Museum Exhibition - Science topic

Dear Muhammad Fairus Abd Rahman,

I have seen good results from freeze-drying concerning shape and color with large Cortinarius sp. A disadvantage is the material becoming fragile.

Kind regards,

Stip

Tamara: And if Ruben's suggestions have not helped, describe the species (leaving "type locality unknown") to make other students aware of its existence: maybe it turns out to be already present in some collection but either unidentified or misidentified; or hopefully somebody, knowing what to look for, will find and colect it.

Journal reviewers and editors should not allow publication where holotypes are deposited in private collection.

Sofie Schrey , thanks for the update!

I agree with Mark. I have also used Siamese. It works fine.

After the so-called rehabilitation at Simon Janashia Museum of Georgia (Tbilisi) you won't find anything from medieval Georgian history (sic!).

I found a couple of discussions you may find useful.

Rehydrating fish specimens

https://mailman.yale.edu/pipermail/nhcoll-l/2001-February/000353.html

Rehydrating invertebrate specimens

http://www.cool.conservation-us.org/byform/mailing-lists/cdl/1997/1433.html

Hi all,

Thank you very much for all your input and suggestions. It seems the mystery has just been solved. Marcus Bertling has just published a paper in phytotaxa about this kind of fossil, which is definitely a trace fossil that goes by the name Tetraphyllum dubium. It is a trace that was first reported from the Campanian of Germany and initially thought to be a plant fossil, but Marcus has restudied it and makes a very convincing case that it is indeed a trace fossil.

Hykin, Sarah M., Ke Bi, and Jimmy A. McGuire. "Fixing formalin: a method to recover genomic-scale DNA sequence data from formalin-fixed museum specimens using high-throughput sequencing." PloS one 10.10 (2015): e0141579.

Hi David, I can say I know who to contact and they can be shared but not publicly for example....

I'm hoping for a taxonomical reference of some kind. Sheep are not my area.

About objects and narration you can find interesting things in liturgical semiotics. Basically, ritual objects can in some situations be perceived as narrative objects for what they denote symbolically or iconically is often associated to a story to be told. For instance, the very organization of many churches can be considered as a parallel for the passion of the christ. The central nef will often be decorated, from the entrance to the transept, with iconic representations of the different stations of the Christ. The ritual of communion is a reenactment of the story, as people have to cross the central nef very slowly - with time to contemplate the stations - to receive the "body of the Christ," the host bread, an object used for narrative purpose through a ritual to symbolize the sacrifice of jesus, under an actual iconic representation of the crucifixion. The ritual itself, the interaction with the object, the act of eating the host, serves as a symbolic representation of the community sharing the sacrifice. However the whole organization of the space will have implications about hierarchy and submission to the Christ. The paintings in the central nef, the statue of the christ, the architecture, the pace of the ritual, and the ritual objects all serve the narrative reenactment of the passion which itself serves as a rhetoric discourse.

I don't have a lot of references in mind right now but you may look at this for instance :

Lukken, G. Searl, M. Semiotics and Church Architecture: Applying the Semiotics of A.J. Greimas and the Paris School to the analysis of church buildings. Kampen, The Netherlands: Kok Pharos Publishing House, 1993.

In 2005, Emma Rainforth produced a PhD dissertation at Columbia University titles "Ichnotaxonmy of the Fossil Footprints of the Connecticut Valley (Early Jurassic, Newark Supergroup, Connecticut and Massachusetts. The 3 volume thesis is 1301 pages long, and it includes detailed descriptions and original illustrations and new photos of all of Hitchcock's fossils.The illustrations all appear in volume 2. I presently have this dissertation on loan, but there is a full digital version available online at this address:

For those interested in Hithcock's pioneering work on fossil tracks, the 1858 Ichnology of New England monograph is currently available as a softbound reprint from Applewood Books, Carlisle, MA (111.awb.com). It has the full text descriptions, but only a partial set of illustrations. The 1863 Supplement to the Ichnology of New England can be found as a PDF , but this includes only the text, with no illustrations. The site is:

Reprint versions are readily available, digital scans of an original copy, are currently available from a publisher in India, with prices that are in the $5.00 - $20 range. These are print-on-demand books, some of them include the plates as well as text. A full list can be found at AbeBooks.com, or by doing a web search for "Supplement to the Ichnology of New England".

Hi, 

Thank you very much for everyone of you...I really appreciate your time and your really good answers, papers and suggestions. Thank you again. I will go through all your recommendations and papers hopefully i could build an argument for my result. Actually, i did not explain in detail in my question, I Used computer vision technology in my study and i observed participants. but i saw that once the app recognized the image and redirected them to the webpage then they just looked very quickly at the contents without any detail look/read. that is why i am looking for literature to explain why people behave like that.

Thanks again for your great support

in my opinion, these are tools that are used to enhance the display for better projection of the artefacts.

There is a network here in Delaware (USA) called the Delaware Disaster Assistance Team (DDAT) which exists to assist museums, libraries, archives and historical societies of all sizes to mitigate, prepare for, respond to, and recover from emergencies and disasters that might impact their collections.  The website is https://sites.google.com/site/ddatdelaware/  and it includes a number of great planning resources.

In addition, the University of Delaware's Disaster Research Center has an extensive library collection of materials on all aspects of disasters including disaster planning in general and disaster planning for collections.  If you are interested in examples of plans and related resources, you can contact the Center at http://drc.udel.edu/elq-resource-collection/

Ana, I was a secret assessor for art exhibitions for what was Southern Arts, a regional arts body. They wanted to know whether their money was being well spent.  I am an artist and have a doctorate gained through art practice, which raises the first point, who is evaluating the exhibition? Curators often have their own model so are not neccesarily the best people, practicing trained artists are probably good at this, as they see it from both sides. My approach was to visit the gallery initially without any information about the gallery or the exhibition. I did this in order to experience the exhibition. This for me included the approach, access to the exhibition, was the show introduced by the arrangement of the space.  Its presentation, was the work arranged in an interesting, professional and engaging way, such that I felt welcomed, comfortable and desiring to look more closely at the exhibition. Then i would allow myself to absorb the works on show. If I felt no response or 'way in' to the works I would question why. At some point I would seek out the exhibition information, were the works labelled in a professional way, did the gallery information tell me whose work I was seeing, what  the context of the works was, the background of the artist(s), I would comment on these points and their relevance. Did the information help me access the works in the  exhibition.

Then the works themselves, did they warrant being an exhibition, did they add anything to the art arena, what area were the adding to? Did the contribute to a debate , if so in which area, social, science, art language itself. What new things were the works bringing to the field of art? Did they offer the audiences an opportunity to experience something new, something that may offer a different view on the world, were they thought provoking?

The overall evaluation was the a matter of the work itself and the ability of the gallery to bring out the best in the work through their presentation.What was the physical access to the exhibition, did it have disabled access or was it up a flight of stairs, was the audience potential reduced, what is an exhibition without an audience?

All this was graded 1-5, with in depth comments and observations.

Of course not all exhibitions are in galleries, with pop up shows and works placed deliberately in weird places, the "gallery' is different. Much of the above remains relevant. Does the work have an effect? Does it add...

Check

G. Lepouras, A. Katifori, C. Vassilakis and D. Charitos  "Real Exhibitions in a Virtual Museum" Available at http://www.sdbs.uop.gr/files/RealExhibitionsInVR-museums.pdf

B. Bonis, J. Stamos, S. Vosinakis,  I. Andreou and T. Panayiotopoulos "A Platform for Virtual Museums with Personalized Content ". Available at http://www.syros.aegean.gr/users/spyrosv/papers/virtual%20museums.pdf

W. Schweibenz "The development of Virtual Museums". Available at http://icom.museum/fileadmin/user_upload/pdf/ICOM_News/2004-3/ENG/p3_2004-3.pdf

R. Hawkey "Learning with Digital Technologies in Museums, Science Centres and Galleries" Avaulable at https://hal.archives-ouvertes.fr/file/index/docid/190496/filename/hawkey-r-2004-r9.pdf

R. Ranon, "£D Virtual Museums" Available at http://euindia.dimi.uniud.it/punefiles/3dVirtualMuseums.pdf

Hi Gösta,

can you provide some close up pictures from single clasts of this conglomerate?

Best regards

Johannes