nyuuzyou/wikis huggingface dataset:
Recycling

Recycling Tips
In the survey that the AIC Green Task Force conducted last year, we found recycling to be the green initiative that AIC members are most likely to participate in at work, with 87% of respondents indicating that their workplace participates in recycling. Unfortunately, the downturn in the economy led to a crash in the recycling market in the fall of 2008. With people buying less, there was less of a need for raw materials. With profits from recycling down, municipalities were forced to cut some recycling programs due to budget shortfalls. The market for scrap materials is back up, but some municipalities have not yet restored the programs they had before the downturn. The energy used in a recycling process or pollution generated with some collection programs may be a concern, but there is much variability, depending on the material and the jurisdiction.
Get into the habit of asking yourself if something can be reused or recycled before you drop it into the trash can. 
If you recycle nothing else, aluminum and paper are very important to recycle. The process of extracting aluminum from bauxite ore is very energy intensive, while recycling aluminum uses approximately 95% less energy (sources vary,), but only about half of the aluminum products used each day get recycled. Aluminum can be recycled again and again without changing its properties. Most jurisdictions accept foil wrap, too. If you throw it out, then its value is gone forever and more land will have to be mined to replace it.
As conservators, we demand high standards in our paper products, and many have to be as pure as possible. Even though there are many products we cannot buy recycled, we can make sure that all the scraps of high quality fibers we use are saved for recycling. Paper fibers get damaged each time they are used, but many can be used 5-7 times. Since the fibers have already been processed, they require 40-70% less energy (sources disagree on the exact amount) and 55% less water. Paper is the largest component of solid waste, making up about 40% of the poundage in landfills. The EPA estimates that at least ¼ of this could have been recycled. , , Paper products that do not need to be of high quality in our working lives, such as calendars or notepads, can be made of recycled paper.
Often cut-offs of Mylar, mat board, and ethafoam are too small to be re-used by conservators or exhibits personnel but are often hard to find a firm that will take these items for recycling. When feasible it may be possible to partner with other organizations that may be able to use some materials but still finding a local recycler who will take these materials is important.
Relative humidity

__NOTOC__
Relative Humidity is the ratio of the partial pressure of water vapor in an air-water mixture to the saturated vapor pressure of water at a prescribed temperature.
==Related Terms==
=== Synonyms in English ===
Relative Humidity (Preferred (Getty Research Institute, 2004)); Atmospheric Humidity; 
=== Translation ===
English 	relative humidity
French 	humidité relative
Spanish 	humedad relativa
Portuguese 	umidade relativa do ar
Italian 	umidità relativa
Chinese (Traditional) 	相對濕度
Chinese (Transliterated Hanyu Pinyin)	xiāng duì shī dù
Dutch 	relatieve vochtigheid
==Discussion==
Most organic materials expand and contract as temperature and relative humidity rise and fall. These fluctuations cause unwanted changes to objects, such as splitting and distortion (Landry & Hoag, 2009). High levels of humidity can lead to mold growth. Proper temperature and relative humidity maintenance generally means avoiding the extremes of both.
A relative humidity between 40 - 60% is generally appropriate for most collections, though proper levels will depend on the object's composition (Hilberry & Weinberg, 1994). Mold growth can develop above 70%, and excessive dehydration may result below 30%. A fully integrated heating, ventilating, and air conditioning (HVAC) system regulates both temperature and relative humidity, and is the best aid for creating stable environments. In the event that an HVAC system is not or cannot be put in place, humidifiers and dehumidifiers can help if properly monitored. (Landry & Hoag, 2009). There are a variety of techniques and equipment to help monitor environmental conditions, such as hygrometers or newer electronic systems.
==References==
 Getty Research Institute. Art and Architecture Online Thesaurus. "Relative Humidity". Last modified 2004. http://www.getty.edu/vow/AATFullDisplay?find=relative+humidity&logic=AND¬e=&english=N&prev_page=1&subjectid=300192097
 Hilberry, John D. and Susan K. Weinberg. "Museum Collections Storage," in Care of Collections, edited by Simon Knell, 155 - 175. New York: Routledge, 1994.
Landry, Gregory J. and Robert W. Hoag. "General Care," in The Winterthur Guide to Caring for Your Collections, Gregory J. Landry, et al., 9 - 18. Winterthur: Winterthur Publications, 2009.
Category:Lexicon
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Research and Analysis

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Contents in the Research and Analysis section of the AIC wiki is being generated by AIC Materials Working Group participants as well as Research and Technical Studies (RATS) Specialty Group members with contributions from the broader AIC membership. Information on these topics may also reside within the other SG catalogues located in the Materials and Treatment section. This additional content can be most easily found using the SEARCH bar to the left or the Category links below.
Materials Testing
Information on Accelerated Aging (Oddy and PAT) Tests, Microchemical Tests and links to a variety of materials testing databases and results tables	Instrumental Analysis
Information on instrumental analytical techniques and their uses
Environmental Testing
Information on environmental testing and management 
in the context of cultural heritage	Case Studies
Technical studies and presentations that demonstrate the use of 
research, testing, and analysis on a range of cultural heritage
Category:Research and Technical Studies
Category:Research and Testing‏‎
Category:Technique
Category:Choosing Materials
Research and Technical Studies

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Research and Technical Studies Group (RATS)
WELCOME to the RATS Specialty Group page on the AIC WIKI. The purpose of AIC's RATS Specialty Group is to promote the advancement of scientific research in the field of conservation and to promote effective interaction of conservators and scientists in furthering the development of conservation practice. RATS fosters communication between:
:* Conservators of all disciplines
:* Scientists working in the conservation field
:* Outside scientists of various disciplines relevant to conservation
RATS content on the wiki should be of interest to all the other AIC specialty group divisions and we invite suggestions and content from colleagues throughout AIC. We aim to produce or aggregate content on the AIC wiki in four areas:
:*Conservation Materials
:*Materials Testing
:*Instrumental Analysis
:*Technical Studies
== A Brief History of RATS ==
RATS was originally founded as a task force for AIC in 1989 to study the role of conservation science within conservation. In September 1990, the task force reported the following findings:
:* The amount of interaction between conservators and conservation scientists is too low.
:* Though quantitative data is generated in the field, statistical analysis of data is rarely applied.
:* Most researchers have no working knowledge of statistics; nor have they worked with a statistician or statistical software.
:* There is an interest in creating a short-term training course on experimental design in conservation research.
:* Color measurements are directly applicable in conservation work however few measurements are actually taken.
:* A list of consulting experts was viewed as potentially highly useful by an overwhelming number of respondents. 
:* There is an interest in joining a specialty group devoted to conservation science and attending sessions devoted to it at national meetings if one was established. 
:* Many felt that a separate group focusing on conservation science could address problems and issues that are not priorities for existing specialty groups. 
RATS was officially recognized as a Specialty Group of AIC at the 1993 Annual Meeting in Toronto, Canada. At its inception, RATS declared it focuses to be:
:* Problems and issues of conservation research
:* Technical studies of artifacts, works of art, and natural science collections
During the early years, RATS did not have sessions at the AIC Meeting but rather created a program listing the best technical papers within every other specialty group. RATS members were encouraged to attend these talks. 
Original RATS logo created ca. 1998 by Tom Sain
==Additional Information on RATS==
RATS home page on the AIC website
Listing of RATS Officers to Date
Category:Research and Technical Studies
Restoration

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treatment completed primarily for aesthetic purposes or to return functionality.
Restoration is often part of conservation work.
==Related Terms==
=== Synonyms in English ===
=== Translation ===
English 	
French 	
Spanish 	
Portuguese 	
Italian 	
German 	
Arabic 	
Chinese (Traditional)	修復
==Discussion==
==References==
Category:Lexicon
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Retouching

Reworking small areas of a painting or photographic negative usually to cover damage or to mask unwanted features.Retouching. (n.d.). Retrieved from: http://www.getty.edu/vow/AATFullDisplay?find=retouching&logic=AND¬e=&english=N&prev_page=1&subjectid=300136723
==Basics of painting retouching==
The preservation of paintings commonly involves the reintegration of missing or damaged paint films to a state consistent with the remaining original. Retouching is not, in itself, a creative process but an act of problem solving to obtain an appropriate result through patience, informed decision making, and excellent color matching skills. This term can also be considered a synonym for inpainting. 
The original painting film must be respected and neither altered nor concealed from view. Retouching must be preformed as objectively as possible with no attempt to misrepresent the artist's intent, conceptual, and physical characteristics of the painting.Stoner, J., & Rushfield, R. (2012). The Imitative Retouching of Easel Paintings. In The Conservation of Easel Paintings (pp. 607-634). Abingdon, Oxon England: Routledge.
Is important that any given retouching are:
:* Inert towards the remaining original. 
:* Removable from the remaining original at any given time without harming. 
:* Stable and likely to alter as little as possible overtime to ensure maximum duration of the restoration, minimizing exposure to potential damage or swelling of the painting film through solvent action when the retouching is removed in the future.
To make the products or retouching reversible a thin layer of varnish is layered over the original paint to allow for easy removal. This also prevents the damage of the original paint in the event of removal. <ref "http://www.paintingconservation.co.uk/retouching/".</ref>
==Related Terms==
inpainting, overpainting
=== Translation ===
English 	retouching
Dutch 	retoucheren
Spanish 	retocando
Portuguese 	retocada
Italian 	ritocco
German 	Retusche
Russian 	ретуширование
Arabic 	إعادة لمس
Chinese (Traditional)	補彩
==References==
Reuse

Materials Exchange
Ideas and Examples
Reuse of materials is key to reducing our environmental impact. The EPA Pollution Prevention Act suggests that we first consider reducing use. If use reduction is not an option, the next goal should be to minimize amounts of any material and to reuse any waste. If reuse is not possible, then recycling should be the final and last option. Pollution that cannot be prevented or recycled should be treated in an environmentally safe manner. (EPA Pollution Prevention Act, Revised December 31, 2002)
We need to look at both what can be recycled and what conservators and institutions can focus on to reduce the amount of waste produced. Three key areas are consideration of methods and materials used in treatments, packing and display waste, and waste disposal. Wendy Jedlicka, designer of packing products says, “Maybe there's a better way… to think about packaging. How about this? Assume that whatever you produce won't end up being recycled, or even sitting in a landfill. Assume that it will be incinerated, says Jedlicka reflecting on the garbage burner just down the street from her office. "I think of it that way: Whatever I design, I'll be breathing." (Fast Company blog)
Richard D. Buck

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Full name (last name, first name): Buck, Richard D.
Other names known by: Dick
Date and place of birth: 1903
Date and place of death: 1977
Nationalities: 
Education (degrees): BA Harvard,1926
Notable teachers/mentors: 
Notable students: 
Employment (highlights): 
:* Fogg Art Museum 1937- 1952 with a year's absence in 1949 to serve as an advisor at the National Gallery in London
:* Director of the Intermuseum Conservation Association 1952- 1975
:* Director of the Balboa Art Conservation Center 1975- 1977
Professional association involvement: 
Special achievements, honors or awards: 
Relatives of note: 
Curriculum vitae: (with link if available) 
Website: 
Images: (with links if available) 
Publications: (with links if available) 
Conference presentations: (with links to conference programs, text of presentations, audios or videos of presentations) 
FAIC Oral History entry?: (with link if available) 
With W. Thomas Chase and Joyce Hill Stoner (Fogg Roundtable discussion)
Location of papers or archives: 
Retrieved from "http://www.conservation-wiki.com/index.php?title=History_of_Conservation_and_Conservators"
Category:History of Conservation and Conservators
Risk Analysis

Robert Waller (formerly of the Canadian Museum of Nature and now with Protect Heritage Corp) and Stefan Michalski of the Canadian Conservation Institute have been the primary proponents of applying risk management strategies to museum collections. This approach is finding wide acceptance in the preservation community as a tool for helping institutions assess risks to collections and find an appropriate balance between the requirements for use (i.e. research, display and education) and preservation. Examining whether a risk is likely or unlikely to occur and whether it would result in minor or major loss aids in setting preservation priorities. Risk may be broken down according to Ten Agents of Deterioration that pose threats to collections. Nine of these risks are physical and the tenth, custodial neglect, is most dependent on issues relating to general collections management policies. Risk for all of these agents of deterioration can be controlled at many levels – from the site location, down through the building, room, cabinet, or object. It can also be controlled by implementation of proper policy and procedures.
Category:Preventive Care
Robert L. Feller

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Full name (last name, first name): Feller, Robert L.
 
Other names known by: Bob, Dr. Feller
Date and place of birth: December 27, 1919 in Linden, New Jersey
Date and place of death: August 2, 2018 in Pittsburgh, Pennsylvania
Nationalities: American
Education (degrees):
* BA Dartmouth College 1941
* M.S. Dartmouth 1943
* PhD. in physical-organic chemistry, Rutgers University 1950
<Br> 
Notable teachers/mentors:
Notable students:
* Andrew Lins
Employment (highlights): 
After completion of his PhD, Feller became engaged in research on conservation-related problems, initially as senior fellow of the National Gallery of Art Research Project (1950) and later (1997) as director of the Research Center on the Materials of the Artist and Conservator at Mellon Institute (now Carnegie Mellon Research Institute), Pittsburgh. Following retirement in 1988 he was director emeritus of the Research Center
Professional association involvement:
Special achievements, honors or awards:
* 2011 Recipient of the first Robert L. Feller Lifetime Achievement Award for exceptional contributions to the conservation profession over the course of one’s career.
 
Relatives of note:
Curriculum vitae: (with link if available)
Website:
Images: (with links if available)
Publications: (with links if available) “Factors Affecting the Appearance of Picture Varnish”, Science, June 7, 1957, Vol. 125. no. 3258, pp. 1143 – 1144
 On Picture Varnishes and Their Solvents, by Robert L. Feller, Nathan Stolow, and Elizabeth H. Jones, 1959, Intermuseum Conservation Association
Conference presentations: (with links to conference programs, text of presentations, audios or videos of presentations)
FAIC Oral History entry?: (with link if available)Conducted by Maura F. Cornman
on April 5, 1977 (Interview annotated by Rebecca Rushfield February 2010)
Location of papers or archives:
Category:History of Conservation and Conservators
Rolled

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the state of a two-dimensional object being wrapped into a cylindrical shape. Items are often rolled for easy transportation or storage.
==Related Terms==
Crease, Fold 
=== Synonyms in English ===
Wrapped
=== Translation ===
English 	Rolled
French 	
Spanish 	
Portuguese 	
Italian 	
German 	
Arabic 	
Chinese (Traditional)	捲狀
==Discussion==
"Once rolled you should cover with a clean cotton sheet or muslin. Do not cover in plastic bags. Plastic can be acidic, or off-gas unwanted chemicals that can be damaging to the quilt. Even inert plastic is undesirable because if the textile does get wet, the plastic will prevent drying, possibly resulting in condensation or mold, and facilitate bleeding of the dyes or other staining." (Mountain States Art Conservation)
"Paintings can be transported rolled but it is always important that they are rolled face out and are rolled around a solid tube with as large a diameter as possible. Paintings not rolled around a solid tube often will develop creases which can be difficult to remove." (Sherman Art Conservation)
Improperly rolled objects may become folded or creased. With paintings, the paint can crack, flake, or begin to separate from the structure. One way this can occur is if it is rolled with the painted side on the inside. The painting will become compressed, and the stress can cause damaging issues. (RSM Art Conservation)
==References==
Mountain States Art Conservation. Textiles. http://www.msaconservation.com/textile-art-conservation-services-denver/ (accessed 20 March 2016).
RSM Art Conservation. Self Help: Paintings. http://www.rsmconserve.com.au/SelfHelp/Paintings.aspx (accessed 20 March 2016).
Sherman Art Conservation. Sherman Art Conservation - Sea Cliff, New York. http://www.shermanartconservation.com/1.html (accessed 20 March 2016).
Category:Lexicon
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Rust

__NOTOC__
any coating or film on metal caused by oxidation. (AAT 2014) The term is predominately used to describe the reddish, brittle coating that forms on the surface of iron and iron alloys due to the metal's oxidation in the presence of water or moisture. This coating is composed of iron oxide (Fe2O3) and hydrated iron oxide (Fe2O3·nH2O3). Rust is brittle and flaky and only provides some protection to the underlying iron if evenly distributed; if uneven, rust offers no protection. (Logan and Selwyn 2007)
==Related Terms==
oxidation; corrosion; patina; tarnish
=== Synonyms in English ===
iron oxide; red iron oxide; iron rust
=== Translation ===
English 	rust
French 	rouille
Spanish 	óxido
Portuguese 	ferrugem
Italian 	ruggine
German 	Rost
Russian 	ржавчина
Arabic 	صدأ
Dutch 	roest
Chinese (Traditional)	鐵鏽
Chinese 	xiù, xiu, hsiu
==Discussion==
The concept of rust is ancient in origin, appearing in both ancient Greek(ἐρυσίβη) and Roman (Latin: ferrugo, ferruginis) literature to describe the substance coating metal after corrosion. The Greek philosopher Plato, for example, discussed the rust of bronze and iron in the Republic while Pliny the Elder, a first century C.E. Roman author and naturalist, discussed copper-rust, its conservation, and iron rust in the Naturalis Historia. (Scott 2002)
The Getty's Art and Architecture thesaurus uses the term similar to the ancient usage by designating it to oxidized coating or film on any type of metal. (AAT 2014)
The effects of oxidation differ based on the metal involved, thus typically different terms are used to denote the differing effects: rust, tarnish, and patina. (Ankersmit et al. 2013) In this context, rust is used to solely describe the reddish coating produced by the oxidation of iron and iron alloys. (CAMEO 2014)
==References==
 Ankersmit, Bart, Martina Griesser-Stermsheg, Lyndsie Selwyn, & Susanne Sutherland. 2013. Recognizing Metals and their Corrosion Products. Canadian Conservation Institute. https://www.cci-icc.gc.ca/caringfor-prendresoindes/articles/metals-metaux/index-eng.aspx (accessed 23 March, 2014).
Logan, Judy, and Lyndsie Selwyn. 2007. Care and Cleaning of Iron. CCI Notes 9/6. Canadian Conservation Institute. http://www.cci-icc.gc.ca/publications/notes/9-6-eng.aspx(accessed 23 March, 2014).
Rust. 2000. Art and Architecture Thesaurus Online. Getty Research Institute. http://www.getty.edu/research/tools/vocabularies/aat/(accessed 8 March, 2014).
Rust. 2013. CAMEO (Conservation & Arts Materials Encyclopedia Online). Museum of Fine Arts, Boston. http://cameo.mfa.org/wiki/Rust (accessed 12 March, 2014).
Rust. 2014. Google Translate. Google. https://translate.google.com/?hl=en&tab=wT
(accessed 12, March 2014).
Scott, David. 2002. Copper and Bronze in Art: Corrosion, Colorants, Conservation. Los Angeles: Getty Trust Publications.
Category:Lexicon
Category: Condition Terms
Category:Objects
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