Hello everyone, The submission deadline for this CFP is October 1. Please get in touch if you have any questions. *POPULAR ART, ARCHITECTURE & DESIGN* *Call for Papers* *Popular Culture Association/American Culture Association * 2019 National Conference Washington Marriot Wardman Park, Washington, D.C. Wednesday, April 17 to Saturday, April 20, 2019 For information on PCA/ACA, please go to http://www.pcaaca.org For conference information, please go to http://www.pcaaca.org/national-conference/ *Deadline for Submissions: October 1, 2018* The *Popular Art, Architecture & Design* area is concerned with the aesthetics, the history, and the theory of popular culture in the everyday world of the past, the present, and the future. We are considering proposals for sessions organized around a theme, special panels, and/or individual papers. Sessions are scheduled in 1½ hour slots, typically with four papers or speakers per standard session. Presentations should not exceed 15 minutes. Working professionals, scholars, educators, and graduate students from a variety of methodologies including Art History, Fine Art, Museum or Curatorial Studies, Architecture, and Industrial/Interior Design are all encouraged to submit. It is a broad area indeed, *so think creatively*! At previous conferences the topics have included, but were certainly not limited to, the following: • World Fairs • Neon signs • Architecture of Tadao Ando • Disneyland • Edward Durell Stone • Sandy Skoglund and Gregory Crewdson’s visions of suburbia • Portrait miniatures • Kara Walker’s silhouettes • Superman and Art Deco • Art of Howard Finster • Art Environments • Place-Inspired Activism • Elizabeth Catlett • Norman Rockwell’s lost drawings • Cold War American Suburban Imaginary • Nineteenth-Century Ephemera: Scrapbooks and Trompe l’Oeil Painting • Art Nouveau’s Revival in 1960’s Popular Culture • Restoration of Charles Lindbergh’s House • Kitchen Design in Glass Houses Please submit a title and an *abstract of no more than 250 words *and a *short 50-word bio* with contact information (name, institutional affiliation, mail and email addresses, and contact telephone number) by *October 1, 2018*. To submit an abstract, go to http://ncp.pcaaca.org and follow the instructions for creating an account and making your submission. Please note that all submissions *must* be made through the conference submission site, so do not email your abstract. Instructions for logging in and submitting proposals appear on the home screen of the site and are also available here: http://www.pcaaca.org/conference/instructions.php Be sure to proofread your name, title, and abstract closely as this text will become part of the program should your proposal be selected. *Key Dates *Keep in mind the following timeline: • 1 July Database Opens for Submissions • 1 October Registration Opens • *1 October Deadline for Paper Proposals * • 15 November Early Bird Registration Rate Ends • 1 December Preliminary Program Available • 15 December “Drop Dead”: Participants Not Registered Removed from Program • 3 January 2019 Final Program to the Publisher • 17-20 April 2019 Washington, D.C.! For more conference information, go to http://www.pcaaca.org/national-conference/ Travel and research grants are available: http://pcaaca.org/grants/ Any inquires should be directed to the area chair: Dr. Jennifer Streb Professor of Art History Curator, Juniata College Museum of Art Juniata College Huntingdon, PA 16652 [log in to unmask] On Wed, Nov 29, 2017 at 12:00 AM, MUSEUM-L automatic digest system < [log in to unmask]> wrote: > There are 7 messages totaling 1698 lines in this issue. > > Topics of the day: > > 1. Using Google Translate in the museum (3) > 2. Experience with Accessibility Issues in Construction Sites/Historic > Houses? (2) > 3. Curatorial and Intern Opportunities at Crystal Bridges Museum of > American > Art > 4. NEDCC Preservation Training Update > > ========================================================= > Important Subscriber Information: > > The Museum-L FAQ file is located at http://www.finalchapter.com/ > museum-l-faq/ . You may obtain detailed information about the listserv > commands by sending a one line e-mail message to > [log in to unmask] . The body of the message should read "help" > (without the quotes). > > If you decide to leave Museum-L, please send a one line e-mail message to > [log in to unmask] . The body of the message should read > "Signoff Museum-L" (without the quotes). > > ---------------------------------------------------------------------- > > Date: Tue, 28 Nov 2017 09:12:15 +0100 > From: adelheid straten <[log in to unmask]> > Subject: Re: Using Google Translate in the museum > > Hi, > > my 2 cents: even if it is up to visitors to use such programs: science, > museums and good journalists should avoid any uncontrolled (!) use of > such programs. The results from special languages to another special > language by translation software have improved, but lots of such > translations are still, after several decades, to be found on a scale > between "absolute nonsense" and "terrible mistakes". > > As a publishing company, we have rejected texts by scientists several > times which were offered to us (and revised by some peers!) on an > automatically translated basis. > > Best > > Christian > > Am 27.11.2017 um 23:32 schrieb Roberts, Angela: > > > > Greetings, > > > > Has anyone tried using the Google Translate app’s camera instant > > translation as a way of offering multiple languages to visitors rather > > than printed brochures or bilingual labels? If so, I would love to > > hear about your experiences with it. > > > > Best, > > > > Angela > > > > *Angela Roberts Reeder* > > > > Exhibit Writer/Editor > > > > Office of Exhibits > > > > *w*202.633.1142 [log in to unmask] <mailto:[log in to unmask]> > > > > SMITHSONIAN INSTITUTION > > > > NATIONAL MUSEUM OF NATURAL HISTORY > > > > Facebook <https://www.facebook.com/nmnh.fanpage/> | Twitter > > <https://twitter.com/NMNH> | Instagram > > <https://www.instagram.com/smithsoniannmnh/> > > > > > > ------------------------------------------------------------------------ > > > > To unsubscribe from the MUSEUM-L list, click the following link: > > http://home.ease.lsoft.com/scripts/wa-HOME.exe?SUBED1=MUSEUM-L&A=1 > > > > ========================================================= > Important Subscriber Information: > > The Museum-L FAQ file is located at http://www.finalchapter.com/ > museum-l-faq/ . You may obtain detailed information about the listserv > commands by sending a one line e-mail message to > [log in to unmask] . The body of the message should read "help" > (without the quotes). > > If you decide to leave Museum-L, please send a one line e-mail message to > [log in to unmask] . The body of the message should read > "Signoff Museum-L" (without the quotes). > > ------------------------------ > > Date: Tue, 28 Nov 2017 09:23:11 -0500 > From: Althea Cupo <[log in to unmask]> > Subject: Re: Using Google Translate in the museum > > Hi, Angela. > > You mean offering for visitors to download the app when they sign in? That > sounds really interesting! I just had to do a project doing audience > research in Spanish, and I had to use google translate for the whole thing. > Most of the stuff made sense, although it murdered the pronouns, calling a > person “he” “she” and “it” in the same paragraph :/ > > Best, > Althea Cupo > > > On 27 Nov 2017, at 21:12, Katelyn Jernigan <000005fa1e062458-dmarc- > [log in to unmask]> wrote: > > > > Hi Angela! > > I don't know about a museum setting, but I currently work in a high > school with 10th graders studying US History 1 (French and Indian War - > American Civil War). My school has a high immigrant population and many of > them have success with the various historical documents with the Google > picture translation feature that you describe. If it works for historical > documents, I don't see why it wouldn't work for modern signage. > > Hope that helps! > > All the best, > > Katelyn Jernigan > > > > > > On Nov 27, 2017, at 5:32 PM, Roberts, Angela <[log in to unmask] <mailto: > [log in to unmask]>> wrote: > > > >> Greetings, > >> > >> Has anyone tried using the Google Translate app’s camera instant > translation as a way of offering multiple languages to visitors rather than > printed brochures or bilingual labels? If so, I would love to hear about > your experiences with it. > >> > >> Best, > >> Angela > >> > >> Angela Roberts Reeder > >> Exhibit Writer/Editor > >> Office of Exhibits > >> w 202.633.1142 [log in to unmask] <mailto:[log in to unmask]> > >> > >> SMITHSONIAN INSTITUTION > >> NATIONAL MUSEUM OF NATURAL HISTORY > >> Facebook <https://www.facebook.com/nmnh.fanpage/> | Twitter < > https://twitter.com/NMNH> | Instagram <https://www.instagram.com/ > smithsoniannmnh/> > >> > >> > >> To unsubscribe from the MUSEUM-L list, click the following link: > >> http://home.ease.lsoft.com/scripts/wa-HOME.exe?SUBED1=MUSEUM-L&A=1 < > http://home.ease.lsoft.com/scripts/wa-HOME.exe?SUBED1=MUSEUM-L&A=1> > > To unsubscribe from the MUSEUM-L list, click the following link: > > http://home.ease.lsoft.com/scripts/wa-HOME.exe?SUBED1=MUSEUM-L&A=1 < > http://home.ease.lsoft.com/scripts/wa-HOME.exe?SUBED1=MUSEUM-L&A=1> > > ========================================================= > Important Subscriber Information: > > The Museum-L FAQ file is located at http://www.finalchapter.com/ > museum-l-faq/ . You may obtain detailed information about the listserv > commands by sending a one line e-mail message to > [log in to unmask] . The body of the message should read "help" > (without the quotes). > > If you decide to leave Museum-L, please send a one line e-mail message to > [log in to unmask] . The body of the message should read > "Signoff Museum-L" (without the quotes). > > ------------------------------ > > Date: Tue, 28 Nov 2017 09:30:37 -0600 > From: Teresita Avilés <[log in to unmask]> > Subject: Re: Using Google Translate in the museum > > Hi Angela, > > I have used it while traveling at museums around the world and sometimes > the translations make absolutely no sense. Glares, shadows, or stylized > fonts can change what a word means or the grammar is wrong and it just > sounds weird. If you do want to use it in a museum setting, visitors will > need access to wifi for a faster turnaround with the camera instant > translation, if they don't already have "offline download" of the language. > From my personal use at museums, I think it might cause a bottleneck as > people stop to take a picture, wait for it to recognize the words, then > take the picture again, highlight the words and then read it as they look > at the original panel or object. > > Hope that was helpful! > Cheers, > > Teresita > > > On Mon, Nov 27, 2017 at 8:12 PM, Katelyn Jernigan < > [log in to unmask]> wrote: > > > Hi Angela! > > I don't know about a museum setting, but I currently work in a high > school > > with 10th graders studying US History 1 (French and Indian War - American > > Civil War). My school has a high immigrant population and many of them > have > > success with the various historical documents with the Google picture > > translation feature that you describe. If it works for historical > > documents, I don't see why it wouldn't work for modern signage. > > Hope that helps! > > All the best, > > Katelyn Jernigan > > > > > > On Nov 27, 2017, at 5:32 PM, Roberts, Angela <[log in to unmask]> wrote: > > > > Greetings, > > > > > > > > Has anyone tried using the Google Translate app’s camera instant > > translation as a way of offering multiple languages to visitors rather > than > > printed brochures or bilingual labels? If so, I would love to hear about > > your experiences with it. > > > > > > > > Best, > > > > Angela > > > > > > > > *Angela Roberts Reeder* > > > > Exhibit Writer/Editor > > > > Office of Exhibits > > > > *w* 202.633.1142 <(202)%20633-1142> [log in to unmask] > > > > > > > > SMITHSONIAN INSTITUTION > > > > NATIONAL MUSEUM OF NATURAL HISTORY > > > > Facebook <https://www.facebook.com/nmnh.fanpage/> | Twitter > > <https://twitter.com/NMNH> | Instagram > > <https://www.instagram.com/smithsoniannmnh/> > > > > > > > > ------------------------------ > > > > To unsubscribe from the MUSEUM-L list, click the following link: > > http://home.ease.lsoft.com/scripts/wa-HOME.exe?SUBED1=MUSEUM-L&A=1 > > > > > > ------------------------------ > > > > To unsubscribe from the MUSEUM-L list, click the following link: > > http://home.ease.lsoft.com/scripts/wa-HOME.exe?SUBED1=MUSEUM-L&A=1 > > > > ========================================================= > Important Subscriber Information: > > The Museum-L FAQ file is located at http://www.finalchapter.com/ > museum-l-faq/ . You may obtain detailed information about the listserv > commands by sending a one line e-mail message to > [log in to unmask] . The body of the message should read "help" > (without the quotes). > > If you decide to leave Museum-L, please send a one line e-mail message to > [log in to unmask] . The body of the message should read > "Signoff Museum-L" (without the quotes). > > ------------------------------ > > Date: Tue, 28 Nov 2017 16:43:16 +0000 > From: Aliya Reich <[log in to unmask]> > Subject: Experience with Accessibility Issues in Construction > Sites/Historic Houses? > > Dear all, > I work for a small nonprofit that caretakes a number of historic > buildings, and I would love to know if anyone has advice or ideas about the > following situation, as we are struggling with finding the right balance. > My nonprofit has recently begun a restoration project on a historic house > under our auspices. It is an active construction site right now, as this is > an extensive, multi-year project. There are tripping hazards, lots of dust, > and narrow stairs that in some cases do not have handrails. It is a > potentially perilous (but not actively dangerous) site. > We will be offering monthly hard hat tours of this site for the public, in > addition to special group tours. For people to come inside the house, they > are required to wear hard hats and closed-toed shoes, as well as sign a > waiver. This waiver was written collaboratively between my nonprofit, the > lead construction company, and respective legal departments. In addition, > we send out emails to the groups or individuals ahead of time restating > these requirements and also mentioning that the site may be difficult to > navigate for anyone with limited mobility. We also repeat this at the very > beginning of every tour, before we enter the house. In addition, inside the > house, we have chairs available and at least one staff member onsite in the > event that someone needs to take a break, begins feeling sick, or feels > unable to navigate part of the tour. > The challenge is this: we have had a few experiences so far where people > with mobility issues have decided to take the tour (even knowing the risks > and disclaimers), and there have been some near-misses and almost-incidents. > My question is, how do your organizations balance being friendly, > inviting, and welcoming with keeping visitors and guests safe? Do you ever > step in and deny someone from being able to participate on a tour? Do you > communicate the risks and then simply trust a visitor's judgment about > his/her own abilities? > I would be grateful for your responses and feedback. Thank you very much! > Sincerely, > Aliya Reich > Public Programs Coordinator > Historic Annapolis > > > ========================================================= > Important Subscriber Information: > > The Museum-L FAQ file is located at http://www.finalchapter.com/ > museum-l-faq/ . You may obtain detailed information about the listserv > commands by sending a one line e-mail message to > [log in to unmask] . The body of the message should read "help" > (without the quotes). > > If you decide to leave Museum-L, please send a one line e-mail message to > [log in to unmask] . The body of the message should read > "Signoff Museum-L" (without the quotes). > > ------------------------------ > > Date: Tue, 28 Nov 2017 19:15:34 +0000 > From: Alison Demorotski <[log in to unmask]> > Subject: Curatorial and Intern Opportunities at Crystal Bridges Museum of > American Art > > (Please forgive cross postings) > > Dear colleagues, > Crystal Bridges Museum of American Art is accepting applications for the > following positions: > > * Associate Curator, Modern Art > > o Position Summary: The Associate Curator will serve as a key member of > the curatorial team and aid the Curator of American Art in the development > and implementation of curatorial projects, including exhibition planning > and installation, publications, and the maintenance, research, > presentation, and growth of the collection, with a particular focus on > American art from 1910s through the 1960s. The Associate Curator will > assist with researching future exhibitions, develop focus exhibitions, plan > and install installations in the permanent collection galleries, and act as > a venue curator for traveling exhibitions. The Associate Curator will also > share in the general responsibilities of the department, including > reviewing exhibition proposals and potential acquisitions, and representing > the department with donors, community partners, other staff, interns, > volunteers, members, and the general public as needed. The ideal Associate > Curator is flexible, experimental, creative, and collaborative, with a > passion for connecting to our guests and diverse communities. Excellent > speaking, writing, and research abilities are required. > > o Please note this position description has been updated from an earlier > version. Focus dates are now 1910s-1960s. > > * Project Coordinator, Curatorial > > o Position Summary: The Project Manager, Curatorial works under the > immediate supervision of the Curator in primary service of the curatorial > program and larger goals of the department as a whole. The Project Manager, > Curatorial is responsible for providing integral project management support > to the curatorial staff and managing all administrative aspects of the > installations and exhibitions in his/her assigned portfolio. The Project > Manager, Curatorial possesses masterful organizational acumen, balancing > multiple competing projects and deadlines simultaneously and ensuring > deliverables are produced on time and under budget. She/he works closely > with the curatorial staff, team members in the Exhibitions & Interpretation > department, and other colleagues inside and outside the Museum. The Project > Manager, Curatorial interfaces with contemporary artists, dealers, > collectors, and colleagues on a regular basis, planning and facilitating > meetings and ensuring the highest level of professionalism. > > * (3) Curatorial Summer Internships > > o Position Summary: The Havner Curatorial Summer Internship at Crystal > Bridges Museum of American Art offers opportunities to gain first-hand > exposure and experience in a curatorial department of an art museum. Havner > Interns may assist with exhibition projects, interpretation and display of > artwork, conduct research on objects in the collection, and work with the > library and archives. Havner Interns will gain knowledge of many > departments within the Museum through orientation and discussion lunches > and/or meetings. Havner Interns will not only expand upon their academic > knowledge and improve skills, but also work to apply their knowledge and > skills in practical ways. > > o This is an eight to ten-week internship. The anticipated number of > hours per week will be 35. Compensation will be paid as a stipend. Housing > near Crystal Bridges Museum of American Art provided. Three intern > positions are available for 2018. > > o Crystal Bridges is committed to a diverse workforce and to providing > training for the next generation of museum professionals. Students > representing ethnically underrepresented groups in the curatorial field are > encouraged to apply. > > For more detailed job descriptions, and to apply, please visit: > Associate Curator, Modern: https://crystalbridges.org/ > careers/job-descriptions/?gnk=job&gni=8a78842b5c23f44a015c3759aa896db5 > Project Manager: https://crystalbridges.org/careers/job-descriptions/?gnk= > job&gni=8a78859e5f99acde015fcaeec9ec42d4 > Interns: https://crystalbridges.org/careers/job-descriptions/?gnk=job&gni= > 8a7881a85fdd14f6016003cbcbbd301e > > > Ali Demorotski > Curatorial Assistant > Tyson Scholars Program Administrator > > [http://crystalbridges.org/wp-content/uploads/2016/08/signature_logo.png]< > http://crystalbridges.org/> > > 600 Museum Way > Bentonville, AR 72712 > > 479.418.5709 (direct) > 479.418.5700 (main) > > > ========================================================= > Important Subscriber Information: > > The Museum-L FAQ file is located at http://www.finalchapter.com/ > museum-l-faq/ . You may obtain detailed information about the listserv > commands by sending a one line e-mail message to > [log in to unmask] . The body of the message should read "help" > (without the quotes). > > If you decide to leave Museum-L, please send a one line e-mail message to > [log in to unmask] . The body of the message should read > "Signoff Museum-L" (without the quotes). > > ------------------------------ > > Date: Tue, 28 Nov 2017 19:52:29 +0000 > From: Julie Martin <[log in to unmask]> > Subject: NEDCC Preservation Training Update > > NEDCC PRESERVATION TRAINING UPDATE - NOVEMBER 2017 > ************************************************* > > ONE- OR TWO-HOUR WEBINARS: > A wide variety of preservation topics, including Caring for Architectural > Records; Collections Security; Caring for and Digitizing Scrapbooks; > Understanding Your Collections Environment; Coping with Pests and Mold, and > many more. > > ******************************** > WEBINAR COURSES: > - FUNDAMENTALS OF AUDIOVISUAL PRESERVATION > Six Live Webinars, December 5, 2017-January 23, 2018 > This course gives participants the foundation needed to be effective > collections stewards for audiovisual materials. > > - PRESERVATION 101: Preservation Basics for Paper and Media Collections > Ten Live Webinars, January 11, 2018 - March 22, 2018 > This comprehensive introduction prepares participants to complete a > preservation needs assessment and provides structured guidance on > developing an institutional disaster plan. Certificate of Completion / 20 > ARCs for eligible archivists. > > - WRITING A DISASTER PLAN > Two Live Sessions, May 2 and May 17, 2018 > In-depth coverage of risk assessment and the steps involved in creating a > disaster plan. > > ************************************ > NEW WEBINAR SERIES: THE PRESERVATION REFERENCE DESK SERIES > Two-hour webinars for those who work at a reference desk or town office, > and frequently answer questions from the public. Also useful for those > planning a Preservation Week activity. > Feb 13 - Caring for Family Treasures > Feb 20 - Personal Digital Archiving > Feb 27 - Creating Scrapbooks > > *********************************** > FOR COMPLETE INFORMATION AND TO REGISTER: https://www.nedcc.org/ > preservation-training/training-currentlist > > QUESTIONS? Contact: Sean Ferguson, NEDCC Preservation Specialist, > [log in to unmask] > > ********************************************************************* > > NEDCC | Northeast Document Conservation Center > Join the NEDCC E-News List for all the latest updates: > https://www.nedcc.org/about/contact/sign-up-for-news > www.nedcc.org > > ========================================================= > Important Subscriber Information: > > The Museum-L FAQ file is located at http://www.finalchapter.com/ > museum-l-faq/ . You may obtain detailed information about the listserv > commands by sending a one line e-mail message to > [log in to unmask] . The body of the message should read "help" > (without the quotes). > > If you decide to leave Museum-L, please send a one line e-mail message to > [log in to unmask] . The body of the message should read > "Signoff Museum-L" (without the quotes). > > ------------------------------ > > Date: Tue, 28 Nov 2017 12:55:06 -0800 > From: "topladave ." <[log in to unmask]> > Subject: Re: Experience with Accessibility Issues in Construction > Sites/Historic Houses? > > Hi Aliya, > > Thirteen years ago I worked as an architectural conservator on the > restoration of the historic Gamble House in Pasadena. We worked with the > management and staff of the Gamble House with an Historic Site protection > plan for the contractors and the staff. The restoration was on the exterior > of the structure, including a new roof, and not on the interior. The house > continued daily tours during the project with some disruptions where the > main entrance or areas of the building had to be roped off for safety. It > worked well but required a lot of planning and coordination. If you are > doing interior restoration work while tours are going on then that can be > much more difficult, because you will not only have physical barriers and > traffic by the contractors, but things like loud noise, dust, chemical > fumes from paint, adhesives, and cleaning products, but also a lot of dust > at times. So you have to balance your desire for tours for the safety and > comfort of the public. So I think you really think this through in detail > with ALL parties involved. You don't want to slow up the contractors and > you don't want to put the public in a situation where they can't hear or > are bothered by the ongoing construction. Perhaps you can identify days > when the activity inside the house is non-existent or light or in other > areas away from the tours, and also the days when activity will be heavy, > loud, and messy. The contractors will have a punch-list of their schedule > or activities, which is usually reviewed in a walk-through with the > architects and engineers every week. A member of your staff should be on > those walk-through's and have a copy of the weekly punch list for your > planning. On busy construction days perhaps you can do an exterior tour on > the grounds around the house. You interpreters should also explain why the > restoration is important and what is going on. The public loves to hear > about what is being done to preserve history. A good friend and former > colleague of mine is the Historic Preservation Coordinator with the City of > Annapolis and we both worked at Colonial Williamsburg many years ago. She > can really help you on many of these issues. I am happy to send you her > contact information if you would like it. > > For visitors who are disabled or who have mobility issues, you have to make > those limitations highlighted on your website , literature, and especially > at the point of purchase for the tours. You have to have it in large font > and not small. You really want to make people aware before they arrive, if > possible. You have to train your staff that it is unacceptable to allow > anyone who many pose a risk on the tours to not be allowed inside. And > maybe this is where you could offer an exterior tour. Even if they sign a > waiver, if an accident happens or they have a bad experience, it will not > end well. Be polite but very firm on this. > > Cheers! > Dave > > David Harvey > Senior Conservator and Museum Consultant > Los Angeles CA USA > www.cityofangelsconservation.weebly.com > > > > > On Tue, Nov 28, 2017 at 8:43 AM, Aliya Reich <[log in to unmask]> > wrote: > > > Dear all, > > > > I work for a small nonprofit that caretakes a number of historic > > buildings, and I would love to know if anyone has advice or ideas about > the > > following situation, as we are struggling with finding the right balance. > > > > My nonprofit has recently begun a restoration project on a historic house > > under our auspices. It is an active construction site right now, as this > is > > an extensive, multi-year project. There are tripping hazards, lots of > dust, > > and narrow stairs that in some cases do not have handrails. It is a > > potentially perilous (but not actively dangerous) site. > > > > We will be offering monthly hard hat tours of this site for the public, > in > > addition to special group tours. For people to come inside the house, > they > > are required to wear hard hats and closed-toed shoes, as well as sign a > > waiver. This waiver was written collaboratively between my nonprofit, the > > lead construction company, and respective legal departments. In addition, > > we send out emails to the groups or individuals ahead of time restating > > these requirements and also mentioning that the site may be difficult to > > navigate for anyone with limited mobility. We also repeat this at the > very > > beginning of every tour, before we enter the house. In addition, inside > the > > house, we have chairs available and at least one staff member onsite in > the > > event that someone needs to take a break, begins feeling sick, or feels > > unable to navigate part of the tour. > > > > The challenge is this: we have had a few experiences so far where people > > with mobility issues have decided to take the tour (even knowing the > risks > > and disclaimers), and there have been some near-misses and > almost-incidents. > > > > My question is, how do your organizations balance being friendly, > > inviting, and welcoming with keeping visitors and guests safe? Do you > ever > > step in and deny someone from being able to participate on a tour? Do you > > communicate the risks and then simply trust a visitor’s judgment about > > his/her own abilities? > > > > I would be grateful for your responses and feedback. Thank you very much! > > > > Sincerely, > > > > Aliya Reich > > > > Public Programs Coordinator > > > > Historic Annapolis > > > > > > > > ------------------------------ > > > > To unsubscribe from the MUSEUM-L list, click the following link: > > http://home.ease.lsoft.com/scripts/wa-HOME.exe?SUBED1=MUSEUM-L&A=1 > > > > ========================================================= > Important Subscriber Information: > > The Museum-L FAQ file is located at http://www.finalchapter.com/ > museum-l-faq/ . You may obtain detailed information about the listserv > commands by sending a one line e-mail message to > [log in to unmask] . The body of the message should read "help" > (without the quotes). > > If you decide to leave Museum-L, please send a one line e-mail message to > [log in to unmask] . The body of the message should read > "Signoff Museum-L" (without the quotes). > > ------------------------------ > > End of MUSEUM-L Digest - 27 Nov 2017 to 28 Nov 2017 (#2017-288) > *************************************************************** > ========================================================= Important Subscriber Information: The Museum-L FAQ file is located at http://www.finalchapter.com/museum-l-faq/ . You may obtain detailed information about the listserv commands by sending a one line e-mail message to [log in to unmask] . The body of the message should read "help" (without the quotes). If you decide to leave Museum-L, please send a one line e-mail message to [log in to unmask] . The body of the message should read "Signoff Museum-L" (without the quotes).