nyuuzyou/wikis huggingface dataset:
Textblock

The word textblock is used to describe all the leaves in a book on which the text is written or printed. Where there is more than one text in a single binding, as in the case of composite volumes or Sammelbände, all the different texts are included in a single textblock. A textblock does not include endleaves or other leaves added by a binder, such as inserted text separators or interleaving, even though these may now carry additional written material. Endleaves and all other leaves added by the binder are, however, included in a bookblock. In certain exceptional circumstances, such as dos-à-dos bindings, a single binding may contain two or more bookblocks, each of which can in theory be a composite volume. Stationery bindings will often be made with a textblock which consists of blank gatherings yet to be written in, in which the outermost leaf of the outermost gathering at each end will be used as endleaves in the form of pastedowns (i.e. integral endleaves), and in these cases the textblock and the bookblock are the same thing. If the outermost gatherings of such a book are made in a different format from the rest of the gatherings (e.g. four leaves as opposed to eight leaves, or outside hooks instead of bifolia), or made from a different, possibly coloured, paper, these can be described as endleaves, and the other leaves as the textblock, together making the bookblock.http://www.ligatus.org.uk/lob/concept/1663
Category:Lexicon
Category:Book Conservation Terms
Textile Conservation Links

Image: Textiles.gif‎ Textile Specialty Group: Textile Conservation Wiki 
Copyright: . The Textile Wiki pages are a publication of the Textile Specialty Group of the American Institute for Conservation of Historic and Artistic Works. The Textile Wiki pages are published for the members of the Textile Specialty Group. Publication does not endorse or recommend any treatments, methods, or techniques described herein. 
Textile Specialty Group members have created or identified resources of interest to conservators that may be accessed from this page.
Ideas for additional resources are welcome, and can be forwarded to the TSG wiki editors.
Contribute to the Textile Wiki.
Video Links (see also Textile Conservation-related playlists on the AIC/FAIC YouTube channel)
Stitches Used in Textile Conservation (CCI/ICC CHIN/RCIP)
https://www.youtube.com/watch?v=wX627wiBISY
Care and Preservation of Textiles: Historic Quilt Show 2020 (Beloit Historical Society)
https://www.youtube.com/watch?v=FKB7MM_6Yl4
Behind the Seams: A Conservator Looks at Asian Textiles (Jordan Schnitzer Museum of Art)
https://www.youtube.com/watch?v=gHtg5v8x8Fc
Conserving the Emperor’s Carpet (The Metropolitan Museum of Art)
https://www.youtube.com/watch?v=Cw30IAkS7Fs
Textile conservation on Clandon Park’s State Bed (London and South East National Trust)
https://www.youtube.com/watch?v=uGVlUHmVsvE
Conservation: Behind the Scenes [North Country Quilts] (The Bowes Museum)
https://www.youtube.com/playlist?list=PLPMwsrx8ERLaE222ZMH7V5huLTTeOMyc5
Other Links 
Back to Textiles
Category:Textiles
The Nine Agents of Deterioration

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Back to STANDARD 8: Transportation of Objects 
Back to Guideline 8.5
==Nine Agents Of Deterioration==
There are several versions of the Agents of Deterioration. Michalski in Running a Museum ICOM, p.54-55 lists nine as opposed to Rob Waller of the Canadian Museum of Nature who lists ten. 
Agent of Deterioration	Risks of the Agent(Form of loss or damage, and the vulnerable collections)	Hazards (Sources and Attractants of the Agent Partial list)	Other Activities and Disciplines (Involved in management of each risk)
Direct Physical Forces	Breakage, distortion, puncture, dents, scratches, abrasion. All artifacts.
Time-Based Media

=Introduction=
The term "time-based media" describes any artwork that has both physical and temporal dimensions. 
"Contemporary artworks that include video, film, slide, audio, or computer-based technologies are referred to as time-based media works because they have duration as a dimension and unfold to the viewer over time." "Time-Based Media", Guggenheim Museum. 
Sometimes time-based media is also referred to as new media.
=Documentation=
The Guggenheim Museum has provided comprehensive information about the documentation of time-based media art.
=Resources=
==Tech-Focus==
EMG's Tech-Focus symposium is specifically aimed at educating conservators about the preservation of time-based media artworks, by bringing together professionals from a variety of different backgrounds, so that they can "cross-fertilize, and learn from one another". Tech-Focus Website 
 Tech-Focus I dealt with video art, Tech-Focus II was about film and slide art, and the upcoming Tech-Focus III will address computer-based art.
Videos and synopses of most of the presentations are available on the Tech-Focus website.
==Guidelines and Standards==
* Matters in Media Art "This site aims to be a resource for collectors, artists, and institutions of all sizes caring for works of art that have moving image, electronic, and digital elements. If you have questions about how to acquire and preserve these works, here you will find practical tools and examples to guide you."
==Further Reading==
* Conservation of Time-Based Media Art at the Tate
* Matters in Media Art: Collaborating Towards the Care of Time-Based Media (MoMA)
* The Smithsonian's Time-Based Media and Digital Art Working Group
*Media Art Preservation Links (Netherlands Media Art Institute)
*Blog post by Mary Broadway about a 2014 AIC Annual Meeting presentation "“Establishing Time Based Media Conservation at the National Galleries of Scotland; Creating More in Times of Less” presented by Kirsten Dunne, paper conservator at the Scottish National Gallery of Modern Art in Edinburgh, Scotland"
==Further Watching==
*Preserving Digital Art: A Case Study video from a 2012 Museum Computer Network conference panel, featuring Anne Goodyear, Associate Curator of Prints and Drawings, Smithsonian, National Portrait Gallery; Jerey Martin, Time-Based Art Conservator/Moving Image Archivist, Independent; Koven J. Smith, Director of Technology, Denver Art Museum; Penelope Umbrico, Artist/Photographer.
=References=
Category: Time-Based Media
TinyTag datalogger

== TinyTag ==
Here is an image of two of the most popular TinyTag dataloggers - the tinyview and the Tinytag ultra
Here are some of the things that the logger is good for
* general monitoring
* special projects
* temp only
* RH only
::temp and RH
Here is what I was thinking we should include in all logger pages on our wiki.--RPArenstein 18:14, 1 November 2011 (UTC)
Tips for automation

I will always choose a lazy person to do a difficult job because a lazy person will find an easy way to do it.
*Don’t re-invent the wheel! Basically, if you find that you're typing the same things over and over again, or making a lot of pages with the same basic structure, there's a few tricks to make the work go easier.
*Use templates to populate new pages with the structure you want, especially if you’re going to be doing a lot of them. It helps retain consistency throughout the site. You can use {{subst:TemplateName}} to permanently include the template text, which is great for doing bulk page creation.
*You can use variables in a template. See the Template:BCC header for an example. 
*You can use <style> tags in a template, to make it look exactly how you like it. Colors, font size, positioning, images, etc can all be utilized in a template.
*Magic Words! These may not come in handy very often, but they're a good thing to keep in your back pocket. They can do things like insert the current year, or hide or force the Table of Contents to be wherever you want it to be. A complete list of Magic Words is available on the MediaWiki site: http://m.mediawiki.org/wiki/Help:Magic_words
*Anything you type into the text next to a reference tag will be listed later at the bottom of the pages when the references tag is called again. This means you only need to type out your reference list once, in the body of the page if you want it. And users can click on the little number next to the citation to go directly to where it was cited in the body of the page and vice-versa.Author. Year. Title. Publisher. Etc.
*You can use the Watchlist feature to get automatic notifications any time someone else updates that page. That way you don't have to manually visit every page you're managing to see if there were any changes made.
Traction crackle

__NOTOC__
A crackle pattern caused by an underlying layer which dries slower than one above it. Although this condition may be disfiguring, the coatings are usually well attached.
 
==Related Terms==
crackle
=== Synonyms in English ===
alligator crackle; alligatoring; drying cracks
=== Translation ===
English 	traction crackle
French 	
Spanish 	craquelado de tensión
Portuguese	
Italian 	
German 	
Arabic 	
==Discussion==
==References==
Anon. 2000. “Traction crackle.” Art and Architecture Thesaurus Online. Los Angeles, CA: J. Paul Getty Trust. http://www.getty.edu/research/tools/vocabularies/aat/.
Anon. 2012. “Alligator crack.” CAMEO:Conservation and Art Material Encyclopedia Online. Boston: Museum of Fine Arts, Boston. http://cameo.mfa.org/.
CCI Notes. “Condition Reporting Paintings. Part III Glossary of Terms.” http://www.cci-icc.gc.ca/publications/notes/10-11-eng.aspx.
Category:Lexicon
Category: Condition Terms
Category: Paintings
Category: Objects
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Transmitted Infrared Imaging

Imaging > Imaging Techniques > Infrared techniques > Reflected Infrared Imaging
Please be patient, this part of the site is under development. We are starting to build out the Imaging Wiki.
Wiki Team Lead: Adam Neese, Megan Salas, Germain Wiseman
Wiki Editor: Lucia Elledge, Shan Kang, Silvia Russo
Wiki Contributors: Greg Bailey, Jiuan Jiuan Chen, Carolina Correa, Jan Cutajar, Stephanie Guidera, Kurt Heumiller, Richard House, Annette Keller, Dawn Kriss, Dale Kronkright, Loa Ludvigsen, Michal Mikesell, Basia Nosek, Marina Ruiz-Molina, Paige Schmidt, Marianne Weldon 
== Transmitted Infrared Imaging ==
=== Definition ===
=== Common uses ===
=== Equipment ===
==== Camera ====
===== Modified DSLR =====
==== Light sources ====
===== Tungsten incandescent ===== 
===== Tungsten halogen =====
===== IR emitting LED =====
===== Xenon strobe =====
==== Artifacts supports ====
==== Calibration ====
=== Capture/ Workflow ===
=== Image processing ===
==== Registration ====
=== Troubleshooting ===
=== Visible-induced Infrared Luminescence (VIL) ===
==== Visible-induced IR luminescence ====
==== UV-induced IR luminescence ====
Transparent Suction Platen Images

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thumbnail|left|IMAGE 1: A ball point pen inscription found on a UH library book page.
thumbnail|center|IMAGE 2: Recto of paper, with ball point pen ink test, before treatment on a suction platen with ethanol.
thumbnail|left|IMAGE 3: Recto of paper, with ball point pen ink test, after treatment on a suction platen with ethanol.
thumbnail|center|IMAGE 4: Verso of paper, with ball point pen ink test, after treatment on a suction platen with ethanol.
thumbnail|left|IMAGE 7: Perforated polypropylene sheet.
thumbnail|center|IMAGE 8: Corrugated polycarbonate sheet.
thumbnail|left|IMAGE 9: Polycarbonate end cap.
thumbnail|center|IMAGE 10: ¼” Teflon hose barb fitting (sometime called a hose mender).
thumbnail|left|IMAGE 11: Loctite® brand clear silicon.
thumbnail|center|IMAGE 12: Teflon tape.
thumbnail|left|IMAGE 13: Cutting the corrugated polycarbonate sheet to the same size as the perforated polypropylene.
thumbnail|center|IMAGE 14: Cutting the top later off of the corrugated polycarbonate sheet to reveal the channels.
thumbnail|left|IMAGE 15: Scoring the top layer of the corrugated polycarbonate sheet down the length of a channel.
thumbnail|center|IMAGE 16: Peeling off a section of the corrugated polycarbonate sheet that has been previously scored.
thumbnail|left|IMAGE 17: Cutting out of a ¼” notch off each and of the corrugated polycarbonates sheet to allow for air flow.
thumbnail|center|IMAGE 18: Marking the hole in the polycarbonate end-cap before drilling.
thumbnail|left|IMAGE 19: Drilling out the hole in the polycarbonate end-cap, for the hose barb, with a 5/16” drill bit.
thumbnail|center|IMAGE 20: Inserting the hose barb into the hole with silicon applied to create a seal.
thumbnail|left|IMAGE 21: Applying the polycarbonate end-caps to the open channel sides.
thumbnail|center|IMAGE 22: Close up view of hose barb fitting with the end cap inserted between the channels of the corrugated polycarbonate. 
thumbnail|left|IMAGE 23: Teflon tape is used to seal the two non-endcap sides of the platen.
thumbnail|center|IMAGE 24: A strip of Teflon tape is run across the two end caps on the bottom of the platen to create a seal.
thumbnail|left|IMAGE 25: Top of clear suction platen after completion.
thumbnail|center|IMAGE 26: Bottom of clear suction platen after completion.
Ukrainian Dictionary - Український словник

== Damages ==
 Caption text
UKRAINIAN 	ENGLISH
ввігнутий 	concave
вигоряння, вицвітання, знебарвлення	fading
виділення (екскременти) комах 	insect excretion (frass)
випуклий 	convex
вм'ятина 	indentation
Example 	Example
Example 	Example
Example 	Example
Example 	Example
Example 	Example
Example 	Example
Example 	Example
Example 	Example
Example 	Example
Example 	Example
Example 	Example
Example 	Example
Example 	Example
Example 	Example
Example 	Example
Example 	Example
тріснутий 	cracked
тріщина 	crack
Example 	Example
Uranium Prints

Page Information	Page Information
Date initiated 	
Contributors 	
__TOC__
==Uranium Prints==
=== Historical Facts===
thumb| Caption
=== Identification Characteristics===
==== Image material====
==== Color ====
==== Support ====
=== Conservation ===
=== Housing and Storage Considerations===
==== Housing ====
==== Storage ==== 
=== Exhibition ===
=== Emergency Recovery === 
=== References ===
 
=== Further Reading===
Back to Photographic Materials Main Page
Back to PMG Photographic Processes
Category:Photographic Materials
Category: Photographic Processes
Using Fake Food and Artificial Plants in Exhibits

Category:Exhibition
Category: Exhibit Technical Notes
Category: Exhibit Case Design
Category: Exhibit Fabrication
Category: Standards & Guidelines
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__TOC__
Incorporating food and plants into a display presents several conservation challenges. Careful selection of artificial materials and monitoring are important to prevent damage to collection objects.
==How can foodstuffs be incorporated into an exhibit?==
Although food may be present in historic house or living history museums that demonstrate cooking, real food must never be used in a stationary exhibit. The two main problems associated with such use are migration of fats and oils from the food into the container or surface on which it rests, and increased insect and rodent activity. These problems commonly occur when freshly prepared or dried foods are used in static displays. Conservation-appropriate replica food can be used.
*Silicone can be tinted, foamed and shaped to form imitation foodstuffs.
*Painted plaster can be used to imitate breads, pies, potatoes and similar foods.
The silicone rubber is relatively expensive, however, and the work is labor intensive making the product expensive. It is best reserved for long-term displays, seasonal displays requiring the same foods for a number of years, and when acceptable alternatives are difficult to locate.
Such alternatives include commercially available plastic and wax fake food. Although some fake food is produced for the domestic market, most is marketed for restaurant and store displays. It is necessary to research the materials used in making these products.
*Most types of plastic foods will degrade over time; avoid polyvinyl chloride products all together.
*Avoid freeze-dried food for exhibits lasting longer than a few weeks; freeze-dried foodstuffs having moderate fat content can start to rot and in humid climates can rehydrate.
*Dried foods such as apples and nuts are susceptible to mold, rot and insects.
It is absolutely critical that any artificial food be physically isolated from collection objects to prevent migration of unreacted plastic monomers, plasticizers, oils, and dyes into adjacent objects. Examine fake foods frequently and replace at the first sign of deterioration.
==Why can’t live flowers and plants be used in exhibits?==
The use of live flower arrangements, plants and greenery in an exhibit presents several moisture, soilage, and insect threats to the preservation of the collection. Of particular concern are the following issues:
*dripping leaves, wet vases and overflow from watering plants or topping off vases;
*moisture migration through porous pottery containers;
*dropping pollen that forms a sticky, corrosive film which can be difficult to remove;
*insects brought into the museum on live or dried flowers and plants
When exhibit interpretation mandates the use of flowers or plants, artificial materials provide a good alternative to live or dried flowers and plants. These include silk flowers and plants, and wax fruit, seeds and nuts.
(Note that this TechNote does not address botanical displays or gardens.)
Validity Banners

From the AIC wiki guidelines page section on disclaimers
All pages regarding treatment or hands-on procedure have a disclaimer to advert against the use of the described procedures by non-conservators. 
The disclaimer reads: “ This article describes conservation procedures. It is meant to be used as exchange of technical information among trained art conservators and should not be used by non-conservators to intervene in cultural property." 
 STATE In progress, 1/30/2012 
seen in: 
BPG Book catalog - http://www.conservation-wiki.com/w/index.php?title=Books_Section_2_-_Examination_and_Documentation_-_Chapter_2._Documentation
BPG Paper catalog - http://www.conservation-wiki.com/w/index.php?title=BP_Chapter_1_-_Fiber_Identification
 
http://www.conservation-wiki.com/w/index.php?title=Template:In_Progress
seen in:
OSG catalog - http://www.conservation-wiki.com/w/index.php?title=Archaeological_Objects
BPG catalog - http://www.conservation-wiki.com/w/index.php?title=Books_Section_2_-_Examination_and_Documentation_-_Chapter_2._Documentation
PMG catalog - http://www.conservation-wiki.com/w/index.php?title=PMG_Cased_Photographs
The goal of this wiki page is to provide information on the broad range of materials and topics encountered in the conservation of paintings. This information is intended to be used by conservators, museum professionals, and members of the public for educational purposes only. It is not designed to substitute for the consultation of a trained conservator. To find a conservator, please visit AIC's Find a Conservator page.
seen in:
PSG catalog - http://www.conservation-wiki.com/w/index.php?title=Paintings&action=edit
THIS ENTRY IS A DRAFT 
http://www.conservation-wiki.com/w/index.php?title=Template:In_Progress_Draft
The following Standards and Guidelines are a work in progress intended to spur discussion between exhibit personnel, conservators and other museum professionals. Please check back in the future as information is added to expand on the Guidelines without currently active links. If you are interested in contributing to or commenting on this text please contact the AIC e-Editor
seen in:
 Exhibition Standards & Guidelines - http://www.conservation-wiki.com/w/index.php?title=Exhibition_Standards_%26_Guidelines 
seen in:
 History of Conservators & Conservation - http://www.conservation-wiki.com/w/index.php?title=History_of_Conservation_and_Conservators&action=edit
VanDyke Brown, Kallitype, Brown Print, Sepia Print, Ferro-Gallic, Argentotype, Agyrotype

Page Information	Page Information
Date initiated 	
Contributors 	
__TOC__
==VanDyke Brown, Kallitype, Brown Print, Sepia Print, Ferro-Gallic, Argentotype, Agyrotype==
=== Historical Facts===
thumb| Caption
=== Identification Characteristics===
==== Image material====
==== Color ====
==== Support ====
=== Conservation ===
=== Housing and Storage Considerations===
==== Housing ====
==== Storage ==== 
=== Exhibition ===
=== Emergency Recovery === 
=== References ===
 
=== Further Reading===
Back to Photographic Materials Main Page
Back to PMG Photographic Processes
Category:Photographic Materials
Category: Photographic Processes
Varnishes and Surface Coatings: Directory of Vendors

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Return to Varnishes and Surface Coatings Table of Contents
'''
Return to previous section: Solubility Test Description & Solvents Used in Solubility Tests
The information presented on the Paintings Conservation Wiki is the opinion of the contributors and does not imply endorsement or approval, or recommendation of any treatments, methods, or techniques described.
=APPENDIX II=
Compiler: Wendy Samet
The following vendors are listed herein as possible product suppliers.
American Distributors 3085 54th Street San Diego, CA 92105 tel - (619) 265–7743 fax - (619) 287–3817
Benbow Chemical Packaging, Inc. 935 Hiawatha Blvd. Syracuse, NY 13208 tel - (315) 474–8236 fax - (315) 478–1307
Chem-Materials Co. 16600 Sprague Road Cleveland, OH 44130 tel - (440) 243–5590 fax - (440) 243–1940
The Chidley & Peto Co. 3800 North Wilke Road, Suite 300 Arlington Heights, IL 60004 tel - (847) 577–3800 fax - (847) 259–5412
Conservation Support Systems 924 West Pedregosa Street Santa Barbara, CA 93101–4622 tel - (805) 682–9843 fax - (805) 682–2064
Conservator's Emporium 100 Standing Rock Circle Reno, NV 89511 tel - (702) 852–0404 fax - (702) 852–3737
Conservator's Products Co. P.O. Box 411 Chatham, NJ 07928 tel/fax - (917) 927–4855
Focus Chemical Co. B9 Orchard Park 875 Greenland Road Portsmouth, NH 03801 tel - (603) 430–9802 fax - (603) 431–5390
Gamblin Restoration Colors P.O. Box 625 Portland, OR 97207 tel - (503) 235–1945 fax - (503) 235–1946
W.W. Grainger Co. Locations Nationwide Check local listings
O.G. Innes Corp. 21 East 40th Street New York, NY 10016 tel - (212) 391–4187
Kremer Pigments. Inc. 228 Elizabeth Street New York, NY 10003 tel - U.S. (800) 995–5501; Int'l (212) 219–2394 fax - (212) 219–2395
Linden Nazareth Hendre Wen Nazareth, Caenardon Gwynedd LL54 6DU Wales, UK tel - (01286) 882 162 fax - (01286) 882 286
Pearl Paint Co. 207 East 23rd Street New York, NY 10010 tel - (212) 592–2179 fax - (212) 683–9276
Pearl Paint Co. 12266 Rockville Pike Rockville, MD tel - (301) 816–2900 fax - (301)
Quadra Chemicals, Ltd. 1100 Blair Road Burlington, Ont. L7M 1K9 Canada tel - (905) 336–9133 fax - (905) 927–4855
Shell Chemical (for solvent inquiries) tel - (800) 367–7658
Sigma Chemical Company P.O. Box 14508 Saint Louis, MO 63178 tel - (314) 771–5765 fax - (314) 771–5757
Daniel Smith 4150 First Avenue South Seattle, WA 98124 tel - U.S. (800) 426–6740; Int'l (206) 223–9599 fax - (206) 224–0404
A.F. Suter & Company, Ltd. Swan Wharf, 60 Dace Road London E3 2NG UK
Talas 568 Broadway New York, NY 10012 tel - (212) 219–0770 fax - (212) 219–0735
Utrecht Manufacturing Corp. 33 Thirty-fifth Street Brooklyn, NY 11232 tel - (800) 233–9132 fax - (718) 499–8815
Continue to next section: Cumulative Bibliography
'''
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'''
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'''
Category:Paintings
Category:Varnish
Category:Coatings