nyuuzyou/wikis huggingface dataset:
Electronic Media

Electronic Media Group Wiki
Welcome to the Electronic Media Group wiki site. This page provides technical, historical, and conservation-related information about time-based media and digital storage. Please browse the topics below, or enter a specific term in the search field.
EMG welcomes suggestions for new content or changes to existing content to this wiki. Please contact EMG wiki representative, Suzy Morgan with suggestions, or feel free to edit these pages yourself if you are already a registered wiki editor. 
= Moving Image=
The Moving Image preservation portal contains more general information about moving image (film, digital video and analog video) preservation, including news stories and a list of resources for further reading.
= Audio=
The Audio Preservation portal contains more general information about audio preservation, including news stories and a list of resources for further reading. It also contains information about Wire Recordings, Cylinders, Magnetic Tape, Records or Disks, Analog Audio Tape, Digital Audio Tape, and Digital Audio Files.
= Digital Preservation=
The Digital Preservation portal contains more general information about data disk, born-digital, and optical media preservation, including news stories, how to identify formats, collection assessment tools, and a list of resources for further reading.
=Time-Based Media=
The term "time-based media" describes any artwork that has both physical and temporal dimensions. 
"Typical examples of this category are video and sound artworks, film or slide-based installations, software-based art and other forms of technology-based artworks, many of which can also be regarded as installation art." , "What Is “Time-Based Media”?: A Q&A with Guggenheim Conservator Joanna Phillips"
=References=
Category:Electronic Media
Embrittlement

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Embrittlement is the condition of an object in which it has lost ductility and become susceptible to cracking, crumbling, or breaking. The state of embrittlement in an object can be visibly perceived, as the object will be in a drastic state of disrepair.
== Synonyms in English ==
deterioration
 
=== Translation ===
 
French 	fragilisation
Spanish 	fragilización
Portuguese 	fragilização
Italian 	infragilimento
German 	versprödung
Russian 	охрупчивание
Arabic 	التقصف
Chinese (Traditional)	脆化
==Discussion==
A number of factors can led to the embrittlement of objects, many of them environmental. Direct ultraviolet light exposure, high temperature, and pollutants are all causes of embrittlement. In materials such as paper, embrittlement is the loss of support to the point at which the paper can no longer handle stress and becomes fragile enough to snap or crumble. This is often a problem in paper, as the natural elements in wood become unstable when changed to pulp form, resulting in an acidic reaction. Acid-free mats and paper are extremely important in contemporary collections care for thisreason (Oppenheimer,2008).
 
Embrittlement due to acidity in paper can also be caused by manufacturing additives, media type, and quality of framing or storage. Some preventative treatments for paper artifacts are immersion bathing,blotter washing, and alkalization – or the process of applying buffering solutions to the artifacts to neutralize acids and prevent them from appearing in the future (ClevelandConservation, n.d.).
==References==
 Joel Oppenheimer Inc. (2008). Art restoration and conservation expert conservators specializing in fine art restoration of works of art onpaper, paintings and photographs. Retrieved from http://www.audubonart.com/txtrest3.asp
 
 Cleveland Conservation of Arts on Paper. (n.d.).Acid and Embrittlement. Retrieved from http://www.conservationofpaper.com/acid.html
 
 Back to List of Lexicon Terms
 
Category:Lexicon
 
Category: Process Terms
Category:Damage
Category:Book & Paper
Encapsulating

Contributors: Melissa Price
__NOTOC__
Encapsulation is the process of surrounding something with another material.( (AAT, 2004)) In paper conservation, the term is associated with the process of sealing paper between two layers of transparent film, but it can be also used in association with treatment of hazardous materials or handling samples.
==Related Terms==
=== Synonyms in English ===
Enclose, sheathe, envelop
=== Translation ===
English 	Encapsulation
French 	Encapsulation
Spanish 	Encapsulación
Portuguese 	Encapsulamento
Italian 	
German 	Verkapselung
Russian 	
Arabic 	
Chinese (Traditional)	封裝
==Discussion==
See Encapsulation within the Book Conservation wiki for a discussion the process as undertaken within the book and paper conservation practice. 
Encapsulation, especially of documents, can prevent skin oils from coming into contact with the object, protect the object from moisture and dust, and make the object more rigid and sturdy. This can be of particular use if the object is to be handled often. Not all photos or documents should be encapsulated as electrostatic that is generated by the plastic may cause particles to come off the object. Chalk, charcoal, and pastel are particularly susceptible to static cling ( National Park Service 1993).
Encapsulation is also used as a support mechanism for cross-section samples intended to be used under a microscope. This method of encasing the sample in polyester resin, for example, has been used when studying cross-sections of paint samples to examine pigments and layering techniques ( Derrick et al. 1994).
==References==
“Encapsulation.” 2004. Art and Architecture Thesaurus Online. Los Angeles, CA: J. Paul Getty Trust. http://www.getty.edu/research/tools/vocabularies/aat/.
 Canadian Council of Archives. 2003. Chapter 4:Care in Basic Conservation of Archival Materials. Rev. Ed. 28-38.
 Derrick, Michele, L. Souza, T. Kieslich, H. Florsheim, and D. Stulik. 1994. Embedding paint cross-section samples in polyester resins: problems and solutions. Journal of the American Institute for Conservation 33(3): 227-245.http://cool.conservation-us.org/jaic/articles/jaic33-03-001.html (accessed 04/15/14).
 National Park Service. 1993. Polyester Encapsulation. Conserve O Gram 13(3): 1-4.
Category:Lexicon
Return to List of Lexicon Terms
Encrustation

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A hard, compact layer of a dissimilar material tightly held to the underlying substrate. The term is most often used in reference to a mineral layer with a different color and surface morphology than the underlying stone been formed from minerals migrating from within the stone itself onto the surface. 
thumbnail|A bronze Roman serving bowl showing discoloration from mineral encrustation
==Related Terms==
accretion; crust; concretion
=== Synonyms in English ===
incrustation
=== Translation ===
English 	encrustation
French 	encroûtement
Spanish 	
Portuguese 	incrustação
Italian 	
German 	
Arabic 	
Chinese (Traditional)	結殼
==Discussion==
Encrustations can form on the surface of ceramics, stone, and metal, especially in outdoor and archaeological contexts. They are typically the product of mineral or insoluble salt deposits resulting from the breakdown of rocks or components of the underlying artifact, structure, or associated structures (Cronyn 1990, Buys & Oakley 1996). They are often made of carbonates, sulfates, silicates, or metallic oxides and are usually hard and well adhered to the surface (Cronyn 1990, Vergès-Belmin 2008). Encrustations formed in marine environments may take the form of marine exoskeletons and as iron corrosion products in iron-rich soil environments (Buys & Oakley 1996). Their formation on buildings is often linked to water movement across masonry surfaces (Vergès-Belmin 2008).
==References==
 Buys, S. and V. Oakley. 1996. Conservation and Restoration of Ceramics. Butterworth - Heinemann, Oxford, 25.
 Cronyn, J. M. 1990. The elements of archaeological conservation. London: Routledge, 23, 30 - 105.
 Vergès-Belmin, V., ed. 2008. Illustrated glossary on stone deterioration patterns. English-French ed., Monuments & Sites no. 15. Paris: ICOMOS and (ISCS) International Scientific Committee for Stone, 50. http://www.icomos.org/publications/monuments_and_sites/15/pdf/Monuments_and_Sites_15_ISCS_Glossary_Stone.pdf
 
Category:Lexicon
Category:Condition Terms
Return to List of Lexicon Terms
Endleaves

Endleaves are all the groups of leaves of a variety of sheet materials found at each side of a bookblock and are intended to give protection to the text leaves. They come in two basic types: those added by the binder before the book is sewn (separate endleaves) and blank leaves at the front and/or the back of the textblock (integral endleaves) which are used as endleaves, and may or may not also be pasted to the boards as pastedowns, even though they form part of text gatherings. Separate endleaves and integral endleaves can be combined at either the left or right ends of the textblock, and the endleaves at left and right can be made up differently. This is often the case in printed books where the printed text supplies blank leaves at either end of the textblock, allowing the binder to leave out the same number of added leaves, but have the same number of endleaves at each end of the bookblock. In some student books and other working copies of books, gatherings of blank paper were added to the end of the textblock for writing on, and it is sometimes hard to make a distinction between these and endleaves, especially when the final leaf of the final gathering is used as a pastedown, and a careful description will be necessary. When describing a book, endleaves are normally found on either side of the textblock. Endleaves may serve either as pastedowns or free endleaves, depending on whether or not they are pasted to the inside of a board or cover. For reasons of economy, binders would often chose paper that, when folded into endleaves, was somewhat smaller than the dimensions of the textblock (undersize endleaves). In other cases, they might use paper of the same size as the textblock (same-size endleaves) or, much less frequently, larger (oversize endleaves).http://www.ligatus.org.uk/lob/concept/1317
Category:Lexicon
Category:Book Conservation Terms
Erasers

This page is under construction
Erasers
Erasers work well on leather, suede, papers, cardboard, unfinished wood, and stone. They should be tried before attempting wet cleaning. They are amazingly versatile if used carefully. They need to be fully removed from the surface. Most erasers are made of materials that will degrade and damage surfaces with time. Start with eraser crumbs – they are the least damaging.
Erasers
Erasers are versatile cleaning tools that combine abrasion and slight solvent action. They are good for removing grime and some residues from surfaces. Although they’re solids, erasers hold enormous amounts of solvent. The Magic Rub seems to hold the most. Holding solvent helps an eraser with certain tasks, such as softening tape residue.
Like any tool, however, use erasers carefully. If you use an eraser that’s too hard, it will abrade. If it’s dirty, it will leave a smudge. 
Ground eraser is even more versatile. It can be applied with a brush to a surface. Some conservators grind specific types of erasers because they want a specific technique. Commercially available ground eraser – called dry cleaning pads or eraser crumbs – usually are made from gum eraser. This is a natural rubber eraser that may contain sulfur.
The dry cleaning pads are a cotton knit filled with eraser crumbs. Squeezing the pad puts out a fine eraser powder. It can be used to clean suede, paper and leather. Squeeze the powder onto a paper towel. Pick it up with a flat oil painting brush. Apply to the surface, moving it around with the brush. As it changes from tan to gray, it is picking up dirt. Brush it off the surface or into a vacuum cleaner. Then apply a fresh batch. Work methodically across a surface so you can identify clean from dirty areas. Micropipette vacuum to remove all eraser residue. We don’t know what damage eraser residue may cause if left on the object. If you don’t feel you can remove all the residue, don’t use this technique. 
The eraser in the pad can be used for cleaning surfaces such as historic wallpaper. Gently move the pad over the surface you want to clean. Be EXTREMELY careful and observant. Historic, painted wallpaper may be easily abraded or have flaking paint. If you see any possible damage, stop immediately.
Caution:
: - Always test in an unobtrusive spot to make sure the eraser won’t damage the surface.
: - Watch for scratches, surface abrasion or wear.
Etruscan I

Back to Section 3 Decoration
ETRUSCAN (I)		LARGER IMAGES
:FRONT
:BACK
:SPINE
:ENDPAPER
:ENDBAND
BINDING DESCRIPTION 	BINDING DESCRIPTION
COVER material/hardware, etc corner style/turn ins repairs	 
BOARDS material back cornering 	 
SPINE rounding/ backing lining 	 
ENDBANDS style material/color core material 	 
SEWING style #stations support material lacing in 	 
ENDPAPERS material # of flyleaves/attachment 	 
TEXT BLOCK material edge treatment 	 
DECORATION style 	 
describer (s) 	Baughman, Metzger, Primanis
University of Texas Cataloging Record 	University of Texas Cataloging Record
Back to Section 3 Decoration
Etruscan II

Back to Section 3 Decoration
ETRUSCAN (II)		LARGER IMAGES
:FRONT
:BACK
:SPINE
:ENDPAPER
:ENDBAND
BINDING DESCRIPTION 	BINDING DESCRIPTION
COVER material/hardware, etc corner style/turn ins repairs	 
BOARDS material back cornering 	 
SPINE rounding/ backing lining 	 
ENDBANDS style material/color core material 	 
SEWING style #stations support material lacing in 	 
ENDPAPERS material # of flyleaves/attachment 	 
TEXT BLOCK material edge treatment 	 
DECORATION style 	 
describer (s) 	Baughman, Metzger, Primanis
University of Texas Cataloging Record 	University of Texas Cataloging Record
Back to Section 3 Decoration
Exhibit Case Details and Illustrations

Category:Exhibition
Category: Exhibit Design
Category: Exhibit Case Design
Category: Exhibit Fabrication
Category: Standards & Guidelines
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The technical illustrations of exhibit case details provide drawings that demonstrate how to build conservation features into exhibit casework. These drawings are of actual exhibit cases which have been fabricated and proven effective. They demonstrate many important fabrication tips. 
==Exhibit Case Styles== 
*Free-Standing Case Examples
*Wall Case Examples
*Exhibit Case Anatomy
==Case Lighting== 
*Lighting Source Locations
*Lighting Duration and Intensity Controls
*Integral Lighting Access
*Lighting Compartment Heating
*Light Modifying Devices
*Incandescent Lighting
*Fluorescent Lighting
*Fiber Optic Illuminator Locations
*Fiber Optic Lighting Options
==Access and Security ==
*Lift-off Case Access
*Hinged Door Access to Cases
* Specialized Case Access
*Physical Security
* Structural Security
* Electronic Security
==Construction Materials== 
* Wood Construction
*Metal Construction
*Case Furniture
==Environmental Control== 
*RH Control: Use of Silica Gel
*RH Control: Mechanical Systems
* Locating Absorbers in Cases 
* Accessing Absorbers in Cases 
* Air Circulation
* Forced Ventilation
* Passive Ventilation
==Case Air Seal== 
* Gaskets
* Gasket Applications: Compression
*Gasket Applications: Corners and Hinges
*Case Sealing Techniques
* Unsealed Example
Exhibit Design Phase

==The Exhibit Design Phase Creating a design plan to fulfill the Conservation Requirements==
click on the Standards below to view the associated guidelines that expand on the topic.
 
*STANDARD 9: The Design Planning Process
The exhibit design plan must meet the Conservation Requirements for the exhibit objects 
*STANDARD 10: Use and Design of Exhibit Enclosures
The exhibit design must utilize Exhibit Enclosures whenever possible and must always be carefully designed to promote object safety and fulfill the Conservation Requirements
*STANDARD 11: Exhibit Mounts and Supports
Exhibit mounts and supports must be carefully designed to promote object safety and fulfill the Conservation Requirements
*STANDARD 12: Exhibit Furnishing Design 
Design and selection of furnishings within the exhibit space must support object safety
*STANDARD 13: Materials in the Exhibit Design
Materials used within the exhibit space for construction, furnishing, decoration and interpretive settings must be object-safe
*STANDARD 14: Exhibit Layout 
The exhibit’s physical layout [spatial design] must promote object safety
*STANDARD 15: Light Exposure
Effective conservation measures [design, controls and policies] must protect objects from harmful light exposure
*STANDARD 16: Security Measures
Effective security measures [design, controls and policies] must provide the appropriate level of security for objects
*STANDARD 17: Fire and Water Damage Prevention
Appropriate prevention measures must protect objects from fire and water damage
 
*STANDARD 18: Mitigating Pollutant Hazards
Appropriate measures [design, controls and policies] must protect objects from harmful exposure to pollutants
*STANDARD 19: Modifying and Maintaining the Exhibit Climate
Effective measures [design, controls and policies] must maintain object-safe temperature and relative humidity 
*STANDARD 20: Preventing Pest Damage
Appropriate measures must protect exhibit objects from damage by pests
Category:Exhibition
Category: Exhibit Design
Category: Standards & Guidelines
Exhibit Fabrication Phase

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Back to Exhibition Standards & Guidelines Table of Contents
== The Exhibit Fabrication Phase ==
click on the Standards below to view the associated guidelines that expand on the topic.
*STANDARD 21: Exhibit Fabrication Process
Fabrication of exhibit structures and the exhibit environment must conform to the design documents and follow all conservation specifications
*STANDARD 22: Object Protection During Fabrication
Protective measures must ensure object safety during fabrication
OR: Objects must not be exposed to the dust and physical risks inherent in fabrication
*STANDARD 23: Exhibit Space Modifications
Any modifications (such as structural changes or technical controls) that have been planned in order to fulfill the object Conservation Requirements must be made as specified
OR: Planned modifications must be made to the Exhibit Space to fulfill the Conservation Requirements
*STANDARD 24: Object Conservation Treatment 
The recommended object conservation treatments must be performed to stablilize the objects and prepare them for going on safe exhibit.
Exhibit Installation Phase

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== The Exhibit Installation Phase ==
click on the Standards below to view the associated guidelines that expand on the topic.
*STANDARD 29: Object Installation Process
Installation of the exhibit must be well planned to ensure an orderly process that protects objects going onto exhibit during all stages of installation
*STANDARD 30: Collections Care During Installation
Collection Care practices must be followed during each phase of installation to ensure object preservation
*STANDARD 31: Monitoring The Exhibit Environment
The exhibit environment must be monitored during object installation, and once installation is complete, to ensure that environmental conditions fulfill the Conservation Requirements
*STANDARD 32: Exhibit Maintenance 
Exhibit Maintenance must preserve a safe environment for exhibit objects and ensure that all conservation features continue to function as intended
Exhibit Planning Phase

==Exhibit Planning Phase==
The importance of introducing conservation early in the exhibit process cannot be overemphasized. Museum exhibition experience has shown that an object-friendly exhibit can be achieved most effectively and efficiently when object conservation is included as a priority at the beginning of an exhibit’s development.
click on the Standards below to view the associated guidelines that expand on the topic.
* STANDARD 1: The Planning Process
Conservation concerns must be addressed systematically throughout all phases of exhibit planning
* STANDARD 2: The Exhibit Team
Each exhibit team member must share in the responsibility to protect collection objects; and must work cooperatively to ensure object conservation
* STANDARD 3: Collections Care Practices 
Appropriate collections management and collections care practices must be used throughout all exhibit phases
* STANDARD 4: Transportation of Objects 
Movement of collection objects must be strictly limited and the transport of any exhibit objects must be carefully planned and implemented
* STANDARD 5: Exhibit Object Selection
Objects must be selected with regard to the specific needs of object preservation, as well as of the exhibit plan, and selection must be guided, in part, by an object’s vulnerability to damage and the exhibit’s ability to provide the appropriate protection
* STANDARD 6: Object Conservation Assessment
Objects selected for exhibit must be surveyed to establish their current condition and vulnerability to display and to provide an initial estimation of their individual treatment needs
* STANDARD 7: Exhibit Location Assessment
The selected exhibit location must be assessed to ensure that it can provide a safe and non-hazardous environment for the objects on exhibit or that it can be sufficiently modified
* STANDARD 8: Exhibit Conservation Requirements
A conservator must establish the Conservation Requirements for each exhibit object to provide the basis for deciding what conservation strategies and hazard mitigation features to include in the exhibit
Category:Exhibition
Category: Exhibit Planning
Category: Standards & Guidelines
Exhibiting Conservation 1950's

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Back to PR and Outreach-Exhibiting Conservation
Entries are listed in reverse chronological order by exhibition opening date. Expanded entries are given when additional information is submitted or available. For information on how to contribute new content or edits to this page please visit the How To Help section of the PR and Outreach-Exhibiting Conservation page.
Institution: Brooklyn Museum of Art (Brooklyn, NY)
Title: Take Care
Topic/Brief Description: Techniques of investigation and care of paintings
Dates: 1954
Institution: Yale University Art Gallery (New Haven, CT)
Title: Rediscovered Italian Paintings, Exhibition of Fourteen Recently Cleaned Paintings from the Jarves Collection
Dates: March 25 - May 18, 1952
Category:Public Relations and Outreach
Category:Exhibiting Conservation