharing!
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Hola Sharon – ¡Qué gran relato! Es interesante eso de encontrar las condiciones climáticas perfectas para que la cera se seque. Yo he pasado mucho tiempo montada en elevadores de tijera – desde limpiando techos hasta colgando esculturas – toma algo de tiempo acostumbrarse, y tu artículo ha descrito esa experiencia muy bien.
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Hallo Sharon – Was für eine tolle Geschichte! Interessant, das über die perfekten Wetterbedingungen zu lesen, bei denen das Wachs trocknet. Ich habe viel Zeit auf (Scheren-)Hubsteigern verbracht – vom Reinigen von Decken bis zum Aufhängen von Skulpturen – man braucht ein bißchen, bis man sich dran gewöhnt hat und Dein Artikel beschreibt das ziemlich gut.
Annabelle,
Yes, the lift experience is definitely something to test one’s mettle. My colleagues will tell you that Dr Pepper and cookies are required supplies for statue cleaning week. I find that the wax goes onto the metal surface well when the day is sunny and has just a bit of a breeze. Temp between 70-75 is just great. Those conditions allow the wax to brush on smoothly, set up in a few minutes and buff to a nice shine with a soft rag. Any warmer and the wax doesn’t set up well to buff – stays too soft. Cooler or cloudy conditions makes it difficult to get the metal dry especially in the folds and shaded areas. The wax goes on rough and usually too thick. I will be the first to admit that the end result varies each time as I am no conservator, but I usually can get the surface washed and waxed well enough to cover and provide a measure of protection from dirt accumulation in the coming year. I try to coordinate with the City for the first week of September here in Michigan. Most years I have had good luck with the weather.
Hope that helps!
Sharon McCullar
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Annabelle, Sí, la experiencia sobre el ascensor es definitivamente algo para probar el valor de uno. Mis colegas te dirán que (una bebida como) el Dr. Pepper y unas galletas son los suministros requeridos para esa semana de limpieza de estatuas. Digo que la cera va bien sobre la superficie del metal cuando el día está soleado y con algo de brisa. Una temperatura entre 70-75 (°F) es perfecta. Esas condiciones permiten aplicar la cera suavemente y a los pocos minutos pulirla con un trapo suave, quedando con un bonito brillo. Una temperatura más cálida impide que la cera se aplique bien, pues queda demasiado blanda. En cambio, unas condiciones más frías y de mucha nubosidad dificultan que el metal esté seco, especialmente en los pliegues y las zonas sombreadas, y la cera queda áspera y demasiado gruesa. Yo soy la primera en admitir que el resultado final varía; no soy conservadora, pero por lo general consigo que la superficie esté lavada y encerada lo suficientemente bien como para cubrirla y proporcionarle una medida de protección contra la acumulación de suciedad para todo el siguiente año. Trataré de coordinarme con (las autoridades de) la Ciudad acá en Michigan, para la primera semana de Septiembre. En casi todos los años anteriores he sido afortunada con el clima. ¡Y espero que me siga ayudando!
Sharon McCullar
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Annabelle, ja, das Hubsteiger-Erlebnis it wirklich etwas, mit dem man seine Standhaftigkeit unter Beweis stellen kann. Meine Kolleginnen und Kolleginnen können Dir versichern, dass Dr Pepper und Keks zur notwendigen Grundausstattung für die Woche des Statuenreinigens gehören. Ich habe herausgefunden, dass das Wachs am besten auf der Metalloberfläche haftet, wenn es ein sonniger Tag ist und es ein kleines bißchen Wind hat. Wenn die Temperatur zwischen 70 und 75 liegt (Fahrenheit, entspricht zwischen 21 und 24 Grad Celcius, Anmerkung der Übersetzerin) ist es am besten. Bei diesen Verhältnissen lässt sich das Wachs gut mit dem Pinsel verarbeiten, legt sich gut an und erhält mit einem weichen Tuch einen wunderbaren Glanz. Wenn es wärmer ist, trocknet das Wachs nicht gut genug und bekommt keinen schönen Glanz – bleibt zu weich. Wenn es kälter und bewölkt ist, wird es schwierig, das Metall trocken zu bekommen, besonders in den Falten und da, wo es schattig ist. Das wachs trocknet ungleichmäßig an und wird generell zu dick. Ich bin die erste, die zugibt, dass das Ergebnis von Mal zu Mal variiert und dass ich kein Restaurator bin. Aber wir bringen es normalerweise fertig, dass die Oberfläche gut genug gereinigt und gewachst ist, dass die Schutzschicht ein ausreichendes Maß an Schutz gegen die Verschmutzungen im Jahresverlauf bietet. Ich versuche immer, dass wir hier in Michigan mit der Stadt einen Termin in der ersten Septemberwoche hinbekommen. In den meisten Jahren hatten wir dann Glück mit dem Wetter.
Ich hoffe, das hilft weiter!
Sharon McCullar
Thank you very much for the well-reasoned and well-expressed article. You have hit the proverbial nail on the head – articulating the very things that I and our Archivist try to express nearly every day. I hope you do not mind that I am sharing this article with my department head and other colleagues.
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Danke für den durchdachten und gut ausgedrückten Artikel. Du hast den sprichwörtlichen Nagel auf den Kopf getroffen – das deutlich auszusprechen, was ich und unsere Archivarin fast jeden Tag versuchen, auszudrücken. Ich hoffe, dass es Dich nicht stört, wenn ich diesen Artikel mit meinem Abteilungsleiter und anderen Kollegen teile.
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Muchas gracias por este bien razonado y bien expresado artículo. Has dado proverbialmente en el clavo, articulando esas mismas cosas que nuestros Archivistas y yo tratamos de expresar cada día. Espero que no te importe que yo comparta este artículo con mi jefe de departamento y con otros colegas.
Registrars who say „NO“ are destined to be isolated. Registrars who say „How can I help you achieve what you want“ will always be accepted as part of the team.
Registrare, die „NEIN“ sagen, sind dazu bestimmt isoliert zu werden. Registrare, die sagen „Wie kann ich Dir dabei helfen, dass Du erreichst, was Du willst“ werden immer als Teil des Teams akzeptiert werden.
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Los registradores que dicen „NO“ están destinados a permanecer aislados. Los registradores que dicen „¿Cómo puedo ayudar a conseguir lo que quieres?“ siempre serán aceptados como parte del equipo.
Thanks for the comment, Paul.
There’s a YES and a NO to this.
YES, “how can I help you achieve you what you want” is generally the first thing to ask. And indeed, I know hardly any registrar who doesn’t in the first place. Take as proof many discussions on field related mailing lists of registrars where the question is how to find a compromise that is good user/visitor experience but still safe for the artifacts.
But
NO, this can’t include foul compromises. The problem is that often our voice is not heard or not taken serious. We say: we can’t allow food and drinks in the galleries, we suggest making the party in the lobby and have a guard at the entrance to the galleries who safeguards that no food is taken there. We hear: No, our guests will behave and it will be good user experience to eat popcorn and drink coke while looking at the artworks. After the event, who has to record the damages? Who has to suggest conservation measurements because there is popcorn trampled into the historic carpet or someone spilled his coke over the sculpture (leaving BTW a not to restore damage)? Right, the registrar. And who is turned down when asking for money to pay for the conservation and for the pest management needed? Right, the registrar.
So we have kind of a catch 22 situation here: either we say no at the beginning and our voice isn’t heard because that’s bad teamwork. Or we suggest how to make it safe and are ignored because one thinks it’s too expensive/complicated what we suggest. Or we say yes to each and everything. The outcome is always the same: we have to care for the issues and damages all the same.
Regarding teamwork: there are good teams and bad teams. Some respect their registrar and his job, some don’t. So it’s neither always like I stated it here, nor is he always accepted as part of the team. It always depends on many factors and our problem is that the job we have to perform is the one few other museum professionals will back up. Well, they will back up it verbally in Sunday speeches but not in their daily actions.
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Danke für die Anmerkung, Paul.
Dazu kann man JA und NEIN sagen.
JA, “wie kann ich Dir dabei helfen, das zu ermöglichen, was Du erreichen willst” ist natürlich die erste Frage, die man stellen sollte. Und tatsächlich kenne ich kaum einen Registrar, der das nicht tut. Als Beweis mögen zahlreiche Diskussionen in einschlägigen Mailinglisten von Registraren dienen, in denen oft die Frage gestellt wird, wie man einen Kompromiss finden kann, der immer noch den Besuchern eine gute Erfahrung vermittelt und trotzdem für die Objekte sicher ist.
Aber
NEIN, das darf keine faulen Kompromisse einschließen. Das Problem ist, dass unsere Stimme oft nicht gehört wird oder nicht ernst genommen wird. Wir sagen: wir können nicht erlauben, dass im Ausstellungsraum gegessen und getrunken wird. Wir schlagen vor, dass die Party in der Lobby stattfindet und eine Aufsicht am Zugang zu den Ausstellungsräumen aufpasst, dass niemand Essen und Trinken mit hinein nimmt. Wir bekommen zu hören: nein, nein, unsere Gäste wissen sich zu benehmen und es wird eine großartige Erfahrung für die Besucher sein, wenn sie Popcorn und Cola konsumieren können, während sie sich die Ausstellung ansehen. Wer muss nach dem Event die Schäden aufnehmen? Wer muss Restaurierungsmaßnahmen vorschlagen, weil Popcorn in den historischen Teppich getrampelt wurde oder jemand Cola über die Statue gekippt hat (ein im Übrigen nicht rückgängig zu machender Prozess)? Richtig, der Registrar. Und wessen Antrag auf mehr Geld für Restaurierungsmaßnahmen und erforderlich gewordene Schädlingsbekämpfung wird wieder abgeschmettert? Richtig, der des Registrars.
Wir haben hier einen X-Haken wie in Catch 22: Entweder wir sagen am Anfang „nein“ und man übergeht uns, weil das schlechtes Teamwork ist. Oder wir haben einen Alternativvorschlag, der für die Exponate sicher ist, dann wird er ignoriert, weil er zu teuer oder zu kompliziert ist. Oder wir sagen zu allem ja und Amen. Das Ergebnis ist immer das gleiche: wir müssen uns so oder so um die Probleme und Schäden kümmern.
Was das Teamwork betrifft: es gibt gute Teams und schlechte Teams. Manche respektieren den Registrar und seine Aufgabe, andere nicht. Weder ist es immer so, wie ich es gerade beschrieben habe, noch wird der Registrar immer als Teil des Teams akzeptiert. Das hängt immer von unterschiedlichen Faktoren ab und das Problem liegt darin, dass der Job, den wir zu machen haben, von wenigen anderen Museumsleuten unterstützt wird. Naja, in Sonntagsreden wird unsere Position gerne unterstützt, aber nicht in der tagtäglichen Arbeit.
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Gracias, Paul, por tu comentario.
Hay un SÍ y un NO involucrados.
SÍ, “¿Cómo puedo ayudarte para que logres lo que quieres?” es generalmente la primera cosa a preguntar. Difícilmente conozco a algún registrador que no ponga eso en primer lugar. Toma como evidencia muchas discusiones al respecto, referidas en las listas de correo web de registradores, donde la pregunta es ¿Cómo lograr que el usuario/visitante tenga una buena experiencia, que sea a la vez segura para los objetos?
Pero
NO, no se puede permitir que se violen los compromisos adquiridos. El problema es que frecuentemente nuestra voz no es escuchada ni tomada en serio. Decimos: no podemos permitir comidas y bebidas en las salas, y sugerimos hacer la fiesta en el lobby poniendo guardias a la entrada de las salas que cuiden que no se consuman alimentos allí. Escuchamos: No, nuestros invitados se comportarán y serán buenos visitantes y no van a entrar comiendo palomitas de maíz y Coca-Cola mientras observan las obras de arte. Y luego del evento, ¿quién ha de registrar los daños? ¿Quién ha de sugerir que se tomen medidas de conservación porque hay palomitas de maíz pisoteadas sobre la alfombra histórica, o porque alguien derramó su Coca-Cola sobre una escultura (dejando, por cierto, un daño sin reparar)? Correcto, el registrador. ¿Y a quién se rechaza cuando se trata de solicitar dinero para pagar una restauración o para el control de insectos? Correcto, al registrador.
Así que, o decimos no desde el principio y que nuestra voz no sea escuchada porque atenta contra el trabajo en equipo, o sugerimos cómo hacerlo de manera segura, pero para ser ignorados, porque alguno piensa que es demasiado costoso/complicado eso que se sugiere. O decimos sí a todo. El resultado es siempre el mismo: tenemos que cuidar por los bienes y por los daños.
En relación con el equipo de trabajo, hay buenos equipos y malos equipos. Algunos respetan a sus registradores y su trabajo, otros no. Así que ni es siempre como lo he dicho acá, ni se es siempre aceptado como parte del equipo. Siempre depende de muchos factores, y el problema es que el trabajo que tenemos que ejercer es uno al que pocos colegas del museo querrán respaldar. O bien lo respaldarán verbalmente en un discurso de domingo, pero no en sus acciones diarias.
Gracias por el comentario, Paul.
Por ello, no se puede decir simplemente sí y no.
I am so happy to see that this website has multi-lingual translations. I’ve been working on my Spanish and this is the perfect way to learn art terms in another language. Thanks & !Muchas Gracias!
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Estoy muy feliz de ver que este sitio web tiene traducciones multilingües. He estado trabajando en mi español y esta es una perfecta manera de aprender términos de arte en otro idioma. ¡Muchas Gracias!
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Deutsch:
Ich bin so froh, dass diese Seite in mehrere Sprachen übersetzt wird. Ich arbeite an meinem Spanisch und das ist die perfekte Art, Kunstbegriffe in einer anderen Sprache zu lernen. Danke! ¡Muchas Gracias!
Bienvenido a nuestro blog multilingüe. Esta será una buena oportunidad para que ejercites tu español, dentro del ámbito profesional que nos une. ¡Otra barrera que se cae!
Un saludo muy cordial.
Fernando
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Inglés:
Hi Jen:
Welcome to our blog multilingual. This will be a good opportunity to exercise your Spanish, within the professional field that unites us.Another barrier falls!
Best regards.
Fernando
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Deutsch:
Hi Jen:
Willkommen auf unserem mehrsprachigen Blog. Dies hier wird eine gute Möglichkeit sein, Ihr Spanisch auf dem Arbeitsgebiet zu üben, das uns alle verbindet. Eine weitere Mauer fällt!
Beste Grüße
Fernando
Dear Jen,
For the Art terms in the Registrars work field the book: Couriers Speak, from Cordelia Rose is very good to use.
ISBN 1-56098-195-4
This book contains all needed terms and sentences around the loan process of art objects. It’s a phrase book for couriers of museum objects. Languages are: English, German, Spanish, Russian, Japanese.
I am the registrar at the Royal British Columbia Museum in Victoria, British Columbia, Canada. Your blog is a great idea. It not only opens up the opportunity to communicate globally with other registrars but could act as an international training tool for small museums or new registrar worldwide. I would love to participate. I have someone who will translate my articles into French.
Cheers,
Derek Swallow
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Deutsch:
Hi Fernando und Angela,
Ich bin der Registrar des Royal British Columbia Museum in Victoria, British Columbia, Canada. Euer Blog ist eine großartige Idee. Es eröffnet nicht nur die Möglichkeit, sich global mit Registraren aus aller Welt zu verständigen, sondern könnte auch als internationales Trainingswerkzeug für kleine Museen und neue Registrare weltweit dienen. Ich würde mich gerne beteiligen. Ich habe auch jemanden, der meine Artikel ins Französische übertragen könnte.
Bis dann,
Derek Swallow
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Español:
Hola Fernando y Angela:
Soy el registrador del Royal British Columbia Museum en Victoria, Columbia Británica, Canadá. Vuestro blog es una gran idea. No solo nos abre la oportunidad de comunicarnos globalmente con otros registradores sino que podría actuar como herramienta de entrenamiento para pequeños museos o para noveles registradores a nivel mundial. Me encantaría participar. Tengo a alguien que traducirá mis artículos al Francés.
glad you like our project. We are looking forward to your contribution and will be glad to include it in French, too!
Just send it to: story@museumsprojekte.de
Greetings to Canada and Cheers!
Angela
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Deutsch:
Hi Derek,
ich bin froh, dass Dir unser Projekt gefällt. Wir freuen uns auf Deinen Beitrag und freuen uns, ihn auch in Französisch anbieten zu können. Sende ihn einfach an story@museumsprojekte.de
Grüße nach Kanada und bis dann!
Angela
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Español:
Hola Derek:
Qué bien que te gusta nuestro proyecto. Estamos abiertos a conseguir contribuciones, ¡y estaremos encantados en incluir la tuya también en francés! Solo envíala a story@museumsprojekte.de
Ouch, ouch, ouch. Those bullets (as you call them) are poly vinyl chloride! They are not inert! And can leave marks on everything – best only used for glass or glazed ceramics. Nitrile gloves are the best – inert, non slipping and they show the dirt (even if they are blue or purple). Be sure to get them without powder though…. For heavier duty use – you buy obtain nylon gloves with nitrile palms. Happy handling!
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Español:
UPDATE. Ay, ay, ay. ¡Esos nódulos (como ustedes los llaman) son de policloruro de vinilo! ¡No son inertes! Y pueden dejar marcas en todas las cosas -mejor es usarlos solamente para vidrios o cerámicas cristalizadas. Los guantes de nitrilo son lo mejor de los inertes, no deslizan y se les ve el sucio (incluso si son azules o púrpura). Asegúrense de mantenerlos libres de polvo… Para trabajos más pesados – pueden conseguir los guantes de nylon con las palmas de nitrilo. ¡Feliz manipulación!
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Deutsch:
Aua, aua, aua. Diese Noppen (wie Sie sie nennen) sind aus Polyvinylchlorid! Sie sind nicht inaktiv! Und können auf allem Spuren hinterlassen – am besten nur für Glas oder glasierte Keramik verwenden. Nitrilhandschuhe sind die besten – inaktiv, rutschfest und man sieht, wenn sie schmutzig sind (auch wenn sie blau oder violett sind). Passen Sie aber auf, dass Sie die ungepuderte Variante nehmen… für den Umgang mit schweren Objekten nehmen Sie am besten Nylonhandschuhe mit Nitrileinlage. Happy handling!
Hi Suzanne, thanks for the info (I didn’t even know those nodules are PVC!). We will include the information on nitrile gloves in the story as you and Sharon pointed out.
Bonus question: Are there nitril gloves that don’t make the hands sweat?
Best wishes!
Angela
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Español:
UPDATE. Hola Suzanne, gracias por la información (¡Yo ni siquiera sabía que esos nódulos eran de PVC!). Incluiremos la información sobre los guantes de nitrilo en el relato, tal como tú y Sharon lo señalaron.
Pregunta gratis: ¿Hay guantes de nitrilo que no hagan sudar las manos?
Bonus answer – yes there are nitrile gloves that don’t make your hands sweat! They are nylon gloves with the palms and fingers dipped in Nitrile They are a bit more clumsy, but they are also more durable and even, yes, washable! http://tinyurl.com/b7r3gf4
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Español:
Respuesta adicional -Sí, hay guantes de nitrilo que no hacen sudar a las manos. Son guantes de nylon con las palmas y dedos punteados en nitrilo. Son un poco más toscos, pero son igualmente ¡más durables e incluso lavables! http://tinyurl.com/b7r3gf4
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Deutsch:
Bonusantwort – ja, es gibt Nitrilhandschuhe, in denen man keine schwitzigen Hände bekommt! Das sind Nylonhandschuhe, deren Handflächen und Finger in Nitril getunkt wurden. Sie sind etwas klobiger aber sie sind auch beständiger und sogar, jawohl, waschbar! http://tinyurl.com/b7r3gf4
Many thanks for your updated informations. It worth comment and reply that I can make, because my story of the white gloves is updated now. Since twenty years ago to nowadays those white gloves have evolved much.
Cordially Yours,
Fernando
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Español:
Hola Suzanne:
Muchas gracias por tus actualizadas informaciones. Vale la pena comentarlas y darte una respuesta, porque mi relato de los guantes blancos está actualizado ahora. Desde hace veinte años hasta ahora esos guantes blancos han evolucionado mucho.
If this forger „gifted“ all these paintings, what did he get out of it?…. a free lunch and some museum store freebies? I am just confused by what I read, I guess.
Thanks
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Español:
Si este falsificador „donó“ todas estas obras, ¿qué le hizo salir de ellas? …. ¿un almuerzo gratis y algunos regalos de la tienda del museo? Estoy confundida por lo que he leído, supongo.
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Deutsch:
Wenn dieser Fälscher seine ganzen Fälschungen „geschenkt“ hat, was hatte er davon?… Ein kostenloses Mittagessen und einige Werbegeschenke aus dem Museumsshop? Ich bin nur verwirrt von dem, was ich hier lese, vermute ich.
Danke
There is much more to share on Landis. I am glad to see your reply and I can guarantee that after this blog has ended, you will no longer be confused but ask yourself, seriously… what was this forger really up to? -M
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Español:
Hay mucho más que decir sobre Landis. Me contenta ver tu comentario y puedo garantizar que luego de que esta historia haya terminado, ya no estarás confundida, pero pregúntate seriamente… ¿qué era lo que este falsificador estaba realmente tramando? -M
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Deutsch:
Es gibt noch wesentlich mehr zu Landis zu sagen. Ich bin froh, dass sie nachfragen und ich verspreche Ihnen, dass sie am Ende dieses Blogs nicht mehr verwirrt sein werden, sondern sich fragen werden, mal ehrlich… auf was war dieser Fälscher eigentlich aus?
Ganz herzliche Grüße nach Berlin an unsere drei Kolleginnen aber natürlich auch an die ganze Mann- und Frauschaft vom DHM!
Und wenn Ihr auch Geschichten beizutragen habt: Nur zu, wir sitzen hier schon mit ganz gespitzten Ohren!
Alles Gute!
Angela Kipp
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English:
Best regards to Berlin and to our three colleagues, but of course to all our colleagues of the DHM, too!
And if you have some stories to tell: we are sitting here with pricked ears!
Best wishes
Angela
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Español:
¡Saludos cordiales a Berlín y a nuestros tres colegas, aunque por supuesto a todos los colegas del MHA también!
Y si tienen algunos relatos que contar: ¡estamos sentados acá con las orejas abiertas!
Caros amigos,
Gostaria de colaborar com um pequeno artigo que aqui anexo sobre o universo virtual dos museus. Parabéns pela iniciativa!
Dinah P. Guimaraens
thank you very much for your article. It confirmed Fernando and me to include something what we had in mind when we named the „stories“ section „stories & thoughts“. This is a registrar’s blog but it’s essential to keep an open mind and not staying inside the registrar’s box when it comes to thinking. That’s why we opened up the section „Think again“ which includes your article as first post.
Best wishes
Angela
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Deutsch:
Liebe Dinah Papi Guimaraens,
danke für den Beitrag. Er hat Fernando und mich in etwas bestätigt, was wir im Hinterkopf hatten, als wir die „Geschichten“-Rubrik ursprünglich „Geschichten & Gedanken“ genannt haben. Dies ist ein Registrar-Blog aber es ist wichtig, immer aufgeschlossen zu sein und nicht gedanklich in der Registrar-Schublade verhaftet zu bleiben. Deshalb haben wir nun die Rubrik „Denk mal wieder“ eröffnet, und Ihr Artikel ist der erste Beitrag.
Mit den besten Wünschen
Angela Kipp
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Español:
Querida Dinah Papi Guimaraens,
muchas gracias por tu artículo. Esto nos convence a Fernando y a mí de incluir algo que teníamos en mente cuando denominamos „Relatos“ a la sección de „Relatos y pensamientos“. Esto es un blog de registradores, pero es esencial mantener una mente abierta y no quedarnos dentro de la caja del registrador a la hora de pensar. Esa es la razón por la que abrimos la sección „Piénsalo otra vez“ la cual incluye tu artículo como primera publicación.
This article reminds me of an incident when I worked at the Field Museum as Registrar of the Anthropology. I had a good relationship with the exhibit designers and we did our best to accomodate each other needs. However, one designer (someone who is still a friend) described me this way: She’s usually very nice and easy to get along with, but remember, she’s a registrar and can turn on you at any point.
Another collections manager I know explained it this way. Just like the Dr. Seuss character the Lorax, who „speaks for the trees“, the registrar or collections manager is the one who „speaks for the artifacts“.
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Traducción al español
[por Fernando]
Este artículo me recuerda un incidente cuando yo trabajaba en el Field Museum como Registradora de Antropología. Yo tenía buena relación con los diseñadores de exposiciones e hicimos nuestro mejor esfuerzo para dar cabida a las necesidades de unos y otros. Sin embargo, uno de los diseñadores (alguien quien aun es amigo) me describió de esta manera: Ella por lo general es muy agradable y fácilmente se lleva bien con uno, pero recuerde, ella es una registradora y puede volverse contra ti en cualquier momento.
Otro gerente de colecciones que conozco lo explicó de esta manera. Al igual que el personaje del Dr. Seuss, el Lorax, que „habla en nombre de los árboles“, el registrador o el gerente de colecciones es quien „habla en nombre de los artefactos“.
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Deutsche Übersetzung (von Angela)
Dieser Artikel erinnert mich an eine Begebenheit als ich am Field Museum als Registrar für die Anthropologische Sammlung arbeitete. Ich hatte gute Beziehungen zu den Ausstellungsdesignern und wir haben immer unser bestes getan, um auf die Bedürfnisse des jeweils anderen Rücksicht zu nehmen. Trotzdem beschrieb mich einer der Designer (der immer noch ein Freund ist) mit folgenden Worten: Sie ist normalerweise wirklich nett und man kommt gut mit ihr aus, aber denkt immer dran, sie ist ein Registrar und kann sich jederzeit gegen Dich wenden.
Ein anderer Sammlungsmanager hat es mal so erklärt: Genau wie der Dr. Seuss character „Der Lorax“, der „für die Bäume spricht“, ist der Registrar oder Sammlungsmanager derjenige, der „für die Objekte spricht“.
Hahaha, I like the characterization of your friend. I can’t remember who it was, but another colleague considered to make a t-shirt:
Front print: „Registrars“
Back print: „Just say NO“
Keep up the good work!
Angela
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Deutsch:
Hahaha, ich mag die Charakterisierung Ihres Freundes. Ich weiß nicht mehr, wer es war, aber eine andere Kollegin überlegte, sich ein T-Shirt zu machen:
Frontseite: „Registrare“
Rückseite: „Sagen einfach NEIN“
Weiterhin gute Arbeit!
Angela
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Español:
Jajaja. Me encanta la caracterización de tu amigo. No puedo recordar quién era, pero otro colega consideró hacer una franela T:
Impresión frontal: „Registradores“
Impresión al dorso: „Sólo dicen NO“.
vielen Dank für dieses Hinweis. Im Spanischen bin ich überfragt (aus diesem Sprachraum stammt das Beispiel), aber im Englischen ist mit „armchair with two armrests“ die Tautologie offensichtlich. Es ist eine der Herausforderungen dieses Blogs, die konkreten Beispiele, die Kollegen aus aller Welt aus der Praxis beitragen, so zu übersetzen, dass sie auch in den anderen Sprachen stimmig sind.
Sie finden ein solches Beispiel nur wenige Zeilen später. Im spanischen Original heißt es hier:
„Y un poco de razonamiento me ayudó a reconfirmar que los carros ruedan porque tienen ruedas…“
Und es hat uns schon einiges Kopfzerbrechen bereitet, die Doppelung, die sich im spanischen Wort für fahren „ruedan“ und Reifen „ruedas“ findet, passend ins Englische und Deutsche zu übertragen, was nur dadurch gelang, dass man das Auto durch das Rollbrett ersetzt wurde.
Wenn Ihnen also ein stimmigeres Beispiel für unseren „Sessel“ einfällt, nur zu, wir tauschen es dann aus. Es geht hier darum, Grundprobleme aus der Praxis zu diskutieren, und wenn das mit dem Beispiel aus der einen Sprache nicht geht, dann muss man eben in der anderen Sprache etwas anderes finden. Das ist die eigentliche Herausforderung – nicht nur dieses Blogs an sich, sondern generell jeder internationalen Zusammenarbeit.
Ebenso würde es mich freuen, wenn Sie ein paar entsprechende Beispiele aus dem deutschsprachigen Raum beizutragen hätten, denn das Original stammt, wie gesagt, aus dem lateinamerikanischen Sprach- und Museumsraum und ein paar deutsche Fehlleistungen würden sicher die Südamerikanischen Kollegen ebenfalls interessieren.
English translation of Angela’s reply to the comment of Jan Selmer (by Angela):
Dear Mr. Selmer,
Thank you very much for the hint. I don’t know about the Spanish term (the example derives from this language area), but in English „armchair with two armrests“ is obviously a tautology. It’s one of the challenges of this blog to translate the practical examples from colleagues around the world into other languages without losing context and meaning.
You can see an example of this a few lines later. The Spanish original says:
„Y un poco de razonamiento me ayudó a reconfirmar que los carros ruedan porque tienen ruedas…“
It caused us quite a headache to get this into English and German and the only possibility to transfer the duplication that lies in „ruedan“ for wheels and „ruedas“ for driving was to exchange the car against the skateboard.
So, if a better example for our German „Sessel“ crosses your mind, please submit it and we will exchange it. It is our goal to discuss issues that occur in our everyday work. If an example of one language doesn’t work in the other language, well, then we have to look for a better one in this language. This is the real challenge – not only with this blog, but also in every international collaboration.
If you find German examples we will be glad to post them, for the Original is, like I said, from Latin America. I guess our colleagues from Latin America would love to see some German fails in object description.
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Traducción al español
[por Fernando]
Querido Sr. Selmer:
Muchas gracias por la sugerencia. No conozco el término en español (el ejemplo es tomado de ese idioma), pero en inglés „armchair with two armrests“ [„sillón con dos apoya-brazos“] es obviamente una tautología. Uno de los desafíos de este blog es traducir a otros idiomas los ejemplos prácticos de los colegas de todo el mundo, sin perder su contexto y significado.
Ud. puede ver un ejemplo a continuación, en pocas líneas: „Y un poco de razonamiento me ayudó a reconfirmar que los carros ruedan porque tienen ruedas…“. Nos causó un dolor de cabeza poder traducir esto al inglés y al alemán, y tan solo traducir esa [aparente] reiteración implícita en „ruedan“ [verbo en relación a las ruedas en movimiento] y „ruedas“ [sustantivo para las ruedas en sí mismas] nos hizo comparar las funciones de un carro versus las de una patineta.
Así que, si le pasa por su mente un mejor ejemplo para nuestro término alemán „Sessel“, por favor envíenoslo y haremos el cambio. Nuestra meta es discutir los asuntos que ocurren en el trabajo diario. Si un ejemplo en un determinado lenguaje no funciona en otro, bien, tendremos que buscar uno mejor. Ese es el desafío real -no solo con este blog sino también con cada colaboración internacional.
Si ud. encuentra ejemplos en alemán nos encantará publicarlos acá, pero el original viene, como ya dije, de Latinoamérica. Considero que nuestros colegas latinoamericanos disfrutarán viendo algunas fallas en la descripción de los objetos en idioma alemán.
Schlechtes Beispiel: Eine Sitzgelegenheit mit zwei Armlehnen kann z.B. auch ein Polsterstuhl sein und nicht jeder Sessel hat Armlehnen. Vgl. auch http://museum.zib.de/museumsvokabular/documents/systematik-moebel.pdf
„IRI: 00001090 | approved
Der Sessel ist im Gegensatz zum Polsterstuhl immer mit gepolsterter Sitzfläche und gepolsterter
Rückenlehne und *zumeist* mit Armlehnen ausgestattet. Er ist einsitzig und hat meist eine geringere Sitzhöhe als ein Stuhl.“
Insofern ist die Bezeichnung „Sessel mit zwei Armlehnen“ durchaus korrekt.
Beispiele für schlechte Objektbeschreibungen lassen sich übrigens zuhauf in den diversen online stehenden Objektdatenbanken der deutschen musealen Einrichtungen finden, man braucht nicht in Übersee danach zu suchen 😉
English Translation of the comment of Jan Selmer (by Angela):
Bad example: A seating with two armrests can also be a padded chair for example and not every „Sessel“ (German word for armchair, we have a translation problem here for the German definitions and English wording are not congruent – annotation of the translator) has two armrests. See http://museum.zib.de/museumsvokabular/documents/systematik-moebel.pdf (German vocabulary on furniture).
„IRI: 00001090 | approved
A „Sessel“ is, opposed to the „Polsterstuhl“, always featured with a padded seat and padded backrest and has – most of the time – armrests. It is single-seated and has most of the time a lower seat height than a chair.“
Taking this description „Sessel mit zwei Armlehnen“ is correct.
By the way, examples for bad object descriptions can be found in great numbers in online databases of German museal institutions, one is not forced to look for them overseas 😉
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Traducción al Español
[por Fernando]
Ejemplo incorrecto: Un asiento con dos apoya-brazos puede igualmente ser una silla acolchonada, por ejemplo, y no toda „Sessel“ (palabra alemana para designar a un Sillón; tenemos aquí un problema de traducción, pues estas definiciones en Inglés y Alemán no son congruentes -Nota de la traductora) tiene dos apoya-brazos. Vea: http://museum.zib.de/museumsvokabular/documents/systematik-moebel.pdf (Diccionario alemán para mobiliarios).
„IRI: 00001090 | approved
Un „Sessel“ está, al contrario de „Polsterstuhl“, siempre caracterizado por un asiento y un respaldo acolchonados y tiene -la mayoría de las veces- apoya-brazos. Es una silla individual y es generalmente un asiento de poca altura más que una silla“.
Tomando en cuenta esta descripción, „Sessel mit zwei Armlehnen“ [„Sillón con dos apoya-brazos“] es correcta.
Por cierto, ejemplos de descripciones erradas pueden encontrarse en gran número de bases de datos on line de instituciones museísticas alemanas, y uno no se ve obligado a buscar allende la mar. 😉
We no longer use the white gloves with the nodules – either plain white gloves or nitrile gloves if you need a solid grip. I believe the bumps can be considered to be too abraisive.
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Español:
Nosotros no usamos más los guantes blancos con nódulos -ya sean blancos lisos o guantes de nitrilo si se necesita una firme sujeción. Creo que esas protuberancias también pueden ser consideradas como abrasivas.
Deutsche Übersetzung des Kommentars von Fernando (von Angela):
Danke für den Hinweis, Sharon. Das hilft uns, in Hinblick auf diese „weiße“ Ressource auf dem Laufenden zu bleiben. Danke!
Deutsche Übersetzung des Kommentars von Sharon Steckline (von Angela):
Wir verwenden die weißen Handschuhe mit den Noppen nicht mehr – entweder glatte weiße Handschuhe oder Handschuhe aus Nitril wenn es darum geht, guten Halt zu haben. Ich glaube, die Noppen könnten eventuell Material abtragen.
Hi! Just love your idea.
I’m Portuguese so I could help by translating articles from English to Portuguese.
My last job consisted on the Creation of Inventory records for museum objects through the procedures established by IMC (Institute of Museum and Conservation, IP).
Loading of the object information in the Matriz database (European Museum Object Database) of the Museums and National Palaces in the Lisbon Greater Area.
Examination of each object and its records (legacy systems, paper), ascertain the condition and update to the Matriz database for curators and public consultation.
Objects involved belong to the following disciplines History of Art, Decorative Arts, Archaeology, History, Iconography and others.
Museums and Palaces where the inventory is being conducted:
National Tile Museum; National Museum of Archaeology; National Palace of Mafra; IMC – Institute of Museums and Conservation; National Theatre Museum; National Palace Museum of Ajuda; National Museum of Ancient Art.
Please contact me if you would like to work together,
Best regards,
Liliana
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Español:
Traducción al Español
[por Fernando]
¡Hola! Sencillamente me encanta su idea.
Soy Portuguesa y podría ayudar traduciendo artículos del Inglés al Portugués.
Mi último trabajo consistía en
Creación de Inventarios para objetos de museo a través de los procedimientos establecidos por el IMC (Instituto de Museos y Conservación, IP).
Cargar la información de los objetos en la base de datos matriz
(European Museum Object Database) de los Museos y Palacios Nacionales del área de la Gran Lisboa.
Examen de cada objeto y sus registros (en los sistemas anteriores heredados, en papel), comprobar la condición y actualizar la base de datos matriz para los curadores y para su consulta pública.
Los objetos involucrados pertenecen a las disciplinas de Historia del Arte, Artes Decorativas, Arqueología, Historia, Iconografía y otros.
Museos y Palacios en los cuales este inventario está siendo llevado a cabo:
Museo Nacional de Tile; Museo Nacional de Arqueología, Palacio Nacional de Mafra; IMC – Instituto de Museos y Conservación; Museo del Teatro Nacional; Museo del Palacio Nacional de Ajuda; Museo Nacional de Arte Antiguo.
Por favor contáctenme si les gustaría que trabajáramos juntos.
Cordiales saludos,
Liliana.
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Deutsch:
Deutsche Übersetzung des Kommentars von Liliana Rego (von Angela):
Hi! Ich liebe die Idee.
Ich bin Portugiesin also könnte ich beim Übersetzen von Artikeln vom Englischen ins Portugiesische helfen.
Mein letzter Job beinhaltete das Inventarisieren musealer Gegenstände auf Grundlage der Verfahrensweisen, die vom IMC (Institute of Museum and Conservation, IP) entwickelt wurden.
Einspielen der Objektinformationen in die Matriz Datenbank (European Museum Object Database) der Museen und Schlösser in Lisabon und Umgebung.
Untersuchung jedes Objektes und Überprüfung seiner Dokumentation (im Vorgängersystem und/oder Altakten), Überprüfung des Objektzustands und Aktualisieren der Daten für die Matriz Datenbank, zur weiteren Verwendung durch Kuratoren und die Öffentlichkeit.
Die davon betroffenen Objekte kamen aus den Bereichen Kunstgeschichte, Kunstgewerbe, Archäologie, Geschichte, Ikonographie und andere.
Objects involved belong to the following disciplines History of Art, Decorative Arts, Archaeology, History, Iconography and others.
Museums und Schlösser, für die diese Bestandsbetreuung durchgeführt wurde:
National Tile Museum; National Museum of Archaeology; National Palace of Mafra; IMC – Institute of Museums and Conservation; National Theatre Museum; National Palace Museum of Ajuda; National Museum of Ancient Art.
Bitte kontaktieren Sie mich, falls Sie an einer Zusammenarbeit interessiert sind,
it would be great if you’d participate by translating into Portuguese! Feel free to translate anything you want. I’ll write you a mail about it.
Best regards
Angela
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Deutsch:
Es wäre großartig, wenn Sie mitmachen würden, indem Sie etwas ins Portugiesische übersetzen! Fühlen Sie sich eingeladen, alles zu übersetzen, was Sie möchten. Ich werde Sie per Email kontaktieren.
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Español:
Hola Liliana:
¡Sería grandioso si participaras con tus traducciones al portugués! Siéntete en libertad de traducir lo que desees. Te enviaré un correo acerca de eso.
Ouch! That must have hurt!
We really need two types of gloves: the white gloves and these others, especially for that kind of delicate and short artifacts:
¡Ay! ¡Eso debió haber dolido!
Realmente necesitamos dos tipos de guantes: los blancos y estos otros, especialmente para aquellos tipos de artefactos delicados y pequeños:
Oh yeah, those nonslip rubber bullets come really in handy… I remember seeing one of our contractors handling an extremly precious pocket watch with white gloves. Unfortunately, without rubber bullets. I will never forget the sound of the watch crashing on the floor… and the insurance issues afterwards. Just remember: smooth metal gets slippery like soap when handled with white gloves without something that helps against this…
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Español:
Ah, sí, esas bolitas de caucho antirresbalantes pueden resultar prácticas… Recuerdo haber visto a uno de nuestros contratistas manipulando un reloj de bolsillo extremadamente precioso con guantes blancos. Infortunadamente, sin bolitas de caucho. Nunca olvidaré el sonido del reloj despedazándose en el suelo… y las posteriores diligencias ante el seguro. Solo recuerdo: el metal liso se pone resbaladizo como el jabón cuando se maneja con guantes blancos sin algo que ayude a contrarrestar esta …
Viel Spaß!
Werde ich haben!
Great article, Angela!
Thank you, Dee, glad you liked it!
Best,
Angela
Wie immer: auf den Punkt gebracht!!!
Ach das freut mich, dass Sie immer noch mit lesen. Und vielen Dank für das Lob! 🙂
EXCELLENT !
And Ms Klein was so close to the real thing! (They’re on display in Washington DC at the Smithsonian’s National Museum of American History. )
Online record:
https://americanhistory.si.edu/press/fact-sheets/ruby-slippers
Hi Angela!
I work in DC at the National Archives. I’d love to meet you after following your work & reading your book & blog. Want to meet up for a quick tour and a coffee? I’m usually at work by 7:45 if meeting early is ok with you. Say around 8am? Before the archives open at 9am. If not, we’ll try to figure something out!
Sounds good. I am usually an early riser (no idea if I still am if I am jet lagged, but, hey, I’ll find out), so that sounds absolutely doable. Drop me a line at angela.kipp (at) museumsprojekte.de so we can chat about the details.
Great to hear from you again!
Same here, always love seeing your name pop up. Which reminds me that I have a half-finished answering email to you sitting in my mail since forever which I had totally forgotten about! 😛
Angela, it is so nice to see you back! Thanks for sending this, indeed I had not seenthe other message.
I’ll have to re-read your book to see if I have any suggestions. In the meantime, I would like to say that your book is gaining popularity in the world of film archives, and that’s a very good thing – there are so few books with a practical and pragmatic approach to collection management!
I’m looking forward to read your posts, even if they are not so frequent as they used to be.
Hi Catherine,
oh, that’s so great to hear it becomes popular within film archives. If you know somebody who might be willing to share a real world example for the next edition, I would be delighted to include it. Also, whatever input you might have to include for those special cases, this would be appreciated.
I believe it was marketed under the brand name of Buzz-it“. A speedy way to generate a signal for a fast trouble shoot. Wish they still made them..
Imagine being asked to transport the most iconic guitar in the world. This is exactly what happened when the guitar belonging to John Lennon was to be transported from Seattle to New York. This blog will explain the journey and what happened along the way.
One drawer in my desk was devoted entirely to shoes in my first position as a registrar. When I was working with a collection that had a major moth infestation, I had to wear very careful shoes, even if I did not have trouble finding work shoes
(Oh, and I completely accept the timey-wimey explanation for the rogue post!)
Diane
Angela –
Glad you are taking the time you need. You will know when you are ready to come back. The pictures from your trip are beautiful and giving me a lovely change of scene on a cloudy dreary day here today.
Continue to heal and find your way back, and know that your Museum-family is thinking of you.
Diane Lee (currently in Hartford, Connecticut)
Hi Angela,
So glad to hear from you and to see that you took some time just to relax. My one and only experience with a highland cow was at the border the first time I crossed into Scotland from England. I just assumed he was put there by the local chamber of commerce to welcome visitors. Never saw another one, although there were lots (lots!) of sheep.
Thinking of you and wishing you a good 2020.
Janice
Dear Angela,
Thank you for the photos! Glad you are taking time for yourself. We have not met either although I hope to one day as well. I enjoyed your book and found it very helpful in my work. Best wishes to you in 2020.
Lydia, Savannah, Georgia, USA
Angela miss your posts but love your pictures. Looks like a trip that restored you a bit. Can’t wait for MRM6
Hi Angela,
I miss reading Registrar Trek and it’s nice to hear from you however briefly. I wish you all the very best for 2020 and I look forward to the day you’re feeling up to continuing with this project. May 2020 be a good year for us all!
Dee Stubbs-Lee
Dear Angela,
it’s so nice to hear from you again! Take your time to find your balance again, we will wait in patience and hope.
I wanted to tell you: I have finally read your book (I should have done so long before) and found it very interesting and inspiring. My field is quite different (audio-visual collections) but I could immediately make connections and see where your suggestions are useful despite the different challenges. I’ve also recommended it to a colleague in the same field, who came back with a similar positive opinion. There are so few books on collection management from the point of view of the practitioner! It’s a gem.
So thank you for writing it.
We’ve never met but I hope it will happen one day.
Catherine from Amsterdam
Oh, thank you so much for your comment, Catherine. It’s very good to hear that you found the book useful despite it being for a different field. Keep doing the good work, and I hope to meet you sometime in the future, too!
Best wishes
Angela
Dear Angela,
Any British commuter will tell you that you are much more likely to be abandoned to your fate if you miss your train due to a delay. You were very lucky!
Hope 2020 is a better year for you.
Best wishes,
Barry
Hi Barry,
oh yes, I heard that, too. However, I found myself seated in a taxi with 4 other passengers who drove 3 of them to their destinations, while unloading another one and me at a station where we caught the missed train.
I was very surprised as the next train to Thurso was running a few hours later and I could have easily taken that one.
Thanks for your good wishes and a good 2020 to you, too!
Angela
Estimaado Branko:
Muchas gracias por tus comentarios y felicitación. Son un gusto para mí. Y bien que estamos en el mismo ámbito profesional del museo; que nos siga yendo muy bien.
NOTA: desde 2012 me separé de este blog, que la colega alemana Angela Kipp co-fundó conmigo. Estoy revisando algunos de mis artículos, hoy, en 2019 y me disculpo contigo por no haber respondido antes, pues no vi tu comentario.
Great story, good thing you got the job done safely. John Lenon is a great legend. If I had been the owner of that car & someone had even touched it with dirty hands, then I think I might’ve blown a fuse run that guy down with it.
Amazing article and very informative. Great story!!
Dear Angela,
I’m so sorry for your loss. I hope you can find the space you need to heal. We will be here when you return, but will miss you in the meantime.
Dear Angela,
Words cannot express how you must feel. I am deeply sorry for your loss and you are in my thoughts. even though we have never met, I feel as though I have met you and know you. Your work in registration is amazing and I hope you are able to find peace.
Dear Angela,
There are no adequate words to comfort you at this time. I pray that you will find the strength to go on and that family and friends will be there for you when you need them most. Please accept my heartfelt condolences.
Dear Angela, I am deeply sorry to hear of your loss. My thoughts and prayers are with you and your family during this difficult time.
I’m so sorry to hear this. For now, look after yourself; but I do hope that, in due course, you’ll feel able to start writing again. In the meantime, we’ll miss you.
Sorry to hear this. Take time to take care of yourself. I hope you’ll find your writing drive again at some point: this has been both a great resource and an enjoyable reading.
I’m so sorry for your loss. My deepest condolences. Please take care.
So sorry to hear this. My sincerest condolences
I’m so very sorry for your loss, Angela. The entire registrar community is thinking of you. Sending you warm wishes from over here.
Dear Angela, I join your friends and colleagues in sending my thoughts and condolences to you and your family.
Angela, I am so sorry for your loss. I hope the pain eases soon.
R.I.P. I feel sorry.
Dear Angela,
My colleagues and I at the National Postal Museum are so sorry to hear of your loss. We will be thinking of you during this difficult time.
Patricia Raynor
National Postal Museum
Smithsonian Institution
Angela, I’m so sorry for your loss. My thoughts and prayers are with you.
Dear Angela,
I am so very sorry for your loss. I can only image what you must going through right now. May his memory be eternal.
You and your family are in my thoughts.
Angela, you have my deepest sympathy at this time of loss. You will be in my thoughts.
May good memories of your time together keep Bernd with you always. Thank you for what you share with us.
Dear Angela
We are so sorry for your loss. Our thoughts are with you at this very sad time.
Lucy Blaxland
Collections Manager
History of Science Museum
Oxford
There are no words for your sorrow but you are surrounded by your family and friends’s love and it will help a bit. Be strong
I’m sorry to hear of your loss. You have friends all around the world who will be thinking of you.
Sincerely,
Dawn
Angela, I am so sorry to hear of this. I will be thinking about you a lot in the coming weeks.
un abrazo
So very sorry to hear Angela – sending love and hugs from Australia.
I’m so sorry, Angela, that’s extremely hard and unfair. You and yours will be in my thoughts. Take care,
Joe
I am very sorry to read this Angela. You’ll be in my thoughts.
Dear Angela, so sorry for your loss. My partner Alistair died less than four months ago. The support of my friends, colleagues, and family has been invaluable. My condolences and best wishes to you. Rachelx
Angela,
I am so sorry to hear this news. Please take as much time as you need, but do come back. THe contribution you make with this blog is indeed great.
Susan
I’m so sorry for your loss. Take care.
…Will be thinking of you during your time away. Condolences.
Dear Angela – I am so sorry. Take your time, don’t hurry, and eventually things will start to feel better.
Thinking of you,
Barry Knight
Oh, Angela. May you find the strength you need during such a difficult time. May your family and good friends be constant in their support, and may your loving memories always remain in your heart.
Please accept my heartfelt condolences.
Diane
Diane Waterhouse Barbarisi
Registrar
SPRINGFIELD MUSEUMS
Springfield, MA 01103-1733
dwbarbarisi@springfieldmuseums.org
http://www.springfieldmuseums.org
I am so very sorry for your loss. May you find peace.
My condolences on your loss, Angela. I look forward to hopefully reading your blog again in time and I will miss it in the meanwhile. Take care of yourself.
Dee
Dear Angela,
I’m sorry for your loss. My heart goes out for you. Take all the time you need, your health and well being is of utmost importance.
(If I may be so bold) hugs,
Angela, My heart goes out to you in this sad time. –Andrea
Dear Angela,
I feel very sorry for you. I wish you much strength to handle this difficult situation.
Take care, Birgit
Dear Angela, Please accept my deepest condolences on the loss of your dear loved one. My heart goes out to you and Bernd’s family and friends. Take care of yourself. We will all be here when you are ready or need us.
Thank you and hope you will find the joy of writing again -it has been fun to read.
Oh Angela so sorry to hear this. Take care of yourself first and foremost and soon you will feel ready to blog again.
We will miss Bernd’s input on this blog, but more importantly we will miss the love and support he provided to Angela.
Great project for beginner like me. The presentation and explanations are very good. However i can’t find any reference to how to initially set the RTC to the correct time. Advice here would be helpful.
Many thanks..
Hi Barry,
you’ll basically have to set the time on the real-tim clock uploading a sketch that takes the time from your computer’s clock. There is a very good description about the RTC on the adafruit documentation page of the logger shield:
https://learn.adafruit.com/adafruit-data-logger-shield/using-the-real-time-clock
Best,
Angela
Thanks for all you do Angela! I will try to come up with something
Hi there! thanks for your hard work. I would love to contribute but my expertise is not related directly to Registrar… although I do interviews to artists to document them ideas in conservation.
On the other hand, I would be happy to help with the translation from English to Spanish if you need so.
Happy new year and lots of love
What country was this snake found? Yikes was it Australia?
Don’t worry, it’s a Garter snake who mainly live in North America. Their venom is not very harmful (they were long thought to be completely non-venomous).
I love your story Angela!
I think my Rotronic dataloggers must have Swiss Weather Dwarfs inside – the Wetterfeuerzwerge unroll the red lines when I draw graphs, and the Wetterfeuchtezwerge unroll the blue lines!
Hi Barry,
jep, right, mine also have 2 different weather fire dwarfs on board 😉
Will there be more to this article? Thanks!
Yes, there will definitely be a few more posts before the series is completed. Just fell in the summer gap. 🙂
Hello,
I built this datalogger some time ago. It is now in a box, all disconnected, would you have the schematics so I can rewire it properly without plunging back into electronics books (the logger link is dead)?
BTW, I really appreciated this article.
Thank you,
Pascale
Hi Pascale,
thanks for bringing the broken link to my attention. I fixed it in the original post.
Here you go:
Mind sharing a picture of your logger when you reassembled it? 🙂
Cheers,
Angela
Hope to see more of you this fall Angela!
I bet you will. Stay tuned! 🙂
Angela
More a question
Met data loggers yonks ago, about the same time that I met lock in amplifiers.
Thinking of revisiting them.Is it possible to start with discrete transistors and a sensor to build a simple, very simple data logger ?
Hi John,
full disclosure: I never built something from gound up with discrete transistors, so take everything I write with a grain of salt.
Short answer: It’s probably possible, however you will sure need a bunch of other parts to make it work, especially if you want to make use of it in a real-world setting, so the question will arise if it makes sense to built it this way.
Long answer: For someone who understands lock-in amplifiers the electronics behind arduino and friends are probably not much of a secret and it won’t take long to find out that there are a bunch of unnecessary parts for your project on the board. The original idea of an arduino was to have an easy development/prototyping tool where you can experiment and once you are satisfied with the prototype results you build the final device with only the necessary parts.
So, back to your original question: theoretically you can built a very simple datalogger with transistors and a sensor, but I’m rather sure you also want it to either display or store the data somewhere. So you need an LCD, or control a pen on a paper strip, or need an internet connection to a server, or an SD-Card, or whatever suits your needs and fits your energy requirements. You will also want to log the correct time, so you need to include a quartz or something that serves as a clock, or you need an internet connection to sync with a time server. A lot of tasks to achieve if you want to built it from ground up. They nearly shout for a microcontroler to help you. You can buy a development board like the arduino, experiment with different setups, displays, realtime clocks, whatever tickles your developer’s nerves and once you are satisfied you buy the parts you need and an additional ATMEGA328, flash the software, solder it together and that’s that.
As prices for those boards are rather low (at least in Germany) it might even not be worth to invest time in building your own thing and just use the prototyping board in the final application. I did this especially with the ESP8266 on a NodeMCU board where I have all the neccessary things like WiFi and USB on board but which is still rather small.
Hope that helps.
Best,
Angela
This is what finally convinced me that conservators and registrars must have been seperated at birth, since at least half of these apply to us as well – just last week I was indeed ready to threaten physical harm to someone who used my conservation-only scissors for cutting sticky tape (and then simply put them back without cleaning!).
Thank you for the great list!
I would suggest Karen’s suggestion. Certainly the sealed container can/should be left as it is. I would check with a conservator about any problems that might be caused by an unsealed, but securely closed container of alcohol, but unless there is a major hazard problem I would also leave the second bottle as it is. Should the whiskey in the second bottle need to be disposed of, I don’t think any of your collections colleagues would fault you should you choose a more personal way of safely disposing of the liquid.
https://www.nzaht.org/pages/shackletons-whisky
Here is another example.
My always caveat when dealing with liquids. If it is sealed and stable, leave it alone, but keep an I eye on it for changes. Why mess with something you don’t have to. If it is leaking, can cause a mess if accidentally tipped over, or strange substances appear on the exterior, time to do some dumping.
As for question #2, it’s gotta be pretty smooth by now… Just sayin“…
hi. sorry for asking. i’m a final year student and do the project related to this datalogger with BPW34 photodiode to detect the irradiance of solar and record it. but there are problem with the connection and the coding. can i ask your opinion about it?
Sure. Not sure if I can help, but I will try. Just post your question here or send it to story@museumsprojekte.de
I worked with an exhibit developer who was „famous“ among the collection staff for never putting objects back on the right shelf. We finally figured out that his standard behavior was to pick up an object, look at it, and put it on the shelf behind him! Whenever we couldn’t find an object we knew he had worked with, we always looked diagonally across the aisle and, more often than not, found the missing piece! Not sure if this is funny or tragic.
Also an extra nudge to curators to get their requests in early for objects in case they are not where they should be.
I am the first collections manager for the agency I work for. My entire career revolves around trying to reconcile Deeds of Gift, Loans, Transfers, etc., from as long as 102 years ago. This is always on my mind and everything I do, including writing our Collections Program Best Practices Manual is making sure that standards we put in place today are relevant, meaningful, and carefully explained as well as carried on. Obviously as laws and standards change, our practice will too, but it is my job to make sure we move forward with all of these things in mind for the future and those that come after us. Leaving the statewide collection better organized, more concise, healthier, meaningful/significant, and relevant is our main focus in this program. Looking forward to seeing more on this topic!
Thanks for posting this! I saw a link to it on twitter last night and wondered how to follow the discussion.
Living vicariously through the sense of satisfaction solving this mystery brings!
Love it! I had a volunteer catalogue an iron eagle as a FIC last week. Yesterday I came across a picture of a stove with same eagle on top! What a feeling of satisfaction!
Awesome! Congratulations! 🙂
Did you know that John Simmons has also created a board game to help you understand Collections Management Policies called Monopolicy? You can download if for free. http://www.museumstudy.com/courses/course-list/policies-for-managing-collections/
Merry Christmas and happy new year!!!
Wishing everyone a happy and healthy new year!!
Wow Angela, you certainly haven’t lost your touch! The cat analogy works very well, and I love the way you point out the connections to collections work, just in case any of us missed them. I also enjoyed the creativity in finding ways to entice the cat to take her meds, and the clarity explaining the methods. You are a consummate communicator and a born teacher!
Happy New Year Angela and colleagues, from rainy Amsterdam.
And thank you so much for all the good work you are doing with this blog! It’s a pleasure to read, food for thought and a useful resource all rolled into one.
Just sent this to my family so they can understand some of what I do! Happy holidays, Angela!
Frohe und schöne Weihnachten, kellemes karácsonyi ünnepeket, god jul & merry christmas to you all!
Fröhliche Weihnachten! Angela from Fair New Mexico!
Merry Christmas Angela! I am fortunate as year end for government comes March 31st. A more reasonable time.
Merry Christmas and a happy new year to you, too!
I also love cats (have 4) and this analogy is spot on! It’s a good teaching tool for those at your museum who have no clue about what collections management is all about. But they do understand taking care of animals. Thank you so much for sharing this.
A very sympathetic way to explain how complex documentations should and could be and that every single step has its own importance and consequences for future works.
Brovo, Angela – Very good story and lesson! Blotto approves!
as a cat lover I love this analogy!
Is there a cost to join?
Hi Evelyn, Collections Stewardship is a professional network that you can join as part of your AAM membership.
I just love that this finally happened…way to go 🙂 🙂 🙂
Would you be kind enough to contact me. I am not a troll, and could use your help determining if or when Landis visited here.
Chuckles of laughter Beau. The Sleuth.
I recently watched the documentary Art and Craft which led me here. I read Mr. Leiniger’s posts and to be frank, I found him to come off as rather full of himself as he was in the documentary. In his posts he repeatedly refers to himself in first person and seems to portray himself as a man who cured cancer instead of finding a forger.
He talks about his life as a Registrar as if he was the most important person at the museum yet now years later he drops out to work in an Amazon warehouse? He wants us to see him as a big star in the Museum world yet he is very unwelcome back in the world. He claims he doesn’t want to get back into the Art World but clearly he is saying that to protect his own ego. If Mr. LEiniger did this amazing feat as a registrar by discovering Landis, why hasn’t he had numerous job offers, or even one job offer as a registrar? Why was he shut out of the Art world when he brags about himself being one of the best registrars in the world since others never caught Landis before him? Could it be that Mr. leiniger’s own words in blogs and in interviews made him equally unlked in his field as well as people who read his blog and watched him in the doc? Humility, compassion and self grandiosity are clearly three traits Mr. leiniger doesn’t possess. Perhaps if he did people would want him to work in their museums. I wouldn’t donate a painting I owned to a museum if I had to interact with LEiniger and I believe that is why he isn’t working in his field. Cultivating relationships with collectors to benefit the museum is vital in his field yet I haven’t found one friend I have asked who would want to deal with him ever. We will gladly find another museum to donate to just so we wouldn’t have to listen to LEiniger brag about himself one more time. I have had the misfortune of hearing him speak a few times and would like that time spent with him, back. Concenus says I’m not the only person who feels this strongly.
Greetings! Very helpful advice within this post! It is the little changes which will make the greatest changes. Thanks for sharing!
another good explanation https://vimeo.com/36752317
It seems as if we have been exploring this technology in Canada for a couple of years. http://www.rcip-chin.gc.ca/sgc-cms/nouvelles-news/anglais-english/?p=9982 I am getting more excited about the concept.
A great project using LInked Open Data is the American Art Collaborative. You can find information about it at americanartcollaborative.org. The Executive Director is Eleanor Fink.
So far the disadvantages outweigh the advantages for collections that are primarily non artworks?
I don’t think that the issues are subject-specific. Museums record the historical context of their objects, and this could form part of a Linked History resource. However, they lack tools to render their catalogue data as Linked Data properties and classes, and we all lack a shared framework with which to build a shared web-scale history database.
I see the cats have good taste!
I thoroughly appreciate this article! As the Registrar of a mid-sized museum, I have my everyday wear (nice-ish boots or close-toed shoes, nice pants/jeans, casual but nice shirt), but in my desk drawer and under my desk I have my steel-toed work boots, a pair of black high heel dress boots, a sloppy t-shirt, and a dress jacket. You never know what will happen on any given day!
love it!
Hello Angela,
An interesting article about an important topic and often neglected practice. I more often than not wear my safety shoes as required. My problem is that as they age and breakdown I’m loath to replace them as they have conformed themselves to my feet and are really quite comfortable! My current pair have a crack in them and I’ve tried twice to replace them but have not yet found a pair that work for me. Keep your feet safe!
I am guilty of not wearing the footwear I should and I have yet to buy a pair of safety boots. Anything heavier than a pair of sandals make my feet feel like they are on fire! I do wear rubber boots for certain jobs. One problem Northern Collections Managers have is winter wear, winter boots, inside shoes, rubber boots for the snow melt in late winter. You have guilted me into safety boots though so I had better start hunting for a size 7!
Wonderful article (but of course I already qualify as being more than reasonably interested in foot wear). In my first registrarial job I had one whole drawer of my desk devoted to shoes. While I haven’t struggled with finding work shoes, I did have to think very carefully about what I was wearing while working with a collection that had a major moth infestation (no wool – all synthetics!).
You left out from the list museum managers who are told about the hazards but cant be bothered to inform themselves, too lazy to do anything, pretend an expertise they dont have, think it will be too expensive or will create bad publicity, thereby leaving their collections staff and volunteers at risk. Think that cant happen? Try working for a Local Authority run museum.
I know it too good, Bryn, I know it too good. Sometimes a hint that this can become rather expensive if a former staffer, volunteer, visitor or researcher sues the museum can do something to get lazybones-in-chief to do something about it. Also, asking insurance questions can help.
A load of information, that hadn’t been thought of before by us. Thank you for this, will be re-thinking cataloguing process.
Working with the conservation of period furniture on a regular basis I am always aware of the possible presence of leaking mercury in pre 1900 mirrors. For those interested, information can be found on the following website http://www:conservation-wiki.com/wiki/Tin-Mercury_Amalgam_Mirrors#Preventative_Conservation
Thanks for the hint, Robert. Indeed this is a huge issue especially for historic houses and castles.
I once found a puddle of mercury splashed onto a layer of tissue packing in a crate where it had been left without a lid at the bottom of a shelving unit. It was a completly inexplicable how it had got there or what object it might have come from. This may explain the mysterious source.
Thanks for this valuable information. Will keep in mind this info. for my museum.
Sounds like you are up and running tackling those collections, Mary. Keep up the good work!
Very useful, thank you!!! Sometimes we need written material to prove we don’t ask for fantastic things.
Mercuric chloride was also commonly used as a pesticide on botanical specimens in herbaria in the past. Treated sheets were rarely labeled so.
Good point, Elana! That’s why one should always assume they are treated unless proven otherwise.
Excellent post, Angela! Sometimes I feel like a voice in the wilderness — I appreciate knowing I am not alone. 🙂
It’s the purpose of this blog to share this stuff, so all those out in the trenches know they are not alone. 🙂
Great post and so true that we need to share information with each other and document document document
So, so true! Now imagine that you are like me, I wear a size 4 shoe! Worse, my feet are short AND narrow, a phenomenon shoe manufacturers seem to deny even exists (double A’s widths often start at a size 7 shoe length. Not only is it as hard as Janice says to find an appropriate shoe that can take you from walking miles of conference site halls by day to dancing at night, imagine that you can only fit into 2% of all the shoes you ever see! Thank goodness that kid shoes are getting quite sophisticated (sad for the kids though) but comfort along with style are still very hard to come by!
Thanks for this reminder. Very important to keep this in mind.
Great advice. When staff bring kettles, toasters, and so on to work they seldom (if ever) bring in the newest leaving older ones with faulty power cords at home! All of these should be properly inspected by a qualified electrician before being allow in a collection housing building.
Great idea!
I LOVE your remark….“It seems no one ever has the 30 seconds for changing a location, but always the hours for searching!“ So True. That fits many other scenarios…do it right and completely the first time, if possible to save a lot of extra work later!
The satisfaction of completing each of these small steps! Sounds like a good month to me!
Great post, I love hearing about the day to day activities. Makes us feel less alone. I also keep like objects together as it makes it easier to search for missing items.
This topic might be of interest for ICOMS international committee for Collecting and Collections COMCOL. I recommend to take contact with them for further discussion. They may have strategies to deal with this because they have many specialist in documenting the present. For more information an contact details see here: http://network.icom.museum/comcol/who-we-are/board-members
Thank you, Kathleen, for your post. It is not only timely, but even in just the past sixteen years within the US, rapid response collecting seems to be becoming more of a reality for many of our colleagues not previously exposed to such professional experiences (I am thinking about organizations such as the Orange County Regional History Center that has been tasked with collecting and preserving items from the memorials, etc., created in response to the Pulse Night Club shooting). I agree that some clarification on how museums, and other similar institutions, respond or react to such events is, or should be, dictated by having a clear mission and a collecting policy. There might also be a whole separate web of complications to consider, such as museums learning how to navigate the sensitive and emotional cloud that can surround such tragic and devastating events. How do we express the arguable importance of rapid response collecting to individuals or organizations directly affected by such tragedies without seeming to minimize their feelings and experiences? I think this would be a very valuable topic to share or discuss at an upcoming conference or workshop. I know I would find the conversation invaluable, and in our changing and growing world,many others may, as well.
And then there was the large 19th c. ceramic jug we were trying to identify. As I went to turn it over to view the bottom, we heard a bit of rustling. „Sounds as if there’s something inside,“ I said. I up-ended it and out fell a wad of dust with bits of straw ane other detritus, along with a thoroughly mummified mouse. This was no canopic jar, and we are not a natural history museum, so I deaccessioned the wee corpse and chucked it in the trash.
The idea of rapid response collecting does not only have applications to protests and marches but also tragic events. In the aftermath of the Boston Marathon bombings, local museums and other institutions came together to try to decide how to best preserve the materials that were left behind as memorials to the events. How do you decide which institution should preserve these materials? Should they be shared across many institutions or kept at one site where visitors will know how to best access the collection? This post definitely poses a good question. Give the current climate, its best for museums to determine their role in advance. Thank you!
I one hundred percent agree. Museums should not be involved in rapid on the spot collecting and I don’t know of any collections policy that allows for this. Ethically, if we have a policy we have to adhere to it. Also I agree that museums should be detached and neutral at these events and individuals should not act as if they represent their museum as a whole. Personal politics should be left as personal politics. How are to judge that what happened a week ago is really that earthshattering without at least by distancing ourselves from that event by time so we can compare it as a whole to what is going on.
Congratulations, Registrar Trek team. Thanks so much for the excellent input in the field!
Interesting post and it definitely reflects my thoughts as well. I often face the same issue at work where the different groups of specialists work in their own group, not realizing that others are working on related topics. It is a waste as I believe a topic will be much more interesting when it is being presented from various angles. 🙂
Dear Angela,
I don’t think I can give a hard-and-fast answer to your questions, because a lot depends on factors such as the logging interval (5 mins, 15 mins, 30 mins?) and the space where the logger is installed. Is it physically possible for the RH to have increased by 5% in 10 mins? Or is it more likely that a passing member of staff blew on the sensor „to see if it was working“? If you have just one high reading (as you have in your graph above), I would be inclined to blame that, or just a momentary malfunction of the logger – a glitch.
Regards,
Barry
¡Brava, Angela!
I’d also like to add that some of our museums are closed between the holidays so we lose out on valuable work-time.
Once again, Angela, you have provided a clear, funny analysis of why this is our busy season! It’s a terrific explanation that every registrar and collections manager out there can provide to their bosses.
Well said!
Very good text and proposition… Maybe at the next General Conference we Will have MCMs… Multiple Competences Meetings…or „committees“…
Interesting discussion, needs to be continued!
Very interesting reflection. You are right that we need to be more involved with different groups so we can show them how we can help them.
Very interesting – we see this a lot in our own organisation, with people pursuing their own course of action, apparently oblivious to developments in other areas until the paths are forced to intersect.
(Also, I have a similar picture taken from a train window as I shuttled through Sweden – by the time I clicked the button the thing I really wanted to photograph was out of sight, which could well be another metaphor)
Exactly! And interesting metaphor of trying to capture things that are already out of sight… Kind of what a museum tries to do…
Well said and hoping that is the direction more conferences will pursue
Thanks Evelyn!
I would like to know if I can purchase a copy of the pdf and make a copy for our Library collection?
Thank you,
Isabelle Poulin
How do we register to get your blog updates?
Hi Evelyn,
the subscription link was buried after one of the last automatic updates. I already placed it back again on the left menue on top. Here it is: https://feedburner.google.com/fb/a/mailverify?uri=RegistrarTrekTheNextGeneration&loc=en_US
Best wishes
Angela
I’m doing my luggages for Abu Dhabi…More than 40°C outside, meeting rooms with AC…You can imagine the nightmare…;)
I take 4…
Will the recipe and tasting notes go in the history file and what about re ordinary the dates they were eaten, or is that going too far
I am so glad that people still use rhubarb. Nice labels as only one would expect!
Using rhubarb for marmalade was self-defense against a rhubarb plant gone mad. It’s quite tasty, though. 😉
great series, already signed up!
You are so right. This has often been a source of more consternation for me than the paper I’m supposed to give!
Janice, you are totally correct on all counts. Thank you for the down-to-earth distillation of an important topic.
Ha ha ha ha thanks: interesting subject! I also want a pair of Ruby slippers when attending conferences abroad 🙂
I have faught for over 30 years about documentation in databases. Far too often I have found documentation such as „a table“ or „porcelain company products“. Databases are the heart of any institution. Far to often Boards and Archivists fail to realize the importance of documentation and lose the history of their community or institution.
Highly recommended. But, I am sure that all of you have considered this: it can be used terminologies besides the documents by themselves: Tags as „significative evidences“ of those connections between two or more objects (I mean terminology gathered in thesauri).
I usually use Tags (naming them „Referencias“ in Spanish) assigned to each object, as part of its technical data. So, any used software can make „match“ with the objects marked with the same Tag, showing on screen, and in a printed list, those results.
These Tags will gather those terminologies as „clues“ matching the objects, its documentation and its significances as „evidences“.
I completed too a kind of „Directory of Tags“ for each collection of some museums. By this way, the people and investigators can consult it and find the specific object (with its documentation) depending on the own interest.
This is a mission for Curators, Registrars, Collections Managers, Documentalists and Educators in the museum, applying resources as those you are referring. Thank you.
I also took it for granted that connections between artefacts and archival material would be documented on the database. Sure it takes longer but is essential.
Alert Programming! Vigilant curators, registrars, collections managers, and other behind the scenes staff have noted an uptick in the number of persons keenly interested in photographing artifacts and historic site structures in their quest for these creatures. Encourage „capture“ as long as it is in public areas and not in violation of museum policy and try to engage these Pokemon-hordes in sharing the unique history, art and science they experience while they are in your museum! Online gamers have lots of friends and they like to invite them to play along, repeat visitors Yay!
Serious new pest threatens heritage collections world-wide. Have your pest management program updated.
These pests are capable of surviving all environmental controls. Beware! They are often found in packs and love storage facilities. They can be found on all shelving levels. Many infest the exterior of Historic Monuments such as the Columbus Street Watertower. Hordes of followers aare attracted to cemeteries. SURVIVAL IS NOT ASSURED!
Congratulations, Angela! It’s a great book, you did a wonderful job!
I’m sure it isn’t going to be your only book— Best wishes from Judith Vance (Darlene’s friend)
Oh, thank you so much, Judith! I appreciate the support. 🙂
I ferl your excitement through your language. Good Luck snd remember yo have fun!
I have attemped to make exhibits, walks, programs and recorded interviews accessible for peoplewith all disabilities. My volunteer workers have always included students and adults with disabilities. I included students who had visual disabilities. After my resignation as City of Sun Prsirie Museum Curator these programs stopped.
I am now a Board Member and Advisor for the Island Church Foundation in Waterloo Townshipsith the provision that alll students and adults are welcome as volunteers.
Thanks for the names of the screen reader apps. QR codes just have not worked for us.
The use of wood shelvihg surprised me. I am working on replacing wood with metal sheving. Am I wasting time and money?
No, by all means, use metal shelving if you can. This is definitely a „before“ picture.
The crucial point with any datalogger, commercial or home-made, is the quality of the sensors – particularly the RH sensor. Cheap sensors may be unreliable, especially at high or low RH, and they may lose their calibration quite rapidly. We all know there is a temptation to skimp on calibration, or to rely on the data uncritically, so my advice is to buy the best sensors or loggers you can afford and to calibrate them regularly.
Hi Barry,
you are right, the sensors are key, so is checking and calibrating them regularily. This post is just the Quick Start Guide, the next posts will take a deeper look at the used components and discuss the options. So, next up will be:
1. Arduino and shields
2. Sensors
3. Coding
Maybe some additional considerations, let’s see.
Of course interchanging with other posts, so the readers not interested won’t get bored 😉
Best wishes
Angela
Checking RH calibration beyond the effective use of an aspirating psychrometer is rarely done. However, with several loggers, typically $120USD each, you can gather them once or twice a year and compare readings. Replace any loggers that are out of acceptable range (though you can continue to use them for temperature logging). This is the most prudent and cost-effective data logger approach.
Actually, just to compare readings can lead to mistakes, as their sensors might have the same drift, especially when purchased around the same time. Your loggers might all show 10% off but you don’t realize because they all show aroud 35% instead of 45%, which seems reasonable. What proves quite effective is comparing their readings in a container with NaCl athmosphere (75%) and MgCl athmosphere (33%). You get an idea if they drift, in which direction they drift, if the drift is linear and if their reaction time is still okay.
Since you point out that commercial loggers are available to do this same task, can you cite reasons or link us to a discussion to the problems a DIY logger solves? Maybe a case study would help, including a cost comparison of commercial vs DIY.
Hi William,
thanks for the input. Unfortunately, I haven’t taken a note everytime I saw someone asking for recommendations for affordable dataloggers on the MUSEUM-L or RC-AAM listserv but I’ve seen quite a few and some of them asking if some cheap gadgets for about 50 € can do the job just as well. Well, for the same price you can build your own, of course if you don’t count the costs of your own working hours. I see the following advantages:
– For the same price a comparably cheap off-the-shelf solution costs you get a logger you know what it is capable of because you know the components you used.
– If the sensor loses reliability (of course you have to check and calibrate it on a regular basis, like every logger), it is easy to replace at a reasonable price (the comparably expensive one I used here is at around 8 Euros (9 USD)). I will discuss this in the part about chosing the sensor which is coming up, this is just the quick start guide.
– As grants for preventive conservation are few but there is a high interest in supporting STEM education, it’s a win-win if you do this as a project together with your local highschool. The kids learning about coding and microcontrollers and at the same time about the importance of preventive conservation and how climate data is used at their local history museum.
– If you build it yourself, you learn a lot about coding and microcontrollers, which opens up new possibilities both for your institution as well as you personally.
Again, if you do have the money to buy a commercial logger and the money to have it calibrated regularily, go for it. There are pretty good ones on the market, of course not mentioning names here. But I know that especially small museums struggle with getting money for such devices and for them it might be easier to find technically interested volunteers to help them with building such a thing.
Of curse, if anyone is aware of a case study, I would be interested in sharing it here.
Best wishes
Angela
It’s closer than you think Anne.. have a look at https://www.unipi.it/index.php/english-news/item/7156 for a project that has the ambition to automatically identify archaeological pottery
I mean they already have reverse image search and like image search on Google, so there’s got to be a way.
I LOVE this idea and am sure it is not that far in the future. If they can do it for flowers, why not man-made objects?
EXCELLENT IDEA!
I digital version would be wonderful for searching through! I also agree, for what we paid for the book it is poorly bound.
Thank you for all your efforts bringing this to those of us in need, Angela! I have a feeling a great many of us need help rescuing our collections from poor collections management of the past. Thanks for the lifeline!
Thank you so much for the kind words, Dixie! 🙂
Congratulations Angela! Looking forward to the course next year.
Thanks Brad, looking forward to it, too!
congratulations! I wish the discount applied to none American orders but is worth the full price.
Oh, so sorry, hadn’t realized that detail!
Hope you are satisfied with the book, anyway.
Best,
Angela
I really like this website and thank you so much for all the time you put into doing this for the rest of us out here.
It’s a joy doing it 🙂
So, so proud of you ! I want it ! 😉
Thanks for the support, Aurore!
If only I could go there…. ;(
Dear Angela,
I will write a report for my colleagues, and for our website (a blog).
So I can always sent you my notes if you are interested.
Kind regards,
Julie Lambrechts
FARO Vlaams steunpunt voor cultureel erfgoed
Hi Julie,
sounds awesome, I would be delighted!
Best wishes
Angela
Dear Angela,
I am sorry to hear you will not be able to attend, I was hoping to meet you there! I am writing up a report for my colleagues in any case, and will try to write up a special report about a session that catches my particular interest for this website!
best wishes,
Catharina van Daalen
Stedelijk Museum Amsterdam
Dear Catharina,
thank you so much. I’m looking forward to your report. I’m really sad I can’t attend, too, because it would have been a great chance to meet many of our contributors and readers. But, as much as I love museums and my work, family comes first.
Best wishes,
Angela
Any thought of posting instructions for the do-dads that you make? I have an Arduino user in-house (one of my kids) and if I was able to just hand him instructions and a bribe (most likely more parts or coffee!) he’d probably make them for me.
I can also see this as a great source of projects for a teen group at a museum or maybe the local library.
Oh the possibilities!
Yep, next up will be a step-by-step guide for a logger that logs to SD card. Hope your in-house expert will approve – although I’m pretty sure it’s too simple for him. 🙂
Fantastic!
I work for a history museum that shares an atrium with a car museum. We had an old car that we had to move from one end of our museum to another, taking off doors in the process so that it would fit. Someone had to sit inside and steer, we had to lift and pivot at points…all in all, it took half a dozen of us over two hours to move the car. At the end of our task, one of the curators from the car museum came over and simply asked, „Why didn’t you just borrow our go-jacks?“ *sigh*
LOL – well, well, next time you’ll know to ask the neigbours, first. 🙂
I have to say, that for the carriages we didn’t had the idea at first…
We move the two biggest ones (5 tons & 2,5 tons) with 6 persons… At the end of the day, the leader of the handlers says :“OK, tomorrow for the other ones, we come with „Kojaks“…“ – „Ko-WHAT ?????“….Now I know…..
Is that really a q-tip (cotton swab) sticking up out of the little gadget you made? My dad would have been all over the Arduino. If he were still here among us, there would have been blinking lights all over the house, in the car, who knows, fastened to the cats. Sounds like great fun.
Oh no, it’s a very special, cozy restart-device! No, actually it’s a q-tip. This logger was an urgent call from our conservators in need of a logger and when I made a case for it I realized that it was impossible to reach the restart button inside without having to take the whole thing apart. I first drilled a hole in the case so you could restart it with a pencil (remember the old days, when this was the way you could restart a PC?). Re-considering that you probably don’t have a pencil at hand when you need it the most I searched for some replacement for the pencil and the first thing I found was a q-tip. I glued a small plactic piece on the other side of the q-tip so it hits the button reliably. In addition I think „just hit the q-tip for restart“ is a great thing to read in a user’s manual. 😉
I accepted a request from members of the Island Church Foundation to serve as s Board Member and as an advisor to the Board. The Board is commited to establishing a climate controlled display space, including a work area and storage area in a building separate from Saint Wenceslaus Church.
The Board Also committed itself to search for students, who will be considered as equal to adults volunteers.
This is a huge committment from the Island Church Foundation for insuring the future if its heritage. The Bosrd is also working with the University of Wisconsin-Milwaukee in creating an Intern position with a stipend to assust with the cataloging the current collections of the Foundation.
This is an exciting time to work for the future of the Foundstion.
Hi Peter,
so glad to hear your institution is moving forward in collections care. This is a huge achievement. Congratulations!
Best wishes
Angela
Ah, I see. Put unwanted emails into properly labeled old unwanted crates and, and . . . I could use the crate as a planting container in my garden! Old emails don’t take up much room, might help with drainage.
See how easy it is?
To think that I passed this crate for over a month without discovering what a gem it is. Our chemist got the idea the very moment he saw it….
Congratulations on the project! Very elegant and simple solution to the situation. The Museum looks to have a sustainable system to move forward with thanks to the effort put into the initial cataloging and description effort. Very glad the Museum stakeholders had the foresight to allow the „nuts and bolts“ of inventory,cataloging, photography and numbering to happen during a closed period. They will reap the benefits for a long time in terms of ease of access and ease of sustaining the system. Great article on the process.
Yep I carry tape measure, scissors, flashlight, archival marking pen, nail polish (sorry we do it the old way) and liquid label in my purse.
I ordered my copy last week. Can’t wait for it to arrive!
Thanks. I really hope you like it. I feel a special obligation to the readers of this blog as you all supported this project with your comments and support!
cheers,
Angela
Angela, I’m afraid that „numbers, spellbound by“ will have to stay. Although perhaps „confounded by“ or „bamfoozled by“ or „head-scratchingly befuddled by“ might also work. Good luck with the „process, unforeseen complications thereof!“
Anne
Love „bamfoozled“, got to add that to my vocabluary.
Wonderful idea to share this drawing! No one outside of collections staff really knows how far we will go to prepare supports and packaging to keep our collections safe! I think o fit as one of the perks of the job to create custom supports!
Yeah, like: okay, this is going to be dirty, dusty and you are mainly pushing a rock uphill. But: you can build as many custom boxes as you like. Deal?
Beautiful!
Very nice. Much tidier than my scrawly diagrams. What kinds of materials / adhesives / padding do y’all use for this kind of container?
Anne
Ethafoam in acid-free boxes it is for us!
Cheers,
Angela
A great little mystery that I experienced when I forgot I had a logger in my hand from another storage room through a hallway to another room. The hallway is not climate controlled and created another variable that I could not explain. It took me days to solve the mystery.
Angela, du gehst dorthin, wo noch kein Registrar jemals zuvor gewesen ist…
Schöne Idee und schöne Seite. Wissädälerisch zählt wohl nicht als neue Sprache in die ich übersetzen helfen könnte.
Gerne, auch wenn die Zielgruppe für diese Art der Übersetzung recht überschaubar sein dürfte, oder? 😉
I would suggest that the logger was actually removed from it’s original location. The changes in humidity are being driven by the changes in temperature. Looking at the conditions before and after the fluctuations the conditions are fairly stable. The sudden change in temperature could be caused by someone accidentally putting the logger into their bag that has come from a warmer environment, walked out of the building allowing the temperature to cool, then got in a car,driven home with the air con on, got home at about 17:30, the car is left in the evening sunlight allowing the car to warm up before the sun disappears giving a gradual cool down overnight. At 07:30 next morning, the person drives into work, realises they have taken the logger home and puts it back in situ.
Congratulations to the answer that was nearly exactly what happened!
Congratulations Michael- excellent deductions Mr Holmes!
There was marked solar flare activity from Sept 1 to Spet3 2013. Could that have had anything to do with disrupting the datalogger readings?
I agree with Kathy Karkut, something has fallen over the datalogger unit creating a microclimate – a sheet of bubble wrap or tissue – or some creature has interfered with the sensor – or maybe there is a ghost in the machine…
A staff member did something dry as they left for home and undid it when they arrived in the morning;not sure what they did though!
My first avenue of inquiry would be to confirm the integrity of the datalogger; was the data compromised in its collection, interpretation, storage or transmission?
Secondly, was there any other evidence of the T and RH fluctuation?
Thirdly, what are the items in storage? Could anything there be a cause?
Perhaps there would be clues in those answers.
Potentially something was dropped over the data logger such as a box or bubble pack, etc. and the readings are for a very small contained space surrounding the DL. The next time someone was near the DL they removed the covering.
I would think someone took the datalogger to another room (warmer, dryer) and then maybe outside in the car for a night, to put it back the 3th september…?
Geert Bellens
Metiz
Angela,
If someone was breathing close to the logger, the temperature would rise at 16u30, but humidity also.
If a heat source was involved (local heater, lamp,..) I would expect rising temperatures, and lower humidity, but no that drastically.
The weather was mild during early September 2013, with daytime temperature at around 24 deg C. However, yourT changes are too rapid to be caused by normal daily fluctuations. The RH changes in this case are counter correlated with your T changes, which suggests that something affected T but confirms you have no independent RH control. As you say there is no HVAC an equipment malfunction can be excluded. Something lead to the steady then rapid T increase, then slow drop during thenight, followed by rapid normalisation of conditions. Do you have central heating in the building which came on, the store got too warm, someone opened a window in the evening of the 2nd which was left open over night then closed in the morning of the 3rd?
Your considerations regarding the daytime temperature are correct, as you can see by the weather dates of the nearby weather station: http://archiv.mannheim-wetter.info/2013/pcws/20130902.gif
The steady increase until about 16:30 is pretty normal, regarding the outside temperatures and the nearly not insulated storage, nothing to be proud of, but nothing to be particularily concerned about.
I like your idea with the central heating gone mad, we have one but it wasn’t turned on because of the rather mild temperatures. And no, no one opened a window to regulate the temperature.
Hi, dear Angela!
With great pleasure I read about Your project through LinkedIn. Your activity seems very significant for the Museum community. I work in the position of scientific secretary at the All-Russian Decorative-applied and Folk Art Museum (vmdpni.ru). I’d be happy to help in texts translation from English into Russian.
With best regards,
Helena
I just saw the film. I am intrigued by the question of whether Landis’s actions have been harmful, or not. The passion displayed on this very page is proof that others are intrigued as well. Speaking of due diligence let me say up front that I have not read the piece in the Financial Times, nor in the New Yorker. I’m hoping that these sources will help me get a handle on the issues.
For now, though, I can say with certainty that I feel Landis is a dyed-in-the-wool con man. It is amazing the way he lights up in the museum reception scene. One can sense immediately how a museum curator might be taken in. If he is a con man, one can easily find nature or nurture arguments which attempt to explain why this is so, but the fact remains that at the end of the day, we are responsible for our actions. It is simply wrong to defraud others. To fault Leininger because he insists that Landis is a con artist is absurd.
A question which I hope to resolve by further research is how the big media reported this story, i.e., in what tone, in what depth, and what conclusions they drew, if any, about the case. The film was rather coy about drawing conclusions. They certainly could have made professionals at the major institutions squirm far more than they did. Yet this part of the story (how DO you authenticate artwork?) went unexplored. This lack of reporting on what institutions should have been doing makes Leininger’s taking up the slack more understandable, a point that is made in the film but rather weakly. Landis’s personality, as odd, wandering, and fractured as it is, makes for a compelling subject, and the filmmakers used this to their advantage. The question arises as to whether they were themselves exploiting Landis. I wonder. At the very least, they cast Landis as an idiot savant, which I think is only one of his facets. They certainly let him play to the camera. On the other hand, the filmmakers left plenty of film running so that viewers could make up their own mind as to the man’s character. As I have said, my conclusion is that Mark Landis reveals himself in the film to be an artist, after all. A con artist.
Happy Birthday Registrar Trek en best wishes for 2016 to all the colleagues
What a wonderful study; I wish all museum people could read this to get an idea of how easily mistakes are made, and why those of us in charge of artifacts demand we be allowed to follow our protocols, methodologies, and Best Practices. Every time I break one of those, I pay for it later in the time (and stress) it takes to straighten things out. thank you!
I agree. Empowerment is dangerous if you don’t fully understand the system.
My only complaint is that the book isn’t available now!!! My site had a major water event and everything is more of a mess than usual so I’m taking it as an opportunity to finally gain full physical and intellectual control of the collections and this sounds like the perfect guide.
Congratulations on completing your manuscript.
Thanks Deborah. NOW is always the best starting date and if you can turn this unfortunate event to a stepping stone for improvement it’s wonderful. All good wishes to your project, I’m sure you’ll do awesome!
Thank you Angela, for creating a book that is really needed in our profession! Numerous times with the changing economy, museum staff assumes responsibilities that they really don’t know much about, such as the stewardship of a collection. This book will be the guiding light for them, ‘newbee’ collections staff and non-museum trained volunteer run organizations. Looking forward to ordering my copy!
Thanks, Kathy! It’s exactly the target audience I’ve had in mind.
Bravo Angela!
It took courage to tackle this „unmanaged“ issue, and to seek out others with different perspectives to enrich your work. I look forward to reading and learning.
Lisa Mibach
Thanks Lisa!
We’re big fans of reusing gallery furniture for improvements elsewhere on the campus. We try and reuse as much material as possible.
„If it’s free, it’s for me“ like my Mom used to say!
I am afraid to admit that the error rate I have found in accessioning and accessioning by location is closer to 25%. So many records are incomplete that it can take a team of two or three people to actually correct the information, find the proper location, and enter it into the database over an hour for one item. Many are easier to find but often we have found that either the accession number is wrong or that the person entering the information failed to do it.
I always give breaks to students and adults working with me. I definitely need breaks during work so I make them take breaks. I have found that younger adults do better because they have far greater experience with databases, computers, and cell phones. My worry is that some people will change the information after it is entered without understanding the process .
What a timely article. this week I spent 20 minutes figuring out where an artifact was – extrapolating my knowledge of the collection, where it could not be in a room containing a couple thousand items in various size containers and shelving configurations, and finally found it with an incorrect Object ID tag, in a box where a previous „curator“ had placed a number of other like items, some of which had correct location coding either.
Would love to emulate your process and track some of this effort in a quantifiable way!
Thank you so much! the vindication alone is wonderful.
This is brilliant – I know that we find and correct multiple errors by being methodical, but didn’t think to track the numbers.
I would be curious to know what you found out about RFID. Exactly what were the pros and cons? I have heard from some folks that they didn’t like it but I can never seem to get an exact answer as to why. Thank you, Sue
Hi Sue,
glad to answer that one (and it reminds me that I wanted to write a blog post on „why technology questions in museums often remind me of religious wars“ but haven’t gotten to it, yet). We took a look at all available technologies and figured out what they are good at and what they are not so good at.
RFID is very powerful when it comes to track a chip or the label the chip is attached to (to attach it directly to the object was never an option for us). You can stand in a room with a scanner and it will tell you exactly if the chip you search for is in this room or not. You can narrow the range of the scanner down to a few inches and will be able to track that chip resonably exact. This ability solves a big issue in museums: you can search for objects that are „lost“ and you have a ver easy inventory control.
Let’s take a look at the things RFID is not so good at: The scanners are not good at single operations. The scanner narrowed down to scan only an inch away will still display all the RFIDs it has in range. This makes it a bit cumbersome to edit a data base entry for a single object, especially in a storage with many objects.
How does it look on the material side? You have a mixture of materials, containing metal and plastics, and all RFID we researched where glued to an object or label.
What does it take to implement an RFID system? You can either order the chips from a factory or produce them yourself on specialised RFID printers.
How did these findings influence our decision making process?
When we took a look at our interaction with objects we found that the vast majority are operations with a single object. The cases where we actually wanted to search for an item in the storage where there, but it made only about 5-10% of our operations, at least in the storage. We have a very rigid location tracking, which means that most of the time IF an object has a location entry in the data base it can be found there. Most of the time we took an object out, did something with the data base entry and then put it back in its place or packed it for transport. This means that 95% of our working processes where those where RFIDs don’t have their greatest strength.
We are always trying to change non-archival materials to archival ones and the manufacturers couldn’t guarantee us that their materials are archival. In fact, none had even thought about the issue to have a material mix in a closed-up zipp-lock bag, nor where there researches on longterm stability. Together with the comparably high costs of scanners and printers RFID drpped out very early in our process. But this isn’t to say that they are not good for any other museum who has other issues than we had.
Best wishes
Angela
Generally, reponses are hysterical laughter or seizures. With textiles, my particular field, we saw thousands of ancient textiles marked directly with what were then known as Magic Markers, black, and reliably indelible. This was during the late ’80’s, when I began, in the U.S., and one can see this to this very day all over Latin America.
Just take a deep breath and call it „part of the history of the piece.“ What’s done is done.
I would likt to know were i can get one of these
Great lead. Thanks!
Nobody is perfect, and these examples show the importance of correct training of both staff and volunteers if they’re going to be handling and marking objects. It’s always disheartening to find something. Our objects were collected originally by a surgeon Mr. George Marshall, who would not have been aware of best practice when it came to museum objects. Lots of adhesive tape was used, and „PROPERTY OF…“ ink stamps on the back of photographs, which wouldn’t have been too bad had they let the ink dry before stacking the photographs together.
However, more recently there are very terrible examples of museum professionals (within the last 10 years – and the first few years of the museum opening), with ink marked on leather and rubber, ink without paraloid on the front and centre of beautiful boxes of surgical kits etc. etc. The best yet is a lovely box of histology slides, where the person responsible (and I know who it is…) thought it would be more useful if people knew what the slides were by writing IN BIRO opposite each one on a sticky label on the inside of the lid. The mind boggles.
This could be a good blog share though….to provide examples to our staff and volunteers!
This will help settle the shyness of various sister institutions in sharing their historical documents for reference only and not for re-publication (or single publication rights) while they retain all their property rights to the original material.
I’d like to add my plea to other requests asking for the best methods accepted today for ID-ing hard goods, where attaching a stringed tag won’t work or you don’t want a tag visible. The literature still seems to suggest painting on white or clear paraloid B-72, letting it FULLY dry, then paint on number, let it fully dry (so it doesn’t smear), then paint on clear sealer, and let it fully dry. I feel like I’d be dead by the time we did that for all our hard goods! Is there no simpler safe and dependable method?
I guess I’ve seen just about all of the cited examples of how not to number in my 50+ years in the museum field, but one that really stands out in my mind was a preserved sculptor’s studio in which numbers were painted in red (at least 2″ high) numerals on white marble statuary — and on the sides visible to the public, to boot.
I think the following section of the text is very fair „As funny as all of these things are, we should remember that at some point people thought they were doing the right thing with their marking. I wonder what future registrars will be saying about us in 50 years…“ We are very horrified to read those examples (the restorers of the 19th century where very proud and confident of what they’ve done…). Before the marking shouldn’t be reversible, today it’s the contrary. Let’s laugh about those examples but let’s be humble regarding to our job as well :))
I have found so many paper accession numbers around my museum over the years. We had no access to the Modes system so we could find out which of the objects they belonged to.
At least I have not found any more numbers in the last year or so. And we now have access to Modes if we do.
Luckily I have never seen nail varnish used, but I may have seen typpex !
Now, I would like to hear the optimum method for numbering objects.
Excellent article, Angela! I am currently undergoing the removal of tons of nail polish applied in years prior on most 3-D objects in the collections at Living History Farms, plus the scary discovery of some other items marked up with ink without the slight use of a buffering shield. I guess it could be called ‚job security‘ when seen from the positive side.
I would love to post this as a link for my Collections Management Class in the online Museum Studies MA program at the University of Oklahoma, but I know the next question will be, is there also an article on how to do it right??
Thanks,
Caroline
While choosing from 300 or so Nazi weekly flyers for a propaganda exhibit, I was sad to discover each had been rubber stamped on the *front* with „John A. Doe Collection“ and then the name of our foundation. Every. Single. One. We also have sloppy (and obvious) red paint on artifacts too. And don’t get me started on the lack of paperwork for some of these…
To follow up on my post earlier, I was a poetic savant. I even submitted a few poems, to my luck to have 2 of them presented within this poetry book. But I surely know that I’m not good enough to earn a consistent stipend for them. What Landis should have done was work in a museum when younger and made friends with the staff or important patrons.
Iron
How the weight on these bars scars my arms deep,
It seeps to my subconscious, wincing with unbearable pains,
Stains my pores, the blood & tears will then weep,
All the agony lugging those rusted plates up high,
I can’t deny for my fate is sealed deep upon every warped number,
My slumber disturbed by ambiguous passes,
my glasses often tinted dark to ward off the lifeless stares,
My temper flares, blares cold as steel,
Hard to reveal the soul behind the shield,
I won’t yield the power behind the smite,
For they lack the insight to deal with my nature.
Landis is a person deep in denial about how society views him. To be an odd bird is something society holds in great disdain. I personally have tested this theory by submitting car alterations and designs to some major companies to of course receive nothing in return. Landis may have, when younger done the same with his own art, only to be denied recognition. What he fails to realize is that the world is a complex and cruel place, and it takes both luck, connections and great perseverance to succeed. To submit ‚designs‘ that are not of your own doing but mere copies is to be in denial of oneself. I was able to come to the truth that I am not well liked … perhaps with help he can too. It would be the only way he will stop.
I think that over the years since 1967 that we have made all of these mistakes and more. Often these „mistakes“ were from professional literature at the time or from representatives of the State Historical Society. I hope that the museum is doing better. The computer information is often vague or missing, examples; a table, a black blouse, a chair. Now I have a crew with our Inventory by Location database going over these identifications and replacing them with information about the owner, how it was used, and then descriptions of the item often relying on the Internet for basic information. I am the only person whose experience with the museum extends back to 1975 in one role or another. A long process and probably still riddled with errors. The database should be any museum’s main source of information.
Unfortunately as a community museum often with untrained staff bad advice is given in the most innocent and harmlessly meant ways. We were advised about 10 years ago by a „professional“ that using whiteout to number items was a great way to do it and so many of our items are numbered that way before we came up with better methods. Its sad and can be humorous but it also shows how important it is to share proper methods especially with smaller museums that have no choice due to finances but to hire untrained staff (ie:students) or volunteers.
Not exactly on topic but similar in the weird non-collection managers approved way of doing things: a large dental donation included a rare hand written document on vellum for a dental apprentice from the 1860’s and came fully protected because is was covered on both sides in clear Mac-Tac. To keep the appearance of the ragged paper edges, the plastic covering was meticulously cut around the non-linear edges. This was explained by the donor that the document could be handled and still protect it.
Excellent comments about numbering of museum objects. Adhesive tape is a NO,NO. We have several objects in the Jewish museum that are destroyed by the ad. tape. It is very important to do research and learn before touching anything especially in a museum.
Myrna
Any insight as to the improvements or additions for the archaeological and ethnographic lexicon in 4.0?
The lack of specific terms other than unclassified object, which is everywhere in the data, is somewhat problematic when making catalog records for archaeological artifacts. For right now I have decided not to use Nomenclature for that reason but if the newer version has significant improvements in that area, I may consider giving it a go.
Jennifer:
My apologies for not realizing that you left this comment / question until now. Please email me at jennifer.toelle@salina.org
I will connect you with the members of the task force that directly reviewed and included new terms to the lexicon in the areas of archaeological and ethnographic materials.
Thanks,
Jennifer Toelle
I already have 3.0 and really don’t have $115 to spend on the new version. Any thoughts on whether or not it’s worth buying the new edition? I suppose I could find someone to donate the funds but I’d rather spend it on archival supplies. Thanks for the update on the edition though.
I guess it’s the big „depends“. If you are going to accession a huge new collection or if you are revising a lot of old data base entries (or bringing them from paper into computer) I’d buy the 4.0. If you don’t have much cataloguing on the plate and burning archival supply issues I guess the 3.0 will do for some time.
Hi Jennifer,
Do you have any specifics on the additional anthropological/archaeological/ethnographic additions to the nomenclature? I work at a natural history museum and one of our main issues is defining archaeological artifacts.
Thanks!
Sarah Aisenbrey
Dayton Society of Natural History, Dayton, Ohio
Sarah:
My apologies for not realizing that you left this comment / question until now. I’ll try to find your email address and so that I can connect you with the members of the task force that directly reviewed and included new terms to the lexicon in the areas of archaeological and ethnographic materials. Or feel free to email me at jennifer.toelle@salina.org
Thanks,
Jennifer Toelle
I’ve recently assumed the role of registrar at a small museum, and this article struck a chord/made me laugh. I go through the same thing every day. I’m at a relatively new museum that has collections from a previously dissolved collection. Documentation is a nightmare, so I’ve taken to simply opening boxes and going from there. Some boxes take a manner of minutes, while others are turning into week-long affairs. So, yes, it takes me a week to go through one archival box, but that involves sorting out photos, documents, and 3D artifacts of mixed media, not to mention location and documentation updates (they are never correct) and rehousing. But I love it. I wouldn’t do it otherwise.
Just reading Sarah Sutton’s new book on sustainability in museums and thought… Wouldn’t it be great if a museum actually made gallery furniture out of crates like this? They could rotate them in and out of public areas as the crates are needed.
That would be awesome, Janice!
I remember „my“ museum reused the exhibit architecture of an exhibition on genetics for the next exhibition about coffee in 1999. It involved a lot of carpentry and paint jobs but was awesome. Of course it doesn’t save that much money because you need creativity and manpower, but it sure saved natural resources!
I watched the film last night, and am struck by Mark Landis‘ comment that we are all different, and all the same. There is so little separating us, the line between art and craft is implied to be one of integrity, but Mark clearly has a sense of doing something right, though he must come close to lines he knows will cross over into „wrong“. At the end of the film he works out a new strategy, apparently, where he does as asked and stops donating „famous“ pieces to museums, but now will simply return lost items to their owners. All human interaction is a kind of theater, and hard work in many ways. With both of the M.L.s I saw struggle, and a degree of success, in bridging the distances that isolate and challenge us. If art is an artifact that makes us consider our humanity, then Landis, as well as the filmmakers, Cullman, Grossman and Becker, certainly succeeded.
Thank you!
thank you for the ideas and the information.
Actually you can create thewandering site for the exhibition easily!
You have all the information about the item . You need just to add an activity to each item, and then you are ready to create a station.
when you have 9 stations you can gather them together to a puzzle.
Looking forward to hearing fro you
talilay@gmail.com
Great reminder article…and thanks for the Getty link!
Just watched Art and Craft.
The salient bits of this film reveal a lonely, mentally challenged, but very talented and likeable man who is at least as smart as, if not smarter, than the target museums and other institution snobs who profess to champion and know so much about fine art (like the guy from the Cleveland Museum–„right out of central casting,“ Landis says).
The real fraud exposed by this film is not Landis, though. It’s the cabal of mediocre, ill-informed or, worse, lazy staff, faculty, etc who run these art museums/institutions who were duped for 30 years!Frames purchased at Wal-Mart?! Digital copies that were simply painted over?! Landis has exposed these people for who they are: bitter, posturing hacks with more ambition than knowledge or talent. Naturally, a man like Landis would raise some hackles. All of the offended (embarrassed)–the hyper-educated art „experts“–were outwitted by a timid, reclusive loner with limited social skills, schizophrenia, and a high school education. THAT’S the real issue here! Does anybody else see that?
Leininger is no hero. He comes off like a floundering bully with not much going for him. What exactly was he pounding his chest about Landis for? Who is he protecting? The phonies in the art world who clearly can’t even tell a blatant fake when they see one? The public? If Landis stops, what really changes? I’m a huge art fan, and I applaud Landis for his creativity, ingenuity, and balls. I hope he was paid and paid well for his participation in this film. The true fraud he helped expose is far more valuable to society than the ridiculous „cons“ he pulled off!
You just do not get it Jayne just like the rest of the gen pop. -Sleuth
My favorite „Grandmother’s Fix“ is to encourage tidiness. While I certainly don’t want to encourage a volunteer to go to town on an artifact with a sponge and a bottle of Windex, there is no reason why that same cleaning-happy volunteer shouldn’t be encouraged to regularly sweep or vacuum the floors and corners around collections storage areas. A side benefit to this is that institutions this size usually don’t have an IPM plan or inspection schedule, so encouraging regular room cleaning might be the only way that they detect a pest infestation, water leak, or other problem. Also, most small institutions I have worked at seem to acquire a lot of non-collections materials that wind up encroaching on their limited collections storage space, like extra desk chairs or stacks of printer paper or plastic storage bins with no lids. Get rid of that extra stuff and make your collections storage spaces roomier and better cared for without even having to touch the artifacts!
Hi Angela,
This is such a fantastic idea! I have been making something of a career of assisting small, all-volunteer institutions with their unmanaged collections, and I would LOVE to be able to point them toward a book that is designed to help them take first steps, especially with a limited budget and access to professional assistance. I would be overjoyed if I could assist you in any way with this book by sharing any of my experiences, solutions, horror stories, etc. Good luck!
We have a large panel of side art – the kind of heavy decal that covers the side of a video arcade machine – that provided a real challenge. At 6’long and 36″ wide, we had no space to store it flat. If you rolled it, it flattened itself into pancake, so it couldn’t be rolled and stored in a tube. And it had to be rolled with a large diameter, or it would crack. With archival tubes costing hundreds of dollars, we needed an alternative. I bought, at the building supplies tube, a concrete form tube (Sonotube, in the US) with an 8″ diameter. A volunteer wrapped the tube in aluminum foil (yes, Margaret – we buy it in bulk these days!), covered it with acid free tissue (or maybe he used Tyvek), wrapped the side art panel around it, and wrapped the whole thing in Tyvek. WE already had Tyvek left over from another project, so the whole outlay was $10 for the Sonotube and whatever the aluminum foil was from Costco. And after a minor flood issue, we wrapped wooden shelves more of the foil to give us some off-the-ground storage space.
What kind of paint did you use?
Simple white wallpaint – as we painted them from the outside there were no worries concerning offgassing (not that anyone had ever really cared about offgassing in this collection up to that point…).
My favorite „Grandmother’s Fix“ in collections care is using heavy duty aluminum foil as a vapor barrier on non-archival surfaces such as wood surfaces (i.e. wood shelving; wood drawers) and wood-based materials (i.e. acidic cardboard boxes) and as the core of shaped inserts to pad out objects (the crumpled foil is covered with a fabric or nonwoven before being inserted in to the object). Of course, I use NEW aluminum foil. My grandmother would probably have re-used her foil (after first carefully washing with soap and water)!
I broke out laughing when I read the article and comment. It is so true and so frustrating. One thing not mentioned is that the original notation is sometimes incomplete. It may take an hour, a day, or even longer to locate the information and verify it before it can be entered into the computer and added to the original notation. People do wonder why storage takes so long. I wonder how it goes so quickly.
Peter Klein
It takes so long because there are SO MANY objects to organize! There are so many little details, and the last person who was trying to do it skipped something, or a file is missing, or the phone rang, and I had to drop what I was doing to handle the next perceived emergency.
You might be… if: You visit an archive and the first thing you look for is the fire suppression system, and the second is any artifacts that will be damaged if it goes off.
Sounds familiar Janice. The worst thought to cross my mind was always ‚Oh, this will be easy to do, I’ll just do this one thing really quickly and….‘ As soon as the thought crossed my mind I would wince, because I knew I had doomed myself to exactly what you said. It was always a Pandora’s box of other things to get fixed. My consolation was that if I took the time then to fix it, I would never have to worry about that one thing again. (And would also save my successors from having to deal with it!)
I am reminded of what I’ve called Klein’s Third Law of Museum Work:
There is no such thing as an easy household – or museum – task.
My mother – who as an architect was the handyman in my house growing up – points out that it is impossible to just hang a picture or replace a washer. One thing leads to another and before you know it you have to go to the hardware store – at least twice – to buy a new piece for the toilet. Similarly I find that I can’t just file a document in an accession file or photocopy a record for a researcher. Two hours later, I’ve had to assign five new catalogue numbers and revise twenty computer entries.
I’ve noted this law for further use. 🙂
Christina Casey is clearly fooled by the deceptively charming facade of an extremely mentally ill man. Her gullibility is almost as scary as her inability to distinguish right from wrong. Landis wasn’t being gracious, he was trying to avoid admitting responsibility. He needs to be in a group home, somewhere where he can be supervised and prevented from harming himself and others. Matt Leininger is a hero for standing up for the truth. As usual, no good deed goes unpunished.
Thank you Mazzullo!
What kind of person is Matt Leininger, who hunts downs and says he’s going to „get“ Mark Landis? When Mark Landis is a harmless elderly man who is autistic, and has a host of other mental diagnosis’s, and in nobody’s care, and with no living family members (as you might see in the documentary Art & Craft. If it werent for Mark Landis, who was very gracious to Leininger, he would have no extra attention at all.
Landis knew what he was doing all along for over 30 years. Wrong is wrong and Landis was no exception. -Sleuth
Hi Angela,
I have been working on a project for around 6 months now beginning to get to grips with a previously unmanaged collection in a British local authority run museum. I’d be happy to contribute if it would help. Alongside all the issued others have identified (and it’s nice to know I’m not the only one) I’ve found managing expectations and changing behaviours is also an issue.
If a collection has been unmanaged for several decades I will not be producing a fully searchable online catalogue with images within 2 years. Also managing the collection does mean we cannot take everything people want us to and you will need to fill in this documentation correctly!
Stef
Dear Matt Leininger,
Please contact me about Mark Landis.
Thank you.
Holly… what do you wish to discuss? -Matt
Worst case scenario? Try this one. An all volunteer museum that began collecting items in 1991. Since then the collection has grown to somewhere close to 500,000 pieces; there have been 5 diffirent amature curators and dozens of volunteers; the records have been all paper based using at least 6 diffirent numbering systems; both the records and the collection have been physically moved 3 times and at present the records and the collection are located in 2 diffirent locations; the Museum has not been open for over 10 years and the collection is housed in a borrowed space, mostly untouched since it was put into boxes in a very hasty and unorganized manner; now we’re open again as a Museum in a third location and I am the basically the only one charged with accessioning and registering these items and putting them into an organized manner that will at least slow down the deteriation of our library/archives/photo/objects collections and get them into an electronic program. All on a very, very tight budget. Help!!!!
Dear Ron,
Thanks for sharing and good luck with your collection!
I’ve just dropped you a mail.
Best,
Angela
Hi Ron, I think you may have won the prize for worst case in Documentation!
many people are using FileMakerPro for museum databases-it is fairly easy to set up, and takes both text and photos.
If you can, try to find out the exhibit history of artifacts (how long, how much light, did they travel? for example. This will help in selecting less damaged objects for future displays.
I am a conservator specializing in museum surveys for collections care; I have written an article called „What to Do When You Can’t Afford to do Anything“-if you send me your email I will gladly send it to you. It contains sources of supplies for the US and Canada.
A fascinating subject, indeed the first impression of a collection unmanaged is usually fatal, it also gives me the same impression a collection that was administered and for some reason forgot care
„anonymous“ is what keep the situation unchanged…
Hi Oswald,
not necessarily, in my thinking. Sometimes you have to stay anonymous to protect the innocent.
Besides, I doubt that pointing fingers ever helped improving a collection. A institution that admits it made mistakes has my deepest respect for acting professional and showing the will to improve. But that doesn’t necessarily mean that there isn’t professional work done in institutions that don’t want to be named.
I’m collecting those stories not with the intend to write up who has done something wrong. I collect them to encourage those confronted with an unmanaged collection. It can be a shattering experience. Knowing that others were confronted with similar or worse experiences helps.
Best wishes
Angela
The worst I had was a completely unmanaged Dentistry Collection. Sadly, this collection had once been a well-run collection of historic dental implements and teaching tools such as human, hominid and other osteological material. When I accessed it, you could not move in the room. There had been a leak of hydraluic fluid from an old dental chair. There were beautiful ivory elephant tusks that had been left on a dental chair in the sun for probably 30+ years and were incredibly fragile. The worst was when we located contact explosives and the bomb squad had to come in. All in all, after 3 years of work, I have a wonderful before and after shot to show the difference. I’d be happy to share.
Hi Angela,
I have some experiences to contribute to your book. Can I share them off-line (via email)? I would want the people/institutions be kept anonymous.
Best,
Laura
Great article! Custom boxes are a real art. Lovely interior support structure.
I have an antique vase and the inside inscription says that is from 490 BC. I would like to send pictures and I will appreciate if you could give me your opinion of its value.
thank you
Robert John Davidson
Dear Mr. Davidson,
I’m sorry to inform you that talking about values is regarded as unethical behavior for registrars and other collections professionals in most countries of the world. Further, most professionals who can give a suggestion about values (i.e. appraisers) won’t do this on the basis of mere pictures.
Sorry I can’t give you a more positive reply.
As a side note, if it is really an inscription that says „490 BC“ on the artifact itself, not just a label or a document I can at least inform you that it is a very rare piece. There is strong evidence that someone built a time machine, travelled back in time, made the vase and, knowing when Christ will be born, made the inscription in relation to this birth date. However, I must inform you that leading museologists suggest that in this case the date of manufacturing has to be set no earlier than the date the actual time machine was built.
Best wishes
Angela
Lovely box! We have a lot of plastic guitars from various music video games like Guitar Hero (we’re a video game museum), and one of our volunteers crafted a beautiful box for them that he modeled on the multi-guitar cases that rock bands travel with. He used pool noodles for the foam separators and supports and tied the guitars in place with archival cotton tape. It’s great fun to open it and show visitors. Your box is much more elegant, though.
That is a lovely box.
Very nice article Anne. I can relate to this because I studied archival management as a Sport Historian and was very concerned about the long term damage that boxes could have on the contents. But I saved the boxes anyway and stack them separately, lol. I bought the specialized containers as I needed them, trays for coins and medals, deeper trays for larger memorabilia, acid-free boxes for papers, etc. I used to sit in French class and design sports stadiums, lol. Your work is nice – we will ask for your help when we actually have a building.
I can’t wait till your book is written!
I’ve been managing the same collection part-time for 18 years and still have quite a ways to go. When I came on board as the first professional curator, the collection had already been growing for 30 some-odd years. There was a minimal paper trail, sometimes just consisting of post-it notes or notes on scraps of paper.
I spent the first 15 years improving the physical condition of the collection; shelving, boxes, sealing the basement storeroom, improving drainage, etc. Now I am moving forward on intellectual control.
Professional standards are necessary but not always based in reality when one is worried about keeping bats out of the piano.
Dear Deborah,
Kudos for constantly pushing your collection towards better standards. It’s the consistend work over years that makes all the difference. Good luck in gaining intellectual control.
Best wishes
Angela
You never know what is in a donation until you unpack everything so be wary. I found five small bullets on the bottom in a box of nursing sisters regimental uniform buttons, badges, etc. from WWII. Of course they are live! Now on to locating the best place to have them deactivated.
Yikes! Definitely a cautionary tale.
For the attention of Mr. Matt Leininger
Dear Mr. Leininger – I have watched, for the first time, “Art and Craft”, and found it to be a wholly different kind of story than I had expected. I was very touched by the history of Mr. Landis, and the kind of loneliness and psychological fragility that motivated his “philanthropy” over the last 30 years or so.
I do not know Mr. Landis’s whole story, so I was quite disturbed that you were so dogged in your pursuit of him, wanting him to stop what he had been doing in terms of his art forging activities. With respect to you as an art professional, I do, however, take issue with your attitude, and with this quote from Alec Wilkinson’s article “The Giveaway” in The New Yorker (8/26/2013):
“I’m not angry anymore, but if I find that he is still at it I would be. About his only next option, though, is to shave that grizzly face of his and tuck those ears back and put on a wig and go as a woman.”
Firstly, although I know that art forgery is wrong, Mr. Landis was not taking money for it. The thing that gave him pleasure, immersion in art, acting as a philanthropist, did not hurt anyone. He was not violent nor threatening, but polite and mild-mannered, and I assume that he was motivated by a need to be loved, to have some refuge from the loss of his parents. And yet, I find your words, as quoted above, to be illustrative of a complete absence of empathy and compassion for Mr. Landis, focussing on small things about his physical appearance that obviously irritate you, even encouraging further deception (that he “go as a woman”).
Mr. Leininger, you are younger and stronger than Mr. Landis. You have a family and very likely friends too. I have read also that you are a printmaker, so I assume that from your involvement, both academic and practical, in the art world, you would have some innate sensitivity. And yet, none of that is apparent in your relating to Mr. Landis.
So, this is a plea from the heart. There are many people in the USA and the world who have certain gifts, who are odd, who are annoying (I meet them every day too), but who harm no-one and who are often deeply unhappy and lonely inside. Please learn compassion.
I wish you well.
Barbara Jones
London, UK.
Hi Angela,
I only discovered your blog a few months ago and totally love it. It is great to see so much experience shared without borders and always interesting how things done in one part of the world can be applied anywhere else.
I have worked in a couple of exhibit and storage upgrades in the past and I am just finishing a contract with a small history museum in Western Canada where for two years we surveyed a collection that had not been cared for, or managed properly, for many, many years. The collection has everything from huge machinery and industrial equipment to delicate tea cups and First Nations art. The storage facility is off-grounds, not climate controlled, overcrowded and, up until a year ago or so, only had the cracks in the back wall to serve as emergency lighting (not kidding). Sounds like it fits your description to the T.
A few years ago I started taking photos of the changes that happened during these types of projects, as things got moved, cleaned and rearranged. I have some interesting images I could share, specially if you have a specific topic in mind or something you want to illustrate but maybe have no photos of your own.
Send me an email and we can figure out how I could help.
Dear Paola,
Oh, it sounds really fitting and I can relate (yes, even with the cracks, only that they were missing stones in a brick wall…) I’ll drop you a mail.
Cheers,
Angela
I was hired as a curatorial consultant in 2011 at the Derby Historical Museum in Ansonia Connecticut and was confronted with a collection where there had been no standard accessions protocol for the entry of objects into the collections thus very few even had accessions numbers assigned and many had no records at all. There had been no curator/collections manager to care for the collection in years and assist with the transition of what few paper records there were into PastPerfect. I was only on a limited contract so I developed a guide to objects accession and taught volunteers how to process objects. I relied on previous experience and the legal forms that they had been using for many years and would have loved to have a book that contained tips on how others had handled a similar situation. If you would like this as a case study I would be happy to provide details
Dear Shelley,
sounds like you’ve found a great way to give them a basis to start from given the limited time and resources.
Kudos!
Angela
Great idea for a book on this topic. I am a volunteer registrar at a small museum on N. Wales. When I took over records were (mostly) in Excel. Now transferred to MODES. I have catalogue numbers for most items but some (about 25% – mostly photographs) have no donor / lender details or date of acquisition. Most frustrating. We undertook to do retrospective documentation as part of accreditation. But for some items I have no clue where to start. Some people involved with the collection left the museum before I joined and have not responded to e-mails etc.
Another problem has been with copyright on photographs etc.
Like Angela I have found that taking photographs (or scanning in the case of photographs etc) is essential. Some lithographs I have been able to identify by uploading onto Google Image Search
Paul
Menai Bridge
Dear Paul,
wow, sounds like quite an endeavor! Objects without provenance are indeed a huge issue. Sometimes there are clues deep down in the archives of the institution or town but sometimes you invest a lot of legwork and end up with nothing. I found the most annoying thing about it that you don’t have a chance to deaccession them properly if they don’t fit into the mission…
Best wishes
Angela
Hello Angela,
A very good idea and hopefully an useful instrument for people who have to manage previously unmanaged collections in the future!
During the period between 2005 and 2009 I was project manager of a rather huge deaccession project. When I started the project I noticed that we had to deal with an enormous various collection situated in a former laundry building. The storage, not build for museum storage and not situated adjacent to the museum building was one of the main reasons why the collection was not managed properly for some years.
I would love to join you in your interesting journey. So if you are interested in our project (incl. practical solutions – where to start?/ open communication about the project i.g. by an exposition about deaccessioning/ pictures) feel free to contact me.
Best wishes & success with the project,
Mijke
Dear Mijke,
This sounds really interesting and I’d love to hear more about this project. I’ll drop you a line.
Thanks for your willingness to share!
Best wishes
Angela
Hi Angela,
I was the Director of Collections and Programming at an agriculture museum. When I came on board the collection hadn’t been inventoried in 15yrs, and more than 85% had never been cataloged in the first place. There’s more to the story – if you’d like to chat I’d be interested in participating.
Hi Caitlin,
this sounds like a good story! I’ll drop you a line.
Best,
Angela
Angela, this is excellent! I’ve been in historical collections that were in exactly this situation as well as been in an art museum with a particularly troublesome piece made from animal bones…I would love to try to contribute a write-up about these experiences.
I love this idea because I’ve thought about creating a document that is geared towards practical collections care for people who can’t do full-on museum storage for their personal collections but could also apply to those coming into a situation like you describe. Something about stages of care…thanks for taking this on!
Hi Sarah,
this sounds good. Yes, I hope this will be a handbook practical enough to help people to get a start at improving their collection. Of course, a collections manager’s duty is never done, but my focus is to say: don’t look yearning at the perfect storages of big art museums, just start doing something about YOUR collection TODAY and keep improving.
Best,
Angela
Hello Angela,
When I began my tenure as Collections Manager at a state university’s Historic Textile & Costume Collection (very part-time in 2006) donor’s weren’t required to sign a gift agreement form. The collection, about 60 years old, had „loans“ from people long-dead as well as other organizations in which the staff had completely changed. Accessioning was in full swing but de-accessioning…. non-existent. I put together a donor agreement form and contacted a reputable auction house to begin creating a more select collection. We still, however, have debates and the need to pare down the Collection’s size.
I’d be happy to contribute more if you would like it. What a great idea – I’m looking forward to reading more.
Best,
Susie Jerome
Hi Susan,
this sounds indeed very interesting. You are right, one key issues is to define what belongs into a scope of a collection and what doesn’t. If you just take „everything“ you are in trouble soon. That’s why it is so important to put a collections policy into place. I’d love to hear more about your endeavor!
Best,
Angela
Often what we should be asking is how to improve conditions in storage/display. Many years ago I participated in a ICCROM course with African delegates. Who said to me I know that lighting museum by candle light is not best practice but without electricity we have no other options?
I also gave advice to a regional museum in a historical building
which had a storage area below the nearby river water level. The river had flooded and caused significant water and mould damage.
Hi Sue,
thank you so much. Yes, this is a good example. You always have to look which materials are available and how you can achieve a maximum of object safety under the given circumstances! I would love to exchange some thoughts.
Best wishes
Angela
Hallo Angela,
das ist ein großartiges Projekt. Es gibt im Sammlungsbereich viel zu wenig praktische Anleitungen und Handreichungen. Es freut mich sehr, dass Ihr so etwas aufziehen möchtet. Vielleicht kann ich auch ein Beispiel dazu beitragen: wir haben vor sieben Jahren angefangen, die große, ziemlich unorganisierte Sammlung eines großen Unternehmens aufzuarbeiten. Schreib mir ein kurze E-Mail, wenn Du Interesse hast, dann kann ich genaueres erzählen.
Viele Grüße
Maria
Hallo Maria,
vielen Dank. Ich habe Dir eine Mail geschickt, würde mich freuen mehr über diese Sammlung zu erfahren.
Liebe Grüße
Angela
You have a wonderful and much needed project, and timely too! I will be embarking on a new project to assess / evaluate an unmanaged defunct museum collection. I’ve taken initial photos of the storage areas and have found the typical problems of incorrect storage such as a 120 year old crocheted bedspread folded up as tightly as possible and stored in a cardboard box. Evidence of old pests on textiles, items in full sun, assorted types and weights of hats jumbled in a large box, stored in unheated concrete warehouse style of building in Canadian winters, storage rooms are not secure in a public building, etc. I’m ‚itching‘ to begin the project to sort it out and make sense of it. Of course the budget is really low and the oversight committee are non-museum folks. I can contribute various aspects of this project to your book if required.
Hi Kathy,
thank you so much for chiming in. This sounds indeed like a collection that holds many good examples. I drop you a mail and maybe we can exchange thoughts in the process.
Cheers,
Angela
From what I’ve gathered, the defunct museum operated for 30+ years by well meaning non-museum volunteers. No donor information or inventories and everything was jumbled together in a room for tourist viewing in a unheated space. When it closed in 1999 many folks felt that their families stuff should be returned and literally walked in and took it home. In 2006 I volunteered my expertise to sort the collection and provide elementary storage solutions, to a great effect I could see the vast majority of the items are beyond hope of keeping. I took images of the original storage condition (literally a town employee would take a box at the end of a shelf and sweep his arm over the contents to dump everything into a box. I will look for these images.
OMG, sounds terrible… and terribly interesting!
Hello Angela,
Maybe some inspiration can also be found in the ReOrg-method for storage reorganisation developped by ICCROM, aimed at converting overcrowded storage-spaces into workable safe storage. More information and lots of examples you can find on the project-website http://www.re-org.info/en. Later this year I hope to be attending an ICCROM-workshop on the ReOrg-method in Brussels. As a consultant in preventive conservation I often encounter unmanaged collections in professional and non-professional heritage organisations in Flanders (Belgium). A joint approach of these collections should be developped. I’m looking forward to your guide. Let me know if I can help. Would it be possible to get a copy of your article in Museum Magazine?
Many thanks
Jürgen
Thanks Jürgen for pointing me to ReOrg. I think this is a good approach for storage reorganizations.
Best,
Angela
This sounds fascinating – looking forward to seeing how it develops!
Thanks Dan. As a faithful follower of Registrar Trek you have the guarantee to be in the loop 🙂
Liebe Angela,
vielen Dank für den interessanten Artikel.
Ja, das ist ein wichtiges Problem. Auch ich hatte schon mit derartigen „textilen Neuzugängen“ in unserem Museum zu tun.
Ein wichtiger Arbeitsschritt beim Aufnehmen einer neuen Sammlung ist die prophylaktische Stickstoff-Begasung, um ein Einschleppen von Schädlingen zu vermeiden.
Weiterhin finde ich es wichtig, dass jegliche Hinweise auf frühere Behandlungen mit Bioziden dokumentiert werden, d.h. Aufheben/ Dokumentieren von in der Nähe des bisherigen Ortes der Objekte gefundene derartige Tütchen, Mottenpapiere, Informationen uä.,um den weiteren Umgang mit den Objekten zu bestimmen oder eventuelle Reaktionen am Objekt erklären zu können.
Ist die Sammlung erst einmal vom bisherigen Ort entfernt, sind solche Informationen meist verloren.
Ich hoffe, diese Hinweise helfen weiter bei der Problematik. Für eventuelle Rückfragen stehe ich gern zur Verfügung.
Mit freundlichen Grüßen
Christine
Liebe Christine,
vielen Dank für die Hinweise! Genau, das Dokumentieren sämtlicher Hinweise, die zur Sammlung gehören könnten ist sehr sehr wichtig und leider wird oft viel zu schnell erst einmal etwas weggeräumt und weggeworfen, obwohl es ein wichtiger Hinweis war.
Viele Grüße
Angela
I was so glad to come across this. I am a seasoned art museum curator who has worked in medium to large institutions who (generally) have it together regarding collections management. For the last year I have been the director at Andalusia Farm, the home of Flannery O’Connor. We steward 544 acres and 12 historic structures on this former dairy farm and the picture you paint of unmanaged collections fits us to a T. Less than one month into my tenure, a tree fell on an already compromised 3200 sf historic Equipment Shed. It was filled to the brim with all manner of tools and implements, farm machines, broken furniture, random kitchen ware, architectural salvage, horse tack, and various mysterious bottles with weird liquids etc. So yes! Your book is sorely needed and we are happy to provide stories and photos of this and other ‚collection‘ finds (e.g. the graveyard of rusted farm machinery, the hillside of buried gin bottles near a rumored still, the textiles in Flannery’s chiffenrobe). Happily we rescued the items from the Equipment Shed and are currently rebuilding the structure but are still faced with what to do with the thousands of items ranging from hand forged nails to a vintage tractor. Let me know how we can contribute to your effort. Thanks.
Thanks Elizabeth! Love to be in contact with you and wish you and your team all the best in tackling this enormous job!
Cheers,
Angela
Hi Angela,
I may be able to help with this, please drop me an email.
Damian
Hi Damina,
dropped you a line. Thanks for the offer!
Best,
Angela
Hello Angela,
While visiting the small museum in Folsom, New Mexico several years ago I wished I had a copy of the book you are about to write. The situation may have changed since I was there, but I would love an excuse to travel back there for some documentation. There were huge holes in the roof of the building, allowing rain, snow, and myriad insects to get into a historic building featuring local historic artifacts, books, fossils, and natural history specimens.
I hope that this book would benefit not just the museum professionals working on on contract who are confronted with similar problems, but also those folks who run the small places with grand items that need attention, too.
Please let me know if I can help.
Cheers,
Jeff
Hi Jeff,
sounds like a prime example of an unmanaged collection in need of the book. Not so sure if they are keen to serve as a worst case example, though. 😉
Actually, I hope I write as cleary and hands-on that you don’t necessarily need a museum studies degree to understand it. And I will try to point to professional resources where someone who is new to the field can find some help.
Cheers,
Angela
Fernando, felicitaciones por tu trayectoria a partir de las artes que dan una visión universal del Hombre y sus obras.
Me formé como Profesor de Artes Plásticas y como dibujante científico documental(Chile) , „sin querer queriendo“, ingresé al mundo de los museos que ha sido mi pasión,amplificada en la perspectiva de gestión del patrimonio. Ahora estoy jubilado y aporto como voluntario registrador de colecciones en un pequeño Museo Histórico (Argentina),Un abrazo
Branko (bmarinovm@gmail.com)
Angela,
We have a collection that would be a great example for the book. Let me check in with the project manager and see if she wants to write it up for you.
Deb
That sounds wonderful, thanks a lot, Deb!
Cheers,
Angela
Hello Angela. This project sounds like a great idea, the basic „GUIDE TO MANAGING A COLLECTION“ type of book. I will be happy to contribute ideas and photos as I have experienced these issues since 1968. Oh, and today is my 65th birthday – see my Facebook page for details. ANYWAY, everyone should start out with a camera and take hundreds of images from every conceivable angle of the material before anything is touched. General photos of the room, the piles, the damages if any, then closeups of everything. This documentation is like archaeology – documenting the items the way there were found and later it helps to clarify any relationships. It also has side effects of being evidence for insurance purposes, legal purposes, historical purposes, etc. Well done!
Hi Harvey,
thank you, I’m looking forward to your contributions!
Yes, when working with an unmanaged collection your first approach is „hands off“. I already introduced the mantra „Take more pictures – touch less things“ in one of the first chapters. It’s a great danger to destroy connections – physical as well as those who have to do with provenance – when moving things too fast and too early in the endeavor.
Best wishes
Angela
Felicitaciones por la edición del Manual! Los manuales siempre son buenos compañeros en el trabajo, tanto para los viejos olvidadizos, como para los jóvenes aprendices
Judith,
My partner, Carol Borow, sent me on your article. With our experience, this comes as no surprise to me. However, I wonder if you’d be interested in one additional experiment. Here goes.
My understanding is that solar fading damage is caused (approximately) by Ultraviolet radiation (40%); Visible Light (30%); and Infrared radiation (30%); and that installing Ultraviolet-blocking film will give you protection against only 40% of the sun’s damaging rays. At the same time, there are spectrally-selective (virtually clear) window films, e.g., VKool VK-70, which block not only all of the sun’s UV rays, but all of the sun’s IR radiation as well; thereby providing protection against 70% of the sun’s damaging rays.
If you wish to experiment with both a UV film and a spectrally-selective UV/IR film, let me know. Should provide a vivid demonstration of how solar fading happens, and what you can do to mitigate the damage that results.
Kind regards,
Dan Venet
CHB Industries, Inc.
Its fantastic as your other posts : D, thanks for posting . „History is a pact between the dead, the living, and the yet unborn.“ by Edmund Burke.
Excellent article avec beaucoup d’humour et il en faut dans la pratique !
Registraire se traduit par régisseur en français…
This is what one would refer to as ‚when life throws you lemons, make lemonade.
It would appear that the study of dust particles or bunnies would reveal a story about its past and present locations which could be used to possibly map its travel adventures through the floors of its existence. Could their be a sequel?
I am laughing after reading this because I have finally found somebody in the world who is as „weird“ as me. Almost everyone thinks I am „off the wall“ because of the many things I do that are similar yet perfectly based in science – look closer at that stuff with a microscope and you would probably get sick. when I sold my home and packed my 6,000 volume library I insisted on using a vacuum cleaner on every individual book before I wrapped and packed them for storage. Nobody understood my explanation and simply accused me of „stalling“ the move. Are we surrounded by idiots? I think yes. People do not understand the relationships between and among dust, mold, temperature, humidity, light – did I miss anything? The idiots say „just box it up“ as they hand you an empty banana box with nice handles. I am also an amateur photographer but the close-ups that I do are for medals, coins, stamps and other collectibles. Klaus – you may have my vacuum bag anytime you want it for your next book!
I’ve seen a person use dryer lint of different colors to make a picture. She sells her works. I believe dust might also be used in the same way.
You can make rather nice paper from dryer lint. The color tends to be gray, although the bright red lint we got after washing new flannel sheets for the first time was lovely. It’s the same process as making it from any fabric fiber.
Matt, you are like the George Zimmerman of the art world. There is a reason you were a registrar and not an artist – you lack vision and creativity. Its the same for all of those stuffy attendees to your „exposé.“ All of you talentless shards trying to tell Landis what he should do with HIS art… please… You people wouldn’t understand art if it crapped on your face. Why don’t you go to see the New York Philharmonic and tell them that they should write their own music and stop putting their title in front of Beethovens. You’re pathetic, and completely useless. Do you have any idea the skill and passion it takes to pull of a masterful forgery??? No you don’t, because the only thing you ever created was an inflated ego. Listen to yourself… „I’m the registrar that made it all happen“ – no jackass…you’re a hall monitor…and the closest you will ever come to knowing talent is when Landis shook your hand. You owe him a huge apology, and a debt of gratitude. Without him you’re nothing.
That was an incredible story, thank you!
Great telling of a fascinating story – thanks for sharing Derek. If the ESL career doesn’t work out you could consider being an author.
Best,
Rob
Wow, Derek, what a story! No wonder you’re taking another job. Makes our upcoming need to move a small covered wagon look like a mere trifle. Best of luck in your new career.
Thank you for your fascinating newsletters!
Merry Christmas, Happy Holidays, and Happy New Year 2015!
Best,
Diane
Terrific program and great way to channel public interest, and put collections into circulation in new ways.
thank you for share!
A former colleague had a story about care handling unseen/unknown items on a top shelf: she pulled a reed bundle to the edge of the shelf and something fell out and nicked her skin. It was a poisoned arrow (South Seas – New Guinea?); as it was over 100 years old she was not killed, just in bed for some three weeks.
Auf der letzten ICOM-CC Konferenz im Sebtember in Melbourne wurde auch im Rahmen der Vorträge in Preventive Conservation über den Umgang mit Waffen und Munition im Museum of London berichtet.
I remember visiting a depot once, where they had a sea mine from the second World War in storage. Apparently a local archaeologist transported the thing in the trunk of his car from the Belgian coastline all the way to Brussels, on one of the busiest highways in Belgium. To my own surprise, the people managing the storage facility weren’t sure if the mine had already been defused. I sincerely hoped so, because I was standing next to the thing! In Belgium in the region of Ipres even nowadays farmers often plow up live ammunition (grenades etc.) form the First World War. We have a special military demining service (DOVO) specialised in destroying or defusing these ‚artifacts‘: http://www.mil.be/nl/eenheden/dovo (only in Dutch and French I’m afraid).
One of the first things I learned from my antique collecting uncle was that even if the weapon was a muzzle loader to always insert a rod into the barrel… Hundred year old gun powder can still ignite! Also be aware with stone tools, obsidian tools can be sharper than surgical knives
I can definitely see myself on both ends of the spectrum. I try to think outside of the box and usually succeed in facilitating access, exhibits, and program use of collections objects and archival material in many different ways. However, sometimes I do have to come in from the „old school“ side of things and advocate for old fashioned collections protection and care. Usually I can collaborate with colleagues to find a middle ground. But the lines have to be clear to everyone – and the reasons for them. Recently I took a humor approach to getting museum staff to consume or take home their Halloween candy. I forwarded a particularly graphic image of beetle larvae in an old chocolate candy from a webinar presentation presented by a respected colleague. it made the point, candy was consumed while fresh and the excess was placed in ziplock bags. Problem solved.
Hi Sharon,
what a wonderful way to get the message across! In fact, I think if the „why“ is communicated clearly it’s most of the time no issue to reach middle ground. Even our local TV team called for gloves, recently. Mission Accomplished!
Cheers,
Angela
Thanks so much for summarizing these presentations for your colleagues who were unable to attend the conference. I loved the analogy of the move to a black box! It reminded me of the wonderful cartoon by Sidney Harris where one scientist suggests to another that step two of his proof („then a miracle occurs“) should be more explicit. (http://www.condenaststore.com/-sp/I-think-you-should-be-more-explicit-here-in-step-two-Cartoon-Prints_i8562937_.htm)
OMG the German version of this cartoon hung in my father’s office for ages! Thanks for the memory, Janice!
It was an amazing experience taking part in this conference which was so well organized. I especially loved this particular panel, but the others were a blast, too. Still working on the final session panel which is especialy difficult because I was so nervous because mine was the last part…
Best wishes
Angela
I just assembled my first Seville Classics Ultra HD rolling storage cabinet, and I am floored! It assembles and is engineered as if only Germans worked on it, but it comes from California (USA)! Everything is so well thought-out. They even broke the back panel into two pieces so you could attach the top one upside down to the wood top without contorting yourself as the thing was inverted on the floor. They even provided a magnetic-tip screwdriver that is just small enough to fit in all the spaces it needs to turn in. They thought of everything! Best of all, it’s not very expensive. They make other storage cabinets and worktables also. You can even get two units and assemble them as a double that shares one top. The singles are designed to roll right under their worktables.
So, if you need tool storage, I recommend them highly.
Here’s the link:
https://www.sevilleclassics.com/rolling_cabinet_drawers_ultra_hd
By the way, these may be useful for archival storage, but I really don’t know. I know the drawer pads are not, but they don’t even have to be put in. The drawer glides have some plastic parts, so they may be an archival concern. Otherwise, they are stainless steel with stainless steel ball bearings (very smooth action). The finish is stainless steel and powder-coated steel. The tops are solid maple, but I don’t know if they have a finish. They are very smooth, so they may be at least oiled. The bumpers are some sort of flexible, rubber-like plastic.
I couldn’t agree more! Its nice to know I am not alone. My children have been afflicted as well. They always notice whether labels are on straight or are about to fall off or if the case needs to be dusted.
Thank you! Our archive policy committee and collection caretakers (curators) recognized the need for shared terminology, written policies (thank you, SPECTRUM), but the IT team tries to employ these terms, that they then imbue with meaning that is at odds with conventional museum biz uses. So, there’s a push/pull between the camps in the ways we try to organize metadata and collections. I’d be interested to know more about how small or mid-sized museums are dealing with this.
Thanks Victoria. In my opinion, IT should look to make it fit to our requirements, not the other way round. Or, better, both parties try to understand where to aim at, together. But this is an extremely interesting topic, I will take it to our group at linkedin and maybe some others will show up with ideas.
Best wishes
Angela
That moment when you lean in to look closer and realize you’re trying to figure out how they made the mount. The piece is lovely but damn that mount is invisible! Again, thank you for voicing our shared head space. I always enjoy your postings.
Yes! I also spend far more time looking at how the items are mounted, lighted, placed in the case, arranged, etc. and reading/critiquing the labels, to actually pay attention to what is happening.
Up today I was thinking that something is wrong with me!!!! It appears that all registrars & curators go mad with the same symptoms:):):):):)
Exactly! We’re the people who go into an exhibition and wonder about indemnity arrangements and forget to look at the art. Inside the mind of a Registrar is a frightening place to be some times…
I wish there was a law that says all paintings hanging in restaurants must be level. It’s so hard for me to eat while looking at poorly hung artwork. My husband has to make sure my seat does not face one of these poor paintings, for fear I will get up and straighten it (which I have done more than once).
This is totally my jam! Looks amazing!
So very, very true! I can’t remember the last time I enjoyed an exhibition solely for its aesthetic..it’s always how would I ship that? Is that the best way to display? OMG think of the logistics of traveling that through the building! and on and on… 🙂
good articles
Liebe Angela,
ach wie schön, dass es eine Ehrensache für dich ist bei meinen Aktionen mitzumachen – vielen Dank für diesen ungewöhnlichen, da in der Blogparade noch nicht vertretenden #KultTipp!
Spannend finde ich den Ansatz, dass man sich für Sendezeiten bewerben kann – prima! Während ich den Artikel las, dachte ich noch, Heidelberg, mensch, kann ich den Radio-Sender auch in München empfangen. Am Ende löst du es auf – danke für den Livestream-Tipp. Ich werde da mal reinhören, wenn ich erst einmal verschnauft habe. Die Blogparade läuft gigantisch, herrliche Tipps sind da und kommen vielleicht noch. Das Technoseum ist ja auch vertreten. Es ist eines von sieben Museen und ich verrate, dass noch Museumsblogs etwas schicken werden.
Ups, ich habe einen Roman geschrieben – pardon, nochmals ein herzliches Dankeschön!!!
Abendliche Grüße
Tanja
Liebe Tanja,
danke für den Aufruf. Ja, die eigentlich nur regionale Verfügbarkeit war der Haupthinderungsgrund, warum ich nicht früher geschrieben habe. Dann habe ich aber nachgesehen und den Livestream entdeckt und damit stand der Beitrag. So kann man sich auch ein bißchen Mannheimer Lokalkolorit ins ferne München holen – bunt isse, die Rhein-Neckar-Kulturszene 🙂
Die bisherigen #KultTipp-Beiträge waren klasse und ich bin auf die noch folgenden gespannt!
Herzliche Grüße
Angela
Matt,
Great article about the film, your life and tracking the forger for all that time. Would you have any problem with posting this on the PACCIN list? Good story to share.
Best Regards,
Brent Powell
Hi Brent,
I asked Matt and he appreciates it if you share this on the PACCIN list.
Cheers,
Angela
Hi!
I found your name in a report about the European Registrar Conference in Helsinki.
I am a Cultural Heritage student from Holland. I could help by translating English to Dutch and the other way around.
Liza
Hi Liza,
that sounds wonderful. I’ll send you a message via email.
Cheers,
Angela
Dear Mr. Leininger;
I am in position of a couple of Mr. Landis’s fake art pieces but
don’t know what to do with them.
If he’s really the big faker everyone thinks , I know a way to
‚get‘ him.
I believe he’s NOT really Schizophrenic! That’s all bull-shit
he’s Really putting on an act! He couldn’t be so consistent
and be :
[Schizophrenia is a mental disorder that makes it hard to: Tell the difference between what is real and not real; Think clearly; Have normal emotional responses; Act normally in social situations]
What do you think? we should brain storm this .
..AW
I would be interested in purchasing one of Mark Landis’s paintings. Please contact me if you are interested in selling them. Thanks
I can be reached at markvicknair@hotmail.com
Latest for the wishlist – smart software which will tell you when inventory records deviate from the norm. Or when someone is going „off-reservation“ in their data entry!
Felicitations — tres formidable!
Merci beaucoup, Janice!
Something to alert me that a custom support was not replaced after someone was taking images or used for a quick display. The object is back on the shelf without its supports and the supports are no where to be found.
sorry – the link I mentioned: http://urgentcomm.com/mobile-data-mag/plowing-ahead-gps
Interesting 2009 article on contractor vehicle tracking strategies. things that worked well for me for moving tens of thousands of rare and circulating books from city to city was routine communication with drivers, shippers, and receivers; regular planning meetings (beyond scheduling – route, process, etc.); documentation; and post-project analysis (close-out, post-mortem, etc.). These not only helped with sustaining schedules, but also seemed to keep everyone focused and funny business at a minimum.
Sheila,
My question: how do you encourage your visitors at be creative at your gallery?
I would like to invite you to http://thewandering.net/sites/mosaic/moma1/
Talila
Dear Sheila,
you write about „scrunching“ labels and having problems with reading printed barcodes. Both problems can be easily avoided. There are Barcodeprinters which are build to print readable barcodes. If you buy a better one, they come with integrated dispenser. They are also really fast.
This way you would press print on the PC und when you turn around the already pealed perfectly printed label is already waiting for application.
Also the thermo-transfer barcode printers can print on many materials and the print is very durable. If you use polyester labels and a resin ribbon you could get very durabele (weather proof!) labels with guranteed scanability.
I hope your project works out and good luck with the RFID.
Thanks very much for your comment – I think these ideas could be useful for future barcode projects. It’s always a learning process when you do things you haven’t tried before – and sometimes all sorts of compromises are involved too.
We found that some barcode fonts scan better than others; our ‚home-made‘ barcodes scan well.
Hola buenos días,quisiera poder saber si ustedes no han propuesto a realizar cursos de capacitacion a personas que trabajan en Museos y que realizan este tipo de trabajo que han sido puestos por que no hay mas personal, son funcionarios Publicos, cooperadores, etc.
En mi caso soy funcionario Municipal de la Municipalidad de osorno, Chile, estudie Tecnico en Bibliotecologia para bibliotecas privadas y publicas, Universidades publicas y privadas.Al llegar al Museo se me destino como encargado del deposito del Museo Histórico y me dieron la mision de clasificar catalogar y posterior registro de lñas colecciones que cuenta este Museo, que hay desde fosiles, telas, insectos ,coleecion mapuche, ceramica, artefactos antiguos de la epoca, cuadros de pintura,armas etc….. como vera tuve que adecuarme a lo que habia con un pequeño inventario que data de la creacion del Museo y actualizando las colecciones,ahora quisiera poder saber si ustedes pueden realizar algun curso para latinoamerica en este ambito que ustedes estan realizando para poder de esta manera ir aprendiendo nuevas tecnicas, nuevos sistemas , software etc. hay una entidad en españa , la corporacion iberoamerica de españa que relaiza curos para latinoamerica donde uno postula a estos cursos, mire le dejo esta pagina para ver si le interesa http://www.aecid.org.py/ desde ya muchas gracias.
claudio Lorca
funcionario encargado deposito
This is very interesting thanks Sheila! Looking forward to reading how this was implemented as we’ve considered using barcodes but have not figured out how to do this with thousands of ethnographic and archaeological objects! Would love to hear from any readers out there who have attempted this.
Too often, the odds are stacked against those protecting the art or those attempting to recover it. So, it’s nice to see when things turn out well for the good guys.
When planned appropriately, the security system helps to deter theft OR for the “undeterred” thief, the system provides the ability to detect them, delay them, defend against them, and forensically support their identification and prosecution. As most of us know, the sooner the thief is detected and identified, the better the chances to recover the art, or even thwart the theft altogether. In terms of security systems, the use of people, effective security procedures, and physical and electronic technology should always be considered in a multi-layered approach.
Unfortunately in many cases, these security systems are lopsided in their application and do not provide the appropriate overlapping or concentric circle approach; which often creates gaps in coverage. The trained thief or even the opportunist looks for these gaps as avenues to steal art.
In most circumstances it’s nearly impossible to understand all motivations for stealing art. It’s even more difficult to know the methods a thief will take to steal art. Therefore, a multi-layered security approach of concentric circles has always been the proven technique to securing art. When planned appropriately; use of detection, delay, and defense concepts will either deter the thief, deny the thief access, or when thief succeeds – provide sufficient forensic techniques to quickly identify the thief and recover the art. When using a multi-layered security approach; a loss of single security system function (i.e., forgetting to turn on a sensor, or not locking an exhibit case) would not render the security system ineffective.
Excellent explanation,
Matt,
I am astonished to hear and read your story. I am arthistorian and worked as registrar and head collections and depot in a local museum in Eindhoven town (The Netherlands). Our museum closed in 2012, most of the people (including me) were losing their jobs in 2011 and still I am without a job, without an income and my future is uncertain, it freigthens me a lot. I feel there will be no more chances for me to survive this. If you have some little savings in this country you have to use them and governmental support keeps out.
Thanks for your open story and wish you all the luck with your wife and daughter,
Peter
I am sorry to hear that Peter. Stay strong and stay the course. Plans for your future have been laid out and it will take patience and perseverence to get thru, but it will happen. Best, Matt
Bravo Angela and Derek and all the others who have contributed to this wonderful site. You are all what makes our profession worthwhile (beside getting to play with the collections :-)).
Thank you so much, Janice!
It was a great conference and we hope to encourage colleagues around the globe to do their everyday work with the due dillingence and pride – and not be afraid of telling their stories.
Cheers,
Angela
Very nice work. I have a question. Do you have some mechanism for lifting individual trays out of the box? Or do you perhaps use a drop-front box so you can slide them out?
Anne Lane
Mountain Heritage Center
Western Carolina University.
We considered tabs but as our preparator makes such strong and sturdy dividers between the buttons, we grab the dividers themselves at outer points, to lift the trays out. None of the trays are heavy and the dividers are really quite strong.
Erica Blumenfeld
Senior Registrar Museum of Jewish Heritage
My job is the historian for the history of the Smithsonian and my office is attached to Smithsonian Archives. I know how crucial documentation is. So in an exhibit in 1996,“Eyes on Science: Illustrating Natural History,“ I found a way to demonstrate this. I placed a large attractive shell on a table – it is the shell you pick up on the beach while on vacation. But I also had a scrim and when the lighting switched regularly, the visitor now say the shell surrounded by its accession card, field notebooks, scientific illustrations, museum label, conservation report, etc. It demonstrated what made an object „museum quality“ – and that was documentation. Without our documentation that object has no real meaning. Visitors we spoke to seemed to really understand the concepts we were trying to communicate.
I’ve used a similar technique in other exhibits to make visitors understand what a museum object is. I think museums should think about including facsimiles of documentation in exhibits more often, to demonstrate how we know what we know about an object.
Pamela, thanks. That’s exactly the sort of thing I’d like to see happen more often: an imaginative explanation of what museums do, their role as resources for research, and – of course – the crucial part that documentation, too, can play in this.
Thanks, Derek – an interesting experiment, and one which I’ll share with my colleagues and bear in mind as we review our acquisition procedures at the Horniman Museum. Although only quarterly, our meetings can be very long – sometimes well over two hours.
Mark makes an excellent point about needing to evaluate light damage relative to other risks to the collection in order to understand its importance. It would be a shame to keep objects from view only to have them degrade in other ways or be lost to fire, flood, or theft long before their useful display life has been used. Recognizing the importance of considering risks in context is the driving force behind leading institutions now embarking on comprehensive collection risk assessments. If there are one or more risks other than light damage that dominate the risk profile to a collection then there may be little point to rotating which objects are on exhibit.
It is also important to realize that rotating objects from the collection on and off exhibit does not reduce light damage to a collection as a whole but simply alters its distribution. In some cases distributing light damage more broadly through the collection will result in greater loss of value from the collection. The change in object value seldom has a simple, straight line relation to extent of light damage. Usually the change from a “pristine” state to a “just noticeable change” results in a much greater loss in value than a just noticeable change step somewhere in the mid-range between pristine and completely damaged. This is generally recognized by herbaria who, knowing that dried plant specimens are extremely light fugitive, will choose only one page of a bound herbarium to be opened on exhibit. In this way light damage to the contents of the book is restricted to a single page. The remaining pages remain in the near pristine state for occasional viewing. In contrast, if the book has 100 pages and a different page is displayed each month then it would only be a matter of decades, if not just years, until every plant specimen in the book was severely faded.
Agnes Brokerhof and colleagues presented this issue well in their 2008 paper:
Brokerhof, Agnes W.; Reuss, Margrit; MacKinnon, Fiona; Ligterink, Frank; Neevel, Han; Fekrsanati, Farideh; and Scott, Graeme
Optimum access at minimum risk: the dilemma of displaying Japanese woodblock prints.
In Book. Conservation and access: contributions to the London Congress 15-19 September 2008. Saunders, David; Townsend, Joyce H.; and Woodcock, Sally (Editors). International Institute for Conservation of Historic and Artistic Works, London, United Kingdom (2008) pp. 82-87 [English w. English summaries]. 6 figs. (4 color), 3 tables, 11 refs. [ISBN 0-9548169-2-7].
Errata: delete the „I pray that“ – I have no idea how that sneaked in there!
Hi Robert,
I just removed it, makes much more sense now. Thanks to you and Mark for your insightful comments, enhancing the story for our readers!
Cheers,
Angela
I don’t know of any materials that rejuvenate from light induced damage in dark storage. I do know of materials that continue to degrade due to light-induced damage after removal from display and subsequent dark storage. I also can cite materials that can recover from some discoloration by fresh exposure to light, but it’s kind of a catch-22 as some components (e.g., inks on paper) in the artwork are being further degraded while other components (e.g., color of the media) are being improved by further exposure to light.
The key knowledge to be acquired by curators and conservators is not easy to gain in many instances, but it is how the light fade resistance compares to other degradation pathways. When a material is very light sensitive, it’s pretty much guaranteed that light exposure on display will be a major factor of concern, but with materials of moderate or high light fade resistance, then other weak links like gas fade resistance, thermal and humidity degradation, etc., may prevail in such a way that worrying about amortizing the time in the light on display may be totally irrelevant. Policies for storage and display need to be decided based on better understanding of all the likely variables of decay and not just one variable only since the variable in question may not be anywhere close to being the weak link in the chain.
What research has there been to discover whether ‚rest periods‘ actually halt deterioration? Some materials will continue to suffer light damage after the light source has been removed. It’d be good to know what materials benefit from a ‚rest period‘ and those that don’t.
Very helpful analogy (which I shall use!) I’ve found it to be quite a common misconception that ‚rest periods‘ involve recuperation or recovery of an object in some way.
Liebe Angela,
gerne fange ich für unser Blogteam das Stöckchen auf, vielen Dank! Manche Deiner Fragen haben wir für uns oder andere schon einmal beantwortet (wenigstens vorläufig). Aber ob wir uns mit unseren ganz unterschiedlichen Hintergründen auf ein Museum und noch dazu einen Standort einigen können – wer weiß! Vielleicht wird es ein Mehrspartenhaus oder ein fliegendes Museum. Wir melden uns auf alle Fälle an dieser Stelle zurück, sobald unser Blogbeitrag dazu online gegangen ist.
Mit herzlichen Grüßen
Katrin
Liebe Katrin,
fliegendes Museum fänd ich cool. Es dürfen dann zur Not auch ein paar mehr Objekte sein als nur drei 😉
Herzliche Grüße
Angela
Liebe Angela,
es hat eine Weile gedauert, aber nun ist unser Blogbeitrag online:
http://museumspoliticsandpower.org/2014/04/29/the-bestblog-blogstoeckchen/
Herzlichen Dank für das Blogstöckchen, das wir nun gerne an drei weitere Blogs weiterreichen.
Katrin & das MPP team
Liebe Katrin,
super, vielen Dank! Ich kann es kaum ewarten bis ihr mal mit diesem Traummuseum vorbeischwebt 🙂
Liebe Grüße
Angela
Liebe Angela,
superfein! Jetzt bist du als Person und Idealistin pro Kultur für mich greifbarer geworden. Ich habe mir schon gedacht, dass ich spannendes über RegistrarTrekDe via #BestBlog Blogstöckchen erfahren werde. Mir war nicht klar, dass du für das Technoseum arbeitest. Das freut mich sehr, da das Blog des Museums sehr agil ist und tolle Blicke hinter die Kulissen gewährt.
Jetzt finde ich es herrlich, noch mehr über deine Arbeit im Depot zu lesen. Eine Tätigkeit, die dem Laien nicht so bewusst ist, vor allem wenn parallel mehrere Ausstellungen vor- oder nachzubereiten sind. Ich liebe diese Geschichten und bedanke mich ganz herzlich bei dir für dieses wunderbare Blogstöckchen. Bin auch sehr neugierig, wie es mit dem Weiterwurf weitergeht.
Schönen Sonntag, you’ve made my day!
Herzlich,
Tanja
Liebe Tanja,
dankeschön, freut mich, wenn es Dir gefällt.
Habe mich auch sehr darüber gefreut, wie die anderen Kollegen, die Du beworfen hast geantwortet haben:
Berliner Museum für Naturkunde: “Kommt ein BEST BLOG Blogstöckchen geflogen …“
http://blog.naturkundemuseum-berlin.de/blogstoeckchen/#more-849
Archäologisches Museum Hamburg: “Blogstock“
http://mythos-hammaburg.de/content/blogstock
Museum Burg Posterstein: “#BestBlog Blogstöckchen: Wer bloggt hier eigentlich?“
http://burgposterstein.wordpress.com/2014/03/19/bestblog-stockchen-wer-bloggt-hier-eigentlich/
Stadtmuseum Stuttgart: “Best Blog Blogstöckchen“.
http://www.stadtmuseum-stuttgart.de/blog/stadtmuseum/2014/03/21/best-blog-blogstoeckchen/
Historisches Museum Frankfurt: “Das Blogstöckchen will weiterwandern!”
http://blog.historisches-museum-frankfurt.de/?p=8707
Ebenfalls einen schönen Sonntag!
Angela
Thank you Kathy. It has been an interesting trek to say the least. The same could happen to you! Matt
Thank you for your long committment to finding frauds!
:ovely, I’m looking forward to seeing/hearing your presentation in Helsinki!
Glad to see you there!
I agree with Janice Klein: Many congratulations. Your work on behalf on international registrars deserves this kind of recognition. Now we just have to get you to Canada for a meeting.
Many congratulations. Your work on behalf on international registrars deserves this kind of recognition. Now we just have to get you to the US for an AAM meeting.
Janice, Kathy, no problem as long as you find an appropriate crate for shipping and punch enough air holes into it 😉
I love reading this insiders scoop this morning. Reminds me a little of Cordelia Rose’s CourierSpeak in Six Languages, which as it turns out is actually a flow chart for the courier’s work. Brilliant. I wonder if these abbreviations might be graphically placed to create a visual teaching tool? Keep up the good work, all of you.
Thanks, Mary. We haven’t thought of something like that but if you have an idea how to do it – or know someone who does, we will be glad to feature it on Registrar Trek.
Cheers,
Angela
Prima Seiten !!! Bin begeistert, dass ich dies weitergeleitet bekommen habe,
Schöne Grüße
Petra Bulla
Freut uns! Herzliche Grüße nach Stuttgart!
Thanks for this wonderful effort. I hadn’t heard the term „proper“ used for condition reporting, and wonder if that’s more commonly-used, AND whether it will be understood 100 years from now. We’ve used „viewer’s left“, etc. or „subject’s hand at viewer’s left“.
Hi Victoria, that’s interesting, we will put that into our next update. In Germany, we use „heraldisch rechts“, „heraldic right“ because it was used in heraldry when describing to which side a figure looks or is ascending. „Viewer’s left“ will mean to me the left hand as I look at it, which would be the „proper right“, if I understand you right?
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What a good idea. Thanks for sharing it. At my last job, we used the term ACP (rather than AP) for Abandoned Cultural Property. The name term is from the South Carolina law governing the settlement of such property.
Hello fellow museum professionals,
Glad I found this blog. Would someone know how and whom to contact in Japan for the Japanese National Museum?
Cheerfully,
Norman
Hi Norman,
personally, I don’t have any contacts to Japanese museums, but you might try sending your request to either the Museum-L listserv http://www.lsoft.com/scripts/wl.exe?SL1=MUSEUM-L&H=HOME.EASE.LSOFT.COM or the RC-AAM listserv http://www.rcaam.org/Listserv. I’m sure someone can point you to the right direction.
Cheers
Angela
Matt, the traditional abbreviations for manuscript and manuscripts are MS and MSS. And for the general abbreviations much in use, a couple degrees beyond the overused LOL: ROTFL – Rolling on the floor laughing; ROTLMAO – Rolling on the floor laughing my, er, rear end off.
In books, recto/verso is only right page/left page for languages written left to right – my rule of thumb is that the side that’s foliated is the recto.
And one for your list:
UFP = unfit for production (i.e. can’t be exhibited, loaned or issued in the reading room and probably in need of TLC)
fantastic resource – TY!
I’ve seen others such as OS (for oversize (whatever that might mean)) and MAN (manuscript) for communicating on projects with other departments. Every organization I’ve worked with has had a few idiosyncratic acronyms to boot.
What an incredibly wonderful project. Thank you so much for showing what can be done when a few people make an effort to share their passion.
You should check out the Reciprocal Research Network http://www.rrncommunity.org/.
I have to agree that this was a great rebuttal to the argument that museum’s have become too child friendly. Like Anne Lane I do not have children, however some of my earliest and fondest memories are from days out to the Melbourne Museum with my grandparents. My brother and I were always encouraged to be inquisitive; we asked questions, we attended school holiday programs and as such both remain committed to going to the museum with our younger family members. I actively believe that we need to bring our collections to the children, to get them actively involved with our history – whether that is through open days, discovery centres or a more multimedia/interactive approach. One of the many aspects of my job is the recommendation to preserve or conserve objects. This is not for me, but for the future generations that should be able to connect with our past. As cliche as it sounds, the children ARE the future. Certainly the future for museums.
Ouch !!!! Quelque chose dans ce style m’est arrivé…Je me suis servi d’un aimant pour le récupérer… Dans ton cas, il est peut-être possible de le faire tomber dans un endroit plus „discret“…
English:
Ouch!!! Something like that happened to me, too… I could solve the problem with a magnet… Maybe in your case you can use one to move it to a more inconspicuous place…
Thanks Eosclio. Fortunately, we were able to open the small glass front on the side of the rack and fetch it with the grip tongs. A magnet would have been another good idea!
I can translate in French 😉
That’s great. I’ll send you a mail.
Alana, I finally got around to reading your wise comments. My mother took me on the train to the Art Institute of Chicago on Saturdays when I was a kid. (The trains had wicker seats that flipped back and forth according to the direction of travel – yep, eons ago). Even before I worked in museums I would take my kids. When my daughter was about 12 she was a volunteer at the Madison Children’s Museum. Later when she moved back to Madison to get her undergrad degree – she did another stint there again. While her field is rather far removed from museum work – she hasn’t lost the appreciation. When she comes to NY to visit – we make our forays into the city’s museums. What goes around comes around. I’ll be looking with fresh eyes at families learning together from now on – thanks to you.
Making a courier trip to Lyon, France, and have not handled an international courier assignment in a while. Large exhibition with beaucoup crates. Any tips?
Angela, we are getting close to finishing the first draft of an emergency response plan for our museum, and just having gone through the process of imagining a disaster and our response, as well as going through your scenario and imagining pur (or my) response, is hugely helpful. Thanks so much for sharing!
Glad to hear you could use my story. Good luck with your emergency response plan and may you never have to use it!
Best wishes
Angela
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Great article. A good, thoughtful read to inspire all of us to embrace learners of all ages. Accessibility and transparency, are key in this industry. We must engage our constitutes and community; engaging them and meeting their needs or we, as cultural institutions, will no longer be relevant.
Bravo Alana! The original article was so distasteful that I tried to ignore it, but your response is worth saving and repeating as often as necessary.
One of the things I now enjoy most about museums is watching families learn together and use the information and ideas we provide as a jumping off place for discussion of their own histories and interests. It’s great to watch kids and parents (and grandparents) share stories that start with what they see at the museum and go on beyond that.
I once had the pleasure of telling a child who was being „shushed“ by an adult, that, as director, I was the only one who got to tell him to be quiet, and I was fine with the noise he was making.
Thank you, Alana! A great rebuttal to a truly bad argument. I have no children, but my parents took us to museums all the time when we were children. Mom always said to me, „You should work in a museum.“ Mom, look at me now. I learned not only to value, and to learn from, but to love museums, and while I did not set out with a position in one as a career goal, it happened. And the sounds of a class of children interacting with artifacts and our education guy is music to my ears.
I would air on the side of not moving the vehicles. I would look for a temporary method of fire monitoring: install a temporary fire detector in the area. I would then wait for the warmer weather on Monday and open the gate to use the cherry picker. I would also consider moving the monitor at the same time to an accessible position.
Hello
My name Enkhjrgal. I am Mongolia. I have the Fine arts Zanabazar museum register
Good Monday-morning laugh. This is another of those things that would provoke a thread on any number of museum mailing lists.
Shanti,
Anne
Feel free to submit other hotel art fail if you see it 😉
Shanti,
Angela
The photo and „Don’t mess with the collection!“ would make a great t-shirt. After your comments on diplomacy, I’m starting to thing that the ideal registrar is a Teflon-coated bulldog!
We definitely should open a webshop with stuff like that… 😉
We could call it the online Regi Store:( Bad joke I know.
Made me laugh, anyway 😀
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Another T-shirt idea inspired by my years at a university art museum: „Touch me, not the Art!“ 😉
True and what an image!
Derek
I liked the used metaphores. They shine a bright light on the silent workforce of the registrars.
BR
Frank
Beautifully said.
Cheers,
Derek
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Thanks Mark.
It was great to finally meet you in person.
Cheers,
Derek
I have an installation kit for non-museum-venue installations where I can’t count on anyone else having what I need. I’ve found some of the most useful items in my kit (which is now big enough to need an entire small suitcase to itself) are office supplies (including a rainbow of Sharpies), a small bubble level, a clip-on book light, and small cards wrapped with plastic wrap and aluminum foil.
I’d love to see what everyone else has that’s maybe less expected than the traditional setup!
Great article Derek
and it was a pleasure to spend time with you at ARCS in Chicago.
~mark~
Thank you! Your advice can be followed by small museums.
An eloquent message and a fitting farewell. Well done.
Wow! I just felt the need for a signal injector, and I googled to see if someone still sells them. I got this hit as one of the few. and this signal injector is identical to the one I had as a kid. It takes a 1.5v battery (size AA) just as a flashlight where the + touches the metal tap on the black part (wich is in fact the top of an old fashioned transistor), and there should be a spiral spring at the bottom of the cover. When you twist it to a click you turn it on(off) and the light should show on state (if the bulb works).
This pen will inject some buzz noise into any circuit and it is (or rather was) used to test/debug electronic circuits.
I am not 100% sure about this, but it might have been bought from Maplin electronics back in the late 70’s or 80’s.
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Español:
¡Caray! Tenía la necesidad de un inyector de señal, y busqué en Google para saber si alguien aún los vendía. Tengo este logro como uno de los pocos, y este inyector de señal es idéntico al que tenía cuando era chica. Éste acepta baterías de 1.5 voltios (talla AA) tal como una linterna, donde el positivo (+) toca el contacto de metal en la parte de color negro (como suele estar, de hecho, en la parte superior de cualquier viejo transistor pasado de moda), y debe haber un resorte en espiral en la parte inferior de la cubierta. Cuando lo mueves para hacer el clic de encendido (desde off), la luz debería mostrarse en estado encendido (on, si el bombillito funciona).
Este bolígrafo inyecta un suave zumbido en cualquier circuito, y es (o más bien, era) usado para probar/depurar circuitos electrónicos.
No estoy 100% segura sobre esto, pero pudo haber sido adquirido de Maplin electronics allá por los tardíos 70s u 80s.
Hi Morton,
yeah, it’s exactly that way you describe! So happy to hear of someone who knows this exact model. Makes it even more valuable for our collection.
Cheers!
Angela
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Español:
Hola Morton:
síp, ¡es exactamente del modo en que lo describes! Me hace muy feliz escuchar de alguien quien conoce exactamente ese modelo. Eso lo hace incluso más valioso para nuestra colección.
¡Salud!
Fernando
My glove supply includes long gold lame gloves, for those artifacts where plain white cotton just won’t do.
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Español:
Mi oferta incluye guantes largos guantes de lamé dorado, para esos artefactos donde el algodón común blanco no es suficiente.
Hi Randy,
LOL! Just added them to my list of gloves. I can imagine some cases! 🙂
Cheers!
Angela
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Español:
Hola Randy,
¡Qué risa! Los acabo de agregar a mi lista de guantes. ¡Puedo imaginarme algunos casos! 🙂
¡Salud!
Angela
Great story! And I love the photos. My sister’s cat once fell from a 5th floor window, and we speculate from her almost complete lack of injury that she rode down on the window screen, which was found next to her.
Cheers!
Anne
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Español:
¡Grandiosa historia! Y amo esas fotos. El gato de mi hermana una vez cayó desde un piso 5, y especulamos sobre su casi total falta de lesiones, pues se deslizó encabalgada sobre la pantalla de la ventana que se encontraba a su lado.
¡Salud!
Anne
Thanks, Anne. OMG, I can imagine! Lucky cat!
Cheers!
Angela
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Español:
Gracias Anne. Ay, Dios mío, puedo imaginarlo. ¡Pobre gato!
¡Salud!
Fernando
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Cute! You solved the problem in a unique way.
Brilliant. You may be too young for this TV reference, but I call this doing a MacGyver. Or that I am Ms. MacGyver.
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Español:
Brillante. Puede que tú seas demasiado joven para esta referencia de la televisión, pero yo llamo a eso hacerlo a lo MacGyver. O que yo soy la Sra. MacGyver.
Thanks, Laura! I know the series and I even use „to macgyver myself out of a situation“ sometimes as a verb…
Cheers!
Angela
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Español:
¡Gracias, Laura! Conozco la serie, e incluso he usado el verbo „macgyvearme“ para salir de alguna situación…
¡Salud!
Angela
Terrific idea! Conservators are constantly required to improvise or „play it by ear,“ so this was particularly meaningful to me (and I have had my share of dozens of cats over the years).
There’s a term used commonly in Guatemala (I don’t know if it is known in the rest of Latin America)- „chapuz.“ It is the equivalent of „jerry-rigged“ (probably British) and refers to a job done with improvised pr readily available materials and not much know-how. So this concept is well-known, perhaps especially in the third world, where formal education and funds for suitable materials are not abundant.
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Español:
¡Es una idea fabulosa! Los conservadores están constantemente obligados a improvisar o a „tocar de oído“, por lo que fue especialmente significativa para mí (y mira que yo he tenido mi parte del asunto, con docenas de gatos en los últimos años).
Hay un término comúnmente usado en Guatemala (desconozco si existe en el resto de Latinoamérica): „chapuza“. Es el equivalente (probablemente británico) de realizar un trabajo con materiales improvisados y fácilmente disponibles, y sin mucho de „saber-cómo“. Así que este concepto es bien conocido, tal vez especialmente en el tercer mundo, donde la educación formal y los fondos para los materiales adecuados no son abundantes.
Thanks, Molly. We in Germany sometimes use the term „mit Bordmitteln“ = „with what’s on board“, which derives from shipping. If you are on the ocean, you have no chance to fix something by buying the right supply. You just have to see what you’ve got and fix it with this. Common practice not only in the so called third world countries…
Cheers!
Angela
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Español:
Gracias, Molly. Nosotros en Alemania algunas veces utilizamos el término „mit Bordmitteln“ = „con lo que esté a bordo“, lo cual se deriva de la navegación. Si tú estás en el océano, no tienes oportunidad de arreglar algo comprando el repuesto adecuado. Solo puedes contar con lo que tengas. Es una práctica común no solo en los llamados países del tercer mundo…
¡Salud!
Angela
P. S. If you ever make it to Brooklyn, there is a very cool wallpaper designer/manufacturer in the ‚hood. A must visit! http://www.flavorpaper.com
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Español:
Post Scriptum: Si no has ido en Brooklyn, hay un muy buen diseñador/fabricante de papel tapiz en la vecindad. ¡Una visita obligada! http://www.flavorpaper.com
Congratulations Angela – you must feel pretty good ( and you should!). I’ve been to the Wall Paper Museum in Kassel. Who could resist! On the same day I visited the Museum of Sepulchral Culture. As a grad student I studied the history of papermaking and 16th C. German graphics. Does Durer’s wallpaper have a place in your book? (Just curious). It sounds like it was tremendously interesting. One of my clients published a book called „Wallpaper and the Artist: From Durer to Warhol“ by Marlyn Oliver Hapgood. I wonder if you encountered it in your work on the Backstory book? I suspect not too much is written – but I may be wrong. Good to add to the literature.
All in all, a very nice diversion for you. Cheers, Suzanne
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Español:
Congratulaciones, Angela. Debes sentirte muy bien (¡y deberías!). He estado en el Museo del Papel Tapiz en Kassel. ¡Quién podría resistirse! El mismo día visité el Museo de Cultura Sepulcral. Como estudiante graduada, estudié la historia de la fabricación del papel y la gráfica alemana del siglo 16. ¿Tiene lugar en tu libro algún tapiz de Durero? (solo por curiosidad). Eso suena tremendamente interesante. Uno de mis clientes publicó un libro titulado „El papel tapiz y el artista: de Durero a Warhol“, por Marlyn Oliver Hapgood. Me pregunto si diste en tu trabajo con el trasfondo histórico. Sospecho que no mucho ha sido escrito -pero puedo estar equivocada. Conviene agregarlo a la literatura.
En general, una muy buena diversión para ti. Salud, Suzanne
Thanks, Suzanne,
actually, I was sniffing at the fresh book and turning the pages again and again for about 8 hours when the book arrived from the printer. One had to remind me that it’s dinner time… 🙂
I know both museums in Kassel and they are great. Unfortunately, the Tapetenmuseum is closed at the moment. Can’t wait to see it re-opened in new rooms!
Dürer is a little too early for the book. It starts at around 1650 when you find the first signs of wallpaper actually applied in the resources (trade cards, letters, bills…) and ends in 1750 when wallpaper was a well-accepted feature in households across Europe and the American Colonies.
Thanks for the link. Definitely something I will place on my „to visit“ list if I happen to come to your area.
Best wishes
Angela
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Español:
Gracias, Suzane,
de hecho, estuve olfateando el libro cuando llegó de la imprenta, pasando las páginas una y otra vez por cerca de 8 horas. Alguien tuvo que recordarme que ya era la hora de la cena… 🙂
Conozco ambos museos en Kassel, y son grandiosos. Infortunadamente, el Tapetenmuseum está cerrado en este momento. ¡No puedo esperar para verlo re-abierto, con sus nuevas salas!
Durero es un poco demasiado anterior para el libro. Éste comienza alrededor de 1650, cuando encuentras los primeros indicios de papel tapiz ya aplicado en variados recursos (tarjetas comerciales, cartas, billetes…) y finaliza en 1750, cuando el papel tapiz fue una característica bien aceptada en los hogares de toda Europa y en las colonias americanas.
Gracias por el link. Definitivamente, es algo que pondré en mi lista de „por visitar“ si se me ocurre ir a tu zona.
Cordiales saludos,
Angela
Hi Matt, I just read the New Yorker article today and found a Wikipedia article on Landis, which I did some minor editing on. After coming across this blog I added it to the „See Also“ section, but I don’t know if you want it that public. You could go into „Edit source“ on the article and make any changes you think necessary.
Sorry about your unemployment troubles. I had a museum career that basically ended in 1998; haven’t found a museum job since.
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Español:
Hola Matt. Acabo de leer el artículo del New Yorker hoy y encontré un artículo de Wikipedia sobre Landis, y le hice algunas modificaciones de menor importancia. Luego de descubrir este blog lo he añadido a la sección „Vea también“, pero no sé si quieres que se haga público. Puedes ir al „Editar fuente“ en el artículo y hacer cualquier cambio que consideres necesario.
Siento lo de tus problemas de desempleo. Yo hice mi carrera en los museos, que finalizó en 1998; desde entonces no he encontrado empleo.
Hallo Frau Kipp,
sehr interessanter Artikel, vielen Dank für den Hinweis in der museums-Liste. Werde ihn an zwei Kolleginnen weiterreichen.
Viele Grüße aus dem Schwarzwald
Sabine Grimmig
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Hello Ms. Kipp,
very interesting article, thank you very much for the hint in the German museum listserv. I will forward this to two colleagues.
Greetings from the Black Forest
Sabine Grimmig
Danke, das freut uns sehr! Viele Grüße in den Schwarzwald!
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Thank you, pleased to hear that. Best wishes to the Black Forest!
Thank you! I know my mother was fearing the worst when I arranged all of her food storage containers and lids in bins by color and type when I visited last. When I explained that I had just finished walking an intern through an inventory/rehousing project and was still in sorting mode she relaxed.
I also find myself critiquing artifact supports, proofing label text and looking for neat id number marks on objects when in a museum exhibit. Alas, my dad now knows what to look for and will track down a curator to offer a compliment on a well-supported or well cared for object. Even to to point of calling a curator at his favorite museum at home to let her know how great her exhibit looks. Good thing she is also a good friend.
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Español:
¡Gracias [Maria]! Sé que mi madre temía lo peor cuando la visité la última vez, y le organicé todas sus friambreras según el tipo y color de las tapas. Sólo se tranquilizó cuando le expliqué que yo acababa de terminar un recorrido con un becario para un proyecto de inventario/realojamiento [de las colecciones del museo] y todavía yo estaba en “modo clasificación”. También a veces me encuentro a mí misma criticando los soportes de algún objeto, chequeando la prueba del texto del rótulo [de la pared] y buscando el número de identificación cuando está expuesto. Por desgracia, mi padre ahora sabe qué y cómo mirar [a los objetos expuestos], y localizará al conservador para ofrecerle un cumplido por algún objeto bien dispuesto o bien cuidado. Incluso, él llega al punto de llamar al curador de su museo preferido para hacerle saber lo grandiosa que quedó la exposición. Por suerte también [ella, la curadora] es una buena amiga.
Dear Angela and Fernando,
Thank you for this initiative. Indeed registrars around the world need to share more! I’ll be happy to contribute to translate from english to french if needed.
Helene
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Español:
Queridos Angela y Fernando:
Gracias por esta iniciativa. ¡Sin duda los registradores alrededor del mundo necesitan compartir más! Estaré feliz de contribuir con traducciones del inglés al francés cuando sea necesario.
Helene
Thanks, Héléne! We keep sharing all the knowledge of our colleagues. And many thanks for your disposal to contribute with our translations english-french. Thank you, in the name of Angela and myself!
Fernando
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Español:
¡Gracias, Héléne! Nos mantenemos compartiendo todo el conocimiento de nuestros colegas. Y muchas gracias por tu disposición para contribuir con las traducciones inglés-francés. ¡Gracias, en el nombre de Angela y el mío!
Fernando
Thanks, Héléne! We keep sharing all the knowledge of our colleagues. And many thanks for your disposal to contribute with our translations english-french. Thank you, in the name of Angela and myself!
Fernando
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Español:
¡Gracias, Héléne! Nos mantenemos compartiendo todo el conocimiento de nuestros colegas. Y muchas gracias por tu disposición para contribuir con las traducciones inglés-francés. ¡Gracias, en el nombre de Angela y el mío!
Fernando
You’re absolutely right, Angela. But since I’m the „Grammar Police,“
as well as a conservator, I always read the chat cards very carefully after the exhibit is mounted. I can’t tell you how many typos, misspellings, grammatical errors and other cardinal sins are released to the unsuspecting public. If you can’t trust the writing, are the facts wrong, too?
I think you should have a special bin for checking the written word.
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Español:
Tienes toda la razón, Angela. Pero como yo soy la „Policía de gramática“, además de conservadora, siempre leo las notas del chat con mucho cuidado después de montar la exposición. No puedo decirte cuántos errores tipográficos, faltas de ortografía, errores gramaticales y otros pecados cardinales se publican para el público desprevenido. Si no puedes confiar en lo que dicen esos escritos, ¿será que los hechos también estaban mal?
Creo que deberías tener un recipiente especial para el seguimiento de las palabras escritas.
Liebe Frau Kipp, seitdem ich erstmals Ihren Registrar-trek entdeckt habe, lese ich ihn regelmäßig und bewundere Sie für Ihre Energie, denn die braucht es ja , um dran zu bleiben bei so einem Unternehmen.
Nachdem ich seit wenigen Tagen pensioniert bin (bisher Konservator am Badischen Landesmuseum) habe ich mir überlegt, ob ich Ihnen irgendwie helfen kann. Am ehesten vielleicht bei den Übersetzungen: aus dem Englischen, Französischen und Italienischen könnte ich ziemlich problemlos ins deutsche übersetzen, haben Sie da noch Bedarf?
Herzliche Grüße
Ihre
Brigitte Herrbach-Schmidt
Hello, I didn’t spot your call for translators in July and hope it’s not too late. I would be happy to share some English-Italian with Andrea if you wish. That would be good as I’m always busy with applications and study. Please let me know. Thank you, kind regards
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Español:
Hola, no vi vuestro llamado para traductores hasta julio pasado, y espero que no sea demasiado tarde. Me encantaría compartir algo de inglés-italiano con Andrea si Uds. quieren. esto podría ser bueno, pues siempre estoy atareada con mis aplicaciones y mis estudios. Por favor háganme saber. Gracias, y cordiales saludos.
Hi Silvia,
that would be great! I’ll drop you a mail!
Cheers!
Angela
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Español:
Hola Silvia:
¡Eso sería grandioso! ¡Te enviaré un correo!
¡Salud!
Angela
Hola,
Soy una Registradora de collecciones en el Museo de Oakland de California. Mi lengua materna es el espanol pero mi trabajo en museos se ha desarrollado en los Estados Unidos. Puedo traducir del espanol al ingles, y viceversa. Mi especialidad es en arte e historia
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Hello,
I am a registrar of collections in the Oakland Museum in California. My mother language is the Spanish, but my museum work has been developed in USA. I can translate from English to Spanish and viceversa. My specialty is Art and History.
Español:
Hola Susana:
En el nombre de Angela y el mío te damos la bienvenida a nuestro equipo de traductores. Es muy gentil de tu parte que te ofrezcas para colaborar con nosotros en nuestra apasionante profesión y blog. Te comentamos que tenemos ya una multitud de colegas que traducirán muchos artículos del español al inglés; sin embargo, sabemos que también podremos contar contigo para eso. Bienvenida a bordo.
Angela y Fernando
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Susana, hello:
In the name of Angela and myself welcome you to our team of translators. It’s very kind of you to offer yourself to work with us on our exciting profession and blog. I commented that we already have a multitude of colleagues who will translate many articles from Spanish into English, but also know that we can count on you for that. Welcome aboard.
Angela and Fernando
If you still need people to edit texts in Greek/English, I am all ears! I have a PhD in Museum Studies from University College of London and ¡I love reading museum-related stuff!
Español:
Si aun necesitan gente para editar textos del griego al inglés, ¡soy todo oídos! Tengo doctorado en Estudios Museales por el Colegio Universitario de Londres, y amo leer materiales relacionados con el museo!
Hi Dimitra,
sounds great! I’ll drop you a mail!
Cheers!
Angela
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Español:
Hola Dimitra,
¡Suena grandioso! Te enviaré un correo!
¡Salud!
Angela
Hi everyone,
My name is Fanis, i am a conservator of antiquities and works of art and i am about to finish my studies in Heritage Management. i would be happy to help on this effort. I speak English, Spanish and Greek.
best wishes
Fanis
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Español:
Hola a todos,
Mi nombre es Fanis, y soy conservadora de antigüedades y obras de arte, y estoy por finalizar mis estudios en Gerencia del Patrimonio. Estaría feliz de ayudar con este esfuerzo. Hablo inglés, español y griego.
Cordiales saludos,
Fanis
Hi Fanis,
you are very welcome to join us. I’ll send you an email.
Cheers!
Angela
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Español:
Hola Fanis:
Eres muy bienvenida a unírtenos. Te enviaré un correo-e.
¡Salud!
Angela
Just a brief update on the text. After this text was written the so-called General Secretariat for Culture has become a separate Ministry again (!) and is now called „Ministry of Culture and Sports“. The relevant website is http://www.yppo.gr/0/esitemap.jsp
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Español:
Solo una breve actualización acerca de mi texto. Luego de que este texto fuera escrito, la así llamada Secretaría General para la Cultura se convirtió en un Ministerio separado otra vez (¡!) y ahora es llamada „Ministerio de Cultura y Deportes“. Su destacado sitio web es: http://www.yppo.gr/0/esitemap.jsp
Not sure if my reply was posted but a good question! I guess I was the lucky one to do my due diligence as a registrar and not be afraid to ask questions or question a gift or a donor. When something does not seem right, it probably isn’t and here we are today!
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Español:
No estoy seguro de si mi respuesta fue publicada, ¡pero es una buena pregunta! Supongo que fui el único afortunado en hacer las debidas diligencias como registrador, y no temer preguntar algo o cuestionar una donación o un donante. Cuando algo no parece estar correcto, probablemente no lo está, ¡y aquí estamos hoy!
Hi, do you need help for English/Italian translation?
Hi Andrea,
sure, we would be glad. I’ll send you a mail.
Cheers!
Angela
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Español:
Hola Andrea:
Seguro, estaríamos contentos. e enviaré un correo
¡Salud!
Angela
Well, all I can say is that over a 30 year plus period that Landis has been active, unfortunately museum and gallery professionals did not due their due diligence in researching a new donor or if they did know who Landis was, did not share the information at the time. However I manned up and let people know in any avenue I could including this blog. Does that help?
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Español:
Bueno, todo lo que puedo decir es que por un período de más de 30 años Landis ha estado activo, y desafortunadamente los profesionales de museos y galerías no hicieron la debida investigación a ese nuevo donante, o no sabían quién era Landis, o no compartieron la información a tiempo. Sin embargo, procedo sobre eso y le hago saber a la gente de cualquier modo acerca de lo que se pueda decir en este blog. ¿Eso ayuda?
I wonder how 50+ institutions could acquire forgeries without noticing. Famous works, so it seems. How do you explain that?
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Español:
Me pregunto cómo más de 50 instituciones pudieron adquirir falsificaciones sin advertirlo. Obras famosas, por lo que parece. ¿Cómo explican uds. eso?
This article was a great piece on the extensive detective work that goes into the initial investigation of an object and the mammoth task of the ongoing search for background information, context and connection to community that makes artifact collections a living, breathing entity. It is very hard to explain what I „do all day“ sometimes. I may just send a link to this website to a few more people – have already sent it to my departmental colleagues!
Thanks for the information on radio research – I am inspired to investigate further!
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Español:
Este artículo es una gran pieza en el extenso trabajo detectivesco que continúa desde la investigación inicial de un objeto, y la gigantesca tarea de su búsqueda permanente de información básica, del contexto y la conexión con la comunidad, que es lo que hace que las colecciones de artefactos sean una entidad viviente. A veces es muy duro de explicar lo que yo „hago todo el día“. Solo puedo enviar a unas pocas personas el vínculo de este sitio web – ¡lo he enviado a mis colegas del departamento!
Gracias por la información sobre la investigación en la radio – ¡Me siento inspirada para seguir investigando!
Glad you liked it, Sharon! And feel free to share it with whoever may be interested. I think it’s very important to share so people know what we do all day.
Cheers!
Angela
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Español:
¡Me encanta que te guste, Sharon! Y siéntete libre de compartirlo con quien esté interesado. Pienso que es muy importante compartir, de modo que la gente sepa que „hacemos todo el día“.
¡Salud!
Angela
Hi,
I’m French and have lived and worked in English-speaking countries for the past 13 years (3 years in the UK and, more recently, 10 years in the Republic of Ireland).
11 of these years have been working for Natural History Museums (London and Dublin).
So I’d be happy to help with translations from English to French or from French to English.
Great initiative!
Sylviane
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Español:
Hola,
Soy francesa y he vivido y trabajado en países de habla inglesa por los últimos 13 años (3 años en el Reino Unido y, más recientemente, 10 años en la República de Irlanda), 11 de ellos trabajando para Museos de Historia Natural (Londres y Dublin). Así que estaría feliz de ayudar con las traducciones del Inglés al Francés o del Francés al Inglés.
¡Grandiosa iniciativa!
Sylviane
Español:
¡Hola Sylviane!
En nombre de todo el equipo te damos la bienvenida a nuestro multilingüe blog.
Gracias por tu colaboración.
Fernando
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Hello Sylviane!
On behalf of the entire team we welcome you to our multilingual blog.
Thank you for your contribution.
Fernando
Español:
Hola, mi nombre es Rosana Calderón, soy Perito en Restauración, y he trabajado en el inventario y registro de colección del Instituto Nacional de Antropología e Historia, controlado más de 600,000 objetos. El Proyecto Registrar Trek as translator, me parece una gran aportación global, y si puedo apoyarlos, me encantará. Puedo ayudar en traducciones inglés-español y viceversa.
Saludos
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Hello, my name is Rosana Calderón, I am Proficient in Restoration, and have worked in the inventory and registration of collection of the National Institute of Anthropology and History, controlled more than 600,000 objects. Register Trek Project as translator, I think a global contribution, and if I can support, I love it. I can help with translations English-Spanish and vice versa.
Regards
Español:
Hola Rosana:
Gracias por tu contacto y buena disposición para con nuestro blog. Eres bienvenida. Angela te dará más detalles.
Un saludo muy cordial,
Fernando
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Hi Rosana:
Thank you for your willingness to contact with our blog. You’re welcome. Angela will give you more details.
Best regards,
Fernando
Hi!
I’m portuguese and i’m proficient in english, I can translate portuguese/english. I’m finishing my master’s program in museum studies and I have a few years of experience in museums, cataloguing and documenting collections.
It would be a pleasure to join your team!
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Español:
¡Hola!
Soy portuguesa y proficiente en inglés. Puedo traducir portugués/inglés. Estoy finalizando mi programa del máster en estudios de museos y tengo unos pocos años de experiencia en catalogación y documentación en museos.
¡Sería un placer unirme a vuestro equipo!
Hi Patricia!
You are welcome to our team! Thanks for your willing of help us with the translations.
Warm regards,
Fernando
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Español:
¡Hola Patricia!
Eres bienvenido a nuestro equipo! Gracias por tu voluntad de ayudarnos con las traducciones.
Un cordial saludo,
Fernando
Hi Patricia!
Thanks for the offer and welcome on board!
Cheers!
Angela
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Español:
¡Hola Patricia!
¡Gracias por el ofrecimiento, y bienvenida a bordo!
¡Salud!
Angela
Hi!
I speak english, german, a little french and my mother tongue is ….. GREEK! I have studied Art Histoy in the US and currently work as a registrar of a photography collection in a folklore research institute in Greece. I‘ ll be happy to help and become memeber of the team.
Cleo
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Español:
¡Hola!
Hablo inglés, alemán, un poco de francés y mi lengua materna es …¡GRIEGO! He estudiado Historia del Arte en los EEUU y actualmente trabajo como registradora de una colección fotográfica en un instituto de investigación folclórica en Grecia. Estaré feliz de ayudar y convertirme en miembro del equipo.
Cleo
Hi Cleopatra!
That sounds great! Welcome on board!
Cheers!
Angela
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Español:
¡Hola Cleopatra!
¡Eso suena grandioso! ¡Bienvenida a bordo!
¡Salud!
Angela
¡Hola Cleopatra!
Eres bienvenida a nuestro equipo. Te agradecemos tu colaboración. ¡Ya eres la segunda miembro griega en el equipo!
Warm regards,
Fernando
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¡Hi Cleopatra!
You are welcome to our team. We appreciate your cooperation. Already a member Greek second on the team!
Cordiales saludos,
Fernando
Español:
¡Hola Cleopatra!
Eres bienvenida a nuestro equipo. Te agradecemos tu colaboración. ¡Ya eres la segunda miembro griega en el equipo!
Warm regards,
Fernando
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¡Hi Cleopatra!
You are welcome to our team. We appreciate your cooperation. Already a member Greek second on the team!
Cordiales saludos,
Fernando
Bonjour,
Je peux traduiser des articles entre Francais et Anglais. Anglais est ma langue maternelle et je lis Francais au niveau universitaire.
Hello,
I can translate articles between French and English. English is my first language, and I read French at a university level.
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Español:
Buen día,
Puedo traducir artículos del Inglés al Francés. El Inglés es mi lengua materna, y leo francés a nivel universitario.
Bonjour Tegan,
this would be great! Merci!
Angela
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Español:
Buen día Tegan,
¡Eso sería grandioso! ¡Gracias!
Angela
…And what about Italian??
________
Español:
…¡y qué hay del italiano?
Hi Chiara:
Do you know someone who wants to do translations into Italian? Tell us about it!
Thanks and regards,
Fernando
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Español:
Hola Chiara:
¿Conoces a alguien que quiera hacer traducciones al italiano? ¡Dínoslo!
Gracias y saludos,
Fernando
Hi Ciara
As Fernando said: If you are willing to do translations into Italian or know someone who can, we are very glad!
Best wishes
Angela
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Hola Chiara:
Como dijo Fernando: si deseas hacer traducciones al Italiano, o conoces a alguien que pueda, ¡estaremos muy contentos!
Cordiales saludos,
Angela
Hi,
I work at the Brussels Museum for Natural Sciences as a science communicator, but I’m very interested in the registrar world! If you ever need any English/Dutch translations, don’t hesitate to contact me! I also dabble in French …
Kind regards,
Jiska
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Español:
Hola,
Trabajo en el Museo de Ciencias Naturales de Bruselas, como comunicadora de ciencia, ¡pero estoy muy interesada en el mundo del registrador! Si alguna vez necesitas traducciones Inglés/Holandés/, ¡no dudes en contactarme! También chapuceo en francés…
Cordiales saludos,
Jiska
Hi Jiska,
you are very welcome to translate anything you like from our blog into Dutch. Welcome on board!
Cheers!
Angela
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Español:
Hola Jiska:
Eres bienvenida para traducir cualquier cosa como las de nuestro blog al Holandés. ¡Bienvenida a bordo!
¡Salud!
Angela
Hi Jiska:
Welcome aboard! Thanks in advance for your work in our blog.
More cheers!
Fernando
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Español:
Hola Jiska:
¡Bienvenida a bordo! Gracias de antemano por tu trabajo en nuestro blog.
¡Más Salud!
Fernando
I’ve already done Spanish/English translating for publications by the Ixchel Museum of Textiles in Guatemala.I’m a textile conservator and therefore know the vocabulary. I’d be delighted to help you.
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Español:
Ya he realizado traducciones Español/Inglés para publicaciones del Museo de Textiles Ixchel de Guatemala. Soy conservadora de textiles y por lo tanto manejo el vocabulario. Será un gusto colaborar con ustedes.
Hola Molly:
Angela y yo te damos la bienvenida a nuestro blog, como traductora. Ya arreglaremos detalles.
Un saludo cordial,
Fernando
________
Hello Molly:
Angela and I welcome you to our blog, as a translator. Now arrange details.
Best wishes,
Fernando
Angela & Fernando: me ofrezco para traducciones en Español/Ingles!
Hi Maria! You are very welcome as a translator!
Best wishes
Angela
________
Español:
¡Hola María! ¡Eres bienvenida como traductora!
Cordiales saludos,
Angela
¡Hola María! Angela y yo te damos la bienvenida a nuestro blog como traductora.
Ya arreglaremos los detalles. Cordiales saludos,
Fernando
________
Hi Mary! Angela and I welcome you to our blog as a translator.
Now arrange the details. Best regards,
Fernando
Hola, me encanta su página. Les comparto un artículo sobre el trabajo de registro http://www.museoarocena.com/basicos-de-registro-y-documentacion-en-museos/
Saludos.
________
English:
Hello, I love your page. I share an article about the work of registration
http://www.museoarocena.com/basicos-de-registro-y-documentacion-en-museos/
Regards.
Hola Ruth:
Muchas gracias por compartir tu artículo y tu experiencia como registradora en el Museo Arocena de Torreón, México.
Te enviamos nuestros saludos cordiales.
Fernando
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English:
Hello Ruth:
Thank you very much for sharing your article and your experience as a register in Arocena Museum of Torreon, Mexico.
We send our best regards.
Fernando
Hola Ruth:
Muchas gracias por compartir tu artículo y tu experiencia como registradora en el Museo Arocena de Torreón, México.
Te enviamos nuestros saludos cordiales.
Fernando
________
English:
Hello Ruth:
Thank you very much for sharing your article and your experience as a register in Arocena Museum of Torreon, Mexico.
We send our best regards.
Fernando
I’m sure there must be a similar list for Museum Education Officers…with bags full of other people’s activity sheets and museum trails, photos of interactives and dressing up costumes, getting funny looks from the gallery attendants when you spend so much time in the children’s areas with no kids……and boxes of recycling at home that is sure to come in useful for a Tudor, (or Saxon or Victorian…) craft workshop one day….
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Español:
Estoy segura de que existe una lista similar para los trabajadores del Departamento de Educación del Museo… con maletas llenas de las actividades de otras personas, fotos de interactividades y cambios de vestimentas, recibiendo miradas divertidas de los asistentes a las salas cuando pasas tanto tiempo en las zonas de los niños, sin niños… y cajas de material reciclado en casa que seguramente devendrán útiles para un taller artesanal para los estilos Tudor (o Sajones o Victorianos)… algún día…
Hi Liz,
if there is, we will be glad to publish it on Registrar Trek in the sense of interdisciplinary collaboration (besides, some of our colleagues serve not only as registrars, but also as educators) 🙂
Cheers!
Angela
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Español:
Hola Liz:
si hubiera algo de eso, nos contentará publicarlo en el Registrador Trek, en el sentido de una colaboración interdisciplinar (además, algunos de nuestros colaboradores trabajan no solo como registradores, sino también como educadores) 🙂
¡Salud!
Angela
You might be a registrar if the abbreviation „lol“ makes you think ‚Loyal Orange Lodge‘ before ‚laugh out loud’…
What a great thread!
I thought I was the only one who did that!
Thanks, Judith, for today’s smile! Registrar’s do have a sense of humour!
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Español:
¡Gracias, Judith, por la sonrisa de hoy! ¡Los registradores sí que tienen sentido del humor!
A variation on the lightbulb joke –
Q: „How many registrars does it take to screw in a light bulb?“
A: „LIGHTBULB!!! You must be kidding – do you know what the UV range is on that thing?!!! Get it out of here!!!“
OK, so you know what I’ve been doing today? Removing fluorescent tubes and calculating the cost to UV shield the rest. I want gloom!
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Español:
Una variante del chiste del bombillo –
Pregunta: „¿Cuántos registradores se necesitan para poner un bombillo?“
Respuesta: „¡¡¡BOMBILLOS!!! Debes estar bromeando – ¡¡¡¿Sabes el nivel de Rayos Ultravioleta de esa cosa?!!! ¡¡¡Llévate eso de aquí!!!“
OK, así que, ¿sabes qué he estado haciendo hoy? Removiendo los tubos fluorescentes y calculando el costo de los filtros Ultra Violeta del resto. ¡Quiero oscuridad!
Ha ha ha! Judith, you definitely made my day! 🙂
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Español:
¡Ja ja ja! Judith, ¡definitivamente me arreglaste mi día! 🙂
Hi, just wanted you to know that I love your articles, the way you tell a story and the story itself.
Regards from Rio de Janeiro,
Claudia Porto
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Español:
Hola, solo para que sepan que amo vuestros artículos, el modo como cuentan una historia, y la historia en sí misma.
Saludos desde Río de Janeiro,
Claudia Porto
Muchas gracias, Claudia. Tus comentarios son bienvenidos, así como los aportes que tengas a bien dar para nuestro blog.
Saludos cordiales,
Fernando
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Thank you very much, Claudia. Your comments are welcome, as well as the contributions you have to either give to our blog.
Best regards,
Fernando
I agree. I am trying to teach this to my comrades at the National Guard Museum in Sea Girt. We are diligently trying to recover, rehabilitate the collection on hand.It will eventually be moved to off-site storage.
Gilda Healy
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Español:
Estoy de acuerdo. Estoy tratando de enseñar eso a mis compañeros en el Museo de la Guardia Nacional en Sea Girt. Estamos tratando con diligencia para recuperar y rehabilitar la colección que tenemos a la mano. Con el tiempo se trasladará a un sitio externo de almacenamiento.
Gilda Healy
This is all sorts of funny. I am guilty of so many of these!
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Español:
Estas sí que son diversas maneras de ser divertido. Soy culpable de muchas de ellas.
Great! Pack, unpack, move and repack!
totally understand…
Oh, how true. I have seen far more collection spaces than exhibits of local museums. And from here on, I will certainly start calling my son 1982.001. Thanks for the suggestion!
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Español:
Ah, cuan cierto. He visto muchos más espacios de colecciones que exposiciones en los museos locales. Viéndolo desde aquí, ciertamente comenzaré a llamar a mi hijo 1982.001. ¡Gracias por la sugerencia!
You might be a registrar if You find Bugs in the bug cabinets…
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German:
Du könntest Registrar sein, wenn Du Käfer in der Käfersammlung findest…
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Español:
Tú puedes ser un registrador si encuentras bichos en el gabinete de bichos…
I so can relate! on a recent trip to Washington and the Smithsonian’s, I kept checking for the guards to gather round me as I was checking the mounting and to see where the hygrometers were in the displays. Also when going through my photos to share with family, I found that most of them were of the mounts, the fonts and the way the descriptives were used for the displays!
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Español:
¡Puedo corroborarlo! en un reciente viaje a Washington y al Smithsonian, comprobé que los guardias estuvieron rodeándome mientras chequeaba el montaje y veía dónde estaban dispuestos los higrómetros. También, al chequear mis fotos para compartirlas con mis familiares, ¡me di cuenta de que la mayoría de ellas era sobre el montaje, la tipografía y el modo en que la rotulación era usada para los textos de los paneles!
Ahhhh, I can relate to so many of these but in particular 3 and 30!
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Deutsch:
Ahhhh, ich kann mich mit so vielen davon identifizieren, aber besonders mit 3 und 30.
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Español:
Ahhhh, puedo relacionarme con muchas de ellas, ¡pero en particular la 3 y la 30!
Thanks to all that put this „e-news“ together. I have been following the „you might be a registrar“ but having them all in one publication is fantastic. Danke,Gracias,Merci,Grazie
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Español:
Gracias a todos por compilar estas „e-news“. He estado siguiendo el „Tú puedes ser un registrador“, pero tenerlas todas en una misma publicación es fantástico. Danke, Gracias, Merci, Grazie.
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Deutsch:
Danke für das Zusammentragen dieser „E-News“. Ich habe die ganzen „Du könntest ein Registrar sein…“ Mails verfolgt, aber sie zusammen veröffentlicht zu haben ist fantastisch. Danke,Gracias,Merci,Grazie
Schade, der Titel klang vielversprechend. Leider berichtet der Beitrag – außer andeutungsweise im letzten Satz – nicht über den Tagesablauf griechischer Kuratoren. Ein Kuratorenportait wäre schön gewesen.
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What a pity, the title sounded promising. Unfortunately the article doesn’t – except covertly in the last sentence – talk about the everyday work of greek curators. A portrait of a curator would have been nice.
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Español:
Qué lástima, el título sonaba prometedor. Lamentablemente el artículo no habla -sólo encubierto en la última oración- de la labor cotidiana de los conservadores griegos. Un retrato de un conservador habría sido agradable.
Stimmt! Ein Kuratorenprortrait soll auch geschrieben werden. Aber, mein Absicht hier war zu berichten, dass unser Tagesablauf immer mehr Bürokratie auf Koste von Kultur betrifft!
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That’s right! A curator’s portrait shall be written, too. But, it was my aim with this article to show that our everyday work contains more and more bureaucracy instead of cultural work!
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Español:
¡Es correcto! El retrato de un curador deberá ser escrito, también. Pero, que era mi objetivo con este artículo demostrar que nuestro trabajo diario contiene más y más burocracia en lugar de trabajo cultural!
Da Bürokratie fast zu einem Schimpfwort degradiert worden ist, und im Grunde genommen nicht mehr Politik, EU Programme und Projekte vor Ort auseinander hält, kann solch eine Beschreibung wie in diesem Artikel leicht zu Mißverständnissen verleiten.
Es stimmt allerdings daß die Kultur fast keine eigene Stimme mehr hat, aber dies ist politisch gewollt. Innerhalb des Strukturfonds hatte die Kultur noch ein eigenständiges Rahmenprogram 2000 – 2006; in der anschliessenden, jetzt zu Ende gehende Phase (2007-2013) war die Kultur bzw. das Kulturministerium nur indirekt beteiligt. In den Neuverhandlungen mit der Kommission wurde Kultur durch das seit 2009 bestehende Ministerium für Kultur und Tourismus nur indirekt vertreten. Und wie im Artikel erwähnt, gibt es heutzutage nur noch das Ministerium für religiöse Angelegenheiten, Erziehung, Kultur und Sport. Mit anderen Worten, die Frage von Identität soll nicht länger von der Kultur, sondern von der Religion behandelt werden. Premierminister Samaras setzt auf die Kirche als eine der tragenden Säulen und das neben Tourismus und Schiffsfahrt. Die Krise von Griechenland kann darum auch als Verlust an literaischer Aufklärung angesehen werden. So soll das EKEVI – Das Zentrum zur Förderung des Buches – geschlossen werden. All das deckt sich mit der Tatsache daß in griechischen Schulen kein Kunstunterricht statt findet. Wenn also Kultur derartig in den Hintergrund gerät, dann deshalb weil auch die EU Kommission nur noch die Kreativ- und Kulturwirstschaft fördern will d.h. Kultur die einen nachweisbaren ökonomischen Wert hat. So als bräuchten die Menschen keine Reflexionsmöglichkeiten ihres Selbstverständnis. Oft wird vergessen oder übersehen daß Karamalis nicht nur Premierminister ab 2004 war sondern auch Kulturminister bis 2006. Seine rechte Hand war Zachopoulos, General Sekretär des Kulturministeriums der nur ein Konzept hatte, und zwar neue NGOs zu fördern weil die bestehenden in der Mehrheit die PASOK unterstützt hatten. So vergab er Gelder auf eine Weise die das Kulturministerium außer Kraft setzte. Und er konnte das als General Sekretär leichter als ein Minister tun, weil stets unterhalb des Radarschirms von politischer Verantwortung. Somit wird das selbe Spiel weiter getrieben. Entscheidungen werden weitgehend außerhalb der Öffentlichkeit beatrieben und nur das öffentliche Gut dann in Anspruch genommen, um neue Privatisierungsprojekte zu legitimieren. Wie gesagt, noch viel mehr kann dazu gesagt werden, aber Bürokratie als Begriff reicht nicht aus um das was tatsächlich gespielt wird beim Namen zu nennen.
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Bureaucracy has become nearly synonymous with a dirty word but too often it is used to blame everything on it while politics, EU programmes and projects are no longer distinguished as the case in this article. Hence everything can easily become one big misunderstanding.
Nevertheless it is true that culture has hardly a voice of its own, but this is due not the outcome of bureaucracy but due to a political policy being followed in Greece already for some time now. Take the example of the Structural Fund and how culture is financed in Greece, during the funding period 2000-2006, culture had its own operational program. In the current but now ending period 2007-2013, culture had not such an own programme administered by the Ministry of Culture, but at both national and regional levels two such programmes were given to Ministry as part of an agreement between various ministries. Now that negotiations with the Commission about the new funding period are under way, culture is represented only indirectly. For Papandreou formed a new ministry in 2009 to combine tourism and culture, while the current government under Premierminister Samaras created the Ministry for Religious Affairs, Education, Culture and Sport. This explains why the leading person for culture is the general secretary and not a minister, but as shall be shown this was already the case when Karamalis and Nea Democratia gained power in 2004 and Karamalis was as well Minister of Culture but in effect his general secretary Zachopoulos was in charge.
These shifts in responsibilities allocated to different ministries indicates that the delicate question of identity should no longer be handled by culture, but by religion. Prime Minister Samaras has declared that the key pillars to bring Greece through the crisis are the church, tourism and the shipowners. Consequently the crisis of Greece can be understood equally as a loss of literacy with culture either only cheap entertainment or a privilege for those who can still afford going to cultural events. One indication for that is that EKEVI, the National Book Centre is going to be closed, if no resistance shall come from the cultural sector. Designed to promote the book, it was set up to facilitate both writers and publishers in coming together and to promote Greek literature abroad and through various book fairs. At the same time, the renewed influence of the church in times of crisis reflects itself a reversal of the tendency towards openness as with the return of the spirit of orthodoxy it rationalizes as well why Greek schools do not give art lessons. As if creativity outside the normed schemata is not wanted.
Once culture is pushed so far into the background, then also because the EU Commission wishes to promote only the Creative and Cultural Industry since culture is only then recognized when it has a proven economic value. As if people do not need any other kind of possibility to reflect upon their own self understanding.
Often it is forgotten or overlooked what happened when Karamalis and Neo Democratia returned to power in 2004, the year when the Olympic Games were held. Karamalis was not only prime minister but named himself as well Minister of Culture. He kept that dual post until 2006. The real person in charge of culture was his general secretary Zachopoulos, a former school teacher from Thessaloniki. Zachopoulos had the insight that all NGOs of the cultural sector tended to support the PASOK party, the main rival of Nea Democratia. Consequently he used the double funds available by the Ministry of Culture, namely not only the EU money for culture but as well Lotto funds, to support NGOs which would give their support to Nea Democratia. Everyone praised him for he would simply write a cheque when someone came into his office. He by passed in effect all the departments of the Ministry of Culture and therefore destroyed already the basis for any possible policy implementation in future. Zachopoulos could act like this because as General Secretary he acted below the radar screen focusing on Ministers and their actions alone. This is how taking responsibility in public can be avoided, and is a game often being played. That is now being continued but for another reason. For now any claim to be doing something in the name of the public good is used to justify some new privatisation scheme, but one which is the outcome of a crony system. In short, a lot more can be said about what and why it is happening to culture in this critical phase, but surely the term ‚bureaucracy‘ does not suffice to explain what is happening. But to really name things by their true name the self understanding of culture as a search of truth has to be reactivated.
Hatto Fischer
Athens 11.6.2013
Más allá de la burocracia, yo estaría infinitamente agradecida con el sólo hecho de trabajar rodeada de semejantes obras de arte.
Fin.
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Inglés:
Beyond bureaucracy, I would be infinitely grateful for the sole fact of working surrounded by such works of art.
End.
Very exciting photos from the backstage work of museum registrars. Thanks for sharing Angela!
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Español:
Muy excitantes fotos del trabajo tras bastidores de los registradores de museo. ¡Gracias por compartir, Angela!
Fascinating and innovative. I will ask our library to get hold of the book.
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Español:
Fascinante e innovador. Voy a pedir nuestra biblioteca que adquiera el libro.
Great story. Thanks for bringing the images — and book — to our attention. It’s nice to find someone who appreciates museum storage, rather than criticising us for not showing „everything“, no matter how inappropriate that might be.
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Español:
Gran relato. Gracias por traernos las imágenes — y el libro– a nuestro conocimiento. Es bueno encontrar a alguien que aprecia las áreas de depósitos en el museo, en vez de estar criticándonos por no mostrar „todo“, sin importar lo inapropiado que eso pueda ser.
Dear colleagues of the blog of Alaska State Museum / Museum Bulletin:
Thank you very much for adding our weblink to your section „Professional Time Wasting on the Web“. It is a pleasure to have to all of you in our professional field.
Best regards,
Fernando
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Español:
Queridos colegas del blog del Alaska State Museum / Museum Bulletin:
Muchas gracias por agregar la dirección web de nuestro blog a vuestra sección „Professional Time Wasting on the web“ [„Tiempo profesional invertido en la web“]. Es un placer tenerles a ustedes en nuestro campo profesional.
Saludos cordiales,
Fernando
Dear Friends, Fernando and Angela:
Your initiative is excellent. The development of an updated list of new items not yet recognized, the risks that threaten the progress of works of art, and especially art objects and new atypical hardly been recognized by the New Generation, and undoubtedly will be highly valued by all who appreciate the history of culture. I think this interesting topic can also serve as the basis for an attractive educational outreach action.
This creative field is expanding very fast and the previous safety regulations to protect the works of art do not seem enough. Rightly indicated fragments of texts published by You. However, it might be advisable to stipulate more emphasis this unexpected but real influence of new technologies in the imaginative world of art in widely separated areas. It could also be shown the interest of young people in this relationship between art and technology.
Contributions to the topic requested by you, and also those modest and simple, could be published in a local newspaper eventually, with additional information. Perhaps the issue could cause a public interest generally attract attention and lead to greater professional recognition of their ideas. I think that the issue might appeal to many readers, especially if the main ideas become conceptually presented in a compelling, surprising, brief and clear.
I greet you, wishing you much success.
Anna Gradowska
Canada, BC.
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Español:
[Texto escrito por Anna Gradowska].
Apreciados Amigos, Fernando y Ángela:
Vuestra iniciativa es excelente. Enfrentamos una gran necesidad de la lista de riesgos no reconocidos todavía entre las normas de conservación vigentes, y esta situación puede amenazar la seguridad de algunas obras de arte contemporáneo, y especialmente de los objetos novedosos y atípicos, reconocidos apenas recientemente por la Nueva Generación. Creo que su iniciativa debe ser valorada por todos los que aprecian la historia de la Cultura.
Pienso también, que el tema planteado por Ustedes podría servir como base para una atractiva acción social de alcance didáctico. Como Ustedes lo indican en su trabajo, el campo de la creación artística esta extendiéndose muy rápido y las normativas de conservación existentes ya no son suficientes para el arte contemporáneo.
Estoy convencida de que es conveniente indicar con mayor énfasis esta inesperada pero real influencia icónica de las nuevas tecnologías en el campo de arte expresada en algunas disciplinas alejadas entre sí. Podría evidenciarse el interés de los jóvenes en la tecnología actual y también su agrado con el campo artístico contemporáneo. Los aportes a este tema solicitados por Ustedes, también los modestos e ingenuos, podrían ser publicados en algún periódico local interesado en este campo, y acompañados en casos que lo exigen por breves comentarios aclaratorios profesionales. Así el tema puede llamar la atención del público común interesado en el arte, y conducir al mayor reconocimiento social y profesional de sus ideas.
Deseándoles mucho éxito.
Anna Gradowska
Canadá, Columbia Británica
Deutsch:
Liebe Freunde Fernando und Angela:
Eure Initiative ist ausgezeichnet. Es gibt einen großen Bedarf für eine Liste mit Erhaltungs-Standards für Objekte, die bislang nicht untersucht wurden. Die Risiken, die Kunstwerke bedrohen, besonders, wenn sie neuartige und atypische Dinge umfassen, wurden erst vor kurzem von der neuen Generation erkannt. der nicht erfassten Risiken aus laufenden Erhaltungs-Standards, und dies kann die Sicherheit von einigen zeitgenössischen Kunst, und vor allem das neuartige und atypische Objekte, erst vor kurzem von der neuen Generation anerkannt bedrohen. Ich denke, dieses interessante Thema kann auch Ausgangspunkt für eine attraktive Bildungsaktion sein, die über die Grenzen des Museums hinausgeht.
Das kreative Feld entwickelt sich sehr schnell und die bisherigen Maßnahmen, Kulturgut zu schützen, scheinen nicht ausreichend zu sein, wie Dein Text deutlich herausstellt. Es wäre aber auch anzudenken, dass man diesen unerwarteten aber realen Einfluss von neuen Technologien in der kreativen Vorstellungswelt nutzt, um damit Menschen für die Kunst zu begeistern, die bisher davon ausgegrenzt waren. Man könnte es nutzen, um junge Menschen für die Zusammenhänge von Kunst und Technik zu interessieren.
Ihr könntet um Beiträge zu diesem Thema bitten und diese, auch wenn sie einfach und bescheiden sind, könnten in einer lokalen Zeitung veröffentlicht werden. Vielleicht könnte so mehr öffentliche Aufmerksamkeit für das Thema erreicht werden, was wieder zu erhöhter Wahrnehmung im professionellen Bereich führen könnte. Ich glaube, dass das Thema vielen Lesern gefallen könnte, besonders, wenn man es überzeugend, überraschend, kurz und klar darstellt.
Wir wünschen Ihnen viel Erfolg.
Anna Gradowska
Kanada, British Columbia
Dear Professor Anna:
Thank you very much for your comment for Angela and me. They are very valuable and have in mind.
Receive our cordial greetings forever.
Fernando
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Español:
Querida Profa. Anna:
Muchas gracias por su comentario para Ángela y para mí. Son muy valiosos y los tendremos muy en cuenta.
Reciba nuestro saludo cordial siempre.
Fernando
As the director of a videogame museum, I am continually frustrated by trying to manage a collection of bits and bytes, degrading plastic, exploding capacitors, and wonderful creations that get little respect from non-gamers. Reading this suddenly made my problems seem trivial. It’s all relative. Thanks for brightening my day! 😉
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Español:
Como directora de un museo de videojuegos, estoy continuamente frustrada al tratar de manejar una colección de bits y bytes, plástico degradable, condensadores que explotan, y maravillosas creaciones que reciben poco respeto por parte de los no jugadores. Leyendo esto, repentinamente me hizo ver mis problemas como algo trivial. Todo es relativo. ¡Gracias por iluminar mi vida! 😉
Deutsch:
Als Direktorin eines Videospielemuseums gehört die andauernde Frustration dazu, zu versuchen, eine Sammlung von Bits und Bytes, verfallendem Plastik, explodierenden Kondensatoren und wundervolle Kreationen, die wenig Respekt von Nicht-Spielern erhalten, zu verwalten. Diesen Artikel zu lesen ließ meine Probleme plötzlich trivial erscheinen. Alles ist relativ. Danke, dass ihr meinen Tag erheitert habt! 😉
Hi Judith,
great we were able to brigthen up your day! 🙂
Besides, your museum owns the very first joystick I ever held in hands (from an Atari 2600, the console worked still a few years ago when we exhibited it with a historical car race game („Indy 500″…)), so, kudos to you and keep up the good work!
Angela
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Español:
Hola Judith:
¡Qué grandioso es que pudimos iluminar tu día! 🙂
Además, tu museo posee el primer joystick [palanca de mando] que tuve en mis manos (de un Atari 2600), la consola funcionaba aun hace pocos años cuando la expusimos con un histórico juego de carros de carrera („Indy 500“)), así que, felicitaciones para ti, y sigue tu buen trabajo!
Angela
Deutsch:
Hi Judith,
toll, dass wir Ihren Tag aufheitern konnten! 🙂
Übrigens besitzt Ihr Museum den ersten Joystick, den ich je in Händen hatte (der von einem Atari 2600, die Konsole funktionierte vor ein paar Jahren immer noch, als wir mit ihr ein historisches Autorennen-Spiel („Indy 500″…) ausgestellt hatten). Also, Hut ab und machen Sie Ihre gute Arbeit weiter!
Angela
Hi Judith:
Your comments are welcome, and I think my aforementioned article should add a paragraph dedicated to the struggles of the registrar to videogames. Some of these factors you mention could well be part of the technical data of the parts, as the number of bits and bytes involved. I see this as something trivial, on the contrary!
Greetings and thanks for your inspiring comment.
Fernando
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Español:
Hola Judith:
Es bienvenido tu comentario, y creo que a mi referido artículo habría que agregarle un párrafo dedicado a las luchas del registrador para registrar videojuegos. Algunos de esos aspectos que comentas bien podrían ser parte de los datos técnicos de las piezas, como la cantidad de bites y bytes involucrada. No lo veo como algo trivial, ¡al contrario!
Saludos y gracias por tu inspirador comentario.
Fernando
Deutsch:
Hallo Judith:
Ihr Kommentar ist uns hochwillkommen, und ich denke, in meinem oben stehenden Artikel fehlt noch ein Absatz, der dem Kampf des Registrars mit Videospielen gewidmet ist. Einige der Faktoren, die Sie erwähnen, sollten Teil der technischen Daten der Objekte sein, wie die beteiligten Bits und Bytes. Das ist aus meiner Sicht alles andere als trivial, im Gegenteil!
Viele Grüße und Danke für Ihren inspirierenden Kommentar.
Fernando
As a medical history museum we have similar issues with medical equipment. The majority of our equipment collection arrives from hospitals because they are not working or a newer model replaced them.
We also confirm that any radium is removed from the item prior to donation. Last year an x-ray tech brought his Geiger counter over to confirm items in the storerooms do not have radiation issues. This is a concern for many students working with unfamiliar equipment and insurance companies.
The other issue is determining if the object is missing critical parts. We have wonderful specialist in their fields that volunteer their time to assess the equipment. If the bowel stapler is missing the ’stapler‘ then the item is a good candidate to be deaccessioned.
Kathy Karkut Collections Manager Museum of Health Care
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Español:
Como museo de historia médica, tenemos problemas similares con el equipo médico. La mayor parte de nuestro equipo médico llega de hospitales porque ya no funcionan, o porque fueron reemplazados por modelos más recientes.
Asimismo, nos aseguramos de que todo residuo de radio sea removido del ítem antes de concretar la donación. El año pasado un técnico de rayos x trajo a su contador Geiger para confirmar que los items en los almacenes de depósito no tuvieran problemas de radiación. Esta es una preocupación para muchos estudiantes que trabajan con equipos desconocidos y compañías de seguros.
El otro problema es determinar si el objeto tiene partes críticas faltantes. Tenemos maravillosos especialistas en sus respectivos campos, quienes voluntariamente ceden tiempo para evaluar los equipos. Si en la engrapadora de intestino no se encuentra la „grapadora“, entonces este item es un buen candidato para ser retirado.
Kathy Karkut Gerente de Colecciones Museo de la Salud
Deutsch:
Als ein medizinhistorisches Museum haben wir ähnliche Probleme mit medizinischen Geräten. Der Großteil unserer Gerätesammlung kommt aus dem Krankenhaus, weil sie nicht mehr funktionieren oder durch neuere Modelle ersetzt wurden.
Außerdem müssen wir sicher gehen, dass alles radioaktive Material aus den Objekten entfernt wurde, bevor es gespendet wird. Im vergangenen Jahr kam ein Röntgentechniker mit seinem Geigerzähler vorbei, um sicher zu gehen, dass wir keine Strahlungsbelastung in den Lagerräumen haben. Das ist ein Anliegen vieler Studenten, die mit unbekannten Materialien arbeiten und von den Versicherungen.
Das andere Problem ist, festzustellen, ob dem Objekt wichtige Teile fehlen. Wir haben wunderbare Spezialisten auf ihrem Gebiet, die uns freiwillig ihre Zeit opfern, um unsere Ausrüstung zu beurteile. Wenn dem Darmhefter der Hefter fehlt, ist das ein guter Kandidat für die nächste Aussonderung.
Kathy Karkut, Sammlungsmanagerin, Museum of Health Care [Museum für Gesundheitsfürsorge]
Hi Kathy,
oh, yeah, medical history… a really not-that-easy part of a collection. I’m really happy that the retired curator that was responsible for this part of our collection shows up every now and then so one can bother him with questions (like: is the stapler to this bowel stapler missing or is this a bowel stapler at all? Sometimes it turns out that a part from the car mechanics workshop just landed there by mistake).
And, yeah, you never know when a Geiger tube comes in handy. For we are surrounded by nuclear power plants you can never be too sure about anonymous donations…
Cheers to you!
Angela
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Español:
Hola Kathy,
Oh, sí, historia de la medicina… una parte realmente no-tan-fácil de una colección. Yo estoy muy feliz de que el curador retirado, que fue el responsable de esta parte de nuestra colección, se presente de vez en cuando, por lo que uno le puede molestar con preguntas (como: ¿falta algo a esta grapadora o se trata de una grapadora intestinal, o ésta se halla totalmente completa? A veces sucede que una pieza del taller mecánico de los automóviles acaba de aterrizar ahí por error).
Y, sí, nunca se sabe cuándo un tubo Geiger resulta apropiado. Porque estamos rodeados de plantas de energía nuclear, y nunca se puede estar demasiado seguro de donaciones anónimas …
¡Éxitos para ti!
Angela
Deutsch:
Hi Kathy,
oh, Medizintechnik… ein wirklich nicht einfacher Teil in einer Sammlung. Ich bin wirklich froh, dass der Wissenschaftler, der sich bei uns früher um diesen Bereich gekümmert hat, noch ab und zu vorbei schaut, obwohl er in Ruhestand ist, so dass man ihn mit Fragen löchern kann (wie zum Beispiel: Fehlt der Klammerer dieses Darmklammerers wirklich oder ist das überhaupt ein Darmklammerer? Manchmal stellt sich heraus, dass ein Teil aus der Autowerkstatt versehentlich in der Medizintechnik-Sammlung gelandet ist).
Und, oh ja, man weiß nie, wann so ein Geigerzähler ganz praktisch ist. Da wir von drei Kernkraftwerken umgeben sind, kann man bei anonymen Spenden nicht vorsichtig geung sein…
Alles Gute für Dich!
Angela
Congratulations Fernando and Angela with opening this blog and giving opportunity to registrars to communicate and share with ideas.
Bumaa D.
Mongolia
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Español:
Congratulaciones Fernando y Ángela por la apertura de este blog y por darnos la oportunidad a los registradores de comunicarnos y compartir ideas.
Bumaa D.
Mongolia
Deutsch:
Glückwunsch an Fernando and Angela für die Eröffnung dieses Blogs und die Möglichkeit, dass Registrare miteinander reden und Ideen austauschen können.
Bumaa D.
Mongolei
In order to improve Mongolian museum collection registration and develop young registrars I interest this site. and this address passing to my students. Is it OK?
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Español:
Con el fin de mejorar el registro de las colecciones de museos mongoleses y desarrollar a los jóvenes registradores, estoy interesada en este sitio; transmito esta dirección a mis estudiantes. ¿Está bien?
Deutsch:
Um die Registrierung in mongolischen Museumssammlungen zu verbessern und junge Registrare zu schulen ist diese Seite sehr interessant. Deshalb würde ich diese Adresse gern an meine Studenten weitergeben. Ist das in Ordnung?
Hi there,
sure, feel free to pass it to your students. And we’d love to hear about what you do in Mongolia!
Cheers to the Mongolian registrars!
Angela
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Español:
Hola:
Seguro, siéntete en libertad de transmitirlo a tus estudiantes. ¡Y nos encanta saber sobre lo que haces en Mongolia!
¡Saludos a los registradores mongoleses!
Angela
Deutsch:
Hallo,
sicher, fühlen Sie sich frei diese Seite an ihre Studenten weiterzuempfehlen. Und wir würden gerne etwas darüber erfahren, was Sie in der Mongolei tun.
Ein Hoch auf die mongolischen Registrare!
Angela
Hello BUMAA:
You and your students are welcome to our blog! We hope that our materials will be useful to young registrars of Mongolia.
Thank you! Cheers!
Fernando
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Español:
Hola BUMAA:
¡Tú y tus estudiantes son bienvenidos a nuestro blog! Esperamos que nuestros materiales les sean de utilidad a los jóvenes registradores de Mongolia.
¡Gracias. Saludos!
Fernando
Deutsch:
Hallo BUMAA:
Sie und Ihre Studenten sind uns auf unserem Blog herzlich willkommen! Wir hoffen, dass unsere Materialien für die jungen Registrare in der Mongolei hilfreich sind.
Danke! Tschüss!
Fernando
love that you ended with Shanti
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Español:
Me encanta que finalices con un Shanti.
Deutsch:
Ich liebe es, dass Sie sich mit Shanti verabschieden.
In one of my other lives, I was a yoga teacher. One of many other lives.
Shanti,
Anne
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Deutsch:
In einem meiner früheren Leben war ich Yoga-Lehrerin. Eines meiner vielen früheren Leben.
Shanti,
Anne
As an art handler I have the gratitude to work
With some amazing collections managers
Their tireless work is appreciated when a
Person has the good fortune to discover
What they love in a museum.
Lisa
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Español:
Como manipuladora [de objetos de colecciones de arte] me siento agradecida por trabajar con muchos e increíbles gerentes de colecciones.
Su incansable trabajo se se puede apreciar cuando uno como Persona tiene la buena suerte de descubrir lo que ama en un museo.
Lisa
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Deutsch:
Als Kunstspediteurin hatte ich das Vergnügen mit einigen fabelhaften Sammlungsmanagern zusammenzuarbeiten.
Ihre rastlose Arbeit weiß man zu schätzen, wenn man das Glück hat, zu entdecken, dass man Museen liebt.
Lisa
Lisa, I’ve worked with some pretty amazing art handlers and preparators. And I have had the good fortune, indeed, to discover museum work. Like one of my previous careers, calligraphy, it allows you creative use of both mind and physical skills. We work hard, but we’re a lucky bunch.
Anne
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Español:
Lisa, he trabajado con algunos muy impresionantes manipuladores y embaladores de arte, y he tenido la gran suerte, sin duda, de descubrir el trabajo museístico. Como en una de mis previas carreras profesionales, la caligrafía, éste te permite un creativo uso tanto de la mente como de las destrezas físicas. Trabajamos duro, pero somos un grupo afortunado.
Anne
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Deutsch:
Lisa, ich habe mit ein paar wirklich fabelhaften Kunstspediteuren und Ausstellungstechnikern zusammengearbeitet. Und ich hatte das wirklich große Glück, die Museumsarbeit für mich zu entdecken. Wie eine meiner früheren Karrieren, die Kalligraphie, ermöglicht sie die kreative Verknüpfung von geistigen und körperlichen Fähigkeiten. Wir arbeiten hart, aber wir sind ein glücklicher Haufen!
Anne
Hi Angela and Cliff (and all):
I agree with Angela, by the following: when working with the museum collection and studying an object one examines a mechanical and technological dimension in a way that is not limited to the use and mechanical purposes of the object only, like mechanical technicians do. In the museum’s collection, registrars tackle its material dimension, mechanical purpose and also its cultural context; they go into detail, like a Swiss watchmaker. And there is much that we must care for: codification (varnish-paint-varnish), labels, input references, study materials, packaging and placement in the storage area, consider things like weather conditions and adequate lighting, etc. Our computerized databases may contain just as much technical data as the data base of a technician, but many more fields for other information.
Mechanical technicians do not need all that, because their role is to make our bikes work well. For them, the work of the collections manager or registrar looks boring, like it is for us to watch them dismantling and assembling engines. We both do an indispensable role, and we measure with different value scales.
Cheers!
Fernando
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Español:
Hola Angela y Cliff (y todos):
Estoy de acuerdo con Angela, por lo siguiente: cuando en la colección del museo uno examina y estudia un objeto mecánico y tecnológico, se aborda una dimensión material que no se limita a su uso, función y finalidad meramente mecánica, como sí lo hacen los técnicos mecánicos. En la colección del museo, los registradores abordamos su dimensión material, su finalidad mecánica y además su contexto cultural; detallamos con „precisión de relojería suiza“ sus componentes. Y es mucho lo que debemos cuidar
para su codificación (barniz-pintura-barniz), etiquetas, referencias de entrada, estudio de materiales, embalaje y colocación en depósitos con condiciones climáticas y de iluminación adecuadas, etc. Nuestras bases de datos computarizadas tienen MUCHOS MÁS CAMPOS de información que las de los técnicos mecánicos.
Los técnicos mecánicos no necesitan hacer todo eso, pues su rol es hacer que nuestras motocicletas funcionen bien. Si para ellos nuestro trabajo de registradores de colecciones es aburrido, para nosotros lo es más verlos a ellos desarmando y armando motores, aunque ambos tenemos un papel indispensable, y nos medimos con escalas de valores diferentes.
¡Salud!
Fernando
Of course, as a collection manager of a science and technology museum I have to slightly disagree with Fernando. For us, it’s never boring to watch an engine being dismantled and re-assembled. It’s one of our sources to learn about the objects we are working with.
And this takes me a step further from the previous comments. Sure, watching mechanics at work creates a sense of wonder. A great starting point. But if we want to have great, innovative and intelligent mechanics in the future, we have to go the step further and tell the people, especially young people, what they see.
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Español:
De hecho, como gerente de colecciones de un museo de ciencia y tecnología tengo un leve desacuerdo con Fernando. Para nosotros, nunca es aburrido observar un motor que esté siendo desarmado y re-armado. Esta es una de nuestras fuentes para aprender acerca de los objetos con los que trabajamos.
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Deutsch:
Natürlich muss ich als Depotleiterin eines Technikmuseums Fernando da ein bißchen widersprechen. Für uns ist es nie langweilig dabei zuzusehen, wie ein Motor auseinander- und wieder zusammengebaut wird. Es ist eine der Quellen, bei denen man etwas über die Objekte lernt mit denen wir zu tun haben.
Und das führt mich noch einen Schritt weiter weg vom Ursprungskommentar. Natürlich, Mechanikern bei der Arbeit zuzusehen kann das Gefühl erzeugen, einem Wunder beizuwohnen. Das ist ein großartiger Ausgangspunkt. Aber wenn wir zukünftig großartige, innovative und intelligente Mechaniker haben wollen, dann müssen wir einen Schritt weiter gehen und den Leuten, besonders den jungen Leuten, erklären, was sie sehen.
“ So many people have no idea what goes on behind the locked doors of a collections department.“ Perhaps, it is time to bring those functions into public view. In a typical museum, motorcycle shop, auto dealership, appliance store, etc, the mechanics/technicians, like us, usually conduct their work walled away from public view. I recall the Slegers-Forbes motorcycle in Whippany, N.J. caused quite a sensation in the 1970s when they separated the showroom from the shop with a glass wall! The public could witness the work and the mechanics could concentrate on their duties. The few times I was at Slegers-Forbes, there where aways people glued to that glass, and gaining a real appreciation for the work on the other side, which shocked me because action was so slow in the shop, with the mechanics meticulously adjusting or torquing this or that. Perhaps it is time to expose that 90% of the work done in our museums to public view with a similar arrangement.
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Español:
„Mucha gente no tiene idea de lo que sucede tras las puertas cerradas del departamento de colecciones“. Tal vez, pero es tiempo de llevar esas funciones a la vista del público. En un museo típico, o en una tienda de motocicletas, ventas de autos, tiendas de accesorios, etc., los técnicos/mecánicos, como nosotros, usualmente hacen su trabajo separados de la vista del público por medio de paredes. Recuerdo el Slegers-Forbes motorcycle in Whippany, N.J., que causó total sensación en los años 70 cuando ellos separaron el área de exposición de la de la tienda ¡con una pared de vidrio! El público podía ver el trabajo y los mecánicos podían concentrarse en sus tareas. Las pocas veces que yo estuve en la Slegers-Forbes, vi que había varias personas pegadas al vidrio, obteniendo una real apreciación del trabajo hecho en el otro lado, lo cual me impresionó pues la actividad en el sitio era tan lenta, con los mecánicos ajustando o torsionando meticulosamente esto o aquello. Tal vez es tiempo de exponer a la vista del público ese 90% del trabajo hecho en nuestros museos, con una disposición similar.
Hi Clif,
to show what work is done behind the scenes was one of the initial thoughts that started this blog. In fact, there are some museums that offer a window to their collections where visitors can look into a selected storage area and can even spot a registrar working from time to time. Of course, it won’t work like in the garage you describe. There are too many security issues involved. Plus, seeing a car mechanic explains itself in many ways. Seeing a registrar staring and typing in a data base doesn’t.
Best wishes
Angela
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Español:
Hola Clif,
Mostrar el trabajo que se hace tras bastidores fue una de las consideraciones iniciales que motivaron este blog. De hecho, hay muchos museos que ofrecen una ventana a sus colecciones, a través de la cual los visitantes pueden ver una área seleccionada de almacenamiento, e incluso de vez en cuando pueden avistar a un registrador trabajando. Claro, eso no funcionará como en el garage que tú describes. Hay demasiados asuntos de seguridad involucrados. Además, ver a un mecánico de automóviles es algo que se explica por sí mismo de muchas maneras. Ver a un registrador mirando y escribiendo en una base de datos no lo hace.
Cordiales saludos,
Angela
Hi Anglia,
Au contraire, most of what makes our technological world work is, in reality, magic to most people. They know how to use it. They may know what it does. But, do they actually know how and why it works at the component level? Observing a mechanic/technician troubleshooting a problem on – you pick a product – by staring at computer or meter screens is not really that much [different] than observing a registrar process metadata on an object. As Paul noted, seeing the effort and tedium that registrars expend as they type details into a data base that makes the user’s computerized access so easy and creates the interpretive exhibit signage can only expand their appreciation. – sense of wonder!
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Español:
Hola Anglia [sic]:
Al contrario, la mayoría de las cosas que se hacen en nuestro mundo tecnológico en realidad resultan mágicas para mucha gente. Ellos [los técnicos/mecánicos] saben cómo usarla. Ellos pueden saber cómo funciona. Pero, ¿no saben ya ellos cómo y porqué funciona cada componente? Observando a un técnico/mecánico en plena resolución de un problema -elige tú el caso-, mirar fijamente a la computadora o a un instrumento de medición no es realmente muy diferente a observar el trabajo del registrador procesando la data de un objeto. Como observara Paul, es muy fácil ver el esfuerzo y el tedio que los registradores emplean al escribir información en una base de datos computarizada que facilita el acceso del usuario, y eso contribuye a crear la gestualidad interpretativa de una exposición, lo cual amplía la capacidad de apreciación. ¡Maravillante!
Typo:
…screens is not really that much DIFFERENT than observing…
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Español:
Fe de errata:
…pantallas en realidad no es muy DIFERENTE a la observación de…
Hi Clif,
[just corrected the different so people can follow up with this discussion.]
I totally agree that nowadays the daily work of a mechatronic troubleshooting a problem looks very much like the work of a registrar, it’s working with a computer. But that takes them both on the same level: when you watch what they do, you don’t understand what they do. While this may lead to a level of appreciation and wonder like you say, it can also backfire. If you watch our work without explanation, you may wonder why we work so incredibly slow. Why we not just write the number on the artifact and off it goes, but take the effort to add a layer of varnish first, let it dry, then paint the number and then add again a layer of varnish. Why we bother to leave something unpacked until we are sure what material it is exactly made of to avoid damage by the wrong packing material. The things we do are based on research, long-term experience and the knowledge that we are working with irreplacable originals. Though, in a world trained to look at working processes with the eye of „where to cut costs“ I think you shouldn’t let people watch a registrar without him/her having the chance to explain what he/she does and why – or with a professional educator at hand who explains it.
Best wishes
Angela
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Español:
[ajustes solo para que las personas de ramos diferentes puedan seguir esta discusión.]
Estoy totalmente de acuerdo con que hoy día la diaria resolución de problemas en la mecatrónica se parece mucho al trabajo del registrador: es un trabajo con computadora. Pero lo que les pone a ambos en el mismo nivel es que cuando ves lo que hacen, no entiendes lo que hacen. Si bien esto puede llevarnos a un nivel de apreciación y maravilla, como tú dices, también puede ser contraproducente. Si observas nuestro trabajo sin recibir ninguna explicación, te podrías preguntar por qué trabajamos tan increíblemente lento. Porque no solo escribimos el número sobre el objeto y listo, sino que nos tomamos el esfuerzo de agregar una capa de barniz primero, dejándola secar, y luego escribimos el número para después agregar otra capa de barniz. Y porque nos fastidia dejar algo desempacado si no estamos exactamente seguros del material con el que está hecho, para evitar daños que cause el uso de un material de embalaje equivocado. Las cosas que nosotros hacemos se basan en la investigación, en la prolongada experiencia y en el conocimiento de que estamos trabajando con materiales ireemplazables y originales. Aunque estemos en un mundo entrenado para mirar los procesos de trabajo con ojo de „dónde recortar gastos“, creo que no se debe dejar que la gente vea a un registrador sin que él o ella tengan la oportunidad de explicar lo que están haciendo y por qué lo hacen, o al menos sin contar con un educador profesional a la mano que lo explique.
I was a high level PA for many years, requiring me to be meticulous in detail, well versed in documentation and electronic media and highly organised. Three years ago I had a change of direction and am just about to complete a BSc in Conservation and Restoration with high grades. During my free time I have also volunteered in museums, working with conservators and care of collection managers and including data base entry and lots of documentation as well as object handling etc.. The role of the Registrar or Collections Manager sounds like it would be an excellent fit for my skills and wondered what route you would suggest I take next? Would you recommend trying to get experience or into an MA or similar? I am based in London, UK so a good choice of museums here! I love the blogs and find them very interesting to read.
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Español:
Yo fui Asistente de Personal de alto nivel por muchos años, y se me requería ser meticulosa con los detalles, muy versada en la documentación y en medios electrónicos, y altamente organizada. Hace tres años tuve un cambio de dirección, y estoy por terminar mi Licenciatura en Conservación y Restauración con altas notas. En mi tiempo libre he sido también voluntaria en museos, trabajando con los conservadores y atendiendo la gestión de colecciones, incluyendo el ingreso a la base de datos de mucha documentación, así como la manipulación de objetos diversos, etc. El rol del Registrador, o del Gerente de Colecciones suena como si calzara excelentemente con mis destrezas, y me pregunto cuál dirección me sugerirían uds. que pueda yo tomar como próximo paso. ¿Me recomendarían uds. intentar obtener más experiencia o comenzar un Máster o similar? Estoy radicada en Londres, Reino Unido, ¡y hay muchos museos selectos aquí! Amo los blogs y los encuentro muy interesantes de leer.
Hi Linda,
I hope someone from UK can add more specific thoughts on this.
I have a little insight into the way things are in the US and Germany, not in the UK. Generally speaking, German museums put more emphasize on formal education, in US museums it’s experience that counts more. Of course, having both is best and that’s only a general rule of thumb, each museum and each HR department is different.
Personally, I think you should head for a little museum practice next, maybe through an internship. How it reads and how it really is to work with collections differs. It might sound phantastic, in reality you might find that you have problems with the dust and spider webs, with working 8 hours under artifical light or with having a job that is nearly not noticed nor appreciated by your colleagues. Or you find out that it’s really what you want to do for the rest of your life and then feel affirmed for putting the effort in this goal.
Best wishes
Angela
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Hola Linda:
Espero que alguien del Reino Unido pueda agregar consideraciones más específicas sobre esto. Se me ocurre algo en cuanto al modo en que piensan los museos en EEUU y en Alemania, pero no los del Reino Unido. En términos generales, los museos alemanes ponen más énfasis en la educación formal; en los de EEUU lo que cuenta es la experiencia. Claro, teniendo ambas cosas es mejor, y es solo como una regla general, pues cada museo y cada departamento de Recursos Humanos, es diferente.
Personalmente, pienso que podrías enfocarte en la obtención de alguna experiencia, quizás un internado. Difiere mucho lo que se dice de lo que realmente es el trabajar con colecciones. Puede sonar fantástico, pero en realidad debes afrontar que tendrás problemas con el polvo y las telarañas, con el trabajar 8 horas bajo luz artificial o un trabajo que ni de cerca es notado o apreciado por tus colegas. O encuentras que eso es realmente lo que quieres hacer por el resto de tu vida, y entonces te sientes como reafirmada para poner tu esfuerzo en esta meta.
Cordiales saludos,
Angela
I absolutely love your line „The critical registrar re-learns permanently and joyfully“ One of my fascinations with the job is that there is always something else to learn, and no matter how rote and habitual the task, there is always some way to improve it, streamline it, or scrap it entirely to make way for new procedures and/or technology.
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Español:
Amo absolutamente tu línea [que dice] „El registrador crítico re-aprende permanentemente y con alegría“ Una de mis fascinaciones con este trabajo es que siempre hay algo más que aprender, y no importa cuán rutinaria y habitual sea la tarea, siempre hay alguna manera de mejorar, racionalizar, o desechar por completo para dar paso a los nuevos procedimientos y / o tecnología.
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Deutsch:
Ich liebe Deine Formulierung „Der kritische Registrar lernt ständig und gerne neu“ Eines der Dinge, die mich an meinem Job faszinieren, ist, dass es immer wieder etwas anderes zu lernen gibt und egal, wie sehr eine Aufgabe Routine und Ritual ist, es gibt doch immer etwas zu verbessern, es rationeller zu gestalten oder es einzustampfen, um neuen Abläufen und/oder neuen Technologien Platz zu machen.
Thanks, Anne! Certainly, what you add with your comment is very meaningful to us and our partners, because the more fascinated we are with our work, the better our professional service. Our blog proves it!
Fernando
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Español:
¡Gracias, Anne! Ciertamente, lo que agregas con tu comentario es muy significativo para nosotros y nuestros colegas, pues mientras más fascinados estemos con nuestro trabajo, mejor será nuestro servicio profesional. ¡Nuestro blog lo demuestra!
Fernando
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Deutsch:
Danke, Anne! Ganz sicher ist das, was Du anmerkst für uns und unsere Kollegen von großer Bedeutung, denn je mehr wir von unserer Arbeit fasziniert sind, desto besser ist auch unsere professionelle Dienstleistung. Unser Blog beweist das!
Fernando
Tracey, your career path sounds as convoluted as mine. I love your line „art history, carpentry, power tools, and diplomacy.“ Best of luck in your new position.
Anne
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Español:
Tracey, tu trayectoria profesional suena tan complicada como la mía. Amo tus lineamientos „historia del arte, carpintería, herramientas eléctricas, y diplomacia“. La mejor de las suertes para tu nuevo cargo.
Anne
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Deutsch:
Tracey, Dein Berufsweg sieht genau so zusammengeschustert aus wie meiner. Ich liebe Deine Zeile „Kunstgeschichte, Tischlerei, Elektrowerkzeuge und Diplomatie“. Viel Glück auf Deiner neuen Stelle.
Anne
What a lovely inspiring story. I can really relate to you. I have 4 young kids and work full time for my partner in adminastration duties with our small business. Having completed my degree part time over centuries! I have a passion for objects too! There is a lot of history in the area I live but unfortunately no money or museums. You’ve inspired me
Thanks Bel
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Español:
Qué hermoso e inspirador relato. Puedo realmente compararme contigo. Tengo 4 chicos y trabajo con mi socio a tiempo completo en las responsabilidades que tengo en nuestro pequeño negocio. Después de haber obtenido mi título a tiempo parcial ¡hace siglos!, ¡también siento pasión por los objetos! Hay mucho de historia en la región donde vivo, pero desafortunadamente no hay dinero ni museos. Tú me inspiras.
Gracias. Bel
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Was für eine schöne, inspirierende Geschichte. Ich kann mich damit wirklich identifizieren. Ich habe vier kleine Kinder und arbeite Vollzeit für meinen Partner, indem ich mich um die Verwaltungsaufgaben für unsere kleine Firma kümmere. Ich habe meinen Abschluß über Jahrzehnte nebenher gemacht! Ich habe auch eine Leidenschaft für Objekte! Es gibt sehr viel Geschichte in dem Landstrich, in dem ich lebe, aber leider kein Geld und auch keine Museen. Du hast mich inspiriert
Danke Bel
Bel,
Thank you for your post! The road to „success“ takes so many different paths- I think that those who have a straight path to success are a rare minority. So many of us have come from diverse backgrounds, but we all do it for the love of art or objects, no matter how we got here. Best of luck to you!
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Español:
Bel,
¡Gracias por tu comentario! EL camino al „éxito“ toma caminos muy diferentes. Creo que aquellos que tienen un camino directo al éxito son una rara minoría. Muchos de nosotros hemos venido de diferente formación, pero todos lo hacemos por amor al arte o a los objetos, no importa cuántos tengamos allá. !La mejor de las suertes para ti!
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Deutsch:
Bel,
Danke für Deinen Beitrag! Der Weg zum „Erfolg“ nimmt so viele Bahnen – ich denke, dass die, die einen geraden Weg zum Erfolg haben, in der Minderheit sind. So viele von uns kommen aus so unterschiedlichen Erfahrungshintergründen, aber wir tun es alle aufgrund unserer Begeisterung für die Kunst oder für Objekte, ganz gleich wo wir hergekommen sind. Viel Glück für Dich!
Hi Sharon – What a great story! Interesting about finding the perfect weather condition for the wax to dry. I’ve spent lots of time on (scissor) lifts – from cleaning ceilings to hanging sculptures – they take a bit of getting used to, and your article described the experience well.
Thank you for sharing!
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Hola Sharon – ¡Qué gran relato! Es interesante eso de encontrar las condiciones climáticas perfectas para que la cera se seque. Yo he pasado mucho tiempo montada en elevadores de tijera – desde limpiando techos hasta colgando esculturas – toma algo de tiempo acostumbrarse, y tu artículo ha descrito esa experiencia muy bien.
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Deutsch:
Hallo Sharon – Was für eine tolle Geschichte! Interessant, das über die perfekten Wetterbedingungen zu lesen, bei denen das Wachs trocknet. Ich habe viel Zeit auf (Scheren-)Hubsteigern verbracht – vom Reinigen von Decken bis zum Aufhängen von Skulpturen – man braucht ein bißchen, bis man sich dran gewöhnt hat und Dein Artikel beschreibt das ziemlich gut.
Danke fürs Teilen!
Annabelle,
Yes, the lift experience is definitely something to test one’s mettle. My colleagues will tell you that Dr Pepper and cookies are required supplies for statue cleaning week. I find that the wax goes onto the metal surface well when the day is sunny and has just a bit of a breeze. Temp between 70-75 is just great. Those conditions allow the wax to brush on smoothly, set up in a few minutes and buff to a nice shine with a soft rag. Any warmer and the wax doesn’t set up well to buff – stays too soft. Cooler or cloudy conditions makes it difficult to get the metal dry especially in the folds and shaded areas. The wax goes on rough and usually too thick. I will be the first to admit that the end result varies each time as I am no conservator, but I usually can get the surface washed and waxed well enough to cover and provide a measure of protection from dirt accumulation in the coming year. I try to coordinate with the City for the first week of September here in Michigan. Most years I have had good luck with the weather.
Hope that helps!
Sharon McCullar
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Español:
Annabelle, Sí, la experiencia sobre el ascensor es definitivamente algo para probar el valor de uno. Mis colegas te dirán que (una bebida como) el Dr. Pepper y unas galletas son los suministros requeridos para esa semana de limpieza de estatuas. Digo que la cera va bien sobre la superficie del metal cuando el día está soleado y con algo de brisa. Una temperatura entre 70-75 (°F) es perfecta. Esas condiciones permiten aplicar la cera suavemente y a los pocos minutos pulirla con un trapo suave, quedando con un bonito brillo. Una temperatura más cálida impide que la cera se aplique bien, pues queda demasiado blanda. En cambio, unas condiciones más frías y de mucha nubosidad dificultan que el metal esté seco, especialmente en los pliegues y las zonas sombreadas, y la cera queda áspera y demasiado gruesa. Yo soy la primera en admitir que el resultado final varía; no soy conservadora, pero por lo general consigo que la superficie esté lavada y encerada lo suficientemente bien como para cubrirla y proporcionarle una medida de protección contra la acumulación de suciedad para todo el siguiente año. Trataré de coordinarme con (las autoridades de) la Ciudad acá en Michigan, para la primera semana de Septiembre. En casi todos los años anteriores he sido afortunada con el clima. ¡Y espero que me siga ayudando!
Sharon McCullar
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Deutsch:
Annabelle, ja, das Hubsteiger-Erlebnis it wirklich etwas, mit dem man seine Standhaftigkeit unter Beweis stellen kann. Meine Kolleginnen und Kolleginnen können Dir versichern, dass Dr Pepper und Keks zur notwendigen Grundausstattung für die Woche des Statuenreinigens gehören. Ich habe herausgefunden, dass das Wachs am besten auf der Metalloberfläche haftet, wenn es ein sonniger Tag ist und es ein kleines bißchen Wind hat. Wenn die Temperatur zwischen 70 und 75 liegt (Fahrenheit, entspricht zwischen 21 und 24 Grad Celcius, Anmerkung der Übersetzerin) ist es am besten. Bei diesen Verhältnissen lässt sich das Wachs gut mit dem Pinsel verarbeiten, legt sich gut an und erhält mit einem weichen Tuch einen wunderbaren Glanz. Wenn es wärmer ist, trocknet das Wachs nicht gut genug und bekommt keinen schönen Glanz – bleibt zu weich. Wenn es kälter und bewölkt ist, wird es schwierig, das Metall trocken zu bekommen, besonders in den Falten und da, wo es schattig ist. Das wachs trocknet ungleichmäßig an und wird generell zu dick. Ich bin die erste, die zugibt, dass das Ergebnis von Mal zu Mal variiert und dass ich kein Restaurator bin. Aber wir bringen es normalerweise fertig, dass die Oberfläche gut genug gereinigt und gewachst ist, dass die Schutzschicht ein ausreichendes Maß an Schutz gegen die Verschmutzungen im Jahresverlauf bietet. Ich versuche immer, dass wir hier in Michigan mit der Stadt einen Termin in der ersten Septemberwoche hinbekommen. In den meisten Jahren hatten wir dann Glück mit dem Wetter.
Ich hoffe, das hilft weiter!
Sharon McCullar
Congratulations for this blog from AMMA, the non-profit spanish association about art-handling
Best
Borja
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Español:
Congratulaciones para este blog, enviadas desde la Asociación de Manipulación y Movimiento de Arte AMMA.
¡Bien!
Borja
Thank you very much for the well-reasoned and well-expressed article. You have hit the proverbial nail on the head – articulating the very things that I and our Archivist try to express nearly every day. I hope you do not mind that I am sharing this article with my department head and other colleagues.
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Deutsch:
Danke für den durchdachten und gut ausgedrückten Artikel. Du hast den sprichwörtlichen Nagel auf den Kopf getroffen – das deutlich auszusprechen, was ich und unsere Archivarin fast jeden Tag versuchen, auszudrücken. Ich hoffe, dass es Dich nicht stört, wenn ich diesen Artikel mit meinem Abteilungsleiter und anderen Kollegen teile.
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Español:
Muchas gracias por este bien razonado y bien expresado artículo. Has dado proverbialmente en el clavo, articulando esas mismas cosas que nuestros Archivistas y yo tratamos de expresar cada día. Espero que no te importe que yo comparta este artículo con mi jefe de departamento y con otros colegas.
Hi Sharon,
feel free to share it with whoever you like, I’m always glad if something I wrote is useful to somebody 🙂
Best,
Angela
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Deutsch:
Hallo Sharon,
Du kannst diesen Artikel selbstverständlich mit jedem teilen. Ich bin immer froh, wenn man etwas, das ich geschrieben habe, brauchen kann.
Beste Grüße
Angela
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Español:
Hola Sharon:
Siéntete libre de compartir esto con quien te plazca, que yo siempre estaré feliz si algo que yo escriba resulta útil para alguien 🙂
Saludos,
Angela
Registrars who say „NO“ are destined to be isolated. Registrars who say „How can I help you achieve what you want“ will always be accepted as part of the team.
Registrare, die „NEIN“ sagen, sind dazu bestimmt isoliert zu werden. Registrare, die sagen „Wie kann ich Dir dabei helfen, dass Du erreichst, was Du willst“ werden immer als Teil des Teams akzeptiert werden.
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Español:
Los registradores que dicen „NO“ están destinados a permanecer aislados. Los registradores que dicen „¿Cómo puedo ayudar a conseguir lo que quieres?“ siempre serán aceptados como parte del equipo.
Thanks for the comment, Paul.
There’s a YES and a NO to this.
YES, “how can I help you achieve you what you want” is generally the first thing to ask. And indeed, I know hardly any registrar who doesn’t in the first place. Take as proof many discussions on field related mailing lists of registrars where the question is how to find a compromise that is good user/visitor experience but still safe for the artifacts.
But
NO, this can’t include foul compromises. The problem is that often our voice is not heard or not taken serious. We say: we can’t allow food and drinks in the galleries, we suggest making the party in the lobby and have a guard at the entrance to the galleries who safeguards that no food is taken there. We hear: No, our guests will behave and it will be good user experience to eat popcorn and drink coke while looking at the artworks. After the event, who has to record the damages? Who has to suggest conservation measurements because there is popcorn trampled into the historic carpet or someone spilled his coke over the sculpture (leaving BTW a not to restore damage)? Right, the registrar. And who is turned down when asking for money to pay for the conservation and for the pest management needed? Right, the registrar.
So we have kind of a catch 22 situation here: either we say no at the beginning and our voice isn’t heard because that’s bad teamwork. Or we suggest how to make it safe and are ignored because one thinks it’s too expensive/complicated what we suggest. Or we say yes to each and everything. The outcome is always the same: we have to care for the issues and damages all the same.
Regarding teamwork: there are good teams and bad teams. Some respect their registrar and his job, some don’t. So it’s neither always like I stated it here, nor is he always accepted as part of the team. It always depends on many factors and our problem is that the job we have to perform is the one few other museum professionals will back up. Well, they will back up it verbally in Sunday speeches but not in their daily actions.
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Deutsch:
Danke für die Anmerkung, Paul.
Dazu kann man JA und NEIN sagen.
JA, “wie kann ich Dir dabei helfen, das zu ermöglichen, was Du erreichen willst” ist natürlich die erste Frage, die man stellen sollte. Und tatsächlich kenne ich kaum einen Registrar, der das nicht tut. Als Beweis mögen zahlreiche Diskussionen in einschlägigen Mailinglisten von Registraren dienen, in denen oft die Frage gestellt wird, wie man einen Kompromiss finden kann, der immer noch den Besuchern eine gute Erfahrung vermittelt und trotzdem für die Objekte sicher ist.
Aber
NEIN, das darf keine faulen Kompromisse einschließen. Das Problem ist, dass unsere Stimme oft nicht gehört wird oder nicht ernst genommen wird. Wir sagen: wir können nicht erlauben, dass im Ausstellungsraum gegessen und getrunken wird. Wir schlagen vor, dass die Party in der Lobby stattfindet und eine Aufsicht am Zugang zu den Ausstellungsräumen aufpasst, dass niemand Essen und Trinken mit hinein nimmt. Wir bekommen zu hören: nein, nein, unsere Gäste wissen sich zu benehmen und es wird eine großartige Erfahrung für die Besucher sein, wenn sie Popcorn und Cola konsumieren können, während sie sich die Ausstellung ansehen. Wer muss nach dem Event die Schäden aufnehmen? Wer muss Restaurierungsmaßnahmen vorschlagen, weil Popcorn in den historischen Teppich getrampelt wurde oder jemand Cola über die Statue gekippt hat (ein im Übrigen nicht rückgängig zu machender Prozess)? Richtig, der Registrar. Und wessen Antrag auf mehr Geld für Restaurierungsmaßnahmen und erforderlich gewordene Schädlingsbekämpfung wird wieder abgeschmettert? Richtig, der des Registrars.
Wir haben hier einen X-Haken wie in Catch 22: Entweder wir sagen am Anfang „nein“ und man übergeht uns, weil das schlechtes Teamwork ist. Oder wir haben einen Alternativvorschlag, der für die Exponate sicher ist, dann wird er ignoriert, weil er zu teuer oder zu kompliziert ist. Oder wir sagen zu allem ja und Amen. Das Ergebnis ist immer das gleiche: wir müssen uns so oder so um die Probleme und Schäden kümmern.
Was das Teamwork betrifft: es gibt gute Teams und schlechte Teams. Manche respektieren den Registrar und seine Aufgabe, andere nicht. Weder ist es immer so, wie ich es gerade beschrieben habe, noch wird der Registrar immer als Teil des Teams akzeptiert. Das hängt immer von unterschiedlichen Faktoren ab und das Problem liegt darin, dass der Job, den wir zu machen haben, von wenigen anderen Museumsleuten unterstützt wird. Naja, in Sonntagsreden wird unsere Position gerne unterstützt, aber nicht in der tagtäglichen Arbeit.
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Español:
Gracias, Paul, por tu comentario.
Hay un SÍ y un NO involucrados.
SÍ, “¿Cómo puedo ayudarte para que logres lo que quieres?” es generalmente la primera cosa a preguntar. Difícilmente conozco a algún registrador que no ponga eso en primer lugar. Toma como evidencia muchas discusiones al respecto, referidas en las listas de correo web de registradores, donde la pregunta es ¿Cómo lograr que el usuario/visitante tenga una buena experiencia, que sea a la vez segura para los objetos?
Pero
NO, no se puede permitir que se violen los compromisos adquiridos. El problema es que frecuentemente nuestra voz no es escuchada ni tomada en serio. Decimos: no podemos permitir comidas y bebidas en las salas, y sugerimos hacer la fiesta en el lobby poniendo guardias a la entrada de las salas que cuiden que no se consuman alimentos allí. Escuchamos: No, nuestros invitados se comportarán y serán buenos visitantes y no van a entrar comiendo palomitas de maíz y Coca-Cola mientras observan las obras de arte. Y luego del evento, ¿quién ha de registrar los daños? ¿Quién ha de sugerir que se tomen medidas de conservación porque hay palomitas de maíz pisoteadas sobre la alfombra histórica, o porque alguien derramó su Coca-Cola sobre una escultura (dejando, por cierto, un daño sin reparar)? Correcto, el registrador. ¿Y a quién se rechaza cuando se trata de solicitar dinero para pagar una restauración o para el control de insectos? Correcto, al registrador.
Así que, o decimos no desde el principio y que nuestra voz no sea escuchada porque atenta contra el trabajo en equipo, o sugerimos cómo hacerlo de manera segura, pero para ser ignorados, porque alguno piensa que es demasiado costoso/complicado eso que se sugiere. O decimos sí a todo. El resultado es siempre el mismo: tenemos que cuidar por los bienes y por los daños.
En relación con el equipo de trabajo, hay buenos equipos y malos equipos. Algunos respetan a sus registradores y su trabajo, otros no. Así que ni es siempre como lo he dicho acá, ni se es siempre aceptado como parte del equipo. Siempre depende de muchos factores, y el problema es que el trabajo que tenemos que ejercer es uno al que pocos colegas del museo querrán respaldar. O bien lo respaldarán verbalmente en un discurso de domingo, pero no en sus acciones diarias.
Gracias por el comentario, Paul.
Por ello, no se puede decir simplemente sí y no.
Hi Cheryl
You were the true boss of that show! I was just caught on film appearing „bossy.“
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Español:
Hola Cheryl:
Tú fuiste la verdadera jefa de ese show! Yo sólo fui captada en el filme figurando como „mandona“.
Hi there Zinnia. As the courier registrar for that install, I think we were co-bosses.
Cheryl
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Español:
Hola Zinnia. Como registradores couriers para esa instalación, pienso que fuimos co-jefes.
Cheryl
Is it really „Portrait de Lora“? The only one I found is called „Portrait de Lola“ and shows Lola Ruiz Picasso, the sister of the artist:
http://www.artvalue.com/auctionresult–picasso-pablo-1881-1973-spain-portrait-de-lola-soeur-de-l-ar-1924573.htm
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Español:
¿Es este realmente el „Retrato de Lora“? El único que he encontrado se denomina „Retrato de Lola“ y muestra a Lola Ruiz Picasso, la hermana del artista:
http://www.artvalue.com/auctionresult–picasso-pablo-1881-1973-spain-portrait-de-lola-soeur-de-l-ar-1924573.htm
I am so happy to see that this website has multi-lingual translations. I’ve been working on my Spanish and this is the perfect way to learn art terms in another language. Thanks & !Muchas Gracias!
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Español:
Estoy muy feliz de ver que este sitio web tiene traducciones multilingües. He estado trabajando en mi español y esta es una perfecta manera de aprender términos de arte en otro idioma. ¡Muchas Gracias!
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Deutsch:
Ich bin so froh, dass diese Seite in mehrere Sprachen übersetzt wird. Ich arbeite an meinem Spanisch und das ist die perfekte Art, Kunstbegriffe in einer anderen Sprache zu lernen. Danke! ¡Muchas Gracias!
Hola Jen:
Bienvenido a nuestro blog multilingüe. Esta será una buena oportunidad para que ejercites tu español, dentro del ámbito profesional que nos une. ¡Otra barrera que se cae!
Un saludo muy cordial.
Fernando
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Inglés:
Hi Jen:
Welcome to our blog multilingual. This will be a good opportunity to exercise your Spanish, within the professional field that unites us.Another barrier falls!
Best regards.
Fernando
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Deutsch:
Hi Jen:
Willkommen auf unserem mehrsprachigen Blog. Dies hier wird eine gute Möglichkeit sein, Ihr Spanisch auf dem Arbeitsgebiet zu üben, das uns alle verbindet. Eine weitere Mauer fällt!
Beste Grüße
Fernando
Dear Jen,
For the Art terms in the Registrars work field the book: Couriers Speak, from Cordelia Rose is very good to use.
ISBN 1-56098-195-4
This book contains all needed terms and sentences around the loan process of art objects. It’s a phrase book for couriers of museum objects. Languages are: English, German, Spanish, Russian, Japanese.
Hi Fernando and Angela,
I am the registrar at the Royal British Columbia Museum in Victoria, British Columbia, Canada. Your blog is a great idea. It not only opens up the opportunity to communicate globally with other registrars but could act as an international training tool for small museums or new registrar worldwide. I would love to participate. I have someone who will translate my articles into French.
Cheers,
Derek Swallow
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Deutsch:
Hi Fernando und Angela,
Ich bin der Registrar des Royal British Columbia Museum in Victoria, British Columbia, Canada. Euer Blog ist eine großartige Idee. Es eröffnet nicht nur die Möglichkeit, sich global mit Registraren aus aller Welt zu verständigen, sondern könnte auch als internationales Trainingswerkzeug für kleine Museen und neue Registrare weltweit dienen. Ich würde mich gerne beteiligen. Ich habe auch jemanden, der meine Artikel ins Französische übertragen könnte.
Bis dann,
Derek Swallow
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Español:
Hola Fernando y Angela:
Soy el registrador del Royal British Columbia Museum en Victoria, Columbia Británica, Canadá. Vuestro blog es una gran idea. No solo nos abre la oportunidad de comunicarnos globalmente con otros registradores sino que podría actuar como herramienta de entrenamiento para pequeños museos o para noveles registradores a nivel mundial. Me encantaría participar. Tengo a alguien que traducirá mis artículos al Francés.
Éxitos,
Cheers,
Derek Swallow
Hi Derek,
glad you like our project. We are looking forward to your contribution and will be glad to include it in French, too!
Just send it to: story@museumsprojekte.de
Greetings to Canada and Cheers!
Angela
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Deutsch:
Hi Derek,
ich bin froh, dass Dir unser Projekt gefällt. Wir freuen uns auf Deinen Beitrag und freuen uns, ihn auch in Französisch anbieten zu können. Sende ihn einfach an story@museumsprojekte.de
Grüße nach Kanada und bis dann!
Angela
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Español:
Hola Derek:
Qué bien que te gusta nuestro proyecto. Estamos abiertos a conseguir contribuciones, ¡y estaremos encantados en incluir la tuya también en francés! Solo envíala a story@museumsprojekte.de
¡Saludos a Canadá, y éxitos!
Angela
English:
Hi Derek:
I add my salute to Angela sent you. Your articles in French are welcome to our blog. Thank you!
Cheers!
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Español:
Hola Derek:
Agrego mi saludo al que ya te envió Angela. Tus artículos en francés son bienvenidos a nuestro blog. ¡Gracias!
¡Éxitos!
Fernando
Ouch, ouch, ouch. Those bullets (as you call them) are poly vinyl chloride! They are not inert! And can leave marks on everything – best only used for glass or glazed ceramics. Nitrile gloves are the best – inert, non slipping and they show the dirt (even if they are blue or purple). Be sure to get them without powder though…. For heavier duty use – you buy obtain nylon gloves with nitrile palms. Happy handling!
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Español:
UPDATE. Ay, ay, ay. ¡Esos nódulos (como ustedes los llaman) son de policloruro de vinilo! ¡No son inertes! Y pueden dejar marcas en todas las cosas -mejor es usarlos solamente para vidrios o cerámicas cristalizadas. Los guantes de nitrilo son lo mejor de los inertes, no deslizan y se les ve el sucio (incluso si son azules o púrpura). Asegúrense de mantenerlos libres de polvo… Para trabajos más pesados – pueden conseguir los guantes de nylon con las palmas de nitrilo. ¡Feliz manipulación!
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Deutsch:
Aua, aua, aua. Diese Noppen (wie Sie sie nennen) sind aus Polyvinylchlorid! Sie sind nicht inaktiv! Und können auf allem Spuren hinterlassen – am besten nur für Glas oder glasierte Keramik verwenden. Nitrilhandschuhe sind die besten – inaktiv, rutschfest und man sieht, wenn sie schmutzig sind (auch wenn sie blau oder violett sind). Passen Sie aber auf, dass Sie die ungepuderte Variante nehmen… für den Umgang mit schweren Objekten nehmen Sie am besten Nylonhandschuhe mit Nitrileinlage. Happy handling!
Hi Suzanne, thanks for the info (I didn’t even know those nodules are PVC!). We will include the information on nitrile gloves in the story as you and Sharon pointed out.
Bonus question: Are there nitril gloves that don’t make the hands sweat?
Best wishes!
Angela
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Español:
UPDATE. Hola Suzanne, gracias por la información (¡Yo ni siquiera sabía que esos nódulos eran de PVC!). Incluiremos la información sobre los guantes de nitrilo en el relato, tal como tú y Sharon lo señalaron.
Pregunta gratis: ¿Hay guantes de nitrilo que no hagan sudar las manos?
¡Cordiales saludos!
Angela
Bonus answer – yes there are nitrile gloves that don’t make your hands sweat! They are nylon gloves with the palms and fingers dipped in Nitrile They are a bit more clumsy, but they are also more durable and even, yes, washable!
http://tinyurl.com/b7r3gf4
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Español:
Respuesta adicional -Sí, hay guantes de nitrilo que no hacen sudar a las manos. Son guantes de nylon con las palmas y dedos punteados en nitrilo. Son un poco más toscos, pero son igualmente ¡más durables e incluso lavables!
http://tinyurl.com/b7r3gf4
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Deutsch:
Bonusantwort – ja, es gibt Nitrilhandschuhe, in denen man keine schwitzigen Hände bekommt! Das sind Nylonhandschuhe, deren Handflächen und Finger in Nitril getunkt wurden. Sie sind etwas klobiger aber sie sind auch beständiger und sogar, jawohl, waschbar!
http://tinyurl.com/b7r3gf4
Hi Suzanne:
Many thanks for your updated informations. It worth comment and reply that I can make, because my story of the white gloves is updated now. Since twenty years ago to nowadays those white gloves have evolved much.
Cordially Yours,
Fernando
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Español:
Hola Suzanne:
Muchas gracias por tus actualizadas informaciones. Vale la pena comentarlas y darte una respuesta, porque mi relato de los guantes blancos está actualizado ahora. Desde hace veinte años hasta ahora esos guantes blancos han evolucionado mucho.
Cordialmente,
Fernando
If this forger „gifted“ all these paintings, what did he get out of it?…. a free lunch and some museum store freebies? I am just confused by what I read, I guess.
Thanks
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Español:
Si este falsificador „donó“ todas estas obras, ¿qué le hizo salir de ellas? …. ¿un almuerzo gratis y algunos regalos de la tienda del museo? Estoy confundida por lo que he leído, supongo.
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Deutsch:
Wenn dieser Fälscher seine ganzen Fälschungen „geschenkt“ hat, was hatte er davon?… Ein kostenloses Mittagessen und einige Werbegeschenke aus dem Museumsshop? Ich bin nur verwirrt von dem, was ich hier lese, vermute ich.
Danke
There is much more to share on Landis. I am glad to see your reply and I can guarantee that after this blog has ended, you will no longer be confused but ask yourself, seriously… what was this forger really up to? -M
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Español:
Hay mucho más que decir sobre Landis. Me contenta ver tu comentario y puedo garantizar que luego de que esta historia haya terminado, ya no estarás confundida, pero pregúntate seriamente… ¿qué era lo que este falsificador estaba realmente tramando? -M
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Deutsch:
Es gibt noch wesentlich mehr zu Landis zu sagen. Ich bin froh, dass sie nachfragen und ich verspreche Ihnen, dass sie am Ende dieses Blogs nicht mehr verwirrt sein werden, sondern sich fragen werden, mal ehrlich… auf was war dieser Fälscher eigentlich aus?
That’s exactly why I find this story so disturbing… and worth telling.
Best,
Angela
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Español:
UPDATE. Esa es exactamente la razón por la que esta historia me parece tan inquietante … y que vale la pena contarla.
Saludos,
Angela
Liebe Registrare!
Sehr spannend finden wir Eure Geschichten aus der Welt der Registrare! Wir haben für unser Museumsblog unseren Registrar auch vor das Mikro gezerrt und dachten, dass Euch das Interview vielleicht interessieren würde: http://www.dhm.de/ausstellungen/verfuehrung-freiheit/blog/vf/news/die-schnittstelle-des-museums-registrar-edith-michelsen/zeit/2012/11/15.html
Viele Grüße aus dem DHM!
Wiebke Hauschildt
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English translation (by Angela):
Dear Registrars!
We find your stories out of the world of registrars very exciting! We have dragged our registrars to the microphone recently and thought the interview could be of interest for you, too: http://www.dhm.de/ausstellungen/verfuehrung-freiheit/blog/vf/news/die-schnittstelle-des-museums-registrar-edith-michelsen/zeit/2012/11/15.html
Best regards from the DHM! (Deutsches Historisches Museum, Museum of German History in Berlin – note of the translator)
Wiebke Hauschildt
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Traducción al español (por Fernando):
¡Queridos Registradores!
¡Encontramos muy excitantes vuestras historias sobre el mundo de los registradores! Recientemente hemos halado hacia el micrófono a nuestros registradores, y pensamos que la entrevista [que les hicimos] podría ser de interés para ustedes también:
http://www.dhm.de/ausstellungen/verfuehrung-freiheit/blog/vf/news/die-schnittstelle-des-museums-registrar-edith-michelsen/zeit/2012/11/15.html
¡Cordiales saludos desde el MHA! (Museo Histórico Alemán, Museo de Historia Alemana en Berlín – nota del traductor).
Wiebke Hauschildt
Ganz herzliche Grüße nach Berlin an unsere drei Kolleginnen aber natürlich auch an die ganze Mann- und Frauschaft vom DHM!
Und wenn Ihr auch Geschichten beizutragen habt: Nur zu, wir sitzen hier schon mit ganz gespitzten Ohren!
Alles Gute!
Angela Kipp
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English:
Best regards to Berlin and to our three colleagues, but of course to all our colleagues of the DHM, too!
And if you have some stories to tell: we are sitting here with pricked ears!
Best wishes
Angela
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Español:
¡Saludos cordiales a Berlín y a nuestros tres colegas, aunque por supuesto a todos los colegas del MHA también!
Y si tienen algunos relatos que contar: ¡estamos sentados acá con las orejas abiertas!
Mis mejores deseos para ustedes
Angela
Portuguese:
Caros amigos,
Gostaria de colaborar com um pequeno artigo que aqui anexo sobre o universo virtual dos museus. Parabéns pela iniciativa!
Dinah P. Guimaraens
MÍDIA DIGITAL, DIDÁTICA UNIVERSITÁRIA E ANTROPOFAGIA CULTURAL: REFLEXÕES DE UMA PROFESSORA LATINA NO EXÍLIO
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English (by Araceli Galán)
Dear friends,
I would like to collaborate with this small article about museum’s virtual universe. Congratulations for the initiative! Dinah P. Guimaraens.
DIGITAL MEDIA, UNIVERSITY DIDACTICS AND CULTURAL CANNIBALISM: REFLECTIONS OF AN EXILED LATIN TEACHER.
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Español (por Fernando)
Queridos amigos:
Me gustaría colaborar con este pequeño artículo acerca del universo virtual de los museos. ¡Congratulaciones por la iniciativa!
Dinah P. Guimaraens
MEDIOS DIGITALES, DIDÁCTICA UNIVERSITARIA Y CANIBALISMO CULTURAL: REFLEXIONES DE UNA PROFESORA LATINA EXILIADA.
Dear Dinah Papi Guimaraens,
thank you very much for your article. It confirmed Fernando and me to include something what we had in mind when we named the „stories“ section „stories & thoughts“. This is a registrar’s blog but it’s essential to keep an open mind and not staying inside the registrar’s box when it comes to thinking. That’s why we opened up the section „Think again“ which includes your article as first post.
Best wishes
Angela
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Deutsch:
Liebe Dinah Papi Guimaraens,
danke für den Beitrag. Er hat Fernando und mich in etwas bestätigt, was wir im Hinterkopf hatten, als wir die „Geschichten“-Rubrik ursprünglich „Geschichten & Gedanken“ genannt haben. Dies ist ein Registrar-Blog aber es ist wichtig, immer aufgeschlossen zu sein und nicht gedanklich in der Registrar-Schublade verhaftet zu bleiben. Deshalb haben wir nun die Rubrik „Denk mal wieder“ eröffnet, und Ihr Artikel ist der erste Beitrag.
Mit den besten Wünschen
Angela Kipp
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Español:
Querida Dinah Papi Guimaraens,
muchas gracias por tu artículo. Esto nos convence a Fernando y a mí de incluir algo que teníamos en mente cuando denominamos „Relatos“ a la sección de „Relatos y pensamientos“. Esto es un blog de registradores, pero es esencial mantener una mente abierta y no quedarnos dentro de la caja del registrador a la hora de pensar. Esa es la razón por la que abrimos la sección „Piénsalo otra vez“ la cual incluye tu artículo como primera publicación.
Cordiales saludos
Angela
This article reminds me of an incident when I worked at the Field Museum as Registrar of the Anthropology. I had a good relationship with the exhibit designers and we did our best to accomodate each other needs. However, one designer (someone who is still a friend) described me this way: She’s usually very nice and easy to get along with, but remember, she’s a registrar and can turn on you at any point.
Another collections manager I know explained it this way. Just like the Dr. Seuss character the Lorax, who „speaks for the trees“, the registrar or collections manager is the one who „speaks for the artifacts“.
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Traducción al español
[por Fernando]
Este artículo me recuerda un incidente cuando yo trabajaba en el Field Museum como Registradora de Antropología. Yo tenía buena relación con los diseñadores de exposiciones e hicimos nuestro mejor esfuerzo para dar cabida a las necesidades de unos y otros. Sin embargo, uno de los diseñadores (alguien quien aun es amigo) me describió de esta manera: Ella por lo general es muy agradable y fácilmente se lleva bien con uno, pero recuerde, ella es una registradora y puede volverse contra ti en cualquier momento.
Otro gerente de colecciones que conozco lo explicó de esta manera. Al igual que el personaje del Dr. Seuss, el Lorax, que „habla en nombre de los árboles“, el registrador o el gerente de colecciones es quien „habla en nombre de los artefactos“.
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Deutsche Übersetzung (von Angela)
Dieser Artikel erinnert mich an eine Begebenheit als ich am Field Museum als Registrar für die Anthropologische Sammlung arbeitete. Ich hatte gute Beziehungen zu den Ausstellungsdesignern und wir haben immer unser bestes getan, um auf die Bedürfnisse des jeweils anderen Rücksicht zu nehmen. Trotzdem beschrieb mich einer der Designer (der immer noch ein Freund ist) mit folgenden Worten: Sie ist normalerweise wirklich nett und man kommt gut mit ihr aus, aber denkt immer dran, sie ist ein Registrar und kann sich jederzeit gegen Dich wenden.
Ein anderer Sammlungsmanager hat es mal so erklärt: Genau wie der Dr. Seuss character „Der Lorax“, der „für die Bäume spricht“, ist der Registrar oder Sammlungsmanager derjenige, der „für die Objekte spricht“.
Hahaha, I like the characterization of your friend. I can’t remember who it was, but another colleague considered to make a t-shirt:
Front print: „Registrars“
Back print: „Just say NO“
Keep up the good work!
Angela
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Deutsch:
Hahaha, ich mag die Charakterisierung Ihres Freundes. Ich weiß nicht mehr, wer es war, aber eine andere Kollegin überlegte, sich ein T-Shirt zu machen:
Frontseite: „Registrare“
Rückseite: „Sagen einfach NEIN“
Weiterhin gute Arbeit!
Angela
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Español:
Jajaja. Me encanta la caracterización de tu amigo. No puedo recordar quién era, pero otro colega consideró hacer una franela T:
Impresión frontal: „Registradores“
Impresión al dorso: „Sólo dicen NO“.
¡Que siga el buen trabajo!
Angela
Hallo Herr Selmer,
vielen Dank für dieses Hinweis. Im Spanischen bin ich überfragt (aus diesem Sprachraum stammt das Beispiel), aber im Englischen ist mit „armchair with two armrests“ die Tautologie offensichtlich. Es ist eine der Herausforderungen dieses Blogs, die konkreten Beispiele, die Kollegen aus aller Welt aus der Praxis beitragen, so zu übersetzen, dass sie auch in den anderen Sprachen stimmig sind.
Sie finden ein solches Beispiel nur wenige Zeilen später. Im spanischen Original heißt es hier:
„Y un poco de razonamiento me ayudó a reconfirmar que los carros ruedan porque tienen ruedas…“
Und es hat uns schon einiges Kopfzerbrechen bereitet, die Doppelung, die sich im spanischen Wort für fahren „ruedan“ und Reifen „ruedas“ findet, passend ins Englische und Deutsche zu übertragen, was nur dadurch gelang, dass man das Auto durch das Rollbrett ersetzt wurde.
Wenn Ihnen also ein stimmigeres Beispiel für unseren „Sessel“ einfällt, nur zu, wir tauschen es dann aus. Es geht hier darum, Grundprobleme aus der Praxis zu diskutieren, und wenn das mit dem Beispiel aus der einen Sprache nicht geht, dann muss man eben in der anderen Sprache etwas anderes finden. Das ist die eigentliche Herausforderung – nicht nur dieses Blogs an sich, sondern generell jeder internationalen Zusammenarbeit.
Ebenso würde es mich freuen, wenn Sie ein paar entsprechende Beispiele aus dem deutschsprachigen Raum beizutragen hätten, denn das Original stammt, wie gesagt, aus dem lateinamerikanischen Sprach- und Museumsraum und ein paar deutsche Fehlleistungen würden sicher die Südamerikanischen Kollegen ebenfalls interessieren.
English translation of Angela’s reply to the comment of Jan Selmer (by Angela):
Dear Mr. Selmer,
Thank you very much for the hint. I don’t know about the Spanish term (the example derives from this language area), but in English „armchair with two armrests“ is obviously a tautology. It’s one of the challenges of this blog to translate the practical examples from colleagues around the world into other languages without losing context and meaning.
You can see an example of this a few lines later. The Spanish original says:
„Y un poco de razonamiento me ayudó a reconfirmar que los carros ruedan porque tienen ruedas…“
It caused us quite a headache to get this into English and German and the only possibility to transfer the duplication that lies in „ruedan“ for wheels and „ruedas“ for driving was to exchange the car against the skateboard.
So, if a better example for our German „Sessel“ crosses your mind, please submit it and we will exchange it. It is our goal to discuss issues that occur in our everyday work. If an example of one language doesn’t work in the other language, well, then we have to look for a better one in this language. This is the real challenge – not only with this blog, but also in every international collaboration.
If you find German examples we will be glad to post them, for the Original is, like I said, from Latin America. I guess our colleagues from Latin America would love to see some German fails in object description.
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Traducción al español
[por Fernando]
Querido Sr. Selmer:
Muchas gracias por la sugerencia. No conozco el término en español (el ejemplo es tomado de ese idioma), pero en inglés „armchair with two armrests“ [„sillón con dos apoya-brazos“] es obviamente una tautología. Uno de los desafíos de este blog es traducir a otros idiomas los ejemplos prácticos de los colegas de todo el mundo, sin perder su contexto y significado.
Ud. puede ver un ejemplo a continuación, en pocas líneas: „Y un poco de razonamiento me ayudó a reconfirmar que los carros ruedan porque tienen ruedas…“. Nos causó un dolor de cabeza poder traducir esto al inglés y al alemán, y tan solo traducir esa [aparente] reiteración implícita en „ruedan“ [verbo en relación a las ruedas en movimiento] y „ruedas“ [sustantivo para las ruedas en sí mismas] nos hizo comparar las funciones de un carro versus las de una patineta.
Así que, si le pasa por su mente un mejor ejemplo para nuestro término alemán „Sessel“, por favor envíenoslo y haremos el cambio. Nuestra meta es discutir los asuntos que ocurren en el trabajo diario. Si un ejemplo en un determinado lenguaje no funciona en otro, bien, tendremos que buscar uno mejor. Ese es el desafío real -no solo con este blog sino también con cada colaboración internacional.
Si ud. encuentra ejemplos en alemán nos encantará publicarlos acá, pero el original viene, como ya dije, de Latinoamérica. Considero que nuestros colegas latinoamericanos disfrutarán viendo algunas fallas en la descripción de los objetos en idioma alemán.
Schlechtes Beispiel: Eine Sitzgelegenheit mit zwei Armlehnen kann z.B. auch ein Polsterstuhl sein und nicht jeder Sessel hat Armlehnen. Vgl. auch
http://museum.zib.de/museumsvokabular/documents/systematik-moebel.pdf
„IRI: 00001090 | approved
Der Sessel ist im Gegensatz zum Polsterstuhl immer mit gepolsterter Sitzfläche und gepolsterter
Rückenlehne und *zumeist* mit Armlehnen ausgestattet. Er ist einsitzig und hat meist eine geringere Sitzhöhe als ein Stuhl.“
Insofern ist die Bezeichnung „Sessel mit zwei Armlehnen“ durchaus korrekt.
Beispiele für schlechte Objektbeschreibungen lassen sich übrigens zuhauf in den diversen online stehenden Objektdatenbanken der deutschen musealen Einrichtungen finden, man braucht nicht in Übersee danach zu suchen 😉
English Translation of the comment of Jan Selmer (by Angela):
Bad example: A seating with two armrests can also be a padded chair for example and not every „Sessel“ (German word for armchair, we have a translation problem here for the German definitions and English wording are not congruent – annotation of the translator) has two armrests. See http://museum.zib.de/museumsvokabular/documents/systematik-moebel.pdf (German vocabulary on furniture).
„IRI: 00001090 | approved
A „Sessel“ is, opposed to the „Polsterstuhl“, always featured with a padded seat and padded backrest and has – most of the time – armrests. It is single-seated and has most of the time a lower seat height than a chair.“
Taking this description „Sessel mit zwei Armlehnen“ is correct.
By the way, examples for bad object descriptions can be found in great numbers in online databases of German museal institutions, one is not forced to look for them overseas 😉
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Traducción al Español
[por Fernando]
Ejemplo incorrecto: Un asiento con dos apoya-brazos puede igualmente ser una silla acolchonada, por ejemplo, y no toda „Sessel“ (palabra alemana para designar a un Sillón; tenemos aquí un problema de traducción, pues estas definiciones en Inglés y Alemán no son congruentes -Nota de la traductora) tiene dos apoya-brazos. Vea:
http://museum.zib.de/museumsvokabular/documents/systematik-moebel.pdf (Diccionario alemán para mobiliarios).
„IRI: 00001090 | approved
Un „Sessel“ está, al contrario de „Polsterstuhl“, siempre caracterizado por un asiento y un respaldo acolchonados y tiene -la mayoría de las veces- apoya-brazos. Es una silla individual y es generalmente un asiento de poca altura más que una silla“.
Tomando en cuenta esta descripción, „Sessel mit zwei Armlehnen“ [„Sillón con dos apoya-brazos“] es correcta.
Por cierto, ejemplos de descripciones erradas pueden encontrarse en gran número de bases de datos on line de instituciones museísticas alemanas, y uno no se ve obligado a buscar allende la mar. 😉
We no longer use the white gloves with the nodules – either plain white gloves or nitrile gloves if you need a solid grip. I believe the bumps can be considered to be too abraisive.
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Español:
Nosotros no usamos más los guantes blancos con nódulos -ya sean blancos lisos o guantes de nitrilo si se necesita una firme sujeción. Creo que esas protuberancias también pueden ser consideradas como abrasivas.
Your comment is welcome, Sharon. This helps us to keep updated with this important and „white“ resource. Thank you!
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Español:
Tu comentario es bienvenido, Sharon. Eso nos ayuda a mantenernos actualizados con nuestros importantes y „blancos“ recursos. ¡Muchas gracias!
Deutsche Übersetzung des Kommentars von Fernando (von Angela):
Danke für den Hinweis, Sharon. Das hilft uns, in Hinblick auf diese „weiße“ Ressource auf dem Laufenden zu bleiben. Danke!
Deutsche Übersetzung des Kommentars von Sharon Steckline (von Angela):
Wir verwenden die weißen Handschuhe mit den Noppen nicht mehr – entweder glatte weiße Handschuhe oder Handschuhe aus Nitril wenn es darum geht, guten Halt zu haben. Ich glaube, die Noppen könnten eventuell Material abtragen.
Hi! Just love your idea.
I’m Portuguese so I could help by translating articles from English to Portuguese.
My last job consisted on the Creation of Inventory records for museum objects through the procedures established by IMC (Institute of Museum and Conservation, IP).
Loading of the object information in the Matriz database (European Museum Object Database) of the Museums and National Palaces in the Lisbon Greater Area.
Examination of each object and its records (legacy systems, paper), ascertain the condition and update to the Matriz database for curators and public consultation.
Objects involved belong to the following disciplines History of Art, Decorative Arts, Archaeology, History, Iconography and others.
Museums and Palaces where the inventory is being conducted:
National Tile Museum; National Museum of Archaeology; National Palace of Mafra; IMC – Institute of Museums and Conservation; National Theatre Museum; National Palace Museum of Ajuda; National Museum of Ancient Art.
Please contact me if you would like to work together,
Best regards,
Liliana
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Español:
Traducción al Español
[por Fernando]
¡Hola! Sencillamente me encanta su idea.
Soy Portuguesa y podría ayudar traduciendo artículos del Inglés al Portugués.
Mi último trabajo consistía en
Creación de Inventarios para objetos de museo a través de los procedimientos establecidos por el IMC (Instituto de Museos y Conservación, IP).
Cargar la información de los objetos en la base de datos matriz
(European Museum Object Database) de los Museos y Palacios Nacionales del área de la Gran Lisboa.
Examen de cada objeto y sus registros (en los sistemas anteriores heredados, en papel), comprobar la condición y actualizar la base de datos matriz para los curadores y para su consulta pública.
Los objetos involucrados pertenecen a las disciplinas de Historia del Arte, Artes Decorativas, Arqueología, Historia, Iconografía y otros.
Museos y Palacios en los cuales este inventario está siendo llevado a cabo:
Museo Nacional de Tile; Museo Nacional de Arqueología, Palacio Nacional de Mafra; IMC – Instituto de Museos y Conservación; Museo del Teatro Nacional; Museo del Palacio Nacional de Ajuda; Museo Nacional de Arte Antiguo.
Por favor contáctenme si les gustaría que trabajáramos juntos.
Cordiales saludos,
Liliana.
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Deutsch:
Deutsche Übersetzung des Kommentars von Liliana Rego (von Angela):
Hi! Ich liebe die Idee.
Ich bin Portugiesin also könnte ich beim Übersetzen von Artikeln vom Englischen ins Portugiesische helfen.
Mein letzter Job beinhaltete das Inventarisieren musealer Gegenstände auf Grundlage der Verfahrensweisen, die vom IMC (Institute of Museum and Conservation, IP) entwickelt wurden.
Einspielen der Objektinformationen in die Matriz Datenbank (European Museum Object Database) der Museen und Schlösser in Lisabon und Umgebung.
Untersuchung jedes Objektes und Überprüfung seiner Dokumentation (im Vorgängersystem und/oder Altakten), Überprüfung des Objektzustands und Aktualisieren der Daten für die Matriz Datenbank, zur weiteren Verwendung durch Kuratoren und die Öffentlichkeit.
Die davon betroffenen Objekte kamen aus den Bereichen Kunstgeschichte, Kunstgewerbe, Archäologie, Geschichte, Ikonographie und andere.
Objects involved belong to the following disciplines History of Art, Decorative Arts, Archaeology, History, Iconography and others.
Museums und Schlösser, für die diese Bestandsbetreuung durchgeführt wurde:
National Tile Museum; National Museum of Archaeology; National Palace of Mafra; IMC – Institute of Museums and Conservation; National Theatre Museum; National Palace Museum of Ajuda; National Museum of Ancient Art.
Bitte kontaktieren Sie mich, falls Sie an einer Zusammenarbeit interessiert sind,
Mit freundlichen Grüßen
Liliana
Hi Liliana,
it would be great if you’d participate by translating into Portuguese! Feel free to translate anything you want. I’ll write you a mail about it.
Best regards
Angela
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Deutsch:
Es wäre großartig, wenn Sie mitmachen würden, indem Sie etwas ins Portugiesische übersetzen! Fühlen Sie sich eingeladen, alles zu übersetzen, was Sie möchten. Ich werde Sie per Email kontaktieren.
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Español:
Hola Liliana:
¡Sería grandioso si participaras con tus traducciones al portugués! Siéntete en libertad de traducir lo que desees. Te enviaré un correo acerca de eso.
Cordiales saludos
Angela
Ouch! That must have hurt!
We really need two types of gloves: the white gloves and these others, especially for that kind of delicate and short artifacts:
http://images02.olx.es/ui/1/86/99/1352028726_452377799_1-guantes-de-jardineronuevos-centro.jpg
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Español:
¡Ay! ¡Eso debió haber dolido!
Realmente necesitamos dos tipos de guantes: los blancos y estos otros, especialmente para aquellos tipos de artefactos delicados y pequeños:
http://images02.olx.es/ui/1/86/99/1352028726_452377799_1-guantes-de-jardineronuevos-centro.jpg
Oh yeah, those nonslip rubber bullets come really in handy… I remember seeing one of our contractors handling an extremly precious pocket watch with white gloves. Unfortunately, without rubber bullets. I will never forget the sound of the watch crashing on the floor… and the insurance issues afterwards. Just remember: smooth metal gets slippery like soap when handled with white gloves without something that helps against this…
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Español:
Ah, sí, esas bolitas de caucho antirresbalantes pueden resultar prácticas… Recuerdo haber visto a uno de nuestros contratistas manipulando un reloj de bolsillo extremadamente precioso con guantes blancos. Infortunadamente, sin bolitas de caucho. Nunca olvidaré el sonido del reloj despedazándose en el suelo… y las posteriores diligencias ante el seguro. Solo recuerdo: el metal liso se pone resbaladizo como el jabón cuando se maneja con guantes blancos sin algo que ayude a contrarrestar esta …