nyuuzyou/wikis huggingface dataset:
Infestation

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=Infestation=
Infestation is the persistent presence or invasion of pests, especially in large numbers (AAT 2014). Art & Architecture Thesaurus (2014). Research: Art & Architecture Thesaurus Online Full Text Display: Infestation. Retrieved from: http://www.getty.edu/vow/AATFullDisplay?find=infestation&logic=AND¬e=&english=N&prev_page=1&subjectid=300226360 
 
 
==Related Terms==
=== Synonyms in English ===
invasion, swarm, infiltration, influx, plague, insect damage
=== Translation ===
English 	Infestation, infested
French 	Infestation
Spanish 	Infestaciòn, plaga
Dutch 	Plaag
Italian 	Infestazione
German 	Verseuchen
Russian 	
Arabic 	
Chinese (Traditional)	蟲害
==Discussion==
Use this word when referring to pest attacks, mold growth, or rodent attacks.
Over the years pest control in museums has undergone many changes. Pesticide use, for example, has evolved from a wide array of uses to specific pest management procedures that keep in mind the dangers to staff and to the collections. Now most museums employ Integrated Pest Management plans, which are procedures to discourage pest infestations in their collection storage and display areas using a variety of non toxic approaches to create an inhospitable environment for pests (Philadelphia Museum of Art, 2015). Philadelphia Museum of Art (2015). Research: Conservation. Retrieved from: http://www.philamuseum.org/conservation/10.html?page=5 
1.	The presence of an actual insect, alive or dead, at various stages of its development
2.	Cast skins or other body parts
3.	Chewing marks
4.	Exit holes in surfaces of wood
5.	Hair, fur, or feather loss
6.	Webbing
7.	Grazed surfaces
8.	Frass (debris or excrement produced by insects, usually a soft powdery material)
9.	Fecal pellets, dried stains, or fecal spots (National Park Service, 2008) National Park Service (2008). ConservOgram, Number 3/11. Retrieved from: http://www.nps.gov/museum/publications/conserveogram/03-11.pdf
If you find you already have evidence of insect activity there are two recommended ways of dealing with the problem. First, anoxic treatment, which is the elimination of oxygen from a microenvironment. This technique employs oxygen scavengers, carbon dioxide, nitrogen or argon gas to create a controlled atmosphere that deprives the pests of oxygen. This is mostly recommended for single objects or very small groups of objects that have been infested. The second option is to treat collections in a large commercial freezer that can reach 0 degrees F or lower. This procedure is recommended for herb specimens, books, and textiles. This treatment should not be used on wood, bone, ivory, or lacquer because they could be adversely affected (Philadelphia Museum of Art, 2015). Philadelphia Museum of Art (2015). Research: Conservation. Retrieved from: http://www.philamuseum.org/conservation/10.html?page=5 
==References==
Category:Lexicon
Return to List of Lexicon Terms
Infrared luminescence

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 
== Visible-induced IR luminescence ==
=== Definition ===
=== Common uses ===
=== Equipment ===
==== Cameras ====
===== Modified DSLR =====
==== Light sources ====
===== Vis emitting LED =====
===== Filtered strobe =====
==== Filters ====
===== Bandpass filter =====
===== Copper liquid filter =====
==== Calibration ====
=== Capture/ Workflow ===
=== Image processing ===
==== Registration ====
=== Troubleshooting ===
== UV-induced IR luminescence ==
=== Definition ===
=== Common uses ===
=== Equipment ===
==== Cameras ====
===== Modified DSLR =====
==== Light sources ====
===== UV light =====
==== Filters ====
==== Calibration ====
=== Capture/ Workflow ===
=== Image processing ===
==== Registration ====
=== Troubleshooting ===
Inorganic Materials

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Image: oc logo.gif‎ Objects Specialty Group Conservation Wiki 
INORGANIC MATERIALS
Contributors: 
Nicole Grabow, Katherine Holbrow, Stephanie Croatt
Your name could be here! Please contribute.
Copyright: 2011. The Objects Group Wiki pages are a publication of the Objects Specialty Group of the American Institute for Conservation of Historic and Artistic Works. 
----
 CAUTION: The Objects Group Wiki pages are published for the members of the Objects Specialty Group. Publication does not endorse or recommend any treatments, methods, or techniques described herein.
=Inorganic Materials=
Inorganic materials are generally derived from non-living sources, such as rocks or minerals, and encompass such categories as glass, ceramics, and metals. The following outline describes categories of inorganic materials that a conservator might use in determining condition or treatment strategies. These categories are not precise or rigidly adhered to, but do give a sense of what factors may be involved. Some follow scientific taxonomies, but fabrication method, source, and location may also play a role. Historic or common usage also contributes to the groupings since much conservation is focused on art objects and historic artifacts.
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Inorganic Materials
:::1. Stone
::::a. Igneous
::::b. Sedimentary
::::c. Metamorphic
:::2. Ceramic
::::a. Clay
:::::i. tablets
:::::ii. greenware
::::b. Mud Brick
::::c. Terracotta and Low Fired Terrasigilata
::::d. Earthenware
::::e. Stoneware
::::f. Porcelain
:::3. Glass
::::a. Flat Glass
:::::i. Stained Glass
::::::a. in situ
::::::b. archaeological
::::b. Vessels
::::c. Beads
::::d. Scientific Glass
::::e. Volcanic
::::f. Enamel
::::g. Glazes
:::4. Metal and Metallurgical By-Products
::::a. Gold
::::b. Silver and Silver Alloys
::::c. Copper and Copper Alloys
::::d. Iron and Iron Alloys
::::e. Aluminum
::::f. Tin
::::g. Arsenic
::::h. Lead
::::i. Ores
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Back to the Objects Page
Category: Objects.
Inpainting: Statement of Purpose

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Back to Inpainting Chapter Index
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.
Painting Conservation Catalog: Volume III 
Compiler: Catherine A. Metzger
This third volume of the Paintings Conservation Catalog is designed to give the working painting conservator a compendium of methods and materials currently in use for inpainting losses in painted surfaces within a context of historical approaches and current ethical philosophy. Each chapter was written by an individual contributor and was vetter for content by an eight-member editorial board, including seven practicing painting conservators and a conservation scientist, to ensure accuracy and completeness of approach. It is not the purpose of this volume to advocate one method or set of materials over another, but to present to readers what is currently considered a responsible approach for making paintings legible.
Category:Paintings
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Integrated pest management (IPM)

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Contributions by: Joanne Lim
Integrated Pest Management (IPM) is part of a preventive care effort done to minimize or slow down rate of deterioration, and to prevent damages to collections due to museum pests. 
==Related Terms==
=== Synonyms in English ===
Pest management, Preventive conservation/care, Preventive Conservation
 
=== Translation ===
English 	Integrated Pest Management
French 	Gestion Intégrée des Ravageurs
Spanish 	Manejo Integrado de Plagas
Portuguese 	Manejo Integrado de Pragas
Italian 	Gestione Integrata dei Parassiti
German 	Integrierten Pflanzenschutz
Russian 	комплексной борьбы с вредителями
Arabic 	الإدارة المتكاملة للآفات
Chinese (Traditional)	綜合蟲害管理
==Discussion==
As compared to traditional pest management which encourages the use of repeated chemical application without understanding the species or number of pests present, the IPM approach is more holistic. The IPM approach looks at different aspects in a museum setting and encourage using less chemicals.
Museums are encouraged to have a customized IPM plan for their institution. The following are principle objectives of an IPM plan: []
# Protection of Property – realize that effective pest control for collections and buildings goes beyond killing bugs or applying pesticides
# Protection of Health and Safety – understand the main idea of IPM is to minimize use of chemicals use to protect health and safety of guests, staff and environment
# Legal Compliance – realize Storage and use of chemicals are subjected to various rules and regulations. 
A good IPM plan should include the following elements: [] 
# Identifying and fixing problems in building and room structure - E.g. Check for hidden or dark corners that could possibly encourage pest to reside
# Identifying design weakness in showcases - E.g. Ensure showcases properly sealed 
# Maintaining a clean environment in collections storage area and in gallery space - E.g. Disallow food and drinks 
# Identifying and monitoring pests within museum - E.g. Install specific traps for each pests such as sticky traps for ants and lizards, and pheromone traps for fabric feeding pests, Count the trapped insects at regular intervals and record the findings
# Address proper treatment methods to remove pests from infested objects - E.g. Freezing infested objects, Fumigating infested objects
Conservators should always look for expert opinion on removing pests when unsure. This is particularly for wood destroying insects like termites, powderpost beetles. These pests may cause structural damage to the museum building and can spread to the documents storage area. #[]
==References==
Collections ManagementThe Paleontology Portal. (n.d.). Retrieved March 20, 2015, from http://collections.paleo.amnh.org/8/integrated-pest-management
Museumpest.net. (n.d.). Retrieved March 15, 2015, from http://museumpests.net
Integrated Pest Management. (2011). In R. Buck & J. Gilmore (Eds.), Museum Registration Methods (pp. 369 - 380). Washington D.C: The AAM Press.
Also see the following pages on the AIC wiki Preventive Conservation and Preventive Care
Category:Lexicon
Return to List of Lexicon Terms
International Mountmakers Forum UK Kick-Start Meeting

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Back to Preventive Care Page
Back to Mountmaking Page
 
== About the meeting- ==
The International Mountmakers Forum UK Kick-Start Event was held on April 15, 2015 at the Natural History Museum, London.
===Review ===
*Read an informal review of the program 
==Program-==
=== Introduction ===
Helen Walker, Exhibitions Specialist, Natural History Museum, London
Watch the video 
=== Presentations ===
Origins of the Mountmakers Forum
McKenzie Lowry, Senior Mountmaker, Antiquities Conservation, Getty Museum, Los angeles
Watch the video 
The International Mountmakers Forum- An Evolution
BJ Farrar, Senior Mountmaker, Decorative Arts and Sculpture Conservation, Getty Museum, Los Angeles
Watch the video 
The Collaborative Mounting of a 17th Century Lobster Tailed Helmet (Co-authored by Zoe Lancely)
Roger Murray, Museum Technician, The Victoria and Albert Museum, London
Watch the video 
The Adventures of Setting up a Workshop at The Wellcome Trust
Christian Kingham, Exhibitions Coordinator, The Wellcome Trust, London
Watch the video 
Morning Session Q&A
Watch the video 
Plowden and Smith Mountmaking Highlights
Kevin Smith, Conservator and Managing Director of Plowden and Smith Ltd., London
Watch the video 
Where to from Here?
Shelly Uhlir, Senior Staff Mountmaker, The National Museum of the American Indian, Smithsonian Institution, Washington D.C.
Afternoon Session Q&A
Watch the video 
== Online Resources-==
*View The Event Announcement
*View The Natural History Museum website
 
 
category:Mounts & Mountmaking
Ion Beam Analysis - Proton Induced X-ray Emission

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==Overview==
 
==What it measures==
Energetic protons can also eject inner-shell electrons and the subsequent electron transitions to fill the empty, inner shell orbitals also produce characteristic x-ray energies. Photons, electrons and protons lead to the production of characteristic energy x-rays that can be used to identify elements in pigments or in metallic artifacts.
==Most common uses in conservation==
analysis of manuscript ink, small statues, metallic plate, coins
==Applications==
In PIXE the proton beam irradiates a relatively small area of the artifact (beam sizes are approx. 1mm x 1mm down to 0.1mm x 0.1mm - the diameter of a paper clip wire or smaller) thus small enough to lie well within a line of ink on a manuscript or a well defined ara of a painting. Additionally one of the advantages of PIXE is that calibration of the amount of pigment is easier than with other techniques (e.g. XRF). PIXE (requires an ion acelerator which is a large, fixed piece of equipment and so unlike with XRF the painting or artifact must be brought to the equipment in the lab. 
==Case Study==
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Back to Research and Analysis page 
Category:Research and Technical Studies
Category:Research and Testing‏‎
Category:Instrumental Analysis
Category:Technique
Joining the AIC Sustainability Committee Online Community

This online forum is just like the other AIC forums (AIC Community Forum, AIC Global Conservation Forum, specialty group forums, etc.). The Sustainability Committee will be using it more frequently to help members stay up-to-date on sustainability issues. Here’s how to join:
=== Step 1: Log in (if you already have an account with AIC/FAIC) or create an account ===
* Visit the Sustainability Committee Online Community page. 
* Select the purple Login button in the upper right corner
* On the login screen, select New User (if you already have an account with AIC/FAIC, simply log in and skip to Step 2).
* Enter your email address and select Go.
* Complete your profile. Fields marked with an R are required. The rest are optional. Skip any questions that do not apply.
* Be sure to take note of the password you create. You will need it to log in to post to the Community.
* Select the purple Online Community button after completing your account to be taken to the Community.
=== Step 2: Join the Community ===
Select the purple Join Community button.
=== Step 3: Set your email delivery preferences ===
A pop-up box will ask you to choose your email preference for discussions in the community. You have the following delivery options:
* Real time: sends an email every time a new message is posted.
* Daily digest: sends one email to you each day, consolidating all of the posts from the previous day.
* No Email: allows you to be part of the group without having emails sent to you. You can still post and read others' messages by logging into the community site.
We recommend the Daily digest, as it allows you to follow the discussions without bombarding you with emails.
=== Step 4: Explore! ===
Kory Berrett

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Full name (last name, first name): Berrett, Kory
Other names known by: 
Date and place of birth: 
Date and place of death: December 5, 2012
Nationalities:
Education (degrees):
*Certificate of Internship, Art Conservation, Fogg Art Museum Center for Conservation and Technical Studies, Harvard University, 1979 – 1980
*BFA, Fine Arts, Art History, University of Utah, 1969 – 1974
 
Notable teachers/mentors:
*Arthur Beale
Notable students:
Employment (highlights): 
*Berrett Conservation Studio, Oxford PA was established in 1990 to provide consultation and artifact treatment services for cultural heritage institutions and private collections in the Mid-Atlantic region and beyond.
*Objects conservator, Winterthur Museum and Adjunct Associate Professor in the Winterthur graduate program, 1983 to 1991
*Objects conservator, Smithsonian Institution, 1981 to 1993 
Professional association involvement:
Kory was named a Fellow of AIC in 1990, and worked tirelessly in support of AIC's ongoing efforts to develop and uphold a Code of Ethics and Standards of Practice for active conservation professionals. 
Special achievements, honors or awards:
 
Relatives of note:
Wife, Patricia Keller, is a graduate of the Winterthur Program in American Material Culture, and University of Delaware's Ph.D. Program in the History of American Civilization. She provided Berrett Studio experience in object connoisseurship, museum administration, exhibition research and organization, and collections management issues. 
Clients
*The Pennsylvania Historic and Museum Commission
*The Franklin Institute Science Museum
*The National Parks Service
*The Civil War and Underground Railroad Museum
*The Brandywine River Museum
*The Thomas Jefferson Memorial Foundation (Monticello)
*The Mercer Museum of Bucks County Historical Society
*The Delaware Art Museum
*The Chester Historical Society
Curriculum vitae: (with link if available)
Website:
Images: 
Publications:
Conference presentations: 
FAIC Oral History entry?: N/A
Location of papers or archives:
Category:History of Conservation and Conservators
Land Acknowledgements

Back to Diversity, Equity, Inclusion, & Accessibility
==What is a land acknowledgement?==
A land acknowledgement is a statement meant to respectfully recognize the original Indigenous people who inhabited and cared for a specific area before colonization or displacement. They are often given at the start of an event or presentation.
The EIC wrote more about land acknowledgements on page 11 of the AIC News.
To learn more about the land you are on, check out this Native Land map.
==Why include a land acknowledgement?==
AIC’s Code of Ethics includes Statement II: “All actions of the conservation professional must be governed by an informed respect for the cultural property, its unique character and significance, and the people or person who created it.” As with any cultural preservation effort, we cannot forget the importance of people in our mission to preserve memory and heritage. Providing this statement is one gesture to demonstrate our recognition of this history and respect for the community where we are holding our activities. It is also important to recognize that the history of colonialism and displacement has benefitted many of the cultural institutions in which conservators work.
However, engaging in this practice is, and should be, a personal commitment to learning a fuller history of the land you are currently inhabiting as well as the indigenous people who stewarded and are currently stewarding the lands. It is not a checkbox and should not be rote. It should be a first step, not the only step and should lead to meaningful relationships and action.
Many indigenous peoples support land acknowledgments, but stress that an acknowledgment is only the beginning.
* Native Governance Center: A guide to Indigenous land acknowledgment
* U.S. Department of Arts and Culture: Honor Native Land: A Guide and Call to Acknowledgment
* What are land acknowledgements and why do they matter?
* Northwestern Native American and Indigenous Initiatives Land Acknowledgement
*Guide to Acknowledging First Peoples & Traditional Territory
For more perspectives, read why these artists emphasize the problematic, habitual nature of land acknowledgements:
* Indigenous Artists Tell Us What They Think About Land Acknowledgements
* Land Acknowledgments Accomplish Little
==How do I write a land acknowledgement?==
The EIC has created to assist you in preparing your own acknowledgements.
Category:Diversity, Equity, Inclusion and Accessibility
Lantern Slides

Page Information	Page Information
Date initiated 	
Contributors 	
__TOC__
==Lantern Slides==
=== 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
Laying Out the Basics of a PPE Program Infographic (CCOHS)

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Note that this infographic contains two incorrect pieces of information (as of August 2021):
* 105 dB shouldn't be considered a firm benchmark for the necessity of double hearing protection; in many situations, it may be warranted at lower decibel levels. 
* Fall protection is warranted at 4 feet, not 3 meters (10 feet) as the infographic states. At heights of 4 feet and higher a guardrail or body harness is necessary.
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Category:Health & Safety
Letterpress/Half-tone

Page Information	Page Information
Date initiated 	March 2012
Contributors 	Saori Lewis
__TOC__
==Letterpress/Half-Tone== 
=== Historical Facts===
Invented:
Patented:
Important Development Dates: 
Historic Practitioners:
Widely used in commercial publication from around 1900 to the 1960s until offset lithography became more common.
=== Identification Characteristics===
==== Image layer====
Letterpress ink on paper
==== Color====
Commonly black, but may be any color
==== Support====
Paper
==== Analysis====
Relatively large dots are visible via visual examination under moderate magnification (~15x) or often by naked eye. Due to the nature of relief printing, slight raise of ink may be present along the edges of the dots.
=== Basic Process Overview===
A copper plate negative is prepared by coating with fish or animal glue mixed with light-sensitive bichromate. A photographic image is photographed through a glass screen with fine grid patterns on the copper plate negative. When the negative is developed to high-contrast, the smooth gradation of the original photograph is broken up into various sizes of dots. Since the coating on the negative hardens relative to the amount of exposure to light, shadows in the original image are converted into large dots and highlights become small or no dots. After un-exposed coating is washed away, the plate is etched, resulting in a relief block for printing. The plate is inked and pressed against paper, resulting in photographic image that is realized by varying sizes of pure-black dots.
=== Housing and Storage===
* Letterpress/half-tone prints should be stored in good quality paper-board folders, to protect from light, dust, and handling. Materials passing the Photographic Activity Test (P.A.T.) are suitable for use.
* An ideal temperature and humidity are 68 degrees F (20 degrees C) +/- 2 degree drift and 50% +/-5% variation over 24 hours.
=== Emergency Recovery===
* Handling wet paper can cause damage such as nicks, abrasions, and tearing. 
* Mold can develop on or within the papers.
* Find step-by-step salvage technique for moldy paper in Preservation Leaflet 3.8: Emergency Salvage of Moldy Books and Paperby Northeast Document Conservation Center (http://www.nedcc.org)
=== Further Reading ===
* Baldwin, Gordon. 1991. Looking at photographs: a guide to technical terms. Malibu, Calif: J. Paul Getty Museum in association with British Museum Press.
* Benson, Richard. 2008. The printed picture. New York: Museum of Modern Art.
* Digital Samplebook: http://www.digitalsamplebook.org/home.htm
* Gascoigne, Bamber. 2004. How to identify prints: a complete guide to manual and mechanical processes from woodcut to inkjet. New York, N.Y.: Thames & Hudson.
* Northeast Document Conservation Center: "Emergency Salvage of Moldy Books and Paper" (http://www.nedcc.org)
* Reilly, James M. 1986. Care and identification of 19th-century photographic prints. Rochester, NY: Eastman Kodak Co.
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Category:Photographic Materials
Category: Photographic Processes