Museums - Science topic

Found some information in English (there's more in Bahasa Indonesia): https://museumofwander.com/national-museum-of-indonesia/

THIS IS EDUCQTION SYSTEL IN GREECE.

LA

LA

LOLA!!! is that GREEK???

A partir de cette oportunité, je salue tout le monde, pour ce qui est de ce projet, j'ai pas saisi sa problematique d'autant plus qu'il y'a à travers le monde des jardins zoologiques et botaniques, à l'instar, de ceux de l'europe (france....) et afrique (Algerie, le jardin d'essais), vouliez vous m'eclairer d'avantage....

Dear Marc,

Thanks for the tip! I contacted them, hopefully something will turn up.

Best wishes,

Thomas

I would suggest to email the curators directly

Here is an interesting reference:

Collections Management as Critical Museum Practice Edited by Cara Krmpotich and Alice Stevenson Free download: https://ow.ly/6jYc50SGW25

Methodologically, efficient questionnaire Luna Leoni ! Success 1

...there's no question about that. Is the viewer's mental horizon sufficient to understand the issues?

Jens Kleb Sherrie-Lee Evans I would like to thank you both for your answers. In regards to local companies, the last year I ve been thinking to engage local shop owners and companies by incorporating traditional products and even packaging in the treasure hunt. Collecting photos of the 2-3 centuries old stone bridges by the participants would be a great idea. What concerns me is the volume of data, uploading them on a page via a social utility might effectively work. This may work with stories as well, I will be having teams of 4-5 in each of the 4 regions (villages) to generate their own narratives through local legends, history and even mythoplastic stories. However collecting stories together with photos through a page sounds a great idea to start with. I should be able to come up with a research question, thank you!

I am no paleontologist but know your collection quite well. Therefore as first and easy choice I would suggest the Natural History Museum in Vienna (M. Harzhauser). Of course the Senckenberg Museum in Frankfurt is always worth studying and I remember that colleagues were very helpful with such questions.

Kind regards Gerhard Aubrecht

Earlier this year I asked this question because with my colleagues Lenyn Betancourt-Cargua, Andrea C. Román and Gustavo Morejon we were having a hard time finding research about the scientific use of heavily damaged museum specimens to back a short article that we were working on. We found interesting diet items in a damaged snake specimen from the Galápagos:

DONE.

Hi Anna

I am really not aware of any museums in Australia, for example, that focus on oil. Whereas there are a number that have a focus on coal mining, usually as part of larger exhibitions on regional history or in the interpretation of former coal mine sites. I imagine the same may be true in the UK, so I wonder if it might be productive to widen your scope a little? A lot of the discussion/papers/conferences etc. around museums challenging or supporting dominant narratives recently have focused on colonialism and de-colonising the museum. For example - What does it mean to decolonize a museum? - MuseumNext https://www.museumnext.com/article/what-does-it-mean-to-decolonize-a-museum/

So, you may need to think laterally to find ideas and examples, about how museums are dealing with contested histories and allowing for multiple voices/versions of the past to be explored.

Hope that helps

Sherrie

Excelente, gracias Ricardo Palacios Aguilar por el dato.

please refer this link. some viewpoints can be founded.

Hi, I am based in Malaysia. Therefore, I do not have any information on Dar Jamai Museum in Meknes, Morocco

Katherine Marriott ... please alow me to add some inspiration ...

Molluscabase (Molluscabase.org) is attempting to bring all knowledge on marine and non-marine, fossil and recent mollusca together.

It is primarily based on taxonomy yet in some (recent) families / groups we are already adding specimens and such.

Of what I read above, this might not be entirely what you are looking for in terms of data, but as fossil cephalopods are currently lacking in Molluscabase there might be a future collaboration opportunity here ...

Should you wish further info, don't hesitate to ask.

Kindest regards,

Chris Vos, F. L. S.

Indepedent researcher

WoRMS - Molluscabase editor - Gastropoda

Hi Emmanuele,

The reason there is no one recommended enzyme is that there are LOTS that work really well. I'd advise a "hot start" enzyme since that will reduce primer artifacts. I'm also a fan of the ready-to-use PCR mixes (enzyme, buffer, MgCl2, etc. all in one tube). Makes it much easier to have consistent results.

You should have a really robust positive control, test out your primers and cycle conditions on non-precious samples first, and always include a full set of controls.

Good luck!

Dear Tsimoura, You must follow an approach, according to your objectives. If those that exist will not support you then you are creating a methodology within your own studio. But this research as I perceive it is a qualitative approach research. Best regards

Thanks everybody for all your contributions. However, I think I didn't express myself clearly enough. What I am trying to do is to get in touch with other PhD STUDENTS working in the field of book and literature exhibitions. I have tried Facebook, Twitter, ResearchGate, and a few dedicated listserves, but it is proving difficult! Thanks in any case. Best wishes, everyone!

Thanks for those comments Christian Klug Christian and Martin Schmieder. For the record, attached is the specimen in the British Museum.

Dear Ma'am,

Thank you very much for participating in the survey. Your response will be immensely helpful for me.

With kind regards,

Shruti

I think Museums are the best part to broaden and outlook our knowledge.Specially young generation who are easily to find and know about the past and historical events

Yes, to a large extent.. and there are many examples of this

Hello Gabriele, were you successful?

I also want to enter a new affiliation and cannot because the drop-down menu does not have it. When I type in, it will not be saved. I tried many times and also in other sections. It's all based on a pre-entry by ResG it seems, and there is no contact to bring that to their attention.

Changing your institution or department can be done in a few simple steps:

Note: If your institution or department isn’t one of our suggestions, please enter it manually and click Save.

Hello Benoit; Here is a generalization that might be helpful. The more species there are in a community, the more symbionts there are. The older a community, the more interactions can develop. I bet that there are more KINDS of interactions in the wet tropics as well as more in total. I attached a very old but very interesting paper that might entertain your thinking. Best regards, Jim Des Lauriers

Would transmitted light from underneath help? I'd say that editing the images afterward might indeed be an option. Perhaps by applying some edge-detection algorithm to them (such as 'canny edge detection' - quite easy in R or Python, or even in Photoshop, which is also able of batch processing your images). This can easily be done to 100s of images - just let the computer run overnight.

To Bara Mouslim: I think this is exactly what should not happen because you do not need a natural history museum for that (virtual shows, genetic research).

I cannot really answer the initial question of this discussion but I wish to make the following point: many museum collections harbour an incredibly large amount of unidentified material (from old expeditions, for instance). These should be worked up with priority and museums need resources for that.

Peter (peterwirtz2004@yahoo.com)

Hello,

According to the current taxonomy, these 3 genera, Marmessoidea, Lopaphus (please check spelling), Carausius (please check spelling, too) belong to the family Lonchodidae. Necrosciinae and Lonchodinae, formerly subfamilies of Diapheromeridae, are now subfamilies of Lonchodidae (Robertson et al. 2018).

Regards

Hi dear Ella.

You have made a very important and interesting discussion. To begin the discussion, I will provide you with an introduction so that we can draw good conclusions with the discussions that you and other researchers will present.

The future belongs to creative and innovative architecture, and the most basic and best architectural designs and ideas will be implemented in traditional museums. These buildings, which are a place to collect and display old objects, are becoming the leaders in creative and up-to-date views. As we move forward in time, the need for museums to preserve the history we are building becomes even greater, especially with advances in technology and science. In the next five to ten years, we will see a revolution in the form of old museums, and space exploration projects will be implemented around the world, from Budapest to Miami. These buildings will define the future of the museum's architecture and culture. Architectural plans planned for the future represent a pervasive movement of modern architecture using advanced technology, integrating the basic structure with technological advances, and modernizing society.

Dear Alaa Al Hamed , there isn´t a single and simple description of the best solution for lighting or artworks, such solution would be dependent on the material and properties of the particular artwork on display. Most of the pieces in display at museums were created for enjoying them with our eyes, so with visible light, and therefore any light source able to produce this kind of light spectrum would be useful to see the works in all their greatness. It happens, however, that many light sources produce an extended spectrum, including UV and IR light, these radiations are not visible to our eyes, but they also reach the materials.

Light can trigger photochemical reactions over the materials, pigments, varnishes, etc. Often the main source of degradative effects are the more energetic radiations, in particular the UV wavelengths, and therefore filters could be used to cut that part of the spectrum of your source or well choosing a source able to emit just light in the Visible range, such as LED´s.

IR radiation also can cause damage by photochemical reactions, but also produce heat, that can induce further degradation of the work.

Visible light can also produce photochemical damage, but cutting some part of the visible spectrum would change the appearance of the artwork, so a kind of equilibrium must be applied, exposing the piece under a mild illumination with the broad visible spectrum or exposing it to light for a limited time.

Sometimes the photochemical effect trigged by light need some other component, like oxigen, and therefore if the work can be exposed in a vacuum or in a inert gas atmosphere the effect of light would be lower or not at all.

About the graphene light bulb, it has the benefit of produce light in a tunable way, and mainly in the visible and IR region of the spectrum, which is good news because you don´t need to use filters to cut the UV, and it is said that this light bulb is very efficient, consuming low energy. This saving of energy (money) should be pondered with the price of such light bulbs, I mean, may be some other technology will offer the same kind of light (white light) without the added cost of this new one.

Note: Some artworks were designed to show fluorescence or phosforescence and they could need a excitation light that often lies in the UV, and in these cases you would need such kind of light in your lighting system.

Please have a look to the following links, about lighting in museums and graphene light that I think could be useful for your work:

To see something about light degradation in modern artworks you can have a look to our work too.

Hope it helps.

Hi Heather,

can you clarify if by photogrammetry for conservation you mean applications for a) documenting heritage objects for dissemination/virtual display/augmented exhibition, or b) contactless study and/or vistual reconstruction, or c) identifying and mapping decay, previous conservation interventions etc.? because these are usually different categories of documentation in terms of quality and product requirements.

+1 to Arnadi Murtiyoso 's comment

regards,

Efstathios

Look at this https://es.scribd.com/book/376308221/Pleistocene-Bone-Technology-in-the-Beringian-Refugium

You can find 16 museum marketing ideas on this link which is shared here with

hope so this is in line with your question raised.

regards

srinivas kasulla

srinivaskasulla@gmail.com

Outside visit with the students in academic scenario, it is the best practice to learn with practicum aspects to participants. Secondly, visit of educational tour is must be a part of curriculum in syllabus for study. In due course every teacher-student should involved to practice manner like history, culture, archaeology and the philosophical outcome. Outside study, visit, incursion etc. is the part of basic knowledge for skill, expertise and experience who responded itself.

Sofie Schrey , thanks for the update!

Th correct way to do it would be regarding of what your research needs to approve and prove. Once the methodology requirements are as per the needs to get your precise results, that could have helped readers to reach the goals and get the valuable information they are in need of, as well as you as a researcher. Assena Rokanova your way of testing through such questions is really interesting.

An excellent project, I suggest in addition to your study on the reproduction of paper documents and photos in the museum with modern technical equipment and archived electronically

Sergey Viktorovich Pushkin right statements. It really depends on the age of the samples. During my PhD thesis, I was dealing with old alcohol arthropods with an age of 15 to 30 years and it was impossible to extract DNA from them as I was really eager to do that. Instead I used a DNA extraction method to clear these specimens to inspect them under microscope for accurate identification for further biodiversity calculations. Just check the link below:

Maybe it is interesting for you colleagues in soil zoology.

I imagine that for dry specimens simply putting the bee/sample close to an electrostatically charged rod or plate could remove most dusts and pollens which would end up on the charged surface

Dear Filippo Maria Buzzetti

In our museum of zoology, we use sealed wooden entomological boxes. From time to time we lay out the put the plates impregnated reppilentami (we sell them against mosquitoes, mosquitoes, gnats). We have beetles more often, it helps from them. We put stuffed animals in plastic bags with insecticides for a day. Although I must say, we used naphthalene for a very long time - it helped a lot.

In general, to summarize, if the entomological box is hermetically closed, then the pests will not penetrate into it.

Regards, Sergey Viktorovich Pushkin

Dear Anton Mikhailovich Lokhanin

Cultural tourism is a growing sector. It is one of the best ways to discover the cultural heritage and way of life of a region and its people. However, without modernization and digital mediation, this sector can rapidly deteriorate. In this paper, a novel, playful, and informative cultural touristic experience is presented. It consists of a virtual Space Door accessible through augmented reality and leading to a virtual museum built using virtual reality. Evaluation of the prototype was conducted in a real environment to confirm usability, ease of use, and interest of the prototype.

You can follow this paper :

Amazing reading.

Looks like, this is part of dental forensics

At the Arab level, the Koha system is used in the management of libraries.

The round table is a great idea! I'll be happy to participate in it. Thanks a lot for this initiative.

Yes, of course, I've heard about these planned exhibitions.

I've know about that approximately since 2012, but... :)

I'm also planning an interview with Prof. D. Lortkipanidze and other specialists and I hope it will be successful.

Thank you again for your initiative.

sincerely, G.M.

Dear Anders, dear all, you should start with the question "what is wood"? As a living material, it does not face fatigue as its fibres are modified by the static and dynamic loads (eg a tree growing adapts to dominant winds, the tree at the periphery of a wood are stronger than those in the middle of the forest...). But used as a material, wood dries and some of its components (providing resilience and cohesion among fibres) degrade or vanish, making it more fragile; it comes with a weight loss and a volume reduction (essentially transversally to the fibres). Wood is physically and chemically a complex fibre-polymer composite. Young wood react to humidity and recover partly the original volume, retracting again when drying, hence the variations you can see in solid wood floorings, shutters, doors etc. Older woods are less sensitive but still react to humidity variations and ultraviolet light (Mediterranean sun is degrading wood faster than rain, my house demonstrate it clearly!). Back to the musical instruments, violin makers were very attentive to have the tree cut at the right period, dried carefully before and after sawing the planks, selecting the planks with the right fibre density and pattern to start with a stable and durable basis; then comes the varnish to protect the wood from the daily variations of humidity and exposure to UV, while "breathing" by the internal unvarnished side of the planks, less exposed to light. Still, it ages, but much slower: I guess that properly maintained violins will play right for another millennium at least without showing fatigue fractures! Back to your question, I believe the only scientific response would require microscopy, analysis of its polymer content and average length of its molecular chains etc etc etc. Resilience to cyclic loads would have to be assessed as a function of this chemical degradation. Should you be able to manage with a publication in French, refer to https://tice.ac-montpellier.fr/ABCDORGA/Famille/CHIMIEDUBOIS.html to capture an idea of what is living wood from a polymer chains perspective; however I could not find a decent paper on how to assess the ageing of a sample from a structural perspective, but for sure the more you lose these chemicals the less resilient it becomes! (no mention of the attacks by insects and fungi)

Thank you for your interest in animal dung as fuel to fire pottery as in my last experiments. I am interested in whether camel dung generate a enough heat in an updraft kiln.

I'd say Biota, wich is one the most used software in Mexico for collection management, as far as I know.

I have been using Paradox and it works really good for me.

Some journals will accept conceptual papers, i.e. not based on empirical data collection. But you would still need to draw on the academic literature.

Here is my recommended structure for a conceptual paper:

Varvara; If there were fly maggots in the fox it was still too moist. The beetles are surprisingly picky. They prefer dried out carcasses...the meat has a texture like beef jerky. Not quite dry enough crack when bent.

Put the foxes in a dry, warm place that is open to the general environment. The beetles will find it. The beetles are cosmopolitan and occur even in the wet English countryside. I've attached a link to an image of the ventral side of the species that you are looking for...Dermestes maculatus.

https://bugguide.net/node/view/39727

Cheers, Jim Des Lauriers

Go to, Run -> Setup -> Replication Parameters-> Terminating condition and in terminating condition define "NQ(queue) == 0".

You can add more conditions as per your model requirement.

I know, but is there a way to dispose all entities that are in the queues at the end of simulation? and as a result to have number in equal to number out.

Everything that has advantages is equally has disadvantage as well. I'm working on paper how museum connect with next generation through digital technology which I discovered technology has its limit especially whenever you you use technology to exhibit or display artifacts in museum, the originality and authenticity of the object would not be captured by the visitors.

Dear Daniel Taylor,

many thanks for your reply! I didn't know this paper. It is for me very interesting.

Sincerely,

Massimo

Thank you for your answers!

I already extracted some mtDNA from those samples, but I think that the nuclear is not well preserved. I did several tries without results.

Radiocarbon is probably the most cost effective. See if others are also interested in getting dates from the samples/period - you may be able to split the costs.

Also bear in mind the precision of radiocarbon dating is not always great depending on the period. What kind of samples is it you are looking at?

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 Àdàm,

many thanks for your reply! I will try ethanol 90%.

Sincerely,

Massimo

Fiquei sabendo deste abaixo., quem sabe voce consegue aproveitar

http://www.unirio.br/unirio/cchs/eb/arquivos/FOLDER_SEPEMMUS2.pdf

This isn't my speciality, but perhaps you could use CAT-5 or CAT-6 cable instead (runs of up to 100 meters) and use TCP/IP as the protocol? Over that you should be able to carry DMX and anything else you need to. Hope this might help!

Thanks a lot. This is interesting paper. I am working in collaboration network.

Dear Dr

Happy days to you! I hope this letter do not disturbing you!

I am disseminating my discoveries to whole world, see my project attaching file: Nature mechanism- force origin. Which scientific organizations or funding can support me €10000? pleas you could help me for this!

Best wishes to you!

yours sincerely,

Zheng sheng ming

You would have to specify the goals you’d like to achieve with the framework in a precise and measurable manner and then perform measurements to see if your goals are met.

Very interesting topic

I would also recommend Specify, which is used today here at the Zoology Museum of USP, in São Paulo, Brazil. I'm also still learning about many of its functionalities, but it is fairly customizable, and one can get a lot of help in the foruns and blogs in the site that Lynn shared the link.

When you use storytelling at the museum, ask the children questions. You will be able to understand what they are interested in. Also, after work, you can give to the kids a little fun tasks based on your story. This will allow you to refine the framework.

Thank you Patricia Solá .

Good morning Ms Witt

According to Robert R Jones book "Museums and the Paradox of Change", your reference probably is: J Davidoff, "Social Butterfly" Museum (91/1), 32. I assume that you are referring to the Museum, the academic journal by the Tokyo National Museum.

You may be able to contact the author and ask him for a reprint / copy of the paper. If the author is affiliated to an academic institution, the paper may already be available from the academic institution's research repository.

Good Luck!

I think it's a sacred museum.

Osteologists in our organisation use craniometry along with other measurements to determine sex and age of the human skeletal material from our various cemetery sites ranging from Roman to 19th century. The costs involved for using mtDNA are prohibitive, given the hundreds of burials being excavated and retained in the museum for research purposes and the costs of curation. Only in special cases, when an unusual burial/group is unearthed is there some additional medium used to determine possible origination (is that what you are asking?).

cool idea Michael! Allow me to brainstorm a little bit .....

Think of a 3d installation in a museum for example that visualises in real time the satisfation of the visitors. The visitors fill online satisfaction surveys and the 3d installation adapts its form and geometry with respect the FCM outcomes.

Serafeim

In the ideal world they had the foresight to conduct a survey before the stadium was changed. You then use the old survey and compare and contrast the outcomes.

As a poor second choice you could look at things like merchandise and ticket sales and ask if the rate at which receipts decline during losing streaks has improved. A more loyal fan base will continue to support the team even when things are not going as well.

Dear Katherine,

We are very grateful to you for this interesting information. I think we will use these data in our perspective researches any way. Maybe we will connect with you later for better understanding some details.

Thanks very much Mostafa.

Lack of revenue for maintenance is a big issue.

A fulltext is available in the Biodiversity Heritage Library:

outside of a tomb, and not even then frequently, the default state of found pots is fragmentary. At present one of the reasons that certain categories of pot are over represented in our reference collections is that museums are prepared to collect fragments of decorated pot which they wont do with plain wares. If museums cease doing so then we lose the opportunity to expand and up date a valuable archaeological resource. From this point of view a fragment is more valuable than a complete pot since it has an edge that can be examined. Indeed one of my more useful tools in pottery analysis are the pliers I use to break bits off.

In one respect this suggests that criminal elements would be less likely to promote a market where sherds are the norm since that gives specialists an easier time when it comes to detecting fakes. I was recently asked to look at a very good samian copy that was offered for sale, excellent in every respect except it was chipped which revealed it was a modern copy. Due to the chip this took a couple of minutes to determine with a hand lens.

However, it may be that our ideas are conditioned by differing attitudes based on different professional concerns. To me as an archaeologist and pottery specialist I am less concerned as to whether a pot is being broken than with the possibility that it has been looted in the first place. Perhaps the best answer to this concern is to only collect from assemblages that have been properly excavated. Although we still need fragments to be collected as well as the intact vessels due to their greater utility in research.

Yes. when you have so many specimens to analize there are different types of errors as bias in the data and identification mistakes. Of course the programs cannot detect if the identification was not correct, but can detect if there are mistakes with the names, they are incomplent or there are many synonyms. The detection of this mistakes will of course help a lot to simplify the work. I know that there are some that do this. The question is how efficient they are? how big the matrices they can analyze? and if they can work efficiently with data from different sources?

First step is to highlight the extension (perhaps many will be used) that will be used (CRMSci, CRMGeo, ...).

Then, using Protégé as Babak Ranjgar for instance, find the key anchors for the mapping. Keep in mind that all the data model does not have to be instantiated (it might be tremendous). Annotations properties are made to facilitate definitions and informations encapsulation (Dublin Core Ontology is mandatory).

After that, Jena provides a WIDE set of functions in an intuitive and handy way. But first, you need to very well understand your DataModel/Mapping as Jena does not provide any visualisation tool. It's a rigorous job.

Fuseki and TDB come far after all previous points.