Multispectral reflectance imaging and reflectance spectroscopy at the interface of cultural heritage research and undergraduate education: Investigating a golden age Dutch painting at the Huntington

Author(s):  
C. M. O'Connell ◽  
E. S. Uffelman ◽  
J. K. Delaney ◽  
K. A. Dooley ◽  
M. E. Stephenson
Author(s):  
Marciella Marciella

Heritage is one of the attractions in cultural tourism. The city of Bandung is known as a heritage city because it inherits various heritage buildings. A form in heritage conservation is through tourism. One of the stakeholders who use the heritage building for tourism is community. The example of the stakeholder is Historical Trips. Nowadays, heritage tourism is increasingly in demand, both by domestic tourists and international tourists. However, tourists' knowledge of cultural heritage buildings after attending heritage tours held by community is unknown. The purposes of this study are to find out the characteristics of Historical Trips’ users, find out the typology of tourists who took Explore Logeweg Tour and analyze tourist knowledge of cultural heritage buildings in the central area of ​​Bandung. Based on the result and discussion of the research, the conclusions of this study are the characteristics of Historical Trips’ users who joined Explore Logeweg are female, aged 31-50 years, work as private employees with undergraduate education, unmarried and from Bandung city. The typologies of cultural tourists who take part in the Explore Logeweg Tour held by the Historical Trips are the purposeful cultural tourist, the sightseeing cultural tourist, the serendipitous cultural tourist, and the casual cultural tourist. Tourists who attended Explore Logeweg Tour have enough and good knowledge of cultural heritage buildings in the central area of ​​Bandung. The level of their knowledge is at the level of knowing and understanding (comprehension).


2021 ◽  
pp. 000370282199877
Author(s):  
Eva Mariasole Angelin ◽  
Susana França de Sá ◽  
Inês Soares ◽  
Maria Elvira Callapez ◽  
Joana Lia Ferreira ◽  
...  

Plastics have been increasingly used to create modern and contemporary art and design, and nowadays, museum collections hold numerous objects completely or partially made of plastics. However, the preservation of these materials is still a challenging task in heritage conservation, especially because some plastics show signs of degradation shortly after their production. In addition, different degradation mechanisms can often take place depending on the plastic composition and appropriate environmental and packaging conditions should be adopted. Therefore, methods for in situ and rapid characterization of plastic artifacts’ composition are greatly needed to outline proper conservation strategies. Infrared (IR) spectroscopy, such as attenuated total reflection Fourier transform infrared spectroscopy (ATR–FTIR), is a well-established method for polymeric material analysis. However, ATR-FTIR requires an intimate contact with the object, which makes its application less appropriate for the in situ investigation of fragile or brittle degraded plastic objects. Mid-FTIR reflectance spectroscopy may represent a valid alternative as it allows in situ measurements with minimum or even no contact, and IR data can be acquired rapidly. On the other hand, spectral interpretation of reflectance spectra is usually difficult as IR bands may appear distorted with significant changes in band maximum, shape and relative intensity, depending on the optical properties and surface texture of the material analyzed. Presently, mid-FTIR reflection devices working in external reflection (ER-FTIR) and diffuse reflection (DRIFT) modes have been used in cultural heritage research studies. As the collected vibrational information depends on the optical layout of the measuring system, differences between ER-FTIR and DRIFT spectra are thus expected when the same polymer is analyzed. So far, ER-FTIR and DRIFT spectroscopy have been individually explored for the identification of plastic objects, but comparative studies between the application of two reflectance FTIR modes have not been presented yet. In this work, the use of two portable FTIR spectrometers equipped with ER-FTIR and DRIFT modes were compared for plastics identification purposes for the first time. Both references of polymeric materials and historical plastic objects (from a Portuguese private collection) were studied and the differences between ER-FTIR and DRIFT spectra were discussed. The spectra features were examined considering the two different optical geometries and analytes’ properties. This new insight can support a better understanding of both vibrational information acquired and practical aspects in the application of the ER-FTIR and DRIFT in plastic analysis.


Author(s):  
Sarah Martindale

This article revisits the 71st Academy Award Ceremony in 1999 when Shakespeare in Love picked up seven Oscars from thirteen nominations, controversially beating Saving Private Ryan to be named Best Picture. It is rare for a romantic comedy to win this coveted award, but then this is not just a film about love; it is a film about Shakespeare in love. In its depiction of cultural heritage Shakespeare in Love foregrounds ‘the very business of show’, remaking the playwright and his theatre in the image of millennial Hollywood. By reducing the distance between the two, the film makes claims to cultural quality worthy of recognition and reward. Shakespeare in Love reflected and capitalised on taste culture of the time and cemented Miramax's reputation as a purveyor of ‘Oscar-bait’. This article looks closely at a production context of which this film represents an epitome. Peter Biskind has christened the period between Disney’s purchase of Miramax in 1993 and Shakespeare in Love’s Best Picture Oscar as a ‘Golden Age’, in which the company profited from the benefits of being a studio subsidiary while still enjoying the kudos they had cultivated as an indie. Thanks to the financial weight lent by their parent studio, Miramax was able to market and distribute the film widely – it played on nearly two thousand screens in America at the peak of its theatrical run, during Oscar season – and to forcefully promote it among the ranks of the Academy voters. Complementing the authoritative cultural pedigree of the film’s subject matter was Miramax’s own reputation for ‘quality filmmaking’, which the film simultaneously drew upon and sought to perpetuate. In this way Shakespeare in Love offered mainstream studio production and romantic comedy content, while also projecting an aura of superior substance thanks to the connotations of the names Shakespeare and Miramax. Cultural hybridity is at the root of the film’s Oscar-winning success.


2019 ◽  
Vol 4 (1) ◽  
Author(s):  
Eko Wijayanto

Keris production has now passed its golden age in the kingdom. Keris is no longer understood as a stab weapon, but a symbol of social status. The owner of a keris is usually limited to the court environment and collectors. This is why the existence of the keris as an artifact and cultural heritage has shifted. The interpretation of the meaning of keris as a national cultural heritage that has aesthetic value and a symbol of social status has become an interesting object of study. This paper is the result of research that criticizes the paradigm that only views keris as a mystical object. This research examines the understanding of the keris in Pusaka Keris magazine by using the hermeneutic method in an effort to reconstruct and reproduce the meaning of keris in the interpretation circle.


2015 ◽  
pp. 217-229
Author(s):  
Mariah Larsson

The most (in)famous Swedish pornographic film from the 1970s is perhaps Fäbodjäntan (Come and Blow the Horn, 1978). In the national imagination, it has become not only iconic of an era clouded by myth and legend of Swedish sin and a golden age of porn and erotic cult movies, but also of a half-jokingly celebrated Swedishness as well. Partly this has to do with the title and the setting, as Mats Bjorkin notes in his essay on the film ‘Fäbodjäntan: Sex, Communication, and Cultural Heritage’ (2005): the fäbod is a place away from farming villages where, historically, farmers brought their animals for summer pasturage. Women followed the herds to the fäbod to watch them. Although Come and Blow the Horn takes place in contemporary times, it still plays upon this national historical image, and it is shot in the county of Dalecarlia (Dalarna) which is particularly associated with the fäbod practice. Although perhaps not the ideal of Sweden, through its director’s use of national iconography – summer, the fäbod, an alleged Viking artifact (the horn itself), skinny-dipping – and more or less unintentional comedy, the film has through the years become a part of the ‘imagined community’ (Anderson 1983) of Sweden.


2018 ◽  
Vol 4 (4) ◽  
Author(s):  
Marcello Picollo ◽  
Maurizio Aceto ◽  
Tatiana Vitorino

Abstract UV-Vis reflectance spectroscopy has been widely used as a non-invasive method for the study of cultural heritage materials for several decades. In particular, FORS, introduced in the 1980s, allows to acquire hundreds of reflectance spectra in situ in a short time, contributing to the identification of artist’s materials. More recently, microspectrofluorimetry has also been proposed as a powerful non-invasive method for the identification of dyes and lake pigments that provides high sensitivity and selectivity. In this chapter, the concepts behind these spectroscopic methodologies will be discussed, as well as the instrumentation and measurement modes used. Case studies related with different cultural heritage materials (paintings and manuscripts, textiles, carpets and tapestries, glass, metals, and minerals), which show the usefulness of UV-Vis reflectance spectroscopy and microspectrofluorimetry applied to the study of artworks, will also be presented.


1999 ◽  
Vol 30 (2) ◽  
pp. 165-172 ◽  
Author(s):  
Mary Davis ◽  
Rhonda Jackson ◽  
Tina Smith ◽  
William Cooper

Prior studies have proven the existence of the "hearing aid effect" when photographs of Caucasian males and females wearing a body aid, a post-auricular aid (behind-the-ear), or no hearing aid were judged by lay persons and professionals. This study was performed to determine if African American and Caucasian males, judged by female members of their own race, were likely to be judged in a similar manner on the basis of appearance, personality, assertiveness, and achievement. Sixty female undergraduate education majors (30 African American; 30 Caucasian) used a semantic differential scale to rate slides of preteen African American and Caucasian males, with and without hearing aids. The results of this study showed that female African American and Caucasian judges rated males of their respective races differently. The hearing aid effect was predominant among the Caucasian judges across the dimensions of appearance, personality, assertiveness, and achievement. In contrast, the African American judges only exhibited a hearing aid effect on the appearance dimension.


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