museum display
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2022 ◽  
pp. 103666
Author(s):  
Y. Huang ◽  
W.K. Shi ◽  
L. Jiang ◽  
X.J. Zhang ◽  
Y. Liu ◽  
...  

2021 ◽  
Author(s):  
◽  
Rangituatahi Te Kanawa

<p><b>The current mission of museums in Aotearoa New Zealand is to reconnect taonga (treasured artefacts) to their tribal descendants, but in most cases, there is no provenance, and many Māori remain alienated from their cultural heritage. Taonga kākahu (treasured textiles) from the pre-European and contact period retain mātauranga Māori (ancestral knowledge), materialise links to Te Ao Māori (the Māori world), whakapapa (genealogy) and reflect a sustainable relationship with Te Taiao (nature). They are the product of intricate weaving skills in the procurement, preparation, and construction of natural materials, including the dying of harakeke fibre (NZ flax) with paru (iron rich mud). The main research question therefore is: How and why should taonga kākahu in museum collections be reconnected with tangata whenua?</b></p> <p>This thesis used a range of interdisciplinary qualitative and quantitative methods, including field work, scientific applications such as colour measurements, technical analysis of cloaks and practical weaving samples. Iron rich mud samples were gathered from different geographical locations spread around the North Island and one in the South Island and processed with several tannins that were each scientifically measured for their hue of black. Experimental archaeology produced new insights and interpretations of three case study taonga kākahu. The research aims to revitalize customary techniques and knowledge of dying and weaving, support conservation and display of Māori textiles, and enhance the mana and understanding of these precious taonga.</p> <p>The data gathered through this research supports the preservation of the fragile dyed black fibre, contributes to the decolonisation of conservation, advocates for greater community access to collections, and argues for enhanced museum display of cloaks through new interpretation of designs. The research has identified material composition and some unique characteristics in the construction of taonga kākahu which explores ways of reconnecting unprovenanced taonga to tangata whenua.</p> <p> </p>


2021 ◽  
Vol 2021 ◽  
pp. 1-13
Author(s):  
Bin Wang

Today, as the soft power of culture is becoming more and more important, it is very important to pay attention to the learning and dissemination of culture. As the carrier of this process, the use of advanced technology to improve the museum is of great significance. This paper studies the digital design of smart museum based on artificial intelligence in order to explore the application of smart museum in artificial intelligence, analyze the spatial design of smart museum by using digital technology, explore a feasible method to give full play to the function of smart museum, and put forward some suggestions on the spatial design of smart museum. The design of the smart museum is no longer restricted by time and space and uses digital technology to double use virtual things and dynamic space. Through the detailed analysis of the application of artificial intelligence and digitization in the spatial design of the smart museum, combined with the information decision tree algorithm and data heterogeneous network algorithm, this study constructs the model of the information processing architecture of smart museum and the requirements of digital museum and makes a decision-making analysis of the comparison results of existing data. It includes the digital design of smart museum display technology, display effect, and other display-related contents. Analyzing the impact of smart museum on the object can provide data support for the feasibility of digital space design of smart museum based on artificial intelligence. The results of regression data processing show that the spatial visual sense of digital design wisdom museum is very strong, reaching the level of 5.0, and the picture aesthetic effect is up to 4.8.


2021 ◽  
Author(s):  
◽  
Rangituatahi Te Kanawa

<p><b>The current mission of museums in Aotearoa New Zealand is to reconnect taonga (treasured artefacts) to their tribal descendants, but in most cases, there is no provenance, and many Māori remain alienated from their cultural heritage. Taonga kākahu (treasured textiles) from the pre-European and contact period retain mātauranga Māori (ancestral knowledge), materialise links to Te Ao Māori (the Māori world), whakapapa (genealogy) and reflect a sustainable relationship with Te Taiao (nature). They are the product of intricate weaving skills in the procurement, preparation, and construction of natural materials, including the dying of harakeke fibre (NZ flax) with paru (iron rich mud). The main research question therefore is: How and why should taonga kākahu in museum collections be reconnected with tangata whenua?</b></p> <p>This thesis used a range of interdisciplinary qualitative and quantitative methods, including field work, scientific applications such as colour measurements, technical analysis of cloaks and practical weaving samples. Iron rich mud samples were gathered from different geographical locations spread around the North Island and one in the South Island and processed with several tannins that were each scientifically measured for their hue of black. Experimental archaeology produced new insights and interpretations of three case study taonga kākahu. The research aims to revitalize customary techniques and knowledge of dying and weaving, support conservation and display of Māori textiles, and enhance the mana and understanding of these precious taonga.</p> <p>The data gathered through this research supports the preservation of the fragile dyed black fibre, contributes to the decolonisation of conservation, advocates for greater community access to collections, and argues for enhanced museum display of cloaks through new interpretation of designs. The research has identified material composition and some unique characteristics in the construction of taonga kākahu which explores ways of reconnecting unprovenanced taonga to tangata whenua.</p> <p> </p>


2021 ◽  
Author(s):  
◽  
Rangituatahi Te Kanawa

<p><b>The current mission of museums in Aotearoa New Zealand is to reconnect taonga (treasured artefacts) to their tribal descendants, but in most cases, there is no provenance, and many Māori remain alienated from their cultural heritage. Taonga kākahu (treasured textiles) from the pre-European and contact period retain mātauranga Māori (ancestral knowledge), materialise links to Te Ao Māori (the Māori world), whakapapa (genealogy) and reflect a sustainable relationship with Te Taiao (nature). They are the product of intricate weaving skills in the procurement, preparation, and construction of natural materials, including the dying of harakeke fibre (NZ flax) with paru (iron rich mud). The main research question therefore is: How and why should taonga kākahu in museum collections be reconnected with tangata whenua?</b></p> <p>This thesis used a range of interdisciplinary qualitative and quantitative methods, including field work, scientific applications such as colour measurements, technical analysis of cloaks and practical weaving samples. Iron rich mud samples were gathered from different geographical locations spread around the North Island and one in the South Island and processed with several tannins that were each scientifically measured for their hue of black. Experimental archaeology produced new insights and interpretations of three case study taonga kākahu. The research aims to revitalize customary techniques and knowledge of dying and weaving, support conservation and display of Māori textiles, and enhance the mana and understanding of these precious taonga.</p> <p>The data gathered through this research supports the preservation of the fragile dyed black fibre, contributes to the decolonisation of conservation, advocates for greater community access to collections, and argues for enhanced museum display of cloaks through new interpretation of designs. The research has identified material composition and some unique characteristics in the construction of taonga kākahu which explores ways of reconnecting unprovenanced taonga to tangata whenua.</p> <p> </p>


Forests ◽  
2021 ◽  
Vol 12 (12) ◽  
pp. 1629
Author(s):  
Sarah Hunt ◽  
Josep Grau-Bove ◽  
Eleanor Schofield ◽  
Simon Gaisford

Acetic acid is known to be emitted from sound wood and can accelerate damage to heritage materials, particularly metals. However, few studies have investigated the extent of acetic acid emissions from archaeological wood. This research utilised Solid-Phase-Micro-Extraction (SPME) GC–MS and lead coupon corrosion to identify volatile emissions from polyethylene glycol (PEG)-treated archaeological wood from the Mary Rose collection and assess if they could cause accelerated damage. In addition, the effect of PEG treatment on acetic acid emissions was investigated using sound wood samples. For sound wood, the PEG treatment acted as a barrier to acetic acid emissions, with higher-molecular-weight PEGs preventing more emissions. Archaeological wood, despite its age and high-molecular-weight PEG treatment, still emitted detectable concentrations of acetic acid. Moreover, they emitted a wider array of compounds compared to sound wood, including carbon disulphide. Like sound wood, when the archaeological wood samples were in a sealed environment with lead coupons, they caused accelerated corrosion to lead. This evidences that archaeological wood can emit high enough concentrations of volatile compounds to cause damage and further investigation should be performed to evaluate if this can occur inside museum display cases.


2021 ◽  
Author(s):  
◽  
Julia Waite

<p>In New Zealand and Singapore, national identity is inextricably linked to the processes of colonisation, decolonisation and the gaining of political independence. Unlike highlytheorized accounts of national identity, this study provides a deeper understanding of the ways in which it is actually developed, materialised and negotiated in 'real world' examples through history exhibitions at Te Papa and the National Museum of Singapore. The research provides a fresh perspective on recent displays of colonial history and how they shape and are shaped by the concerns of present-day nation-building particularly in former British colonies including Asia. It seeks to move beyond the existing literature which has been concerned with deconstructing national identity as a cultural construct to consider the ongoing process of updating, remaking and maintaining identity through museum display. Using a qualitative approach, this dissertation incorporates archival research, interviews, theoretical and historical literature, and visual analysis of exhibitions to contextualise and analyse the similarities and differences in the history exhibitions mounted at these two recently redeveloped museums. The Day 1 history exhibitions at Te Papa, opened in 1998, form the core of this study, while the chapter on Singapore provides an added layer of comparative depth, helping to broaden the picture of national museums and nationalism more generally. This research explores how national museums negotiate, on the one hand, the material and intellectual legacy of previous inherited definitions of 'the nation', while on the other responding to the contemporary expectations which arise from present-day conceptualizations of nations and national identity. My findings suggest that the construction of national identity is not independent from socio-political contexts, and that the political ideals of multiculturalism and biculturalism helped to foster inclusive and politically harmonious visions of national identity in the National Museum of Singapore and Te Papa. The conclusion argues that national museums' participation in the public articulation and definition of a collective idea of 'the nation' is unstable, contradictory and contested but nonetheless worthy of serious academic research.</p>


2021 ◽  
Author(s):  
◽  
Julia Waite

<p>In New Zealand and Singapore, national identity is inextricably linked to the processes of colonisation, decolonisation and the gaining of political independence. Unlike highlytheorized accounts of national identity, this study provides a deeper understanding of the ways in which it is actually developed, materialised and negotiated in 'real world' examples through history exhibitions at Te Papa and the National Museum of Singapore. The research provides a fresh perspective on recent displays of colonial history and how they shape and are shaped by the concerns of present-day nation-building particularly in former British colonies including Asia. It seeks to move beyond the existing literature which has been concerned with deconstructing national identity as a cultural construct to consider the ongoing process of updating, remaking and maintaining identity through museum display. Using a qualitative approach, this dissertation incorporates archival research, interviews, theoretical and historical literature, and visual analysis of exhibitions to contextualise and analyse the similarities and differences in the history exhibitions mounted at these two recently redeveloped museums. The Day 1 history exhibitions at Te Papa, opened in 1998, form the core of this study, while the chapter on Singapore provides an added layer of comparative depth, helping to broaden the picture of national museums and nationalism more generally. This research explores how national museums negotiate, on the one hand, the material and intellectual legacy of previous inherited definitions of 'the nation', while on the other responding to the contemporary expectations which arise from present-day conceptualizations of nations and national identity. My findings suggest that the construction of national identity is not independent from socio-political contexts, and that the political ideals of multiculturalism and biculturalism helped to foster inclusive and politically harmonious visions of national identity in the National Museum of Singapore and Te Papa. The conclusion argues that national museums' participation in the public articulation and definition of a collective idea of 'the nation' is unstable, contradictory and contested but nonetheless worthy of serious academic research.</p>


2021 ◽  

The literature of the 1930s occupies an important and complex position in critical accounts of modern British and Irish writing. Unlike terms such as modernism and postmodernism, writing of the 1930s does not announce itself as an “ism,” seeming at first glance to operate as a neutral label for writing that happens to have been published in the period 1930–1939. Like modernism and postmodernism, however—indeed in some ways even more so—the term is, in practice, associated with a specific set of thematic concerns, aesthetic approaches, and political commitments. The unique literary mythology of the “Red Decade” was being deliberately and self-consciously encoded by key protagonists before the decade was out, with W. H. Auden influentially regretting the “clever hopes” of a “low, dishonest decade” in his poem “September 1, 1939.” Auden’s own accounts of his dalliance with left-wing, committed writing and his subsequent disillusionment—mirrored by the trajectories of Stephen Spender, Louis MacNeice, and others—helped to consolidate a narrative of the decade’s literature as one that began with the articulation of overweening “clever hopes,” and ended as these were exposed as dangerous, adolescent illusions. The thirties, for some time, operated as a convenient box for the idea of committed literature. The decade confronted students of modern literature like a carefully curated museum display designed to illustrate the folly of mixing political commitment with literature. Yet this familiar narrative of the decade’s writing is modeled around the particular experiences of a few, largely male, upper-middle-class poets. Since the 1980s, the general tendency of scholarship has been to complicate or unpick this narrative, expanding the canon beyond the Auden circle, emphasizing continuities with the modernism of the 1920s, and producing more nuanced accounts of committed literature that are not bound up with its inevitable failure. These shifts have gone along with a rising tide of scholarly interest in previously neglected women writers, including Winifred Holtby, Storm Jameson, Rose Macaulay, and Sylvia Townsend Warner, among many others. In our own troubled political times, literature of the ‘thirties continues to provoke and fascinate because of the important questions it poses about writing and commitment, even while the forms of commitment and the range of writers studied under this heading have proliferated. Through this process an excessively tidy literary-historical narrative has increasingly been replaced by something messier, more open ended, and ultimately more interesting.


2021 ◽  
Author(s):  
walid kamel elghareb

Abstract The research paper aims to identify structure features, damage and treatment of two pottery artifacts from Tell Al-Shobak in Qalyubia, "one of the archaeological sites dating back to new kingdom". Polarized Microscopy "PLM", Scanning Electron Microscope with Energy dispersive X-ray unit "SEM-EDX", X-Ray Diffraction analysis "XRD", and Differential thermal analysis "DTA" were adopted for investigating and analyzing pottery sherds. The research identified structure features proving that the used clay is Nile clay, the additives are sand, grog and calcite. The formation technique is potter wheel .The surface treatment is slip layer. The firing atmosphere is oxidizing. Firing temperature might be about 726.78°C The first pottery vessel and 737.80°C for the second pottery plate. Research also proved that pottery pieces suffer from various damage aspects such as soil deposits, stains, cracking, fracture, loss of some parts, lack of durability, weakness, and salt crystallization. The studied pottery pieces treated using mechanical cleaning method and chemical cleaning using a mixture of acetone and toluene at a ratio of 1:2 respectively to remove clay soil deposits. EDTA applied to remove lime deposits. Hydrogen peroxide20 % was used to remove soot. Nano Silica 1% was applied to strengthen archaeological pottery .Assembling the pottery sherds was done by Paralloid B72 50%. Replacement pottery sherds conducted by Microballoon and grog in a ratio of 2:1, respectively. After treatment, the pottery artifacts were ready for museum display.


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