nyuuzyou/wikis huggingface dataset:
Chipping

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Chipping is the separation of small pieces from the object (AAT 2004). 
==Related Terms==
crack; flaking; loss
=== Synonyms in English ===
flake, crack
=== Translation ===
English 	chipping
French 	epaufrure
Spanish 	desportillado
Portuguese 	
Italian 	
German 	
Russian 	
Arabic 	
Dutch 	bikken, gebikt
Chinese (Traditional)	缺角
==Discussion==
Chipping takes place when a piece of an object has come off with a rather sharp/pointed edge. These chips are often caused by cracking that connects several parts of the object's surface together to the point that there is nothing holding the chip to the object.
Chipping can take place in almost any type of object, however common ones are glass, wood, masonry, or other harder substances. Chipping can often be seen in areas of high compression on stone blocks, including the tops and bases of columns (Vergès-Belmin 2008).
==References==
Chipping. 2004. Art and Architecture Thesaurus Online. Getty Research Institute. http://www.getty.edu/vow/AATFullDisplay?find=chipping&logic=AND¬e=&english=N&prev_page=1&subjectid=300053752 (accessed March 22, 2015).
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. http://www.icomos.org/publications/monuments_and_sites/15/pdf/Monuments_and_Sites_15_ISCS_Glossary_Stone.pdf 
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Category:Lexicon
Category:Condition Terms
Category:Architecture
Category:Damage
Category:Objects
Chrystotype

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Date initiated 	April 2011
Contributors 	
__TOC__
==Chrystotype==
=== Historical Facts===
thumb| Caption
=== Identification Characteristics===
==== Image material====
==== Color ====
==== Support ====
=== Conservation ===
=== Housing and Storage Considerations===
==== Housing ====
==== Storage ==== 
=== Exhibition ===
=== Emergency Recovery === 
=== References ===
 
=== Further Reading===
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Category:Photographic Materials
Category: Photographic Processes
Cleavage

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Cleavage is a separation between layers. In painting, any separation between paint layers, between paint film and ground or between ground and support. Cleavage occurs where adhesion between layers has deteriorated; it is commonly due to faulty materials or improper methods of application. It causes blisters, wrinkles, and flaking of paint (Mayer 1969).
==Related Terms==
buckling; delamination; split
=== Synonyms in English ===
chasm, rift, cleft, fracture, separation
=== Translation ===
English 	cleavage
French 	crevasse
Spanish 	separación
Portuguese 	rachadura
Italian 	spaccatura
German 	Spaltung
Russian 	расщепление
Arabic 	
Chinese (Traditional)	剝離
==Discussion==
Active cleavage refers to a separation about to flake off. Blind cleavage, also called flat cleavage, is a separation that has no visible rupture, but one can tell there has been an underlying separation of layers. Incipient cleavage is the beginning of a separation where the layers have curled up but are not yet free (Keck 1965). 
In 1975 in The Care of Pictures, George Stout discussed the development of cleavage in panel paintings (paintings with a wood primary support), as the separation of the ground layer from the support often occurs in these types of paintings. First, the wood of the support moves laterally with the change in moisture content; when damp or humid, it swells, and when dry, it shrinks. Failure of the increasingly brittle ground to move with the support tends to break it loose from the support. Weakened by the deterioration of the medium and by strain, the ground layer cracks. It is broken loose near the cracks and is pushed slightly away from the support; this is known as buckling. Further movement in the support loosens flakes of ground and these may stay in place because they are lodged at their edges; this is known as cleavage. 
==References==
Keck, Caroline K. 1965. A Handbook on the Care of Paintings. New York: Watson-Guptill Publications.
Keck, Caroline. 1965. How To Take Care of Your Pictures. New York: The Museum of Modern Art & The Brooklyn Museum.
International Council of Museums, (ICOM). 1997. Manual on the Conservation of Paintings. London: Archetype Publications.
Mayer, Ralph. 1969. A Dictionary of Art Terms and Techniques. New York: Thomas Y. Crowell Company.
Stout, George L. 1975. The Care of Pictures. New York: Dover Publications.
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Category:Lexicon
Category:Condition Terms
Category:Paintings
Cloud Storage

=Cloud Storage=
Cloud storage is a model of data storage where the digital data is stored in logical pools, the physical storage spans across multiple servers (and often locations), and the physical environment is typically owned and managed by a hosting company. These cloud storage providers are responsible for keeping the data available and accessible, and the physical environment protected and running. People and organizations buy or lease storage capacity from the providers to store end user, organization, or application data.
Cloud storage services may be accessed through a collocated cloud compute service, a web service application programming interface (API) or by applications that utilize the API, such as cloud desktop storage, a cloud storage gateway or Web-based content management systems.Wikipedia
=Further Reading=
* Feet on the Ground: A Practical Approach To the Cloud: Nine Things to Consider When Assessing Cloud Storage (PDF)by Seth Anderson, 2014.
Category: Digital Storage
Color negatives on plastic support

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__TOC__
==Color negatives on plastic support==
=== Historical Facts===
thumb| Caption
=== Identification Characteristics===
==== Image material====
==== Color ====
==== Support ====
=== Conservation ===
=== Housing and Storage Considerations===
==== Housing ====
==== Storage ==== 
=== Exhibition ===
=== Emergency Recovery === 
=== References ===
* Hill, Greg. Care of Plastic Film-based Negative Collections – Technical Bulletin 35. Available at: https://www.canada.ca/en/conservation-institute/services/conservation-preservation-publications/technical-bulletins/care-plastic-negative.html#a3
=== Further Reading===
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Category:Photographic Materials
Category: Photographic Processes
Compensation (restoring)

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Loss compensation is the filling of a loss. It can be used for any medium: from finishes, substrates, to decoration.
 
200px|thumb|right|Loss
compensation of volute in side carving of a stand for an urushi cabinet 
==Related Terms==
reconstruction; inpaint
=== Synonyms in English ===
repair, fill
=== Translation ===
English 	loss compensation
French 	
Spanish 	
Portuguese 	reintegração
Italian 	
German 	
Arabic 	
Chinese (Traditional)	補全缺失
==Discussion==
==References==
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Category:Lexicon
Category: Condition Terms
Category:Paintings
Category:Objects
Category:Wooden Artifacts
Computer-generated digital-sourced print

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__TOC__
==Editing Computer-generated digital-sourced print==
=== Historical Facts===
thumb| Caption
=== Identification Characteristics===
==== Image material====
==== Color ====
==== Support ====
=== Conservation ===
=== Housing and Storage Considerations===
==== Housing ====
==== Storage ==== 
=== Exhibition ===
=== Emergency Recovery === 
=== References ===
 
=== Further Reading===
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Category:Photographic Materials
Category: Photographic Processes
Concretion

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a conglomeration or encrustation on the surface of an object; occurs especially during the corrosion of metals. 
 
==Related Terms==
=== Synonyms in English ===
=== Translation ===
English 	concretion
French 	concrétion
Spanish 	concreción
Portuguese 	concreção
Italian 	concrezione
German 	Konkretion
Russian 	konkretsiya
Arabic 	
Chinese (Traditional)	堆積物
==Discussion==
Much of the discussion surrounding concretions comes from the underwater archaeology profession, as well as the conservators who specialize in and treat materials that have been underwater. It is important to consider that the layers of concretion and corrosion products can build up on an object so much that the original form can be lost. Additionally, the original object can deteriorate so much that a concretion becomes entirely hollow. 
There are a variety of treatment methods for objects with concretions. Colin Pearson notes that mechanically cleaning larger objects with chisels, dental tools, and vibrations after an X-ray (in order to identify original material) is usually the safest route. He goes on to mention that the use of chemicals to dissolve concretions should only be done within a lab setting (Pearson 1987).
Bartosz A. Dajnowski has experimented with laser ablation techniques to remove concretions (Dajnowski).
==References==
Dajnowski, B. Laser ablation cleaning of an underwater archaeological bronze spectacle plate from the H.M.S. DeBraak shipwreck. University of Delaware Program in Art Conservation.http://www.bartoszdajnowski.com/uploads/1/8/9/3/18930255/8790-58__dajnowski.b..pdf
Pearson, C. 1987. "Conservation of Marine Archaeological Objects." Butterworth & Co. ISBN 0408106689
Category:Lexicon
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Connecting with Professionals

The following topics relate to building relationships and becoming involved in the professional community.
Navigate back to Emerging Conservation Professionals 
== Networking==
Networking can begin online, in local regional groups, or at national/international conferences. Connecting with fellow conservation professionals can introduce you to the field, to different sub-specialties, and to new applications of materials or techniques. Networking activities also provide a platform to build confidence and exchange different perspectives. This page focuses on the aspects of building and maintaining a professional network. The information presented will provide tips and advice that can be beneficial to conservators at each stage of their career.
==Outreach and Advocacy==
Navigate here for information on how to get involved in outreach and advocacy efforts and for related resources.
Category:Education & Professional DevelopmentCategory: Emerging Conservation Professionals
Conservation Educator

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"A professional with substantial knowledge and experience in the theory and techniques of conservation whose primary occupation is to teach the principles, methodology, and/or technical aspects of the profession in accordance with an ethical code such as the AIC Code of Ethics and Guidelines for Practice" (AIC Definitions of Conservation Terminology, 2014).
==Related Terms==
=== Synonyms in English ===
=== Translation ===
English 	
French 	Enseignant en conservation et restauration
Spanish 	
Portuguese	
Italian 	
German 	
Arabic 	
==Discussion==
See discussion page
==References==
 American Institute for Conservation (1996) Definitions of Conservation Terminology, accessed 17 July 2014.
Category:Lexicon
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Conservation Organizations and Conferences

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Contributers: Rebecca Rushfield, Rachael Perkins Arenstein
==Project Focus==
The focus of this page is to highlight the various and act as a portal to organizations that are advancing the fields of conservation and preservation around the world. The information on meetings/conferences/symposiums is presented in tables that can be sorted by column. This aggregated data set provides illuminating information on themes and topics over time
==How You Can Help==
*If you have information to contribute but do not want to add it directly to the table please contact Rebecca Rushfield
*If you would like to work directly with this content please take a look at the resources in the Getting Started section of the Main Page and contact the AIC e-editor for more information on setting up an account. 
==Content==
*Conservation & Preservation Organizations
*Conservation & Preservation Meetings
Conservation of Ethnographic Materials

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Contributors: 
Ellen Pearlstein
Clavir, Miriam, 2002, Preserving what is valued: museums, conservation, and First Nations, UBC Press, Vancouver.
Clavir, Miriam, 2002, Heritage Preservation: Museum conservation and First Nations Perspectives, Ethnologies, 24:2. [this article summarizes principles expressed in book above, E. Pealstein 8/2014]
Odegaard, Nancy, 1995, Artists' Intent: Material Culture Studies and Conservation, Journal of the American Institute for Conservation, Vol. 34, No. 3, 187-193.
Wharton, Glenn, 2005, Indigenous claims and heritage conservation: an opportunity for critical dialogue, in Conservation, Identity and Ownership in Indigenous Archaeology, Public archaeology, Vol. 4, pp. 199-204.
Conservators in Private Practice

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Image: CIPP logo.gif‎
Conservators in Private Practice (CIPP)
Welcome to the Conservators in Private Practice Specialty Group page on the AIC wiki site. The mission of CIPP is to: 
:* Improve and support the business practices of members
:* Disseminate business and professional information 
:* Encourage business education, study and research by and for its members 
Conservators train in various technical specialties but business practices transcend specializations and so CIPP content on the wiki should be of interest to members of all the other AIC specialty groups and we invite content and suggestions from colleagues throughout AIC. Our content is found on the Business Practices for Conservators page. 
Visit Conservators in Private Practice Home Page on the AIC website for more information. 
Category:Conservators in Private Practice
Consolidation

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Image: wa logo.gif‎‎ Wooden Artifacts Group Conservation Wiki 
Contributors: 
Rian Deurenberg-Wilkinson
Your name could be here! Please contribute.
Copyright: 2013. The Wooden Artifacts Group Wiki pages are a publication of the Wooden Artifacts Specialty Group of the American Institute for Conservation of Historic and Artistic Works. The Wooden Artifacts Group Wiki pages are published for the members of the Wooden Artifacts Specialty Group. Publication does not endorse or recommend any treatments, methods, or techniques described herein.
 
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Consolidation can take many forms in furniture conservation, due to the varied nature of materials encountered in furniture.
Veneer is often consolidate with animal protein glues such as hot hide glue or fish glue. Gilding or painted surfaces can be consolidated with Lascaux Medium for Consolidation.
Construction Materials

Category:Exhibition
Category: Exhibit Design
Category: Exhibit Case Design
Category: Exhibit Fabrication
Category: Standards & Guidelines
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==Wood Construction==
From a preservation perspective wood products are less stable and therefore are less desirable materials for use in the construction of a case's display and maintenance chambers. When wood is required, it is advisable to select less hazardous wood products and isolate them with a vapor impermeable barrier. Two isolation methods are available: 
#solid laminates - high pressure laminate (HPL) and plastic laminated foil (PLF), and; 
#specialized sealant coatings - 100% solid epoxy resins and certain moisture-cured urethane coatings. (Caulk sealants should also be employed along any problematic seams.)
==Metal Construction==
Metal framing and metal sub-structures are preferred for use in the construction of exhibit cases. From a preservation perspective the use of metal components within the display chamber avoids the potential for hazardous emissions commonly given off by wood and plastic products. Dimensional stability is gained as well. The primary conservation issue regarding metal cases is the finish and paint used. Finishes and paint systems should be conservation appropriate materials that do not outgas chemical substances; acrylic coatings and powder coatings are recommended.
==Case Furniture==
Exhibit case furniture, such as display pedestals, platforms, shelves and panels used within a case's display chamber should employ materials, adhesives and finishes that are conservation appropriate. In sealed case designs, emissions from inappropriate materials can cause damage to objects. Because all of these materials reside within the object's environment it is preferable to avoid the use of wood products. Whenever possible, select metal and rigid acrylic sheet for fabrication. If textiles are used to cover furniture or case interiors, they should be conservation appropriate and attached mechanically or by safe adhesive systems. Designers should:
* carefully select all construction materials;
* apply appropriate isolation barriers to less stable materials, such as wood products.
Contact Lenses

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Health & Safety Committee Conservation Wiki 
Copyright: 2013. The Health & Safety Wiki pages are a publication of the Health & Safety Committee of the American Institute for Conservation of Historic and Artistic Works. Disclaimer: Some of the information included on this page may be out of date, particularly with regard to toxicological data and regulatory standards. Also, because new information on safety issues is continually published, resources outside of AIC should be consulted for more specific information. 
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Wearing contact lenses in a conservation setting should be considered with the same safety precautions as in another situation where chemicals and their vapors are present. Contact lenses should never used as eye protection. Any work needs to be evaluated to determine if eye protection is necessary from splash or vapors and then appropriate safety goggles need to be used regardless of contacts but especially if you’re wearing contacts because any eye irritation will be worsened immediately if held between lens and eye or upon trying to get the lens out of the eye. Finally, some “soft” lenses can be affected by solvents because they ad/absorb chemicals more readily than hard lenses. So contact lens wearers need to run all this by their optometrist/opthamologist for details on their particular brand.
===Additional Reading===
<Br>
"Do contact lenses protect the eye against toxic or hazardous chemical vapors or do they selectively absorb such chemicals?" Scientific American, Health: Ask the Experts, April 27, 1998.
"Contact Lens Usage in a Chemical Environment,"Current Intelligence Bulletin 59,Department of Heath and Human Services, Centers for Disease Control and Prevention, National Institute for Occupational Safety and Health, 2005.
"Guidelines for The Use of Contact Lenses In Industrial Environments,"American Optometric Association, 1998.
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Category:Health & Safety
Copper Supports for Paintings

Paintings on Copper Supports
Introduction
Elemental copper can serve as a primary support for oil paintings. Hammered or rolled metal provides a non-absorbent surface that can increase color saturation. Depending on the plate’s preparation, the reddish-orange metal can also provide a warm tonality to the finished painting, much like other supports including wood, or other paintings with reddish or pink ground layers. Moderate fluctuations in relative humidity and temperature cause negligible dimensional changes to copper supports compared to the typical hygroscopic counterparts, canvas or wood. Copper and oil bound paint films also share similar thermal coefficients of expansion (Wadum and Streeton 2012). These properties minimize stress-induced cracking and crack propagation in the paint and ground layers.
Covers

There are two types of cover which may typically be found on a book, primary and secondary. The primary cover is the material that constitutes the immediate covering of the completed binding, but not including additional, secondary, covers such as chemises or decorated paper over a plain primary cover. For inboard bindings, the primary covering material is used to cover the boards and spine, either completely, as in full bindings, or partially, as in half and quarter bindings. In all case bindings, and bindings with external sewing supports and longstitch bindings, the case itself may also be the covering material, and thus serve a dual function as both primary covering (which therefore may be given a secondary, decorated cover) and structural component. A secondary cover can be added in addition to a primary cover (but cannot be a secondary cover unless there is a primary cover already in place), either as protection or further embellishment of the book. In the latter case they are often made from decorated materials (most often textile or paper), but purely protective secondary covers can be made made from plain materials such as tanned or alum-tawed skins or paper, or recycled paper or parchment. They may be contemporary with and part of a complete binding, or may have been added afterwards (sometimes many years afterwards) to suit the taste and needs of a later owner. Many bindings with primary covers in parchment also have a lining of white paper under the parchment, intended both to brighten the parchment and make it opaque and also to soften the parchment with the moisture from the adhesive used to stick together so that it could be moulded around the book. Such linings on Dutch laced-case bindings with boards were adhered to the fleshside of the parchment before the book was covered, and could not be described as primary covers, but linings on Dutch inboard bindings of the seventeenth and eighteenth centuries were usually adhered to the book before the parchment was adhered around it. Such lining could therefore be thought of as primary covers, but their intended use as a lining and the fact that they would never have been left as covers in themselves means that they should always be thought of as a lining of the primary cover and not as an actual primary cover. Some bindings with embroidered covers may have similar linings.http://www.ligatus.org.uk/lob/concept/1268
Crayon Portraits, Solar Enlargements and Painted Photographs

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Page Information	Page Information
Date initiated 	May 2024
Contributors 	Luisa Casella
__TOC__
==Painted Photographs==
=== Historical Facts===
thumb| Caption
=== Identification Characteristics===
==== Image material====
==== Color ====
==== Support ====
=== Conservation ===
=== Housing and Storage Considerations===
==== Housing ====
==== Storage ==== 
=== Exhibition ===
=== Emergency Recovery === 
=== References ===
 
=== Further Reading===
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Category:Photographic Materials
Category: Photographic Processes