In message <[log in to unmask]> Museum discussion list writes:
> There are 50 messages totalling 1537 lines in this issue.
>
> Topics of the day:
>
> 1. bob vila's tactile behavior
> 2. Stereo Opticon Viewers / Need Source (2)
> 3. Campbell Center address
> 4. Bob Vila again
> 5. Bob Vila's Historic Homes
> 6. AMNH on Friends and Dancin'Dinos...
> 7. Art leasing (2)
> 8. Bob Vila (2)
> 9. Software for quotations.
> 10. Valentines question... (4)
> 11. Springfield Rifle
> 12. Help...museum (UK) question (3)
> 13. Internships postings
> 14. Art leasing -Reply
> 15. textbases and text indexing software (2)
> 16. Culture in Cyberspace newsletter (3)
> 17. Software for quotations
> 18. Lecture Series Announcement
> 19. Museums and Politics/Research ?? (2)
> 20. Re[2]: Culture in Cyberspace newsletter (2)
> 21. Workshop evaluation
> 22. Welte-Mignon Reproducing Pianos
> 23. How distribute free research, writing, collections tool to students,
> scholars, writers?
> 24. Filmmaking in the Museum
> 25. Bob Vila strikes again (3)
> 26. STEREOSCOPES
> 27. Filmmaking in the Museum (aka Vila)
> 28. Call for AAA papers re: the body and policy
> 29. Bicycling through a museum exhibit - The 2nd Annual IBR
> 30. read write CD ROM
> 31. Internships
> 32. Getting found on the NET
> 33. New Museum
> 34. gallery/museum refurbishing question (walls) (2)
>
> ----------------------------------------------------------------------
>
> Date: Tue, 13 Feb 1996 02:01:07 -0500
> From: Yukonbean <[log in to unmask]>
> Subject: bob vila's tactile behavior
>
> i didn't see the historic house programs so i cannot comment on
> specifics... however i can't help being reminded of his days with the pbs
> program 'this old house'. it has long been a part of our family humor to
> comment when he touches everything - for those with keen memories, he has
> always done this. in 'this old house' he was constantly touching stuff.
>
> on a more serious note, i do agree that museum staff should be more
> observant in such situations and remind visitors not to handle objects, no
> matter who they are. unnecessary handling should be stressed even among
> staff who might have a legitimate need to handle objects. (all within
> reason, mind you)
>
> ------------------------------
>
> Date: Tue, 13 Feb 1996 08:18:25 GMT
> From: Patricia Reynolds <[log in to unmask]>
> Subject: Re: Stereo Opticon Viewers / Need Source
>
> Buckinghamshire County Museum is just discussing this with its
> designers, Bremner and Orr. They will be reproducing a viewer for
> us. If a UK source would be of interest, please let me know.
>
> --
> Patricia Reynolds
> Keeper of Social History, Buckinghamshire County Museum / Freelance Curator
>
> 16 Gibsons Green
> Heelands
> Milton Keynes
> MK13 7NH
> ENGLAND
>
> [log in to unmask]
>
> ------------------------------
>
> Date: Tue, 13 Feb 1996 08:57:29 -0500
> From: Carole DeFord <[log in to unmask]>
> Subject: Re: Campbell Center address
>
> To Kathy and others that are interested in Campbell Center for Historic
> Preservation Studies, their address is P.O.Box 66, Mount Carroll,
> Illinois 61053. They didn't have email the last time that I was there
> but their phone is 815-244-1173. They are in the Central time zone and
> the office is open 9-5 M-F.
>
> They do have a Archaeological & Ethnographic Collections Care
> Curriculum which is a 2 week course in Materials, Examination & Documentation
> session instructed by Cath Sease,Ruth Norton,Janice Klein and Jane Ketcham
> scheduled for June
> 18-28. The Envionmental Monitorng and Control session is Aug 20-24 with
> Wendy Jessup then the Collections Management & Planning session with
> Barbara Robert and Mary Lee is Aug. 26 - 30 this year.
>
> If I may repeat myself, I suggest that this is a wonderful opportunity
> for small to medium class museum personnel to "learn" their job or pick
> up details that they hadn't been previously aware of. All the sessions
> are taught by professionals that most of us never would get an
> opportunity to spend this much time with. The classes are small--about
> 15 students each so you get a lot of opportunity to bring forth anything
> that you wish to get ideas about.
>
> I'd be glad to answer any other questions that I can about this course.
> Carole
>
>
> --
> Carole DeFord
> [log in to unmask] (Carole S. DeFord)
>
> ------------------------------
>
> Date: Tue, 13 Feb 1996 09:14:06 -0500
> From: Mark Erik Nielsen <[log in to unmask]>
> Subject: Re: Bob Vila again
>
> I can imagine how this happened; the excitment of having a popular show
> interested in your museum must be distracting. It would be easy to focus
> only on the attention and what it may generate (as in more funding
> maybe?) than on the rulebook. It's not Bob's fault - hey, he's a hands on
> type fella. Someone at the museum should have sat him down for a little
> educational session, and made his visit more conditional.
>
> On Mon, 12 Feb 1996, Ivy Strickler wrote:
>
> > Hats off to Byron Johnson for injecting a reasonable couple of paragraphs
> > into an otherwise emotional issue.
> >
> > Flaming Bob Vila is kind of like shooting the messenger. Although I have
> > not been involved in this sort of filming, I can't imagine that it is done
> > on the spur of the moment; *somebody* sat down and went through the script
> > and the rehearsal, etc., and gave permission for whatever was said and
> > done.
> >
> > On another note, I think we need to recognize that historic houses,
> > furniture, and other decorative arts are priceless to us because they carry
> > the touch of those who lived there. They change, and mellow, and develop a
> > patina over time that can never be duplicated. Obviously, careless handling
> > is never acceptable, and making whole rooms of objects off-limits to the
> > general public is probably a fine idea, but the stroke of a hand on a wood
> > surface doesn't seem to call for the kind of general alarm raised in some
> > of these recent postings.
> >
> > Just my 2c
> > Ivy Fleck Strickler Phone 215-895-1637
> > Drexel University Fax 215-895-4917
> > Nesbitt College of Design Arts [log in to unmask]
> > Philadelphia, PA 19104
> >
> > "Never forget that life is like a Fellini movie, and you're getting to see
> > it for free."
> >
>
> ------------------------------
>
> Date: Tue, 13 Feb 1996 08:30:39 -0600
> From: [log in to unmask]
> Subject: Bob Vila's Historic Homes
>
> Is anybody forwarding this discussion to Bob Vila? Do we give him
> the benefit of the doubt and imagine that he might want to learn
> something? I notice that on his old show, This Old House, visits to
> house museums by the new host, Steve Thomas, sometimes overtly
> include gloves, shoe covers, hands in pockets, or curator
> demonstrations.
>
> Pat Galloway
> MS Dept. of Archives and History
>
> ------------------------------
>
> Date: Tue, 13 Feb 1996 09:32:13 EST
> From: Eric Siegel <[log in to unmask]>
> Subject: Re: AMNH on Friends and Dancin'Dinos...
>
> Eating out the brains of the staff, huh? Well, that begs the question,
> "could anybody tell?" Sorry. Eric
>
> ------------------------------
>
> Date: Tue, 13 Feb 1996 09:43:36 -0500
> From: Ivy Strickler <[log in to unmask]>
> Subject: Re: Art leasing
>
> >Dear RealEst:
> >
> >>I would like to find museums or specific artists which would lease there
> >>art work to me for display in my office. I will provide security and
> >>environmental controls.
> >
> >You may be remembering the old days of museum sales and rental galleries. I
> >don't know of too many museums that do this anymore, but I would invite
> >them to respond here if they are still out there.
> >
> As far as I know, Philadelphia Museum of Art still does this (I was there
> this weekend and the "Sales and Rental" office was open and had browsers).
> You can call the rental office directly at 215-684-7965.
> Ivy Fleck Strickler Phone 215-895-1637
> Drexel University Fax 215-895-4917
> Nesbitt College of Design Arts [log in to unmask]
> Philadelphia, PA 19104
>
> "Never forget that life is like a Fellini movie, and you're getting to see
> it for free."
>
> ------------------------------
>
> Date: Tue, 13 Feb 1996 09:52:14 EST
> From: David Haberstich <[log in to unmask]>
> Subject: Stereo Opticon Viewers / Need Source
>
> Just to nit-pick first, "Stereo Opticon" is not a preferred term. I
> think you mean "stereoscope." As a "stereopticon" was a dual or triple
> magic lantern, a "stereopticon viewer" would probably denote a person
> inspecting such a beast! Anyway, I have an old issue of "Stereo World"
> in my office with an ad for reproduction stereoscopes from T.M. Visual
> Industries, Inc., in New York, phone 800-223-6694. I don't know anything
> about them, but you might try calling. Tonight I'll check my more recent
> issues of the magazine to see if there's a more current listing. --David
> Haberstich
>
> ------------------------------
>
> Date: Tue, 13 Feb 1996 10:06:25 EST
> From: Amy Johnson <[log in to unmask]>
> Subject: Re: Bob Vila
>
> I thought I'd just give my opinion on the matter. I didn't see the
> show but will definetly watch it next week. I would think that Bob
> Vila would know better about what to touch or be more careful. But I
> guess he had to have the consent of the curator or such to do what he
> did so they must of thought it was acceptable. Even me as a student, I
> know enough somewhat of what to touch or be careful with historical
> objects.
> Amy Johnson
>
> ------------------------------
>
> Date: Tue, 13 Feb 1996 10:02:32 EST
> From: "Mark C. Vang" <[log in to unmask]>
> Subject: Software for quotations.
>
> The method mentioned by Helen Edwards is also possible on computers running
> Windows '95. You can search every file in a folder (or hard drive) for a
> text
> string. I receive Museum-l in digest form and when I bump into something
> interesting, scan my folder to get all messages on the topic. Of course,
> this
> method doesn't allow organising the material, unless you were to then paste
> it
> into another "snippet" document.
>
> Mark C. Vang
> Freya Ventures
>
> ------------------------------
>
> Date: Tue, 13 Feb 1996 10:35:57 EST
> From: Felicia Pickering <[log in to unmask]>
> Subject: Valentines question...
>
> ----------------------------Original message----------------------------
> To: MNHAN063--SIVM Multiple recipient
>
> From: Smithsonian Internal Discussion Group
>
> Date: Tue, 13 Feb 1996 09:39:42 EST
> Reply-To: Smithsonian Internal Discussion Group <[log in to unmask]>
> Sender: Smithsonian Internal Discussion Group <[log in to unmask]>
> Comments: Converted from OV/VM to RFC822 format by PUMP V2.2X
> From: Regina Zalewski <[log in to unmask]>
> Subject: Valentines question...
> To: Multiple recipients of list SICHAT-L <[log in to unmask]>
> In-Reply-To: note of 02/13/96 09:26
>
> Smithsonian Institution
>
> I just checked it out at HTTP://www.new-kew1.com/start.html and don't
> see any association with SI...there's a hotkey to [log in to unmask]
> it didn't connect....and a 1-800 number that clicks over to a recording
> that tells you (33 dash 10) and that you've dialed incorrectly...might
> the NET POLICE have already caught them?
>
> [log in to unmask] 202.287.3164
> "To see what is in front of one's nose needs a constant
> struggle."--George Orwell.
>
> ------------------------------
>
> Date: Tue, 13 Feb 1996 09:37:13 -0600
> From: "Henry B. Crawford" <[log in to unmask]>
> Subject: Re: Springfield Rifle
>
> >Hello! Thanks to all who responded to my Springfield Model 1873 questions.
> >Your responses aided me greatly. I have one more question about this
> >rifle. Can one tell if a gun is a rifle or a carbine by measuring the
> >barrel length? If so, the length of the barrel in question is 20.5
> >inches from the front of the chamber to the muzzle. Does this length
> >make it a carbine? I realize that this is somewhat of a detailed
> >question, but it never hurts to try!
> >
> >Thanks a million,
> >Becky Hackman
>
> How about a detailed answer?
>
> Barrel length is one of the criteria for determining that the firearm is a
> carbine. It all relates to the manufacturer's intended use. Your
> Springfield with the 20.5" barrel is a carbine. I measured one of ours
> just to make sure. Carbines are firearms specifically designed for
> horseback use, thus the shorter barrel. Your springfield is also a
> breechloader, for ease of loading while on horseback. It should have a
> ring on the left side, for attaching to a leather sling which goes over the
> cavalry trooper's left shoulder. The carbine is then slung to the right
> side of the rider and stored in a saddle holster called a "boot." It might
> be called a rifle because it has a rifled barrel, but due to its overall
> design and its intended manufactured use, technically it is a carbine.
> Rifles are longarms with rifled barrels which do not qualify as carbines.
>
> Below I have attempted to define some firearm terms to add to the confusion.
>
> A smoothbore longarm is simply called a "gun," as in "shotgun," a gun which
> fires shot, primarily. Even more confusion comes when defining handguns.
> A handgun is a firearm which is designed and manufactured to be fired from
> one hand. Smoothbore handguns which do not have revolving cylinders are
> called pistols. In fact any handgun, rifled or smoothbore, which is not a
> revolver is a pistol.
>
> Now, when we get into fully automatic firearms, that's another deal. The
> 1921 Thompson sub-machine gun (aka "tommy gun") has a short barrel, but it
> is not a carbine because it was not made for horseback use. Machine guns
> can technically be called rifles, but are usually not. Please note that
> the M-14 and M-16 are correctly called rifles, even though they are capable
> of both semi and full automatic operation. They come under the
> classification of light weapons. A civillian version of the M-16 is the
> SA-16, which is a semi-automatic firearm, and is NOT a machine gun. It
> still is technically a rifle, however. Those machine guns which are .50
> caliber or above are called heavy weapons, according to one of our
> students, a Vietnam vet.
>
> Also, during the Korean War, the Army used a weapon called a Recoiless
> Rifle, which had a rifled barrel, but was actually considered a heavy
> weapon and fired a 37mm projectile.
>
> Another note on handguns. The model 1911 .45 Colt is called an ACP, which
> means "Automatic Colt Pistol," even though it is not an automatic, but a
> semi-automatic. It's ammunition is also called ACP, and was originally
> designed specifically for this firearm.
>
> Isn't terminology fun?
>
> Did I answer your question?? ;-) I probably told you more than you really
> wanted to know, but these terms often get unintentionally misused. If
> these definitions are inaccurate I invite those more knowledgeable than I
> to correct me. Then we all can learn something new.
>
> HBC
>
> *****************************************
> Henry B. Crawford Curator of History
> [log in to unmask] Museum of Texas Tech University
> 806/742-2442 Box 43191
> FAX 742-1136 Lubbock, TX 79409-3191
> *********All opinions expressed are mine**********
>
> ------------------------------
>
> Date: Tue, 13 Feb 1996 09:41:30 -0600
> From: Andrew Reinhard <[log in to unmask]>
> Subject: Re: Valentines question...
>
> On Mon, 12 Feb 1996, Arthur Anderson wrote:
>
> >
> > While getting into the spirit of Valentines Day, I got rather excited
> > when I heard that I could name a star after my girlfriend! After some
> > searching on the topic, and several helpful replies from the astronomy
> > community, I found that this is apparently too good to be true.
> >
> My dear Arthur,
>
> I am living proof (as are at least hundreds of others) that you can reach
> that celestial goal. About ten years ago my father surprised this
> budding astrophysicist (I stress "budding" -- I never bloomed) with a
> gift of his own star. For fifty dollars, he had the name "Reinhard Alpha
> Delta" placed on a star somewhere within the constellation Monoceros,
> courtesy of the International Star Registry in Switzerland. Whether or
> not the name's now on the books, for vanity's sake it was worth every
> penny. The gorgeous certificate of naming was framable.
>
> Andrew Reinhard
> University of Missouri - Columbia
>
> ------------------------------
>
> Date: Sat, 10 Feb 1996 03:46:05 GMT
> From: Clapton Chan <[log in to unmask]>
> Subject: Help...museum (UK) question
>
> Does any kind soul here know:
>
> (1) Which town (or county) is the Great Britain Museum
> located at?
>
> (2) Is there a museum in London (UK) called Great England
> Museum?
>
> Please email me any hints.
>
> Thanks,
> Clapton
>
> ------------------------------
>
> Date: Tue, 13 Feb 1996 09:52:32 -0600
> From: julie luckenbach <[log in to unmask]>
> Subject: Internships postings
>
> The Walker Art Center in Minneapolis, Minnesota is accepting applications
> for two annual internships:
>
>
> WALKER ART CENTER. Curatorial/Education NEA Internship. This one-year
> internship starting in Sept. 1996 will work with curatorial and education
> staff on a variety of projects related to exhibitions, film, and performing
> arts. MA in art history with emphasis in modern/contemporary art or BA
> degree with equivalent museum experience and excellent verbal and written
> communication skills required. $18,000, excellent benefits, great art, and
> travel allocation. For consideration, send statement of objectives,
> resume, curriculum vitae, three references, transcripts, and writing sample
> by March 8, 1996 to Gary A. White, Human Resources, Walker Art Center,
> Vineland Place, Minneapolis, MN 55403. EOE/AA
>
>
> WALKER ART CENTER. Lila Wallace/Reader's Digest Curatorial Intern for
> Diversity in the Arts. This one-year internship beginning Sept. 1996, will
> provide curatorial and administrative experience for those entering the
> museum profession and supports our goal of increasing the pool of
> candidates currently underrepresented in the museum field. Walker is
> especially interested in applicants with prior experience or familiarity
> with contemporary art and related issues to Asian, African American, Native
> American, Hispanic or other diverse cultures. Applicants from these
> cultures are strongly urged to apply. The intern will work with the
> curatorial staff on exhibitions and programming related to the permanent
> collection including research, preparing interpretive materials and
> exhibition installation. A degree in art history, anthropology, cultural
> or ethnic studies, museum studies, or related fields and excellent verbal
> and written communication skills required. $18,000, great art, excellent
> benefits, and travel allocation. Application deadline March 8, 1996. Send
> letter of interest, resume, curriculum vitae, 3 references and writing
> samples (both academic and general audience, if available) to Gary A.
> White, Human Resources, Walker Art Center, Vineland Place, Minneapolis, MN
> 55403. EOE/AA
>
>
> ::::::::::::::::::
> Julie Luckenbach:::::
> Administration:::::::::
> Walker Art Center:::
> Vineland Place:::::::
> Minneapolis, MN 55403
> phone: 612-375-7639:
> [log in to unmask]::::
> ::::::::::::::::::
>
> ------------------------------
>
> Date: Tue, 13 Feb 1996 08:51:20 -0600
> From: Riva Feshbach <[log in to unmask]>
> Subject: Art leasing -Reply
>
> I would recommend contacting commercial galleries and art consultants
> (they are the people who often help decorate corporate offices) in your
> area.
>
> Riva Feshbach
> Curator
> DePaul University Art Gallery
>
> ------------------------------
>
> Date: Tue, 13 Feb 1996 11:27:46 EST
> From: Pamela Blalock <[log in to unmask]>
> Subject: Valentines question...
>
> I forwarded this inquiry to Geoff Chester at the Planetarium. He responds to
> s
> everal of these inquiries a year. Here is his response (his words NOT mine):
>
> ***************************************************************
> Pamela L. Blalock, Office of Cooperative Programs, NASM MRC 321
> Smithsonian Institution 202/357-4473
> Washington, DC 20560 NASEM013.SIVM
> ----------------------------Original message----------------------------
> To: NASEM013--SIVM
>
> From: Geoff Chester
> Subject: Valentines question...
>
> Pam,
>
> This pops up every year around Christmas, Valentine's Day, and Mother's Day
> (but curiously *not* so much around Father's Day...)
>
> There are several groups that perform this "service", usually for a nominal
> fee of fifty bucks or thereabouts. What they do is go to a star catalogue,
> and the one that's the most concise that's essentially in the public domain
> is the SAO Catalogue of some 250,000 stars down to 8th magnitude. This is how
> the SI gets dragged into the whole mess. Anyway, they randomly select a
> star,
> use any one of several slick PC Planetarium programs to generate a star
> chart on a laser printer, and highlight the "named" star. Then they use a
> desktop publishing program to crank out a fancy-schmancy looking certificate,
> enter the name in a database (that they claim is registered at the LOC and/or
> in some Swiss bank vault) and send the results off to you, the eager
> customer.
> So for your $50 you get a couple of pieces of paper and the promise that the
> star you have "selected" will be forever named for your dear-departed Aunt
> Minnie. What they don't tell you is that response to this little scam has
> been quite brisk...to the point where they are going through the SAO
> Catalogue
> for the 3rd time...so the names for each star are no longer "unique"! You
> gotta share it with some Bozo in Frostbite Falls, MN. It's nice work if
> you can get it...and as for "authority" I can do the exact same thing and
> I'll only charge you $25 for it! P. T. Barnum was right....
>
> TTFN
> Geoff
>
> ------------------------------
>
> Date: Tue, 13 Feb 1996 10:39:45 -0600
> From: Kate Desulis <[log in to unmask]>
> Subject: Re: Bob Vila
>
> I attended an excellent session at AAM a couple of years ago about how to
> work with a film crew in your museum. One of the speakers was from the Art
> Institute of Chicago, and she discussed how they handled the filming of the
> movie "Ferris Bueller's Day Off" at the museum. One thing I learned from
> that was the amount of preparation needed even before you let the crew in
> the door. That, and needing a museum staffer on site with the crew AT ALL
> TIMES.
>
> In the Bob Vila show, watchers are able to see him touching artifacts, but
> what we don't see is how the lights and cameras are set up. Are the lights
> tottering over fragile artifacts, loose cords lying everywhere, camera
> crews setting extra film canisters on that antique desk?
>
> OK, if a decision has already been made to bring in a film crew and to
> relax the rules a bit to let the star of the show touch objects, let's not
> dwell too much on it. What we, as museum staff, need is to make sure the
> shoot is as safe as possible by exercising what control WE have over what
> the crew is doing. That and educating other staff/directors/trustees in
> what can be done safely as a compromise to what the crew may want.
>
> I don't think the purpose of this thread is to flame Bob Vila but rather to
> educate staff on how to handle this type of situation in the future. It's
> probably not as uncommon as one might suspect.
>
>
> Kate Desulis (312) 322-0821 phone
> Adler Planetarium & Astronomy Museum (312) 322-2257 fax
> 1300 S. Lake Shore Drive [log in to unmask]
> Chicago, IL 60605 URL http://astro.uchicago.edu/adler/
>
> ------------------------------
>
> Date: Tue, 13 Feb 1996 11:51:43 -0500
> From: "Paul H. Pincus" <[log in to unmask]>
> Subject: Re: Art leasing
>
> Similar to that described for L.A. County Museum, the Philadelphia Art Museum
> used to have a rental gallery of regional artists. This ws years ago though.
> I'm not certain if they still have this service.
>
>
>
> At 05:40 PM 2/12/96 -0800, you wrote:
> >Where are you? The L.A. County Museum of Art has a rental gallery -- not
> >for works from their collection, but for works by emerging L.A. artists.
> >Other than that, I'd suggest commercial galleries -- musuems don't lease.
> >Museums lend to other museums and public galleries, but not usually to
> >private business.
> >
> >
> >
> >>I would like to find museums or specific artists which would lease there
> >>art work to me for display in my office. I will provide security and
> >>environmental controls.
> >>
> >>Please e-mail me if you know of any organizations which may be interested.
> >>
> >>RealEst [log in to unmask]
> >
> >Stephen Nowlin, VP, Director, Alyce de Roulet Williamson Gallery
> >Art Center College of Design
> >1700 Lida Street
> >Pasadena, California 91103 USA (818)396-2397vox (818)405-9104fax
> >
> >
> Paul H. Pincus
> Bilbao Project Associate
> Solomon R. Guggenheim Museum
> Guggenheim Museum Bilbao
> 1071 Fifth Avenue
> New York, NY 10128-0173
> P (212) 423-3549
> F (212) 534-8938 or (212) 876-2368
>
> e-mail:
> [log in to unmask]
> [log in to unmask]
> [log in to unmask]
> [log in to unmask]
>
> internet: http://www.panix.com/~pincus/pincus.html
>
> ------------------------------
>
> Date: Tue, 13 Feb 1996 17:03:48 +0100
> From: Tamara Lucas <[log in to unmask]>
> Subject: Re: Help...museum (UK) question
>
> dear clapton,
>
>
> >(1) Which town (or county) is the Great Britain Museum
> > located at?
>
> The British Museum is in London - Great Russell Street to be exact
>
>
> >(2) Is there a museum in London (UK) called Great England
> > Museum?
> >
> Not to my knowledge, but there is a Museum of London, in London, which
> specialises in archaeology.
>
>
> Tamara Lucas
> Royal College of Art
> London
>
> Tamara Lucas
> Royal College of Art
> London
>
> ------------------------------
>
> Date: Tue, 13 Feb 1996 16:31:10 +0000
> From: Rebecca Mileham <[log in to unmask]>
> Subject: Re: Help...museum (UK) question
>
> Clapton:
>
> I have here the 95/96 Museums Yearbook here (a directory of UK museums) and
> there is no Great Britain Museum or Great England (?) Museum listed.
> Neither of them appear in the section that lists museums which have been
> removed from the main listing.
>
> I'm afraid I have never heard of either: the British Museum, which sounds
> the most similar, is in London.
>
> Rebecca.
>
> Programmes Unit
> Science Museum
> Exhibition Road
> London, SW7 2DD
>
> Tel +44 (0)171 938 8047
> Fax +44 (0)171 938 9773
>
> ------------------------------
>
> Date: Tue, 13 Feb 1996 12:24:46 -0500
> From: jessica weissman <[log in to unmask]>
> Subject: textbases and text indexing software
>
> For a consulting assignment last year I had to survey the field of textbase
> software, text/wordprocessing indexing software and document imaging
> software. At that time, the best and most flexible INDEXER of existing
> files was Isys, and the best (but simultaneously most annoying) textbase
> where you could throw in anything and index it in a lot of genuinely useful
> ways was Ask Sam. ZyIndex came in someplace in between, and a shareware
> thing called dTsearch wasn't bad (esp. because it was shareware and you
> could try it out for free).
>
> Anybody who wants to know more about any of these or the ones not mentioned
> here, feel free to email me.
>
> ------------------------------
>
> Date: Tue, 13 Feb 1996 12:26:44 EST
> From: Maurice <[log in to unmask]>
> Subject: Re: textbases and text indexing software
>
> Just requesting a public posting on this subject since it is of
> great interest to those of us in Kingston.
>
>
> Maruice D. Smith, Curator, Marine Museum of the Great Lakes.
>
> ------------------------------
>
> Date: Tue, 13 Feb 1996 12:56:41 -0500
> From: Lynne Teather <[log in to unmask]>
> Subject: Re: Culture in Cyberspace newsletter
>
> Please subscribe me to the Culture in Cyberspace newsletter.
>
> Thanks,
>
> Lynne Teather
> [log in to unmask]
>
> ------------------------------
>
> Date: Tue, 13 Feb 1996 13:02:28 -0500
> From: Lynne Teather <[log in to unmask]>
> Subject: Re: Software for quotations
>
> I have Endnote Plus for PC Windows use. We are especially using it to
> organize our Museum Documentation Library at the Museum Studies
> Program and I intend to use it for my own massive holdings which are
> now so large that I do sometimes have trouble accessing articles or books.
>
> The program can function as a bibliographic, footnote and endnote
> creator that are interfaced with wordprocessed (i.e. Word,
> Wordperfect) documents. I am just getting to this stage of employing
> the program.
>
> I'm not sure how it would be useful for organizing quotes except that
> their is an abstract field in which you would put a quote. However, I
> think there are more effective means of quote organization.
>
> As a bibliograhic, library organizer, though, Endnote Plus is very good.
>
> Lynne Teather
> Museum Studies Program,
> Univ. of Toronto
> [log in to unmask]
>
> ------------------------------
>
> Date: Tue, 13 Feb 1996 13:04:24 -0500
> From: Farar Elliott <[log in to unmask]>
> Subject: Lecture Series Announcement
>
> Below is the flyer text for a series of panel discussions sponsored by the
> Valentine Museum in Richmond, Virginia. The series, "Controversy/History,"
> is our latest approach to activist programming that places us in the center
> of current issues facing the city.
>
>
>
>
>
>
>
>
>
> Controversy/History
>
> A Provocative Series of Discussions
>
> Join the Valentine to explore the issues facing Richmond today and the
> history behind them.
>
> Fourth Thursday of each month
> 6 p.m.
> Free admission
> The galleries remain open until 6 p.m. on the evening of programs.
>
>
> Many Shades of Being Thursday, February
> 22, 6
> p.m.
> Is there a black identity? This film and discussion explores the idea that
> all African Americans share a common experience. Marlon Riggs' film, Black
> Is, Black Ain't, will be screened.
>
> >From Subjugation to Incorporation
> Thursday, Ma
> rch 28, 6 p.m.
> How does women's work get done now? How was it done a century ago? This
> panel examines the shift from the use of domestic servants to the prevalence
> of the service industry.
>
> The Selling of the South
> Thursday,
> April 25, 6 p.m.
> Some say it's good for the South, others say we give too much away. A look
> at economic development in the region will consider the model Charlotte
> provides, the recruitment and role of corporate newcomers like Motorola, and
> the place of Northern investors in the South's history.
>
> The Landscape of Crime Thursday, May
> 23
> , 6 p.m.
> Where do you feel safe in Richmond? Each of us has a mental map of the city
> and how safe each part is. Police Chief Jerry Oliver joins historians and
> other experts in discussing
Mar a Teresa G. Pedroche
Associate Curator
Meadows Museum
Meadows School of the Arts
Dallas, TX 75275
(214)768-1674
[log in to unmask]
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