On Thu, Oct 8, 2009 at 2:19 PM, las834 <[log in to unmask]> wrote:

Thank you all for your wonderful input regarding what to do with the
Kindergarteners! You have given me some ideas that I need to adapt to my
style...it is just what I needed! (If there is any more input out there,
please do respond!)
Best,
Laurie
-----Original Message-----
From: Museum discussion list [mailto:[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: Thu, 8 Oct 2009 17:45:20 -0400 Reply-To: Museum discussion list <[log in to unmask]> Sender: Museum discussion list <[log in to unmask]> From: "Robin H. Gabriel" <[log in to unmask]> Subject: Re: Museum-in-a-Box for Kindergarteners In-Reply-To: <[log in to unmask]> MIME-Version: 1.0 Content-Type: multipart/alternative; boundaryMessage-ID: <[log in to unmask]> --0016e659f44c448aad04757361b1 Content-Type: text/plain; charset=ISO-8859-1 Laurie - there is a really cute children's picture book that might be fun for you to read to the class. *Help for Mr. Peale* by Barbara Morrow ( http://www.librarything.com/work/4482324) Have fun with it - this age group is a blast to work with. Just keep everything on a very simple level and remember that their attention span is about 10-15 minutes. As long as you keep them moving from one thing to another every 5-10 minutes you will be fine. Robin Gabriel On Thu, Oct 8, 2009 at 8:39 AM, las834 <[log in to unmask]> wrote: > Hello Colleagues, > > I have been invited to come to speak (present?) to 60 kindergarteners about > what museums do. (!!) I am a curator at a small history museum and have > done presentations and Museums-In-A-Box / Discovery trunks for school > children before, but not for this young an age group. The teacher who > wants > me to come is so excited...so I am asking for your input, suggestions and > help for what type of presentations you have done and what types of things > you brought with you that would work for this little age group. Please > advise and thank you! > > Best, > Laurie > > ========================================================> 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). > -- Robin H. Gabriel 744 Exton Court Charlottesville, Virginia 22901 [log in to unmask] Phone: (434) 973-3929 Cell: (434) 242-9912 ========================================================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). --0016e659f44c448aad04757361b1 Content-Type: text/html; charset=ISO-8859-1 Content-Transfer-Encoding: quoted-printable Laurie - there is a really cute children's picture book that might be fun for you to read to the class. Help for Mr. Peale by Barbara Morrow (http://www.librarything.com/work/4482324)

Have fun with it - this age group is a blast to work with. Just keep everything on a very simple level and remember that their attention span is about 10-15 minutes. As long as you keep them moving from one thing to another every 5-10 minutes you will be fine.

Robin Gabriel

On Thu, Oct 8, 2009 at 8:39 AM, las834 <[log in to unmask]> wrote:
Hello Colleagues,

I have been invited to come to speak (present?) to 60 kindergarteners about
what museums do. (!!) I am a curator at a small history museum and have
done presentations and Museums-In-A-Box / Discovery trunks for school
children before, but not for this young an age group. The teacher who wants
me to come is so excited...so I am asking for your input, suggestions and
help for what type of presentations you have done and what types of things
you brought with you that would work for this little age group. Please
advise and thank you!

Best,
Laurie

=========================================================
Important Subscriber Information:

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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).

--
Robin H. Gabriel
744 Exton Court
Charlottesville, Virginia 22901
[log in to unmask]
Phone: (434) 973-3929
Cell: (434) 242-9912
========================================================= 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). --0016e659f44c448aad04757361b1-- ========================================================================Date: Fri, 9 Oct 2009 13:34:24 +1100 Reply-To: Museum discussion list <[log in to unmask]> Sender: Museum discussion list <[log in to unmask]> From: "John.Greenwood" <[log in to unmask]> Subject: Re: Straw in Museum Settings In-Reply-To: A MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="----_=_NextPart_001_01CA4889.0408F904" Message-ID: <[log in to unmask]> This is a multi-part message in MIME format. ------_=_NextPart_001_01CA4889.0408F904 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: quoted-printable Straw in Museums, yes the conservators are sort of right , but it depends on the question they were asked. Also a lot of conservators don't get out enough, I should know being one for the last 30 odd years. Think Integrated Pest Management. Is there a problem, get some straw and straw dust out of the mattress and look under a microscope. If there are bugs are they harmful or benign? (There is a schools project just in this). If the bugs are nasty, get rid of them. Put the mattress in a plastic bag, freeze for a week or two, allow to defrost, Bob's your uncle, problem solved. Keep it dry. Conservation is not rocket science. John Greenwood Senior lecturer, Cultural heritage Conservation, University of Canberra, Australia. ________________________________ From: Museum discussion list [mailto:[log in to unmask]] On Behalf Of Marc A Williams Sent: Friday, 9 October 2009 8:13 AM To: [log in to unmask] Subject: Re: [MUSEUM-L] Straw in Museum Settings Most packing peanuts are made of polystyrene, although a few are made of other materials such as corn starch for "biodegradable" peanuts. It is possible that peanuts are made from polyethylene as well. All of these are "organic materials," and by the decree of the assessment conservator, they should be banned. My primary point is that imprecise language is not helpful to understanding preservation practices. This is particularly inexcusable for conservators. Polystyrene peanuts are likely to off-gas harmful vapors that may damage collections. Corn starch peanuts are likely to be a good food medium for rodents and mold/mildew, and they will be affected by moisture. Polyethylene peanuts are the best choice of these three alternatives and should eliminate all of the concerns stated except the tactile and historically-accurate issues, but I'm not sure they actually exist. However, will mice nest within them, as they are soft and warm, at least relative to other alternatives such as the damp/cold basement? We don't know. All of us can only state anecdotal observations and opinions, and hope that these are adequate. Preservation is for hundreds or even thousands of years, and no one has this amount of direct observational experience. Most materials available to us today have only been around for a few generations. So, as conservators, we are left primarily with "I believe," whether stated explicitly or not by us. Weighing all of Catherine's concerns, including the tactile ones, I believe that the existing straw should be fine if there have been no problems to date. Eventually it will have to be replaced as the straw degrades due to natural embrittlement (probably several decades to a century from now), and alternatives can be considered based upon the materials available at that time in the future. In the mean time, observe and watch (and write down where someone else can find it), no matter which alternative is selected. Marc American Conservation Consortium, Ltd. 4 Rockville Road Broad Brook, CT 06016 www.conservator.com 860-386-6058 *Collections Preservation Consultation *Conservation Assessments & Surveys *Environmental Monitoring & Low-Tech Control *Moisture Management Solutions *Collections in Historic Structures *Collections Care Grant Preparation *Conservation Treatment of: Furniture Painted Wood Horse-Drawn Vehicles Architectural Interiors Decorative Objects & Folk Art Marc A. Williams, President MS in Art Conservation, Winterthur Museum Program Former Chief Wooden Object Conservator, Smithsonian Institution Fellow, American Institute for Conservation (AIC) ----- Original Message ----- From: Sabrina Henneman To: [log in to unmask] Sent: Thursday, October 08, 2009 3:45 PM Subject: Re: [MUSEUM-L] Straw in Museum Settings For the bulk of our beds, we use the hard foam packing peanuts, not the soft foam ones. We have one or two demonstration/hands-on beds with real straw. Sabrina Henneman Collections Registrar Genesee Country Museum ________________________________ From: Museum discussion list [mailto:[log in to unmask]] On Behalf Of Marc A Williams Sent: Thursday, October 08, 2009 3:08 PM To: [log in to unmask] Subject: Re: [MUSEUM-L] Straw in Museum Settings Catherine, The answer to your question is yes and no. This is a generic problem with collections preservation advice - that is it both specific to the particular situation, and there are always exceptions. The advice to remove "all organic materials from the house" would include textiles, wood, paints, finishes, paper, and so forth. You would have to remove the wooden structural architectural framing, moldings, flooring, upholstery, drapery, carpeting, furniture, wall surfaces, paintings, and the like. Hopefully, this was just an oversight on the part of the conservator performing the assessment. It was a conservator, wasn't it? Realistically, such advice can not be followed, as there would be very few collection objects and architectural structure remaining in the house. There are several relevant factors in your example. One is that the straw has been present for a number of years. The risk of insect problems, particularly introducing new insects to the collections, is greatest in the first few years. After that point if there is no damage, leaving existing materials in the collection may be even safer than newly-introduced materials. Second, it is true that straw is a poor nourishment medium for many species of both insects and rodents. It also is of low risk for mold and mildew infestation. Third, mice and other rodents will use any available fibrous material for nesting. I have seen numerous instances of fiberglass insulation in ceilings and walls being used by mice for nests. One would think that this would be at least unpalatable or at worst harmful to rodents, but apparently not. Polyester probably would not fare any better (BTW, polyester is an organic material, and by the assessment decree, should be banned from the house). In the absence of direct information to the contrary, it would seem that the straw is not more of a nesting risk than any of these synthetic materials. The better alternative is to implement strategies that prevent, or at least discourage, rodent presence in the house as a whole. My personal opinion, although not informed by examination of your specific circumstances, is that if you have not had problems to date, you are not likely to have them in the future. Good luck! Marc American Conservation Consortium, Ltd. 4 Rockville Road Broad Brook, CT 06016 www.conservator.com 860-386-6058 *Collections Preservation Consultation *Conservation Assessments & Surveys *Environmental Monitoring & Low-Tech Control *Moisture Management Solutions *Collections in Historic Structures *Collections Care Grant Preparation *Conservation Treatment of: Furniture Painted Wood Horse-Drawn Vehicles Architectural Interiors Decorative Objects & Folk Art Marc A. Williams, President MS in Art Conservation, Winterthur Museum Program Former Chief Wooden Object Conservator, Smithsonian Institution Fellow, American Institute for Conservation (AIC) ----- Original Message ----- From: Cathy Dean To: [log in to unmask] Sent: Thursday, October 08, 2009 1:35 PM Subject: [MUSEUM-L] Straw in Museum Settings Dear Listers, One of our historic sites is presently wrestling with the issue of a straw mattress in their historic house interior. The straw has been in place for many years and thus far not (to my knowledge) caused any problems, and the staff like to use the "crunchy" feel of the mattress as a teaching moment, giving children and school groups a tactile experience of how one aspect of life was different in the 19th century. They have received a recommendation as part of a conservation assessment to remove all organic materials (including the straw in the mattress ticking) from the house, which would also have been my first response as well. However, a board member also consulted a colleague in a university entomology department at the nearby university, who did some research and concluded that because the straw is "non-nutritive" it would likely not harbor any bugs other than perhaps mites (which would hopefully be a non-issue, because the beds are not used). I said I would check with the list to see if anyone has had any direct experience with pest infestation in straw mattresses, bales, etc. I'm also concerned that (leaving aside insects) straw might also harbor mice or other animals that use the straw as a nesting material. Also, has anyone found a good replacement for straw that would have that same tactile feel and look? As always, budget is a major issue. Elsewhere we use polyester fiberfill, but obviously that would feel nothing like straw. Thanks! Catherine E. Dean Curator of Collections Preservation Virginia 804-314-5049 FAX: 804-648-5880 [log in to unmask] ========================================================= 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). ========================================================= 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).========================================================= 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). ========================================================= 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). ========================================================= 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). ------_=_NextPart_001_01CA4889.0408F904 Content-Type: text/html; charset="US-ASCII" Content-Transfer-Encoding: quoted-printable

Straw in Museums, yes the conservators are sort of right , but it depends on the question they were asked. Also a lot of conservators don’t get out enough, I should know being one for the last 30 odd years.

Think Integrated Pest Management. Is there a problem, get some straw and straw dust out of the mattress and look under a microscope. If there are bugs are they harmful or benign? (There is a schools project just in this).

If the bugs are nasty, get rid of them. Put the mattress in a plastic bag, freeze for a week or two, allow to defrost, Bob’s your uncle, problem solved. Keep it dry. Conservation is not rocket science.

John Greenwood

Senior lecturer, Cultural heritage Conservation, University of Canberra, Australia.

From: Museum discussion list [mailto:[log in to unmask]] On Behalf Of Marc A Williams
Sent: Friday, 9 October 2009 8:13 AM
To: [log in to unmask]
Subject: Re: [MUSEUM-L] Straw in Museum Settings

Most packing peanuts are made of polystyrene, although a few are made of other materials such as corn starch for "biodegradable" peanuts. It is possible that peanuts are made from polyethylene as well. All of these are "organic materials," and by the decree of the assessment conservator, they should be banned. My primary point is that imprecise language is not helpful to understanding preservation practices. This is particularly inexcusable for conservators. Polystyrene peanuts are likely to off-gas harmful vapors that may damage collections. Corn starch peanuts are likely to be a good food medium for rodents and mold/mildew, and they will be affected by moisture. Polyethylene peanuts are the best choice of these three alternatives and should eliminate all of the concerns stated except the tactile and historically-accurate issues, but I'm not sure they actually exist. However, will mice nest within them, as they are soft and warm, at least relative to other alternatives such as the damp/cold basement? We don't know.  All of us can only state anecdotal observations and opinions, and hope that these are adequate. Preservation is for hundreds or even thousands of years, and no one has this amount of direct observational experience. Most materials available to us today have only been around for a few generations. So, as conservators, we are left primarily with "I believe," whether stated explicitly or not by us. Weighing all of Catherine's concerns, including the tactile ones, I believe that the existing straw should be fine if there have been no problems to date. Eventually it will have to be replaced as the straw degrades due to natural embrittlement (probably several decades to a century from now), and alternatives can be considered based upon the materials available at that time in the future. In the mean time, observe and watch (and write down where someone else can find it), no matter which alternative is selected.

Marc

American Conservation Consortium, Ltd.
     4 Rockville Road
     Broad Brook, CT 06016
     www.conservator.com
     860-386-6058

*Collections Preservation Consultation
*Conservation Assessments & Surveys
*Environmental Monitoring & Low-Tech Control
*Moisture Management Solutions
*Collections in Historic Structures
*Collections Care Grant Preparation
*Conservation Treatment of:
     Furniture
     Painted Wood
     Horse-Drawn Vehicles
     Architectural Interiors
     Decorative Objects & Folk Art

Marc A. Williams, President
     MS in Art Conservation, Winterthur Museum Program
     Former Chief Wooden Object Conservator, Smithsonian Institution
     Fellow, American Institute for Conservation (AIC)

----- Original Message -----

From: [log in to unmask]">Sabrina Henneman

To: [log in to unmask]">[log in to unmask]

Sent: Thursday, October 08, 2009 3:45 PM

Subject: Re: [MUSEUM-L] Straw in Museum Settings

For the bulk of our beds, we use the hard foam packing peanuts, not the soft foam ones. We have one or two demonstration/hands-on beds with real straw.

Sabrina Henneman

Collections Registrar

Genesee Country Museum

From: Museum discussion list [mailto:[log in to unmask]] On Behalf Of Marc A Williams
Sent: Thursday, October 08, 2009 3:08 PM
To: [log in to unmask]
Subject: Re: [MUSEUM-L] Straw in Museum Settings

Catherine,

The answer to your question is yes and no. This is a generic problem with collections preservation advice - that is it both specific to the particular situation, and there are always exceptions. The advice to remove "all organic materials from the house" would include textiles, wood, paints, finishes, paper, and so forth. You would have to remove the wooden structural architectural framing, moldings, flooring, upholstery, drapery, carpeting, furniture, wall surfaces, paintings, and the like. Hopefully, this was just an oversight on the part of the conservator performing the assessment. It was a conservator, wasn't it? Realistically, such advice can not be followed, as there would be very few collection objects and architectural structure remaining in the house.

There are several relevant factors in your example. One is that the straw has been present for a number of years. The risk of insect problems, particularly introducing new insects to the collections, is greatest in the first few years. After that point if there is no damage, leaving existing materials in the collection may be even safer than newly-introduced materials. Second, it is true that straw is a poor nourishment medium for many species of both insects and rodents. It also is of low risk for mold and mildew infestation. Third, mice and other rodents will use any available fibrous material for nesting. I have seen numerous instances of fiberglass insulation in ceilings and walls being used by mice for nests. One would think that this would be at least unpalatable or at worst harmful to rodents, but apparently not. Polyester probably would not fare any better (BTW, polyester is an organic material, and by the assessment decree, should be banned from the house). In the absence of direct information to the contrary, it would seem that the straw is not more of a nesting risk than any of these synthetic materials. The better alternative is to implement strategies that prevent, or at least discourage, rodent presence in the house as a whole.

My personal opinion, although not informed by examination of your specific circumstances, is that if you have not had problems to date, you are not likely to have them in the future. Good luck!

Marc

American Conservation Consortium, Ltd.
     4 Rockville Road
     Broad Brook, CT 06016
     www.conservator.com
     860-386-6058

*Collections Preservation Consultation
*Conservation Assessments & Surveys
*Environmental Monitoring & Low-Tech Control
*Moisture Management Solutions
*Collections in Historic Structures
*Collections Care Grant Preparation
*Conservation Treatment of:
     Furniture
     Painted Wood
     Horse-Drawn Vehicles
     Architectural Interiors
     Decorative Objects & Folk Art

Marc A. Williams, President
     MS in Art Conservation, Winterthur Museum Program
     Former Chief Wooden Object Conservator, Smithsonian Institution
     Fellow, American Institute for Conservation (AIC)

----- Original Message -----

From: [log in to unmask]">Cathy Dean

To: [log in to unmask]">[log in to unmask]

Sent: Thursday, October 08, 2009 1:35 PM

Subject: [MUSEUM-L] Straw in Museum Settings

Dear Listers,

One of our historic sites is presently wrestling with the issue of a straw mattress in their historic house interior.

The straw has been in place for many years and thus far not (to my knowledge) caused any problems, and the staff like to use the “crunchy” feel of the mattress as a teaching moment, giving children and school groups a tactile experience of how one aspect of life was different in the 19^th century.

They have received a recommendation as part of a conservation assessment to remove all organic materials (including the straw in the mattress ticking) from the house, which would also have been my first response as well.

However, a board member also consulted a colleague in a university entomology department at the nearby university, who did some research and concluded that because the straw is “non-nutritive” it would likely not harbor any bugs other than perhaps mites (which would hopefully be a non-issue, because the beds are not used).

I said I would check with the list to see if anyone has had any direct experience with pest infestation in straw mattresses, bales, etc. I’m also concerned that (leaving aside insects) straw might also harbor mice or other animals that use the straw as a nesting material.

Also, has anyone found a good replacement for straw that would have that same tactile feel and look? As always, budget is a major issue. Elsewhere we use polyester fiberfill, but obviously that would feel nothing like straw.

Thanks!

Catherine E. Dean

Curator of Collections

Preservation Virginia

804-314-5049

FAX: 804-648-5880

[log in to unmask]

========================================================= Important Subscriber Information:

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========================================================= Important Subscriber Information:
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The body of the message should read "Signoff Museum-L" (without the quotes). ------_=_NextPart_001_01CA4889.0408F904-- ========================================================================Date: Thu, 8 Oct 2009 23:01:26 -0400 Reply-To: Museum discussion list <[log in to unmask]> Sender: Museum discussion list <[log in to unmask]> From: Lee Goodan <[log in to unmask]> Subject: Winter/Spring Internship Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: quoted-printable MIME-Version: 1.0 Message-ID: <[log in to unmask]> Please respond to the contact information below. 2010 Winter/Spring Internships at The Gaston County Museum Dallas, North Carolina Exhibits/Collections Intern (2 positions available) Winter/Spring, 2010 (30 to 40 hours per week) Application Deadline: November 9, 2009 HOUSING PROVIDED The Gaston County Museum is currently seeking 2 collections/exhibits interns for winter/spring 2010. Current intern projects include: (3 month intern) Local Gaston County Oral History Project, (6 month intern) Archives. In addition, both interns will assist the Curatorial Staff in exhibit design/installation as well as collections management. The interns will also work under the guidance of the Curatorial Staff to update and maintain permanent exhibits and interpreted spaces. The successful candidates will be detail oriented, organized, and able to work independently. Must be able to work with and meet deadlines, lift up to 30 pounds, and climb stairs and ladders. Preference will be given to candidates with previous museum work or course experience and/or candidates wishing to pursue a career in museums. Knowledge of PastPerfect collections database a plus. The internships are unpaid, but housing that is within walking distance to the museum is provided. Both internships will begin in January. One will end in May while the other will end in August, and be 30 to 40 hours per week during that time. Deadline for application is November 9, 2009. Interested applicants should send a cover letter, resume, as well as a 1 page essay indicating why they want do their internship at the Gaston County Museum and what they hope to gain from the experience to: The Gaston County Museum Attn: Jeff Pruett P.O. Box 429 Dallas, NC 28034 Phone: 704-922-7681 x.105 Fax: 704-922-7683 Email: [log in to unmask] ========================================================= 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: Fri, 9 Oct 2009 13:31:05 +0000 Reply-To: Museum discussion list <[log in to unmask]> Sender: Museum discussion list <[log in to unmask]> From: Marianne Rogowski <[log in to unmask]> Subject: Museum security question MIME-Version: 1.0 Content-Type: multipart/alternative; boundaryMessage-ID: <[log in to unmask]> --001485ec0c828c9cb80475809705 Content-Type: text/plain; charset=ISO-8859-1; format=flowed; delsp=yes Hello all, I am a graduate public history major at Appalachian State Uni in NC and am in a class where we are helping a new, small museum in their planning process. They have broken ground already, and my class of about 10 or so have split into 3 groups for different planning processes. We are basically a think-tank for them and will be submitting our findings and suggestions for different areas in December. My area is museum security! I am writing to get info from different museums (or historic houses that see a lot of traffic) about their security methods. Cameras, motion sensors, etc, and what companies you deal with. Any other information would help as well! The museum is/will be a local arts and history museum in the mountains of North Carolina. They will feature a substantial amount of artwork--part of it being a permanent collection by a local artist--also travelling exhibits, books, and objects/artifacts. Their architectural layouts also include a room for children's art activities, etc, two multi-purpose rooms they intend to use for community affairs (the town is small) and 5 small-medium sized galleries for displays. (We, the students, see it more as a civic-type center/museum, for the community, which they do not currently have.) Any help/advice/websites/phone numbers would be much appreciated. As I said we will be proposing a few different options to their Board of Directors/Trustees in December about different paths they can take, monetary estimates and such will be necessary. Any information is much appreciated!!!!!!!!!!! Thanks! Marianne ========================================================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). --001485ec0c828c9cb80475809705 Content-Type: text/html; charset=ISO-8859-1 Content-Transfer-Encoding: quoted-printable Hello all,
I am a graduate public history major at Appalachian State Uni in NC and am in a class where we are helping a new, small museum in their planning process. They have broken ground already, and my class of about 10 or so have split into 3 groups for different planning processes. We are basically a think-tank for them and will be submitting our findings and suggestions for different areas in December. My area is museum security! I am writing to get info from different museums (or historic houses that see a lot of traffic) about their security methods. Cameras, motion sensors, etc, and what companies you deal with. Any other information would help as well! The museum is/will be a local arts and history museum in the mountains of North Carolina. They will feature a substantial amount of artwork--part of it being a permanent collection by a local artist--also travelling exhibits, books, and objects/artifacts. Their architectural layouts also include a room for children's art activities, etc, two multi-purpose rooms they intend to use for community affairs (the town is small) and 5 small-medium sized galleries for displays. (We, the students, see it more as a civic-type center/museum, for the community, which they do not currently have.) Any help/advice/websites/phone numbers would be much appreciated. As I said we will be proposing a few different options to their Board of Directors/Trustees in December about different paths they can take, monetary estimates and such will be necessary. Any information is much appreciated!!!!!!!!!!!
Thanks!
Marianne ========================================================= 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). --001485ec0c828c9cb80475809705-- ========================================================================Date: Fri, 9 Oct 2009 11:42:29 -0500 Reply-To: Museum discussion list <[log in to unmask]> Sender: Museum discussion list <[log in to unmask]> From: ShannonL <[log in to unmask]> Subject: Response to your museum security question. In-Reply-To: <[log in to unmask]> MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="----_=_NextPart_001_01CA48FF.7E21D83D" Message-ID: <[log in to unmask]> This is a multi-part message in MIME format. ------_=_NextPart_001_01CA48FF.7E21D83D Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: quoted-printable I am sending you the web address www.iapsc.com for the International Association of Professional Security Consultants. The website will have links to contact consultants by region, industry or expertise. You can also find some information on the web with ASIS or IFCPP. I hope this helps you gather the information you need. Sincerely, Shannon Locke Shannon Locke Security Director Amon Carter Museum 3501 Camp Bowie Blvd., Fort Worth, TX 76107 t. 817.989.5130 f. 817.665.4332 [log in to unmask] ________________________________ From: Museum discussion list [mailto:[log in to unmask]] On Behalf Of Marianne Rogowski Sent: Friday, October 09, 2009 8:31 AM To: [log in to unmask] Subject: [MUSEUM-L] Museum security question Hello all, I am a graduate public history major at Appalachian State Uni in NC and am in a class where we are helping a new, small museum in their planning process. They have broken ground already, and my class of about 10 or so have split into 3 groups for different planning processes. We are basically a think-tank for them and will be submitting our findings and suggestions for different areas in December. My area is museum security! I am writing to get info from different museums (or historic houses that see a lot of traffic) about their security methods. Cameras, motion sensors, etc, and what companies you deal with. Any other information would help as well! The museum is/will be a local arts and history museum in the mountains of North Carolina. They will feature a substantial amount of artwork--part of it being a permanent collection by a local artist--also travelling exhibits, books, and objects/artifacts. Their architectural layouts also include a room for children's art activities, etc, two multi-purpose rooms they intend to use for community affairs (the town is small) and 5 small-medium sized galleries for displays. (We, the students, see it more as a civic-type center/museum, for the community, which they do not currently have.) Any help/advice/websites/phone numbers would be much appreciated. As I said we will be proposing a few different options to their Board of Directors/Trustees in December about different paths they can take, monetary estimates and such will be necessary. Any information is much appreciated!!!!!!!!!!! Thanks! Marianne ========================================================= 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). ========================================================= 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). ------_=_NextPart_001_01CA48FF.7E21D83D Content-Type: text/html; charset="us-ascii" Content-Transfer-Encoding: quoted-printable

I am sending you the web address www.iapsc.com for the International Association of Professional Security Consultants. The website will have links to contact consultants by region, industry or expertise. You can also find some information on the web with ASIS or IFCPP.

I hope this helps you gather the information you need.

Sincerely,

Shannon Locke

Shannon Locke

Security Director

Amon Carter Museum

3501 Camp Bowie Blvd., Fort Worth, TX 76107

t. 817.989.5130 f. 817.665.4332

[log in to unmask]">[log in to unmask]

From: Museum discussion list [mailto:[log in to unmask]] On Behalf Of Marianne Rogowski
Sent: Friday, October 09, 2009 8:31 AM
To: [log in to unmask]
Subject: [MUSEUM-L] Museum security question

Hello all,
I am a graduate public history major at Appalachian State Uni in NC and am in a class where we are helping a new, small museum in their planning process. They have broken ground already, and my class of about 10 or so have split into 3 groups for different planning processes. We are basically a think-tank for them and will be submitting our findings and suggestions for different areas in December. My area is museum security! I am writing to get info from different museums (or historic houses that see a lot of traffic) about their security methods. Cameras, motion sensors, etc, and what companies you deal with. Any other information would help as well! The museum is/will be a local arts and history museum in the mountains of North Carolina. They will feature a substantial amount of artwork--part of it being a permanent collection by a local artist--also travelling exhibits, books, and objects/artifacts. Their architectural layouts also include a room for children's art activities, etc, two multi-purpose rooms they intend to use for community affairs (the town is small) and 5 small-medium sized galleries for displays. (We, the students, see it more as a civic-type center/museum, for the community, which they do not currently have.) Any help/advice/websites/phone numbers would be much appreciated. As I said we will be proposing a few different options to their Board of Directors/Trustees in December about different paths they can take, monetary estimates and such will be necessary. Any information is much appreciated!!!!!!!!!!!
Thanks!
Marianne ========================================================= 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).

========================================================= 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). ------_=_NextPart_001_01CA48FF.7E21D83D-- ========================================================================Date: Fri, 9 Oct 2009 14:27:57 -0400 Reply-To: Museum discussion list <[log in to unmask]> Sender: Museum discussion list <[log in to unmask]> From: "N'Gadi, Ann" <[log in to unmask]> Subject: Topics in Museum Conservation Lecture: From the nanostructure of an Ancient Greek vase to the field study of rapid stone decay: Recent adventures in analytical imaging for conservation Content-Type: multipart/alternative; boundary="_000_8C3FCB8E294B624FA903BB68C9189EB5281F646BCDSIMSEV01USSIN_" MIME-Version: 1.0 Message-ID: <[log in to unmask]> --_000_8C3FCB8E294B624FA903BB68C9189EB5281F646BCDSIMSEV01USSIN_ Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: quoted-printable Topics in Museum Conservation Lecture: From the nanostructure of an Ancient Greek vase to the field study of rapid stone decay: Recent adventures in analytical imaging for conservation Eric Doehne Scientist The Getty Conservation Institute Friday, November 13, 2009 10:45 am MCI Theater Museum Support Center Imaging methods have long been used in art conservation for documentation, analysis, and monitoring. Work in nano and biotechnology has extended the usefulness of traditional imaging methods and also opened up new possibilities for the conservation field. Eric Doehne takes us on a tour through two recent projects where the use of imaging methods has helped resolve some long-standing questions. Ceramics were the "high technology" material of Ancient Greece, used to produce popular drinking vessels and exotic works of art. Starting in Athens, in about 530 BC, a red glossy layer began to be applied to some vases, along with the traditional black gloss. 200 years later the method was abandoned. Analyzing these materials on the nanoscale using FIB/STEM, ESEM, and EPMA, has finally revealed the origins and limitations of this technology. Monitoring the rate of deterioration of cultural heritage is essential in order to decide what needs our attention and whether our interventions are having the expected results. The use of field time-lapse and polynomial transform imaging has proven to be useful in understanding and working to prevent the rapid decay of dolomitic limestone buildings in the north of England, such as York Minster and the world heritage site of Fountains Abbey. To see a poster, please go to: http://www.si.edu/mci/downloads/topics/Doehne.pdf ========================================================= 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). --_000_8C3FCB8E294B624FA903BB68C9189EB5281F646BCDSIMSEV01USSIN_ Content-Type: text/html; charset="us-ascii" Content-Transfer-Encoding: quoted-printable

Topics in Museum Conservation Lecture: From the nanostructure of an Ancient Greek vase to the field study of rapid stone decay: Recent adventures in analytical imaging for conservation

Eric Doehne

Scientist

The Getty Conservation Institute

Friday, November 13, 2009 10:45 am

MCI Theater

Museum Support Center



            Imaging methods have long been used in art conservation for documentation, analysis, and monitoring. Work in nano and biotechnology has extended the usefulness of traditional imaging methods and also opened up new possibilities for the conservation field. Eric Doehne takes us on a tour through two recent projects where the use of imaging methods has helped resolve some long-standing questions.

Ceramics were the “high technology” material of Ancient Greece, used to produce popular drinking vessels and exotic works of art. Starting in Athens, in about 530 BC, a red glossy layer began to be applied to some vases, along with the traditional black gloss. 200 years later the method was abandoned. Analyzing these materials on the nanoscale using FIB/STEM, ESEM, and EPMA, has finally revealed the origins and limitations of this technology.

Monitoring the rate of deterioration of cultural heritage is essential in order to decide what needs our attention and whether our interventions are having the expected results. The use of field time-lapse and polynomial transform imaging has proven to be useful in understanding and working to prevent the rapid decay of dolomitic limestone buildings in the north of England, such as York Minster and the world heritage site of Fountains Abbey.

To see a poster, please go to: http://www.si.edu/mci/downloads/topics/Doehne.pdf

========================================================= 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). --_000_8C3FCB8E294B624FA903BB68C9189EB5281F646BCDSIMSEV01USSIN_-- ========================================================================Date: Fri, 9 Oct 2009 14:32:04 -0500 Reply-To: Museum discussion list <[log in to unmask]> Sender: Museum discussion list <[log in to unmask]> From: Marguerite Dawson <[log in to unmask]> Subject: Position Advertisement MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="--=_--01af1976.01af195c.c6f54034" Message-ID: <[log in to unmask]> This is a multi-part message in MIME format. ----=_--01af1976.01af195c.c6f54034 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 8bit The Adler Planetarium, Chicago, IL, is seeking a Senior Educator for Student Programs to assume the responsibility for student-based programming, i.e. design, evaluation, implementation and coordination of school field trip programs and all camp programs. This includes hiring part-time staff and overseeing some part-time and some junior staff. The Senior Educator also designs lessons, curriculum and other materials for student populations. Responsibilities: - coordinate, evaluate and redesign existing field trip programs for students; - write classroom extensions for existing programs; design standards and curriculum-aligned field trip guides for student groups; - coordinate, evaluate, and redesign existing camp programs; - manage the camp budget and registration process; consult with staff and work on projects that are intended to impact school populations. Education and Experience: - a Bachelors degree in education, science education or museum education; - coursework in physics or astronomy or a Master’s degree in education or science education are preferred; - three or more years of experience in education, program development and management; - five years plus budget and staff management is preferred. The salary for this position is commensurate with education and experience. Please email a cover letter, resume and salary history to: Marguerite E. Dawson Director of Human Resources The Adler Planetarium Email address: [log in to unmask] Telephone: 312.322.0591 EEOC ***************************************************************************************************************** Marguerite E. Dawson Director of Human Resources The Adler Planetarium 1300 S. Lake Shore Drive Chicago, IL 60605 Phone: 312.322.0591 Fax: 312.322.9909 URL: www.adlerplanetarium.org Please consider the environment before printing this message. Visit the Adler Planetarium Website http://www.adlerplanetarium.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). ----=_--01af1976.01af195c.c6f54034 Content-Type: text/html; charset=ISO-8859-1 Content-Transfer-Encoding: quoted-printable
The Adler Planetarium, Chicago, IL, is seeking a Senior Educator for Student Programs to assume the responsibility for student-based programming, i.e. design, evaluation, implementation and coordination of school field trip programs and all camp programs. This includes hiring part-time staff and overseeing some part-time and some junior staff. The Senior Educator also designs lessons, curriculum and other materials for student populations.

Responsibilities:

coordinate, evaluate and redesign existing field trip programs for students;

write classroom extensions for existing programs;

design standards and curriculum-aligned field trip guides for student groups;

coordinate, evaluate, and redesign existing camp programs;

manage the camp budget and registration process;

consult with staff and work on projects that are intended to impact school populations.

Education and Experience:

a Bachelors degree in education, science education or museum education;

coursework in physics or astronomy or a Master’s degree in education or science education are preferred;

three or more years of experience in education, program development and management;

five years plus budget and staff management is preferred.

The salary for this position is commensurate with education and experience.

Please email a cover letter, resume and salary history to:

        Marguerite E. Dawson

        Director of Human Resources

        The Adler Planetarium

        Email address: [log in to unmask]

        Telephone: 312.322.0591

EEOC

*****************************************************************************************************************

Marguerite E. Dawson

Director of Human Resources

The Adler Planetarium

1300 S. Lake Shore Drive

Chicago, IL 60605

Phone: 312.322.0591

Fax:      312.322.9909

URL:     www.adlerplanetarium.org

Please consider the environment before printing this message.

Visit the Adler Planetarium Website

http://www.adlerplanetarium.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). ----=_--01af1976.01af195c.c6f54034-- ========================================================================Date: Fri, 9 Oct 2009 16:20:44 -0400 Reply-To: Museum discussion list <[log in to unmask]> Sender: Museum discussion list <[log in to unmask]> From: Claudia Ocello <[log in to unmask]> Subject: borrowing a copy of "Dialogue with the Past" Mime-Version: 1.0 Content-Type: text/plain; charset=UTF-8 Content-Transfer-Encoding: 7bit Message-ID: <[log in to unmask]> Hi everyone, I'd like to borrow a copy of the book "Dialogue with the Past" by Glenn Whitman from now through the end of November. I'd pay for shipping both ways if you'd be willing to lend me your copy. Thanks - Claudia Claudia B. Ocello Museum Partners Consulting, LLC Education Programs, Exhibitions, Evaluation www.museumpartnersconsulting.com Engaging Audiences, Empowering Staff ========================================================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: Fri, 9 Oct 2009 13:50:21 -0700 Reply-To: Museum discussion list <[log in to unmask]> Sender: Museum discussion list <[log in to unmask]> From: Luetta Jean Coonrod <[log in to unmask]> Subject: Re: borrowing a copy of "Dialogue with the Past" In-Reply-To: <[log in to unmask]> MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="0-377426244-1255121421=:26194" Message-ID: <[log in to unmask]> --0-377426244-1255121421=:26194 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: quoted-printable Claudia, I don't have one, but amazon.com has several copies. There are used copies that may work for your needs. http://www.amazon.com/Dialogue-Past-Engaging-Standards-Association/dp/0759106495/ref=sr_1_1?ie=UTF8&s=books&qid=1255121328&sr=1-1-spell Good luck! Luetta --- On Fri, 10/9/09, Claudia Ocello <[log in to unmask]> wrote: From: Claudia Ocello <[log in to unmask]> Subject: [MUSEUM-L] borrowing a copy of "Dialogue with the Past" To: [log in to unmask] Date: Friday, October 9, 2009, 3:20 PM Hi everyone, I'd like to borrow a copy of the book "Dialogue with the Past" by Glenn Whitman from now through the end of November. I'd pay for shipping both ways if you'd be willing to lend me your copy. Thanks - Claudia Claudia B. Ocello Museum Partners Consulting, LLC Education Programs, Exhibitions, Evaluation www.museumpartnersconsulting.com Engaging Audiences, Empowering Staff ========================================================= 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). ========================================================= 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). --0-377426244-1255121421=:26194 Content-Type: text/html; charset=iso-8859-1 Content-Transfer-Encoding: quoted-printable
Claudia,

I don't have one, but amazon.com has several copies. There are used copies that may work for your needs. http://www.amazon.com/Dialogue-Past-Engaging-Standards-Association/dp/0759106495/ref=sr_1_1?ie=UTF8&s=books&qid=1255121328&sr=1-1-spell

Good luck!

Luetta

--- On Fri, 10/9/09, Claudia Ocello <[log in to unmask]> wrote:

From: Claudia Ocello <[log in to unmask]>
Subject: [MUSEUM-L] borrowing a copy of "Dialogue with the Past"
To: [log in to unmask]
Date: Friday, October 9, 2009, 3:20 PM

Hi everyone,

I'd like to borrow a copy of the book "Dialogue with the Past" by Glenn Whitman from now through the end of November. I'd pay for shipping both ways if you'd be willing to lend me your copy.

Thanks - Claudia

Claudia B. Ocello
Museum Partners Consulting, LLC
Education Programs, Exhibitions, Evaluation
www.museumpartnersconsulting.com
Engaging Audiences, Empowering Staff

=========================================================
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]" ymailto="mailto:[log in to unmask]">[log in to unmask] . The body of the message should read "help" (without the quotes).

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========================================================= 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). --0-377426244-1255121421=:26194-- ========================================================================Date: Fri, 9 Oct 2009 19:36:50 -0400 Reply-To: Museum discussion list <[log in to unmask]> Sender: Museum discussion list <[log in to unmask]> From: MuseumPods <[log in to unmask]> Subject: Social Museum Survey MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="----=_NextPart_000_009F_01CA4917.D8F39D00" Message-ID: This is a multi-part message in MIME format. ------=_NextPart_000_009F_01CA4917.D8F39D00 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Please participate in our short online survey. Which social platforms does your museum currently use, Twitter, Facebook, MySpace or iPhone apps? Please click on the link below to complete and view survey results. Results available in real time. http://twtpoll.com/7kb9w Thanks for you time... Kurt Stuchell MuseumPods http://museumpods.com ========================================================= 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). ------=_NextPart_000_009F_01CA4917.D8F39D00 Content-Type: text/html; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable

Please participate in our short online survey.

Which social platforms does your museum currently use, Twitter, Facebook, MySpace or iPhone apps? Please click on the link below to complete and view survey results. Results available in real time.

http://twtpoll.com/7kb9w

Thanks for you time...

Kurt Stuchell

MuseumPods

http://museumpods.com

========================================================= Important Subscriber Information:
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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). ------=_NextPart_000_009F_01CA4917.D8F39D00-- ========================================================================Date: Sat, 10 Oct 2009 06:36:47 -0700 Reply-To: Museum discussion list <[log in to unmask]> Sender: Museum discussion list <[log in to unmask]> From: Helen Alten <[log in to unmask]> Subject: IPM online class starts Monday MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1" Content-Transfer-Encoding: 8bit Message-ID: <[log in to unmask]> There is still room in the IPM course that starts on Monday. MS210: Integrated Pest Management for Museums, Libraries and Archives Dates: October 12 through November 20, 2009 Price: $475 Instructor: Gretchen Anderson Description: Participants in Integrated Pest Management for Museums, Libraries and Archives learn low-toxicity methods of controlling infestations. IPM is the standard method for treating incoming items and monitoring holdings. Integrated Pest Management for Museums, Libraries and Archives discusses how infestations occur, helps identify risks, provides feasible mitigation strategies, discusses the different techniques of treating infested materials, and helps you complete an IPM plan and monitoring schedule for your institution. The course covers pest identification, insects, rodent, birds, bats, other mammals and mold infestations, as well as other problems raised by participants. Course Outline: 1. IPM Introduction: 2. Pest Risks / Environmental Causes 3. Monitoring 4. Mitigation Strategies 5. Treatment Strategies 5. Regular review 6. Staff Support 7. Conclusion Required Text Book Pinniger, David. Pest Management in Museums, Archives and Historic Houses. Archetype Publications, 2004. Available for purchase from Northern States Conservation Center at http://www.collectioncare.org/tas/tas.html. Logistics: Participants in Integrated Pest Management for Museums, Libraries and Archives work through eight sections at their own pace. Instructor Gretchen Anderson is available for scheduled email support. Materials and resources include online literature, slide lectures and dialog between students and online chats led by the instructor. The course is limited to 20 participants. Integrated Pest Management for Museums, Libraries and Archives runs six weeks. To reserve a spot in the course, please pay at http://www.collectioncare.org/tas/tas.html If you have trouble please contact Helen Alten at [log in to unmask] Student Comments for MS210 Integrated Pest Management for Museums, Libraries and Archives: I'd give it a 10 out of 10. I was able to create plans for my institution and actually put them into action. This class was exceptional and overall am generally pleased I took this course. The content and material provided were so valuable for research tools and training manuals. Thank you! The Instructor: Objects conservator Gretchen Anderson learned her craft at the American Museum of Natural History, the Smithsonian's Conservation Analytical Lab, the Canadian Conservation Institute, Getty Conservation Lab, the Los Angeles County Museum of Art, and the Minnesota Historical Society. She established the conservation department at the Science Museum of Minnesota in 1989. In 2009 she became the Conservator for the Carnegie Museum of Natural History in Pittsburgh. She is the co-author of A Holistic Approach to Museum Pest Management, a technical leaflet for the American Association for State and Local History and established a rigorous IPM program for the Science Museum. Ms. Anderson is a member of the American Institute for Conservation and the Society for the Preservation of Natural History Collections. She lectures and presents workshops on preventive conservation, IPM, cleaning in museums, and practical methods and materials for storage of collections. ========================================================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: Sat, 10 Oct 2009 07:13:09 -0700 Reply-To: Museum discussion list <[log in to unmask]> Sender: Museum discussion list <[log in to unmask]> From: Helen Alten <[log in to unmask]> Subject: Security course starts Oct 19 MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1" Content-Transfer-Encoding: 8bit Message-ID: <[log in to unmask]> MS107: Introduction to Museum Security Dates: October 19 through November 13, 2009 Price: $475 Instructor: Stevan P. Layne Description: World events continually remind us just how important security is. The FBI and Interpol databases record thefts from small rural museums and world renowned art collections. The prevalence of collections lost to theft is brought home to us with regular sensational newspaper stories. And then there are the internal thefts, fires, and collection vandalism that also result in loss. Security must be a priority for every museum, regardless of size. Introduction to Security teaches basic, practical approaches to protecting against threats such as theft, vandalism, violent acts, natural disasters, fire and environmental hazards. Topics include selecting security systems, determining security needs and how to build affordable security systems. Screening, hiring, firing, workplace violence, policies and procedures and emergency management planning are covered as well. Logistics: Participants in Introduction to Security work at their own pace through sections and interact through online chats. Instructor Steve Layne is available at scheduled times during the course for email support. Introduction to Security includes online literature, slide lectures and student-teacher/group-teacher dialog. The course is limited to 20 participants. Introduction to Security runs four weeks. To reserve a spot in the course, please pay at http://www.collectioncare.org/tas/tas.html If you have trouble please contact Helen Alten at [log in to unmask] Student Comments for MS107: Introduction to Security Quality information and resources, discussions, and it gave me food for thought. I liked not having to sit in a classroom, the depth some of the material offered, and being able to work on assignments when I had the time at work. I liked a lot of the extra reading. As we know finding some of this material can take awhile during a general search on the web. The lecture material was also a great review for somebody like myself who has been in security for some time. I think this course is on the right track, and should be presented to as many security pros as possible. It would be a great tool to get museum security personel to think outside the box while they are inside their box. It is important to make sure our countries treasures are well protected, so the better educated we are the better we can work to make this a reality. I LIKED THE VARIETY OF "VOICES" IN THE MATERIALS; I ESPECIALLY VALUE THE LISTS OF OTHER RESOURCES. The Instructor: Stevan P. Layne is the principal consultant and chief executive of Layne Consultants International, a leading provider of cultural property protection advice. Steve is a former police chief, public safety director and museum security director. He is the author of The Cultural Property Protection Manual, and the Business Survival Guide. Steve regularly presents to professional associations and has consulted with more than 400 museums and other institutions. Steve is the founding director of the International Foundation for Cultural Property Protection and responsible for the professional training and certification of more than 1,000 museum professionals. ========================================================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: Sat, 10 Oct 2009 07:14:09 -0700 Reply-To: Museum discussion list <[log in to unmask]> Sender: Museum discussion list <[log in to unmask]> From: Helen Alten <[log in to unmask]> Subject: Database class starts Oct. 19 MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1" Content-Transfer-Encoding: 8bit Message-ID: <[log in to unmask]> MS214: Collection Management Databases Dates: Oct. 19 through Nov. 13, 2009 Price: $475 Instructors: Sofia Galarza Liu and John Simmons Description: A collection database is a necessary tool for accurate and efficient collections management. In Collection Management Databases you will learn what characteristics distinguish one database system from another; how a database can be used to manage inventory, conservation, pest management, and other aspects of collections management; as well as how to avoid common databasing pitfalls. Course Outline: 1. Introduction 2. Database structures and how they work 3. Essential and supplementary fields 4. Nomenclature, standards, and consistency 5. How to evaluate database systems 6. Use of the database beyond registration and cataloging 7. Upgrades 8. Database security 9. Conclusion Logistics: Participants in Collection Management Databases work through sections on their own. Instructors are available for scheduled email support. Materials and resources include online literature, slide lectures and dialog between students and online chats led by the instructor. The course is limited to 20 participants. Collection Management Databases runs four weeks. To reserve a spot in the course, please pay at http://www.collectioncare.org/tas/tas.html If you have trouble please contact Helen Alten at [log in to unmask] The Instructor: Sofía Galarza Liu is the collection manager and database project co-manager at the Spencer Museum of Art of the University of Kansas. Ms. Liu is also an implementation consultant and educator for Zetcom Information Systems, Inc.; she provides database administrator and user training for United States MuseumPlus clients. Ms. Liu's accomplishments include completing a two-year IMLS grant funded project to digitize the Spencer Museum of Art's collections and attending Museum Leaders: the Next Generation training at the Getty Leadership Institute in Los Angeles, California. She has a B.F.A in the History of Art and a Master's degree in Museum Studies from the University of Kansas. John E. Simmons runs Museologica, an independent consulting company, and serves as Adjunct Curator of Collections at the Earth and Mineral Sciences Museum and Art Gallery at Pennsylvania State University. He has a B.S. in Systematics and Ecology and a Master's degree in Historical Administration and Museum Studies. Simmons began his professional career as a zoo keeper, then worked as collections manager at the California Academy of Sciences and the Natural History Museum of the University of Kansas, where he also served as Director of the Museum Studies Program until 2007. He received the Superior Voluntary Service Award from the American Association of Museums and the Chancellor's Award for Outstanding Mentoring of Graduate Students from the University of Kansas. Simmons' publications include three books, Herpetological Collecting and Collections Management (2002), Cuidado, Manejo y Conservación de las Colecciones Biológicas (2005, with Yaneth Muñoz-Saba), and Things Great and Small: Collections Management Policies (2006). He consults, teaches, and does field work in the US, Latin America and Asia. ========================================================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: Sat, 10 Oct 2009 07:28:27 -0700 Reply-To: Museum discussion list <[log in to unmask]> Sender: Museum discussion list <[log in to unmask]> From: Helen Alten <[log in to unmask]> Subject: Six November online museum classes Comments: cc: [log in to unmask] MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1" Content-Transfer-Encoding: 8bit Message-ID: <[log in to unmask]> On November 2, six online classes will start covering topics from care of textiles and baskets, collection inventories, storage and display materials, museum environmental controls, and introduction to museums. All courses are $475 for the four week courses. For more information, go to www.museumclasses.org . Descriptions follow: MS101: Introduction to Museums Nov 2 - Nov 27, 2009 Instructor: Kiersten Latham By some estimates there are more than 10,000 museums in the United States alone. While most people think of a well-staffed, professionally run institution, the vast majority of museums are started and run by people with little or no basic training in museum studies or preservation. Introduction to Museums is crafted to change that. The course introduces basic concepts, terminology and the role of various staff members, including curators, registrars and directors. Introduction to Museums is aimed at board members, interns and volunteers, as well as anyone interested in becoming a museum professional or learning more about the profession. MS212: Care of Textiles Nov 2 - Nov 27, 2009 Instructor: Ann Coppinger Caring for textiles demands an understanding of how and why they deteriorate. This course offers a simplified explanation of the origin and structure of textile fibers as well as the finished textile object; be it either a piece of whole cloth or a finished garment. Care of Textiles teaches students to identify fibers, fabric structures and finishes, write condition reports, and understand the agents of deterioration that are harmful to various fabrics both in storage on exhibit. Topics include preparing textiles for storage and exhibit, the use of archival materials with textiles, and three dimensional supports. MS204: Materials for Storage and Display Nov 2 - Nov 27, 2009 Instructor: Helen Alten One of the great benefits of the 21st century is the abundance of materials for storing and displaying collections. Materials for Storage and Display covers this vast array in detail. Lectures and handouts separate materials by properties: rigid, padding, barrier and attachments. Slide shows illustrate the use of each. The course emphasizes acid-free materials and how to retrofit less appropriate materials. Materials for Storage and Display keeps current with the latest materials available for preservation. Using material testing as a decision making tool is covered. Participants receive notebooks with samples of all of the materials discussed. MS 225: Care of Baskets **NEW** Nov 2 - Nov 27, 2009 Instructor: Helen Alten Baskets are an important part of nearly every world culture. Caring for baskets requires an understanding of why and how they deteriorate. Care of Baskets provides a simplified explanation of the chemistry and structure of basketry materials. Starting with an overview of the history and function of baskets and how they are made, Care of Baskets will cover guidelines for handling, labeling, exhibiting and storing baskets, including condition assessments and an introduction to integrated pest management. An overview of treatments used on baskets and how appropriate they are for the long-term preservation of the basket will help students make care decisions when consulting with conservators. MS211: Preservation Environments Nov 2 - Nov 27, 2009 Instructor: Ernest A. Conrad The museum's brick exterior wall is crumbling. The powder coated metal storage shelves have active rust under the foam padding. Objects in fur storage are covered in mold. It is raining in the exhibit hall. This is the damage that occurs to museum buildings or collection when staff do not understand preservation environments. Preservation Environments is essential knowledge for any collecting institution. Everyone should understand how humidity and temperature are controlled by a building and its mechanical system. For museum staff considering a new building - and any institution planning to expand or rebuild an existing one - Preservation Environments provide important information for calculating whether the proposed improvements will actually improve the environmental control of your protective enclosure. Participants learn the advantages and disadvantages of numerous methods of temperature and humidity control. Preservation Environments does not try to turn museum professionals into engineers. Rather, it arms them with the knowledge they need to work with engineers and maintenance professionals. And helps explain why damaged occurred and how to keep it from happening again. MS218: Collection Inventories Nov 2 - Nov 27, 2009 Instructor: Peggy Schaller Collection inventories are vital to collection management and security. You need to know what is in your collection to be able to manage it well. This means regular inventories must occur. But knowing you must do them and actually having the time and manpower to complete an inventory are two different things. Collection Inventories discusses everything you ever wanted to know about collection inventories. From how to set one up to how to conduct an inventory. Other topics include what to look for during an inventory and how to reconcile the information. ========================================================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: Sat, 10 Oct 2009 11:05:15 -0400 Reply-To: Museum discussion list <[log in to unmask]> Sender: Museum discussion list <[log in to unmask]> From: MuseumPods <[log in to unmask]> Subject: New Link Social Museum Survey MIME-Version: 1.0 Content-Type: text/plain; format=flowed; charset="iso-8859-1"; reply-type=original Content-Transfer-Encoding: 7bit Message-ID: <208E11ED0E9A4326A0BE1CE07F9DE0FC@harvardugddap5> I posted this yesterday and the link didn't work for some reason...sorry. I made a non-academic survey for people to get a little understand of some of the social technology trends of museums. The Twit survey is also a clever way to conduct surveys on Twitter, Facebook, and some other social platforms and I thought some of you would like to see it in action. Which social platforms does your museum currently use, Twitter, Facebook, MySpace or iPhone apps? Please click on the link below to complete and view survey results. Results available in real time. http://www.museumpods.com/id435.html Thanks for you time... Kurt Stuchell MuseumPods ========================================================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: Fri, 9 Oct 2009 23:34:28 EDT Reply-To: Museum discussion list <[log in to unmask]> Sender: Museum discussion list <[log in to unmask]> From: Carola Rupert Enriquez <[log in to unmask]> Subject: Re: Museum-in-a-Box for Kindergarteners MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="-----------------------------1255145668" Message-ID: <[log in to unmask]> -------------------------------1255145668 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Hi Laurie, I gave a fun presentation to this age group for years. My group was more like 20-30 gathered on the floor. I very actively showed some historic photos of children and then passed around tactile objects related to what was in the photos: scratchy bathing suit wool fabric, old lace like the little boy in a "dress" is wearing, a reproduction toy. We talked about collecting things which belong to our grandparents in museums and about collecting things like these. The pace was fast and the kids seemed to relate to the photos of children and the hands-on materials. They seemed to enjoy me being amongst them with the goods and could not wait to touch everything. I used materials from our education collection including real old photographs. I think the kids could see these were different than any photos they had seen, and the children looked so strange! I used about 8 photographs and objects. Enlarged photograph reproductions, perhaps mounted on cardboard, could work with a bigger group..... The pass around time could be sort of a loud interactive session after they see the photos, then they could be quiet to have an interactive dialog on what they felt about the objects when the photos were held up again. With a little older group I had them make "exhibits" in shoe boxes to tell a story about collections, after we discussed what collections were. The students worked in groups on one shoe box (on it's side like a diorama). The collections were things they could paste in the box: assortments of buttons, office supplies, small toys, candy. Our labels remained pretty rough, and one was all we could get done in the time allotted, but the discussion of how we might display our collections in our own rooms was pretty cool. Good luck with your program! Carola Enriquez Museum Mentor Bakersfield, CA [log in to unmask] In a message dated 10/8/2009 2:47:03 P.M. Pacific Daylight Time, [log in to unmask] writes: Laurie - there is a really cute children's picture book that might be fun for you to read to the class. Help for Mr. Peale by Barbara Morrow (_http://www.librarything.com/work/4482324_ (http://www.librarything.com/work/4482324) ) Have fun with it - this age group is a blast to work with. Just keep everything on a very simple level and remember that their attention span is about 10-15 minutes. As long as you keep them moving from one thing to another every 5-10 minutes you will be fine. Robin Gabriel On Thu, Oct 8, 2009 at 8:39 AM, las834 <[log in to unmask] (mailto:[log in to unmask]) > wrote: Hello Colleagues, I have been invited to come to speak (present?) to 60 kindergarteners about what museums do. (!!) I am a curator at a small history museum and have done presentations and Museums-In-A-Box / Discovery trunks for school children before, but not for this young an age group. The teacher who wants me to come is so excited...so I am asking for your input, suggestions and help for what type of presentations you have done and what types of things you brought with you that would work for this little age group. Please advise and thank you! Best, Laurie ========================================================Important Subscriber Information: The Museum-L FAQ file is located at _http://www.finalchapter.com/museum-l-faq/_ (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] (mailto:[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] (mailto:[log in to unmask]) . The body of the message should read "Signoff Museum-L" (without the quotes). -- Robin H. Gabriel 744 Exton Court Charlottesville, Virginia 22901 [log in to unmask] (mailto:[log in to unmask]) Phone: (434) 973-3929 Cell: (434) 242-9912 ========================================================= 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). ========================================================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). -------------------------------1255145668 Content-Type: text/html; charset="US-ASCII" Content-Transfer-Encoding: quoted-printable
Hi Laurie,

I gave a fun presentation to this age group for years. My group was more like 20-30 gathered on the floor. I very actively showed some historic photos of children and then passed around tactile objects related to what was in the photos: scratchy bathing suit wool fabric, old lace like the little boy in a "dress" is wearing, a reproduction toy. We talked about collecting things which belong to our grandparents in museums and about collecting things like these. The pace was fast and the kids seemed to relate to the photos of children and the hands-on materials. They seemed to enjoy me being amongst them with the goods and could not wait to touch everything. I used materials from our education collection including real old photographs. I think the kids could see these were different than any photos they had seen, and the children looked so strange! I used about 8 photographs and objects. Enlarged photograph reproductions, perhaps mounted on cardboard, could work with a bigger group..... The pass around time could be sort of a loud interactive session after they see the photos, then they could be quiet to have an interactive dialog on what they felt about the objects when the photos were held up again.

With a little older group I had them make "exhibits" in shoe boxes to tell a story about collections, after we discussed what collections were. The students worked in groups on one shoe box (on it's side like a diorama). The collections were things they could paste in the box: assortments of buttons, office supplies, small toys, candy. Our labels remained pretty rough, and one was all we could get done in the time allotted, but the discussion of how we might display our collections in our own rooms was pretty cool.

Good luck with your program!

Carola Enriquez

Museum Mentor

Bakersfield, CA

[log in to unmask]

In a message dated 10/8/2009 2:47:03 P.M. Pacific Daylight Time, [log in to unmask] writes:

Laurie - there is a really cute children's picture book that might be fun for you to read to the class. Help for Mr. Peale by Barbara Morrow (http://www.librarything.com/work/4482324)

Have fun with it - this age group is a blast to work with. Just keep everything on a very simple level and remember that their attention span is about 10-15 minutes. As long as you keep them moving from one thing to another every 5-10 minutes you will be fine.

Robin Gabriel

On Thu, Oct 8, 2009 at 8:39 AM, las834 <[log in to unmask]> wrote:

Hello Colleagues,

I have been invited to come to speak (present?) to 60 kindergarteners about
what museums do. (!!) I am a curator at a small history museum and have
done presentations and Museums-In-A-Box / Discovery trunks for school
children before, but not for this young an age group. The teacher who wants
me to come is so excited...so I am asking for your input, suggestions and
help for what type of presentations you have done and what types of things
you brought with you that would work for this little age group. Please
advise and thank you!

Best,
Laurie

=========================================================
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).

--
Robin H. Gabriel
744 Exton Court
Charlottesville, Virginia 22901
[log in to unmask]
Phone: (434) 973-3929
Cell: (434) 242-9912
========================================================= 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).
========================================================= 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). -------------------------------1255145668-- ========================================================================Date: Sun, 11 Oct 2009 18:01:48 +0000 Reply-To: Museum discussion list <[log in to unmask]> Sender: Museum discussion list <[log in to unmask]> From: Julianne Oroukin <[log in to unmask]> Subject: Technology used in theatres and conference rooms In-Reply-To: <[log in to unmask]> MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="----=_Part_208730_232061051.1255284108660" Message-ID: <[log in to unmask]> ------=_Part_208730_232061051.1255284108660 Content-Type: text/plain; charset=utf-8 Content-Transfer-Encoding: quoted-printable Hi Everyone, Â Â I am part of a graduate class that is working as a think tank for a small developing museum in Western North Carolina.Â This message may sound a little familiar since one of my classmates has already posted a question.Â The museum recently broke ground and the Directors have asked us to research different topics to help them make better decisions regarding technology, security, and software.Â Being that this museum is in a small town, they have planned for it to be a cultural center in addition to displayingÂ their permanent and rotating exhibits.Â Included in this museum will be a theatre that will give an introduction to the collections.Â My first question is concerning this theatre.Â Â It will be small (I do not have exact dimensions) and will have to have the equipment needed to play the video.Â I was wondering if any other museums have small theatres -Â what type of screens, projectors, or other video equipment/software do you use?Â What company did you purchase this equipment/software from?Â Â Also, this museum will have a conference room.Â They will need some type of multimedia system for these events.Â I was wondering if there was a preference as to what type of system to use (i.e. Smartboards vs. Projection screens and monitors)?Â If so, any recommendations of companies to purchase this from? I have done some research to find answers to these questions so I know this can be an extensive topic.Â Any recommendations or suggestions will be helpful. Thank you, Julianne Oroukin ========================================================= 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). ------=_Part_208730_232061051.1255284108660 Content-Type: text/html; charset=utf-8 Content-Transfer-Encoding: quoted-printable

Hi Everyone,

   I am part of a graduate class that is working as a think tank for a small developing museum in Western North Carolina. This message may sound a little familiar since one of my classmates has already posted a question. The museum recently broke ground and the Directors have asked us to research different topics to help them make better decisions regarding technology, security, and software. Being that this museum is in a small town, they have planned for it to be a cultural center in addition to displaying their permanent and rotating exhibits. Included in this museum will be a theatre that will give an introduction to the collections. My first question is concerning this theatre.  It will be small (I do not have exact dimensions) and will have to have the equipment needed to play the video. I was wondering if any other museums have small theatres - what type of screens, projectors, or other video equipment/software do you use? What company did you purchase this equipment/software from?

Also, this museum will have a conference room. They will need some type of multimedia system for these events. I was wondering if there was a preference as to what type of system to use (i.e. Smartboards vs. Projection screens and monitors)? If so, any recommendations of companies to purchase this from?

I have done some research to find answers to these questions so I know this can be an extensive topic. Any recommendations or suggestions will be helpful.

Thank you,

Julianne Oroukin
========================================================= Important Subscriber Information:
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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). ------=_Part_208730_232061051.1255284108660-- ========================================================================Date: Sun, 11 Oct 2009 15:47:33 -0400 Reply-To: Museum discussion list <[log in to unmask]> Sender: Museum discussion list <[log in to unmask]> From: Sandra Campbell <[log in to unmask]> Subject: Re: Technology used in theatres and conference rooms MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="----=_NextPart_000_0039_01CA4A8A.259BF300" Message-ID: <201DFE10E40648228F34AAEBACD34A34@JR> This is a multi-part message in MIME format. ------=_NextPart_000_0039_01CA4A8A.259BF300 Content-Type: text/plain; charset="utf-8" Content-Transfer-Encoding: quoted-printable Julianne- Contact the Mint Museum in Charlotte. At one time they had a small theater in the round in their Randolph Road facility. Since that time they have moved much of their programming to downtown, however you may be able to get some good advice. Sandra Campbell Iredell Museums Statesville, NC ----- Original Message ----- From: Julianne Oroukin To: [log in to unmask] Sent: Sunday, October 11, 2009 2:01 PM Subject: [MUSEUM-L] Technology used in theatres and conference rooms Hi Everyone, I am part of a graduate class that is working as a think tank for a small developing museum in Western North Carolina. This message may sound a little familiar since one of my classmates has already posted a question. The museum recently broke ground and the Directors have asked us to research different topics to help them make better decisions regarding technology, security, and software. Being that this museum is in a small town, they have planned for it to be a cultural center in addition to displaying their permanent and rotating exhibits. Included in this museum will be a theatre that will give an introduction to the collections. My first question is concerning this theatre. It will be small (I do not have exact dimensions) and will have to have the equipment needed to play the video. I was wondering if any other museums have small theatres - what type of screens, projectors, or other video equipment/software do you use? What company did you purchase this equipment/software from? Also, this museum will have a conference room. They will need some type of multimedia system for these events. I was wondering if there was a preference as to what type of system to use (i.e. Smartboards vs. Projection screens and monitors)? If so, any recommendations of companies to purchase this from? I have done some research to find answers to these questions so I know this can be an extensive topic. Any recommendations or suggestions will be helpful. Thank you, Julianne Oroukin ========================================================= 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). ========================================================= 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). ------=_NextPart_000_0039_01CA4A8A.259BF300 Content-Type: text/html; charset="utf-8" Content-Transfer-Encoding: quoted-printable ï»¿
Julianne-

Contact the Mint Museum in Charlotte. At one time they had a small theater in the round in their Randolph Road facility. Since that time they have moved much of their programming to downtown, however you may be able to get some good advice.

Sandra Campbell

Iredell Museums

Statesville, NC

----- Original Message -----

From: [log in to unmask] href="mailto:[log in to unmask]">Julianne Oroukin

To: [log in to unmask] href="mailto:[log in to unmask]">[log in to unmask]

Sent: Sunday, October 11, 2009 2:01 PM

Subject: [MUSEUM-L] Technology used in theatres and conference rooms

Hi Everyone,

   I am part of a graduate class that is working as a think tank for a small developing museum in Western North Carolina. This message may sound a little familiar since one of my classmates has already posted a question. The museum recently broke ground and the Directors have asked us to research different topics to help them make better decisions regarding technology, security, and software. Being that this museum is in a small town, they have planned for it to be a cultural center in addition to displaying their permanent and rotating exhibits. Included in this museum will be a theatre that will give an introduction to the collections. My first question is concerning this theatre.  It will be small (I do not have exact dimensions) and will have to have the equipment needed to play the video. I was wondering if any other museums have small theatres - what type of screens, projectors, or other video equipment/software do you use? What company did you purchase this equipment/software from?

Also, this museum will have a conference room. They will need some type of multimedia system for these events. I was wondering if there was a preference as to what type of system to use (i.e. Smartboards vs. Projection screens and monitors)? If so, any recommendations of companies to purchase this from?

I have done some research to find answers to these questions so I know this can be an extensive topic. Any recommendations or suggestions will be helpful.

Thank you,

Julianne Oroukin
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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). ------=_NextPart_000_0039_01CA4A8A.259BF300-- ========================================================================Date: Sun, 11 Oct 2009 14:15:37 -0700 Reply-To: Museum discussion list <[log in to unmask]> Sender: Museum discussion list <[log in to unmask]> From: Steph Gaub <[log in to unmask]> Subject: Executive Director - Arlington, MA USA MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="0-1748270856-1255295737=:42066" Message-ID: <[log in to unmask]> --0-1748270856-1255295737=:42066 Content-Type: text/plain; charset=us-ascii Executive Director - Arlington, MA USA New England Museum Association (NEMA) seeks an Executive Director. NEMA is a membership-based organization serving museums of all sizes and the people who work for and with them. It is headquartered in Arlington, MA (just outside Boston). The organization has 1,300 members, a staff of four and an annual budget of $375,000. http://www.museumprofessionals.org/forum/administration-jobs/5130-executive-director-arlington-ma-usa.html ========================================================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). --0-1748270856-1255295737=:42066 Content-Type: text/html; charset=us-ascii
Executive Director - Arlington, MA USA

New England Museum Association (NEMA) seeks an Executive Director. NEMA is a membership-based organization serving museums of all sizes and the people who work for and with them. It is headquartered in Arlington, MA (just outside Boston). The organization has 1,300 members, a staff of four and an annual budget of $375,000.
http://www.museumprofessionals.org/forum/administration-jobs/5130-executive-director-arlington-ma-usa.html

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The body of the message should read "Signoff Museum-L" (without the quotes). --0-1748270856-1255295737=:42066-- ========================================================================Date: Mon, 12 Oct 2009 13:43:12 +0100 Reply-To: Museum discussion list <[log in to unmask]> Sender: Museum discussion list <[log in to unmask]> From: S Keene <[log in to unmask]> Subject: CALL FOR PROPOSALS: EVA London 2010, 5th-7th July Comments: To: w ork <[log in to unmask]> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Message-ID: <[log in to unmask]> ELECTRONIC VISUALISATION AND THE ARTS EVA London 2010 Monday 5th - Wednesday 7th July 2010 CALL FOR PROPOSALS Deadline: 15th January 2010 http://www.eva-conferences.com/eva_london/ *Visualising* ideas and concepts in culture, heritage and the arts: digital arts, sound, music, film and animation, 2D and 3D imaging, European projects, archaeology, architecture, social media for museums, heritage and fine art photography, computer arts OFFERS OF PAPERS, DEMONSTRATIONS AND WORKSHOPS by 15 January 2010 We invite proposals of papers, demonstrations or short performances, workshops or panel discussions. Only a summary of the proposal on not more than one page is required for the selection process. this must be submitted electronically according to the instructions on the EVA London website, http://www.eva-conferences.com/eva_london/. Proposals may be on any aspect of EVA London's focus on visualisation for the arts and culture, broadly interpreted, including technology, use and users, creative, visual and performing arts and music and visualisation for museums, historic sites and architecture. Papers are peer reviewed and may be edited. They will be published as hard copy and online. Other presentations may be published as summaries or as papers. If your proposal is a case study, we will be looking for discussions of wider principles or applications using the case study as an example. Bursaries to attend EVA London will again be available if you don't have access to grants. *********************************************************** EVA London's conference themes will include, but are not limited to: * Digital and computational fine art and photography * Reconstructive archaeology and architecture * Visualising ideas and concepts * Moving and still images in museums and galleries * Digital art * Digital performance * Historic sites and buildings * Immersive environments * Web 2.0 technologies in art and culture * Visualisation in museums and historic sites * Sound, music, film and animation * Technologies of digitisation, 2D and 3D imaging * Virtual and augmented worlds For further information see http://www.eva-conferences.com/eva_london/ EVA London 2010 will be co-sponsored by the Computer Arts Society, a Special Interest Group of the British Computer Society, and by the BCS. :: :: :: :: :: :: :: :: :: :: :: :: :: :: :: :: :: :: :: :: Dr Suzanne Keene Reader in Museum Studies University College London Institute of Archaeology 31-34 Gordon Square London, WC1H 0PY t: +44 (0)20 7679 4935 m: 0779 962 7002 :: :: :: :: :: :: :: :: :: :: :: :: :: :: :: :: :: :: :: :: ========================================================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: Mon, 12 Oct 2009 13:12:07 -0500 Reply-To: Museum discussion list <[log in to unmask]> Sender: Museum discussion list <[log in to unmask]> From: Rachel Abbott <[log in to unmask]> Subject: Historic House Museums MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Message-ID: <[log in to unmask]> I am about to start working on my thesis project for my MA in museum studies. I am going to focus on historic house museums and their relevance for the U.S. right now. I am trying to determine the design of a study and thinking about case studies of a few sites. My question is: what are the most cutting-edge historic house museums in the U.S. right now, as far as programming goes? Especially programming meant to maintain the house's relevance to its community. I would appreciate any and all thoughts. Thanks! Rachel ========================================================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: Mon, 12 Oct 2009 14:20:19 -0400 Reply-To: Museum discussion list <[log in to unmask]> Sender: Museum discussion list <[log in to unmask]> From: Alexandra Rollins <[log in to unmask]> Subject: Re: Historic House Museums In-Reply-To: <[log in to unmask]> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Message-ID: <83FDC4131E6C4AE4B2F3C3D607C8A4A7@D21HMH91> try liberty hall in Frankfort, ky, gunston hall in va, Stenton in Philly, Dumbarton in dc -----Original Message----- From: Museum discussion list [mailto:[log in to unmask]] On Behalf Of Rachel Abbott Sent: Monday, October 12, 2009 2:12 PM To: [log in to unmask] Subject: [MUSEUM-L] Historic House Museums I am about to start working on my thesis project for my MA in museum studies. I am going to focus on historic house museums and their relevance for the U.S. right now. I am trying to determine the design of a study and thinking about case studies of a few sites. My question is: what are the most cutting-edge historic house museums in the U.S. right now, as far as programming goes? Especially programming meant to maintain the house's relevance to its community. I would appreciate any and all thoughts. Thanks! Rachel ========================================================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). ========================================================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: Mon, 12 Oct 2009 14:46:12 -0400 Reply-To: Museum discussion list <[log in to unmask]> Sender: Museum discussion list <[log in to unmask]> From: Marc A Williams <[log in to unmask]> Subject: Re: Historic House Museums MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="----=_NextPart_000_0082_01CA4B4A.BE08EEC0" Message-ID: <543C518D8A704DACB2D92B0817E675BF@PC261231188215> This is a multi-part message in MIME format. ------=_NextPart_000_0082_01CA4B4A.BE08EEC0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Rachel, This is a very "hot" topic right now. As most of my clients are historic house museums, I see and hear a variety of opinions and ideas on their future. I believe that the common thread is that "business as usual" is over for many historic house museums. Most need to re-think their mission, their model, and their very sustainability. The admissions fee model appears unlikely to work in the future except for those with the highest visitation. More to your point, perhaps the most cutting edge in programming is Mount Vernon. However, it also has one of the largest budgets of all historic house museums and is certainly atypical in terms of resources and visitation. And, the cutting edge portion of the visitor experience is not the historic house itself, but the new museum facility on the property. Perhaps you can refine your question. Do you want only certain budgets/sizes of historic houses? Do you want only historic houses themselves, perhaps with a few outbuildings, or are entire complexes (such as Mount Vernon or Monticello) or even villages (such as Sturbridge or Conner Prairie) acceptable? Are you looking for case studies of successes or do you also want failing or failed sites? Do you want sites that are supported by their own generated revenues, whether subject to UBIT (unrelated business income tax) or not, or are sites supported by substantial endowments or other unearned income OK? This is a great topic for a thesis, but is quite large and would probably benefit from a more narrow focus, at least in terms of the list providing you with useful recommendations. Good luck! Marc American Conservation Consortium, Ltd. 4 Rockville Road Broad Brook, CT 06016 www.conservator.com 860-386-6058 *Collections Preservation Consultation *Conservation Assessments & Surveys *Environmental Monitoring & Low-Tech Control *Moisture Management Solutions *Collections in Historic Structures *Collections Care Grant Preparation *Conservation Treatment of: Furniture Painted Wood Horse-Drawn Vehicles Architectural Interiors Decorative Objects & Folk Art Marc A. Williams, President MS in Art Conservation, Winterthur Museum Program Former Chief Wooden Object Conservator, Smithsonian Institution Fellow, American Institute for Conservation (AIC) ----- Original Message ----- From: Rachel Abbott To: [log in to unmask] Sent: Monday, October 12, 2009 2:12 PM Subject: [MUSEUM-L] Historic House Museums I am about to start working on my thesis project for my MA in museum studies. I am going to focus on historic house museums and their relevance for the U.S. right now. I am trying to determine the design of a study and thinking about case studies of a few sites. My question is: what are the most cutting-edge historic house museums in the U.S. right now, as far as programming goes? Especially programming meant to maintain the house's relevance to its community. I would appreciate any and all thoughts. Thanks! Rachel ========================================================= 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). ========================================================= 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). ------=_NextPart_000_0082_01CA4B4A.BE08EEC0 Content-Type: text/html; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable
Rachel,

This is a very "hot" topic right now. As most of my clients are historic house museums, I see and hear a variety of opinions and ideas on their future. I believe that the common thread is that "business as usual" is over for many historic house museums. Most need to re-think their mission, their model, and their very sustainability. The admissions fee model appears unlikely to work in the future except for those with the highest visitation. More to your point, perhaps the most cutting edge in programming is Mount Vernon. However, it also has one of the largest budgets of all historic house museums and is certainly atypical in terms of resources and visitation. And, the cutting edge portion of the visitor experience is not the historic house itself, but the new museum facility on the property.

Perhaps you can refine your question. Do you want only certain budgets/sizes of historic houses? Do you want only historic houses themselves, perhaps with a few outbuildings, or are entire complexes (such as Mount Vernon or Monticello) or even villages (such as Sturbridge or Conner Prairie) acceptable? Are you looking for case studies of successes or do you also want failing or failed sites? Do you want sites that are supported by their own generated revenues, whether subject to UBIT (unrelated business income tax) or not, or are sites supported by substantial endowments or other unearned income OK? This is a great topic for a thesis, but is quite large and would probably benefit from a more narrow focus, at least in terms of the list providing you with useful recommendations. Good luck!

Marc

American Conservation Consortium, Ltd.
     4 Rockville Road
     Broad Brook, CT 06016
     www.conservator.com
     860-386-6058

*Collections Preservation Consultation
*Conservation Assessments & Surveys
*Environmental Monitoring & Low-Tech Control
*Moisture Management Solutions
*Collections in Historic Structures
*Collections Care Grant Preparation
*Conservation Treatment of:
     Furniture
     Painted Wood
     Horse-Drawn Vehicles
     Architectural Interiors
     Decorative Objects & Folk Art

Marc A. Williams, President
     MS in Art Conservation, Winterthur Museum Program
     Former Chief Wooden Object Conservator, Smithsonian Institution
     Fellow, American Institute for Conservation (AIC)

----- Original Message -----

From: [log in to unmask] href="mailto:[log in to unmask]">Rachel Abbott

To: [log in to unmask] href="mailto:[log in to unmask]">[log in to unmask]

Sent: Monday, October 12, 2009 2:12 PM

Subject: [MUSEUM-L] Historic House Museums

I am about to start working on my thesis project for my MA in museum
studies. I am going to focus on historic house museums and their
relevance for the U.S. right now. I am trying to determine the design
of a study and thinking about case studies of a few sites. My question
is: what are the most cutting-edge historic house museums in the U.S.
right now, as far as programming goes? Especially programming meant to
maintain the house's relevance to its community.

I would appreciate any and all thoughts. Thanks!

Rachel

=========================================================
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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).
========================================================= 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). ------=_NextPart_000_0082_01CA4B4A.BE08EEC0-- ========================================================================Date: Mon, 12 Oct 2009 15:22:11 -0400 Reply-To: Museum discussion list <[log in to unmask]> Sender: Museum discussion list <[log in to unmask]> From: Claudia Ocello <[log in to unmask]> Subject: Re: Historic House Museums Mime-Version: 1.0 Content-Type: text/plain; charset=UTF-8 Content-Transfer-Encoding: 7bit Message-ID: <[log in to unmask]> I think there was an article about this recently in History News, which is published by American Association of State and Local History (AASLH) - try contacting them to get a copy of the issue. Good luck! Claudia Ocello President & CEO Museum Partners Consulting, LLC www.museumpartnersconsulting.com [log in to unmask] Engaging Audiences, Empowering Staf -----Original Message----- >From: Rachel Abbott <[log in to unmask]> >Sent: Oct 12, 2009 2:12 PM >To: [log in to unmask] >Subject: [MUSEUM-L] Historic House Museums > >I am about to start working on my thesis project for my MA in museum >studies. I am going to focus on historic house museums and their >relevance for the U.S. right now. I am trying to determine the design >of a study and thinking about case studies of a few sites. My question >is: what are the most cutting-edge historic house museums in the U.S. >right now, as far as programming goes? Especially programming meant to >maintain the house's relevance to its community. > >I would appreciate any and all thoughts. Thanks! > >Rachel > >========================================================>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). ========================================================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: Mon, 12 Oct 2009 14:31:21 -0500 Reply-To: Museum discussion list <[log in to unmask]> Sender: Museum discussion list <[log in to unmask]> From: Rachel Abbott <[log in to unmask]> Subject: Re: Historic House Museums In-Reply-To: <543C518D8A704DACB2D92B0817E675BF@PC261231188215> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: quoted-printable Message-ID: <[log in to unmask]> Marc, Thank you for your very helpful response! I am new to this Listserv, and am very excited by the fast responses to my question. In response to your question, it is important to me to focus on house museums that are the house alone. Because part of my interest lies in the fact that a lot of ideas are out there for exhibits and plans for changeable museum spaces, but fewer ideas for "static" houses with a supposed pre-set story. I would like to focus on houses with comparable budgets, smaller than Mount Vernon. I am a bit split on whether to critique programs that were designed to increase relevance and visibility, or to do some kind of audience survey as to what they want (or think they want). My problem is that my degree is a distance learning masters through the University of Leicester in the UK and so they are fairly separate from the U.S. heritage context. Hard to know where to begin! I appreciate your thoughts and any more would be great as well. I work for the Minnesota Historical Society, by the way, at two sites. I know that we are a hug site management (and more) organization, so I don't know where we fit on the spectrum of historic house programming. But I want to get away from critiquing programs run by MHS. I believe it will allow me to have better perspective. Rachel On Mon, Oct 12, 2009 at 1:46 PM, Marc A Williams <[log in to unmask]> wrote: > Rachel, > > This is a very "hot" topic right now. As most of my clients are historic > house museums, I see and hear a variety of opinions and ideas on their > future. I believe that the common thread is that "business as usual" is > over for many historic house museums. Most need to re-think their mission, > their model, and their very sustainability. The admissions fee model > appears unlikely to work in the future except for those with the highest > visitation. More to your point, perhaps the most cutting edge > in programming is Mount Vernon. However, it also has one of the largest > budgets of all historic house museums and is certainly atypical in terms of > resources and visitation. And, the cutting edge portion of the visitor > experience is not the historic house itself, but the new museum facility on > the property. > > Perhaps you can refine your question. Do you want only certain > budgets/sizes of historic houses? Do you want only historic houses > themselves, perhaps with a few outbuildings, or are entire complexes (such > as Mount Vernon or Monticello) or even villages (such as Sturbridge or > Conner Prairie) acceptable? Are you looking for case studies of successes > or do you also want failing or failed sites? Do you want sites that are > supported by their own generated revenues, whether subject to UBIT > (unrelated business income tax) or not, or are sites supported by > substantial endowments or other unearned income OK? This is a great topic > for a thesis, but is quite large and would probably benefit from a more > narrow focus, at least in terms of the list providing you with useful > recommendations. Good luck! > > Marc > American Conservation Consortium, Ltd. >      4 Rockville Road >      Broad Brook, CT 06016 >      www.conservator.com >      860-386-6058 > > *Collections Preservation Consultation > *Conservation Assessments & Surveys > *Environmental Monitoring & Low-Tech Control > *Moisture Management Solutions > *Collections in Historic Structures > *Collections Care Grant Preparation > *Conservation Treatment of: >      Furniture >      Painted Wood >      Horse-Drawn Vehicles >      Architectural Interiors >      Decorative Objects & Folk Art > > Marc A. Williams, President >      MS in Art Conservation, Winterthur Museum Program >      Former Chief Wooden Object Conservator, Smithsonian Institution >      Fellow, American Institute for Conservation (AIC) > > > > ----- Original Message ----- > From: Rachel Abbott > To: [log in to unmask] > Sent: Monday, October 12, 2009 2:12 PM > Subject: [MUSEUM-L] Historic House Museums > I am about to start working on my thesis project for my MA in museum > studies. I am going to focus on historic house museums and their > relevance for the U.S. right now. I am trying to determine the design > of a study and thinking about case studies of a few sites. My question > is: what are the most cutting-edge historic house museums in the U.S. > right now, as far as programming goes? Especially programming meant to > maintain the house's relevance to its community. > > I would appreciate any and all thoughts. Thanks! > > Rachel > > ========================================================= > 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). > > ========================================================= 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). ========================================================= 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: Mon, 12 Oct 2009 15:46:21 -0400 Reply-To: Museum discussion list <[log in to unmask]> Sender: Museum discussion list <[log in to unmask]> From: Carol Ely <[log in to unmask]> Subject: Re: Historic House Museums In-Reply-To: A<[log in to unmask]> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: quoted-printable Message-ID: <[log in to unmask]> You might want to check out the conference "Rediscovering the Historic House Museum" at Stratford Hall, Virginia, Oct. 28-29. They are looking at precisely this topic - change and innovation for the future. http://www.stratfordhall.org/learn/education/housesym.php Carol Ely Locust Grove Louisville ========================================================= 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, 13 Oct 2009 09:18:35 -0700 Reply-To: Museum discussion list <[log in to unmask]> Sender: Museum discussion list <[log in to unmask]> From: Keri Koehler <[log in to unmask]> Subject: Free to a Good Home - ship model MIME-Version: 1.0 Content-type: text/plain; charset=UTF-8 Content-transfer-encoding: base64 Message-ID: <[log in to unmask]> DQpUaGUgZm9sbG93aW5nIGl0ZW0gaXMgYXZhaWxhYmxlIHRvIGEgbm9uLXByb2ZpdCBpbnN0aXR1 dGlvbi4gIFJlY2VpdmVyIHBheXMNCnNoaXBwaW5nIGNvc3RzLg0KDQpQbGVhc2UgY29udGFjdCBt ZSBkaXJlY3RseSAobm90IHRvIGxpc3QpIGlmIHlvdSBoYXZlIGFueSBxdWVzdGlvbnMgb3Igd291 bGQNCmxpa2UgYW4gaW1hZ2UuDQoNClNBRlIgMTI3NzYsIE1vZGVsLCBVLlMuIE5hdnkgTWFuLW9m LXdhciBNQVJJT04sIGluIHdvb2QgYW5kIGdsYXNzIGNhc2UNCg0KRGVzY3JpcHRpb246ICBXb29k ZW4gbW9kZWwgaW4gd29vZCBhbmQgZ2xhc3MgY2FzZSBvZiBzdGVhbWVyIG1hbi1vZi13YXINCk1B 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ICA0MTUtNTU2LTM1NDANCkVtYWlsOiAga2VyaV9rb2VobGVyQG5wcy5nb3Y========================================================================Date: Tue, 13 Oct 2009 12:22:23 -0400 Reply-To: Museum discussion list <[log in to unmask]> Sender: Museum discussion list <[log in to unmask]> From: "Wiley, Kate" <[log in to unmask]> Subject: FW: Smithsonian's Lemelson Center Announces Hot Spots of Invention Symposium Content-Type: multipart/alternative; boundary="_000_67B1352D0CBB3C468FE655EFAE120C261A078F21SIMSEV04USSINET_" MIME-Version: 1.0 Message-ID: <[log in to unmask]> --_000_67B1352D0CBB3C468FE655EFAE120C261A078F21SIMSEV04USSINET_ Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: quoted-printable Good afternoon, The Smithsonian's Lemelson Center for the Study of Invention and Innovation invites you to its 2009 New Perspectives on Invention and Innovation symposium. This year's event will be held on November 6 and 7 at the National Museum of American History and features an exploration of Hot Spots of Invention. The Hot Spots of Invention symposium will advance our appreciation and understanding of "places of invention" and explore the intimate relationship among the people, places, and spaces that shape inventors' work. Attached is the symposium announcement, which contains the schedule of events and descriptions of the sessions and programs. Registration is requested, but not required. Should you wish to RSVP, please do so at http://americanhistory.si.edu/rsvp/newperspectives. Please contact me at [log in to unmask] or (202) 633-3129 with any questions. Kindly pass this on to anyone whom you think may be interested. Best, Kate The Smithsonian Institution's Lemelson Center for the Study of Invention and Innovation at the National Museum of American History New Perspectives on Invention and Innovation Annual Symposium November 6 - 7, 2009 The Smithsonian's Lemelson Center for the Study of Invention and Innovation invites you to its 2009 New Perspectives on Invention and Innovation symposium. Since 1995 this annual symposium has brought together historians, inventors, practitioners, and a broad range of audiences to explore new avenues of inquiry into the history of invention and innovation through a mixture of scholarly presentations, family hands-on activities, educational programs, and exhibitions. This year's event will be held on November 6 and 7 at the National Museum of American History and features an exploration of Hot Spots of Invention. The Museum is located at 14th Street and Constitution Avenue, NW, in Washington, D.C. All events are free and open to the public. Registration is requested, but not required. Should you wish to R.S.V.P., please do so at http://americanhistory.si.edu/rsvp/newperspectives. Hot Spots of Invention: People, Places, and Spaces Whether it's Edison's laboratory or Silicon Valley, both scholars and the public have long been curious about inventors and the physical spaces and places that seem to spark invention and innovation. The Hot Spots of Invention symposium will feature scholars, inventors, and practitioners who will explore the creation of these centers of creativity and innovation-"hot spots"-from a variety of perspectives. Sessions on "place" will explore the evolution of particular innovative regions and explore the factors that lead to their creation. Sessions devoted to "people" will explore the role and influence of charismatic, dynamic individuals and their influence upon the region in which they live and work. "Spaces" refers to the specific locations-basement workshops to industrial laboratories-that inventors generate and manipulate to suit their creative needs. This New Perspectives symposium will advance our appreciation and understanding of "hot spots of invention" and explore the intimate relationship among the people, places, and spaces that shape inventors' work. Keynote Address: Friday, November 6; 7:45 p.m.; Carmichael Auditorium Tracing the Origins of GPS The Hot Spot of Invention symposium opens with a keynote address by Dr. Bradford Parkinson, co-winner of the 2003 Draper Prize for the concept and development of the Global Positioning System (GPS). Parkinson will highlight the number one innovation that enabled GPS as well as the five major barriers to original success. He will offer general conclusions on sources of invention and innovation based on the GPS experience. Symposium: Saturday, November 7; Carmichael Auditorium Opening Remarks; 9:30 a.m. Dr. Arthur Molella, Director of the Lemelson Center for the Study of Invention and Innovation. Places; 9:45 a.m. "Medical Alley": The Rise of the Minnesota Medical Device Industry Dr. David Rhees, Executive Director of the Bakken Museum, analyzes the factors that led to the establishment and growth of a still-thriving cluster of medical device firms in Minnesota known as "Medical Alley," with special attention paid to the role of Medtronic as the seedbed of numerous other major medical technology companies. Hollywood: A Place for Dreams Dr. Katherine Ott, Curator of Medicine and Science, National Museum of American History (NMAH); Dwight Bowers, Curator of Music, Sports, and Entertainment, NMAH; and Ryan Lintelman, Project Assistant in Information Technologies and Communications, NMAH, discuss enduring innovations prompted by the Hollywood movie industry. This talk will focus on the technology behind Hollywood cinema, Max Factor make-up, and Dorothy's ruby slippers from The Wizard of Oz as an American icon. People; 11:30 a.m. Robert Noyce and Silicon Valley Innovation Dr. Leslie Berlin, Project Historian for the Silicon Valley Archives at Stanford University, addresses the innovative role of Robert Noyce, co-inventor of the microchip and co-founder of Intel and Fairchild Semiconductor, in the growth of Silicon Valley. The Role of Place in Thomas Edison's Inventive Career Dr. Paul Israel, Director and General Editor for the Thomas A. Edison Papers at Rutgers University, discusses Edison's early career and the range of places in which he worked. These early experiences directly influenced Edison's most important work at the Menlo Park and West Orange, New Jersey, laboratories which drew on and embodied aspects of these earlier places in his career. Spaces; 1:45 p.m. The Architecture of Healing: Re-envisioning Medical Innovation at Johns Hopkins, NIH, and Stony Brook Dr. Stuart W. Leslie, Professor of the History of Science and Technology at Johns Hopkins University, looks at three attempts to redesign spaces of medical education and clinical practice to enhance translational medicine-taking basic biomedical research from the laboratory to the bedside. The session focuses on the Stony Brook Health Sciences Center, the National Institute of Health's Clinical Center, and the Armstrong Building at the Johns Hopkins School of Medicine. The Power of the Power Plant of Place: How Renovation Led to Innovation Dr. Bryan Willson, inventor and Director of the Engines and Energy Conservation Laboratory at Colorado State University, discusses how an abandoned power plant grew into an internationally-known energy solutions organization. The session focuses on the building's structural features, its history and rebirth, and the unique cultural elements that have allowed the building to play such a crucial role in inspiring innovation on a global scale. Synthesis and Conclusions; 3:15 p.m. Dr. David Hounshell, David M. Roderick Professor of Technology and Social Change at Carnegie Mellon University, offers his synthesis and conclusions on the symposium's themes. Family Programs: Saturday, November 7 Innovative Lives: Remo Belli with Ken Kimery 4 p.m.; Carmichael Auditorium What do The Beatles, DuPont, and Mickey Rooney have in common? Mr. Remo Belli. Considered by many as the "father of the modern drumhead," Belli revolutionized the music products industry by perfecting the first practical synthetic drumhead, "WeatherKing." In this moderated conversation Belli will discuss his experiences as a musician in 1940s Los Angeles and how his community of fellow musicians in Los Angeles led to his innovations and inventions in the making of percussion instruments. This conversation will be hosted by Ken Kimery, Executive Producer of the Smithsonian Jazz Masterworks Orchestra, and a question and answer session will follow. Drum Circle with Remo Belli 5 p.m.; Flag Hall Percussionist and inventor Remo Belli will invite visitors to join a drum circle. In the words of Arthur Hull, "The Community Drum Circle is a fun entry-level learning experience that is accessible to anyone who wants to participate. Drum Circle participants express themselves collectively by using a chorus of tuned drums, percussion, and vocals to create a musical song together while having a great time." Spark!Lab: Make Your Own Drum! 10 a.m. - 4 p.m.; First Floor, West Wing Visitors to Spark!Lab will be able to construct their own drum out of recyclable materials and join in facilitated mini drum circles at 11:30 a.m., 1 p.m., and 2:30 p.m. Hot Spots of Invention: Showcase Exhibition; Opens Nov. 6; First Floor, West Wing Invention happens everywhere. But sometimes a "hot spot of invention" takes shape when the right mix of creative people, resources, and inspiring surroundings come together. In the 1930s, a hot spot began to form among the industrial labs and universities of New England. As World War II neared, the hot spot matured at the Massachusetts Institute of Technology. The "Hot Spots of Invention" showcase exhibit highlights how three war-era labs at MIT helped transform Cambridge into a dynamic place of invention. The Lemelson Center presents this small exhibit as a prototype of its larger "Places of Invention" exhibition, now in the planning stages for the Lemelson Hall of Invention. "Hot Spots of Invention" will be on view through Summer 2011. The Jerome and Dorothy Lemelson Center for the Study of Invention and Innovation The Smithsonian's Lemelson Center is dedicated to exploring invention in history and encouraging inventive creativity in young people. The Center is supported by The Lemelson Foundation, a private philanthropy established by one of the country's most prolific inventors, Jerome Lemelson, and his family. The Lemelson Center is located in the National Museum of American History at 14th Street and Constitution Avenue, NW, Washington, D.C. For more information, visit invention.smithsonian.org. For more information, contact [log in to unmask] Portions of the symposium will be available for viewing on http://americanhistory.si.edu/webcast by Friday, Nov. 20. The Lemelson Center gratefully acknowledges the Lemelson Foundation and the Draper Laboratory for their generous support of this year's New Perspectives on Invention and Innovation symposium. ------------------- Kate Wiley Public Affairs Assistant Office of Public Affairs and Lemelson Center for the Study of Invention and Innovation The Smithsonian's National Museum of American History 14th Street and Constitution Avenue, NW Washington, DC 20013-0623 P: (202) 633-3129 F: (202) 633-8053 [log in to unmask] Keep in touch! Visit http://americanhistory.si.edu and sign up for our regular e-newsletter. ========================================================= 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). --_000_67B1352D0CBB3C468FE655EFAE120C261A078F21SIMSEV04USSINET_ Content-Type: text/html; charset="us-ascii" Content-Transfer-Encoding: quoted-printable

Good afternoon,

The Smithsonian’s Lemelson Center for the Study of Invention and Innovation invites you to its 2009 New Perspectives on Invention and Innovation symposium. This year’s event will be held on November 6 and 7 at the National Museum of American History and features an exploration of Hot Spots of Invention.

The Hot Spots of Invention symposium will advance our appreciation and understanding of “places of invention” and explore the intimate relationship among the people, places, and spaces that shape inventors’ work.

Attached is the symposium announcement, which contains the schedule of events and descriptions of the sessions and programs.

Registration is requested, but not required. Should you wish to RSVP, please do so at http://americanhistory.si.edu/rsvp/newperspectives.

Please contact me at [log in to unmask] or (202) 633-3129 with any questions.

Kindly pass this on to anyone whom you think may be interested.

Best,

Kate

The Smithsonian Institution’s Lemelson Center for the Study of Invention and Innovation at the National Museum of American History

New Perspectives on Invention and Innovation Annual Symposium

November 6 – 7, 2009

The Smithsonian’s Lemelson Center for the Study of Invention and Innovation invites you to its 2009 New Perspectives on Invention and Innovation symposium. Since 1995 this annual symposium has brought together historians, inventors, practitioners, and a broad range of audiences to explore new avenues of inquiry into the history of invention and innovation through a mixture of scholarly presentations, family hands-on activities, educational programs, and exhibitions.

This year’s event will be held on November 6 and 7 at the National Museum of American History and features an exploration of Hot Spots of Invention. The Museum is located at 14th Street and Constitution Avenue, NW, in Washington, D.C. All events are free and open to the public. Registration is requested, but not required. Should you wish to R.S.V.P., please do so at http://americanhistory.si.edu/rsvp/newperspectives.

Hot Spots of Invention: People, Places, and Spaces

Whether it’s Edison’s laboratory or Silicon Valley, both scholars and the public have long been curious about inventors and the physical spaces and places that seem to spark invention and innovation. The Hot Spots of Invention symposium will feature scholars, inventors, and practitioners who will explore the creation of these centers of creativity and innovation—“hot spots”—from a variety of perspectives. Sessions on “place” will explore the evolution of particular innovative regions and explore the factors that lead to their creation. Sessions devoted to “people” will explore the role and influence of charismatic, dynamic individuals and their influence upon the region in which they live and work. “Spaces” refers to the specific locations—basement workshops to industrial laboratories—that inventors generate and manipulate to suit their creative needs.

This New Perspectives symposium will advance our appreciation and understanding of “hot spots of invention” and explore the intimate relationship among the people, places, and spaces that shape inventors’ work.

Keynote Address: Friday, November 6; 7:45 p.m.; Carmichael Auditorium

Tracing the Origins of GPS

The Hot Spot of Invention symposium opens with a keynote address by Dr. Bradford Parkinson, co-winner of the 2003 Draper Prize for the concept and development of the Global Positioning System (GPS). Parkinson will highlight the number one innovation that enabled GPS as well as the five major barriers to original success. He will offer general conclusions on sources of invention and innovation based on the GPS experience.

Symposium: Saturday, November 7; Carmichael Auditorium

Opening Remarks; 9:30 a.m.

Dr. Arthur Molella, Director of the Lemelson Center for the Study of Invention and Innovation.

Places; 9:45 a.m.

“Medical Alley”: The Rise of the Minnesota Medical Device Industry

Dr. David Rhees, Executive Director of the Bakken Museum, analyzes the factors that led to the establishment and growth of a still-thriving cluster of medical device firms in Minnesota known as “Medical Alley,” with special attention paid to the role of Medtronic as the seedbed of numerous other major medical technology companies.

Hollywood: A Place for Dreams

Dr. Katherine Ott, Curator of Medicine and Science, National Museum of American History (NMAH); Dwight Bowers, Curator of Music, Sports, and Entertainment, NMAH; and Ryan Lintelman, Project Assistant in Information Technologies and Communications, NMAH, discuss enduring innovations prompted by the Hollywood movie industry. This talk will focus on the technology behind Hollywood cinema, Max Factor make-up, and Dorothy’s ruby slippers from The Wizard of Oz as an American icon.

People; 11:30 a.m.

Robert Noyce and Silicon Valley Innovation

Dr. Leslie Berlin, Project Historian for the Silicon Valley Archives at Stanford University, addresses the innovative role of Robert Noyce, co-inventor of the microchip and co-founder of Intel and Fairchild Semiconductor, in the growth of Silicon Valley.

The Role of Place in Thomas Edison’s Inventive Career

Dr. Paul Israel, Director and General Editor for the Thomas A. Edison Papers at Rutgers University, discusses Edison’s early career and the range of places in which he worked. These

early experiences directly influenced Edison’s most important work at the Menlo Park and West Orange, New Jersey, laboratories which drew on and embodied aspects of these earlier places in his career.

Spaces; 1:45 p.m.

The Architecture of Healing: Re-envisioning Medical Innovation at Johns Hopkins, NIH, and Stony Brook

Dr. Stuart W. Leslie, Professor of the History of Science and Technology at Johns Hopkins University, looks at three attempts to redesign spaces of medical education and clinical practice to enhance translational medicine—taking basic biomedical research from the laboratory to the bedside. The session focuses on the Stony Brook Health Sciences Center, the National Institute of Health’s Clinical Center, and the Armstrong Building at the Johns Hopkins School of Medicine.

The Power of the Power Plant of Place: How Renovation Led to Innovation

Dr. Bryan Willson, inventor and Director of the Engines and Energy Conservation Laboratory at Colorado State University, discusses how an abandoned power plant grew into an internationally-known energy solutions organization. The session focuses on the building's structural features, its history and rebirth, and the unique cultural elements that have allowed the building to play such a crucial role in inspiring innovation on a global scale.

Synthesis and Conclusions; 3:15 p.m.

Dr. David Hounshell, David M. Roderick Professor of Technology and Social Change at Carnegie Mellon University, offers his synthesis and conclusions on the symposium’s themes.

Family Programs: Saturday, November 7

Innovative Lives: Remo Belli with Ken Kimery
4 p.m.; Carmichael Auditorium

What do The Beatles, DuPont, and Mickey Rooney have in common? Mr. Remo Belli. Considered by many as the “father of the modern drumhead,” Belli revolutionized the music products industry by perfecting the first practical synthetic drumhead, “WeatherKing.” In this moderated conversation Belli will discuss his experiences as a musician in 1940s Los Angeles and how his community of fellow musicians in Los Angeles led to his innovations and inventions in the making of percussion instruments. This conversation will be hosted by Ken Kimery, Executive Producer of the Smithsonian Jazz Masterworks Orchestra, and a question and answer session will follow.

Drum Circle with Remo Belli
5 p.m.; Flag Hall

Percussionist and inventor Remo Belli will invite visitors to join a drum circle. In the words of Arthur Hull, “The Community Drum Circle is a fun entry-level learning experience that is accessible to anyone who wants to participate. Drum Circle participants express themselves collectively by using a chorus of tuned drums, percussion, and vocals to create a musical song together while having a great time.”

Spark!Lab: Make Your Own Drum!
10 a.m. – 4 p.m.; First Floor, West Wing

Visitors to Spark!Lab will be able to construct their own drum out of recyclable materials and join in facilitated mini drum circles at 11:30 a.m., 1 p.m., and 2:30 p.m.

Hot Spots of Invention: Showcase Exhibition; Opens Nov. 6; First Floor, West Wing

Invention happens everywhere. But sometimes a “hot spot of invention” takes shape when the right mix of creative people, resources, and inspiring surroundings come together. In the 1930s, a hot spot began to form among the industrial labs and universities of New England. As World War II neared, the hot spot matured at the Massachusetts Institute of Technology. The “Hot Spots of Invention” showcase exhibit highlights how three war-era labs at MIT helped transform Cambridge into a dynamic place of invention.

The Lemelson Center presents this small exhibit as a prototype of its larger “Places of Invention” exhibition, now in the planning stages for the Lemelson Hall of Invention. “Hot Spots of Invention” will be on view through Summer 2011.

The Jerome and Dorothy Lemelson Center for the Study of Invention and Innovation

The Smithsonian’s Lemelson Center is dedicated to exploring invention in history and encouraging inventive creativity in young people. The Center is supported by The Lemelson Foundation, a private philanthropy established by one of the country’s most prolific inventors, Jerome Lemelson, and his family. The Lemelson Center is located in the National Museum of American History at 14th Street and Constitution Avenue, NW, Washington, D.C. For more information, visit invention.smithsonian.org.

For more information, contact [log in to unmask]

Portions of the symposium will be available for viewing on http://americanhistory.si.edu/webcast by Friday, Nov. 20.

The Lemelson Center gratefully acknowledges the Lemelson Foundation and the Draper Laboratory for their generous support of this year’s New Perspectives on Invention and Innovation symposium.

-------------------

Kate Wiley

Public Affairs Assistant

Office of Public Affairs and

Lemelson Center for the Study of Invention and Innovation

The Smithsonian's National Museum of American History

14th Street and Constitution Avenue, NW

Washington, DC 20013-0623

P: (202) 633-3129

F: (202) 633-8053

[log in to unmask]

Keep in touch! Visit http://americanhistory.si.edu and sign up for our regular e-newsletter.

========================================================= Important Subscriber Information:
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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). --_000_67B1352D0CBB3C468FE655EFAE120C261A078F21SIMSEV04USSINET_-- ========================================================================Date: Tue, 13 Oct 2009 10:38:46 -0400 Reply-To: Museum discussion list <[log in to unmask]> Sender: Museum discussion list <[log in to unmask]> From: Cathy Dean <[log in to unmask]> Subject: Question About Refusing Access to Site to Problematic Vistors MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="----=_NextPart_000_0051_01CA4BF1.59375340" Message-ID: <[log in to unmask]> This is a multi-part message in MIME format. ------=_NextPart_000_0051_01CA4BF1.59375340 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Dear Listers, One of our historic sites has recently had a problem with a visitor who is disruptive and difficult during tours and programs. Said visitor is not threatening, per se, but does sometimes intimidate our guides and gets in the way of enjoyment of the site by other visitors. This visitor has come to the site on multiple occasions, and has stayed for hours at a time (much longer than an average visitor). Our staff are afraid that this person may return, and would like to have a plan in place to deal with the situation. Do any of you have policies or procedures for asking disruptive (but not physically dangerous) visitors to leave? We don't feel like this is a situation where the police necessarily need to be involved, at least not at this point, but we also feel that we need to find some way to assert our right to refuse service to visitors if deemed necessary by staff. Many thanks, Catherine E. Dean Curator of Collections Preservation Virginia 804-314-5049 FAX: 804-648-5880 [log in to unmask] ========================================================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). ------=_NextPart_000_0051_01CA4BF1.59375340 Content-Type: text/html; charset="us-ascii" Content-Transfer-Encoding: quoted-printable

Dear Listers,

One of our historic sites has recently had a problem with a visitor who is disruptive and difficult during tours and programs. Said visitor is not threatening, per se, but does sometimes intimidate our guides and gets in the way of enjoyment of the site by other visitors. This visitor has come to the site on multiple occasions, and has stayed for hours at a time (much longer than an average visitor). Our staff are afraid that this person may return, and would like to have a plan in place to deal with the situation.

Do any of you have policies or procedures for asking disruptive (but not physically dangerous) visitors to leave? We don’t feel like this is a situation where the police necessarily need to be involved, at least not at this point, but we also feel that we need to find some way to assert our right to refuse service to visitors if deemed necessary by staff.

Many thanks,

Catherine E. Dean

Curator of Collections

Preservation Virginia

804-314-5049

FAX: 804-648-5880

[log in to unmask]

========================================================= 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). ------=_NextPart_000_0051_01CA4BF1.59375340-- ========================================================================Date: Tue, 13 Oct 2009 12:57:20 -0400 Reply-To: Museum discussion list <[log in to unmask]> Sender: Museum discussion list <[log in to unmask]> From: Dina Friedman <[log in to unmask]> Subject: A Question or two about what to ask for when deciding to take the next job Mime-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: quoted-printable Content-Disposition: inline Message-ID: <[log in to unmask]> Greeting Colleagues: I am participating in a Roundtable session at the upcoming MAAM conference. My topic will be what to look for in a potential new job -- kind of an HR angle. Our target audience, but by no means exclusive to them, are EMPs. I was inspired to lead this discussion because until I managed large budgets and hired staff I didn't realize how much of one's salary is invisible -- i.e. vacations, health insurance etc. In these troubled times I happily haven't been laid off but I was furloughed last year and will be furloughed again this year. I also,it goes with out saying, haven't been in a position to hire. So here is my question -- for anyone lucky enough to either get a new job or hire new staff --what are the questions you have asked or been asked about job security and ways to sweeten a potential less than desirable salary? Any interesting or sticky HR situations that you could share with me and then could share with participants of the roundtable -- i will of course keep everyone's anonymity. Thanks in advance for any insights that you can offer. dina ________________________________ Dina Rose Friedman Site Director, Sunnyside Restoration Historic Hudson Valley 150 White Plains Road Tarrytown, NY 10591 (914) 591-8763 Ext. 13 ========================================================= 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, 13 Oct 2009 13:10:50 -0400 Reply-To: Museum discussion list <[log in to unmask]> Sender: Museum discussion list <[log in to unmask]> From: Dina Friedman <[log in to unmask]> Subject: Re: Question About Refusing Access to Site to Problematic Vistors In-Reply-To: <[log in to unmask]> Mime-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: quoted-printable Content-Disposition: inline Message-ID: <[log in to unmask]> Cathy, What an interesting and annoying and tricky situation. I have a former employee who likes to show up to hang out. The last couple of times I have made very clear that we are quite busy and have no time for guests. He usually takes the hint. The next time he shows up however I plan to explain that it is counter to our HR manual to have guests in the employee lounge etc -- which it is. Are there stated museum rules that the visitor could be reminded about? Is the visitor breaking any of them by lingering on the site. If the individual is disturbing others then that is what no doubt should be emphasized. When I have challenging visitors I try to take them aside out of the public eye to have a conversation with them -- that sometimes calms them down. Just a thought -- could this person be a protected class? I.e are they some how disabled? How do they pay for their entry to the museum? perhaps they are already on social services radar and someone from that department could offer insights. Just a thought -- refusing service is such a slippery slope -- good luck. Dina ________________________________ Dina Rose Friedman Site Director, Sunnyside Restoration Historic Hudson Valley 150 White Plains Road Tarrytown, NY 10591 (914) 591-8763 Ext. 13 >>> Cathy Dean <[log in to unmask]> 10/13/2009 10:38 AM >>> Dear Listers, One of our historic sites has recently had a problem with a visitor who is disruptive and difficult during tours and programs. Said visitor is not threatening, per se, but does sometimes intimidate our guides and gets in the way of enjoyment of the site by other visitors. This visitor has come to the site on multiple occasions, and has stayed for hours at a time (much longer than an average visitor). Our staff are afraid that this person may return, and would like to have a plan in place to deal with the situation. Do any of you have policies or procedures for asking disruptive (but not physically dangerous) visitors to leave? We don't feel like this is a situation where the police necessarily need to be involved, at least not at this point, but we also feel that we need to find some way to assert our right to refuse service to visitors if deemed necessary by staff. Many thanks, Catherine E. Dean Curator of Collections Preservation Virginia 804-314-5049 FAX: 804-648-5880 [log in to unmask] ========================================================= 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). ========================================================= 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, 13 Oct 2009 10:20:16 -0700 Reply-To: Museum discussion list <[log in to unmask]> Sender: Museum discussion list <[log in to unmask]> From: Rick <[log in to unmask]> Subject: Re: Question About Refusing Access to Site to Problematic Vistors MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="0-321526365-1255454416=:73514" Message-ID: <[log in to unmask]> --0-321526365-1255454416=:73514 Content-Type: text/plain; charset=utf-8 Content-Transfer-Encoding: quoted-printable I had this occur and used this approach. When the visitor is disruptive or intimidating you ask them to change the behaivior. When it. Continues, you tell them to leave, and that if they return the police will be called over tresspass. You must actually be willing to follow through. I have dealt with restaimg orders and assaults in the past, and it isuch easier to stop it on the front end rather than the back end. If you are a State agency, talk to the legal folks to make sure you are correct with the agency policies. Otherwise seek adequate legal advice for your area. Remember that safety trumps almost all adects of personnel management. Sent from my iPhone On Oct 13, 2009, at 9:38 AM, Cathy Dean <[log in to unmask]> wrote: Dear Listers, One of our historic sites has recently had a problem with a visitor who is disruptive and difficult during tours and programs. Said visitor is not threatening, per se, but does sometimes intimidate our guides and gets in the way of enjoyment of the site by other visitors. This visitor has come to the site on multiple occasions, and has stayed for hours at a time (much longer than an average visitor). Our staff are afraid that this person may return, and would like to have a plan in place to deal with the situation. Do any of you have policies or procedures for asking disruptive (but not physically dangerous) visitors to leave? We donâ€™t feel like this is a situation where the police necessarily need to be involved, at least not at this point, but we also feel that we need to find some way to assert our right to refuse service to visitors if deemed necessary by staff. Many thanks, Catherine E. Dean Curator of Collections Preservation Virginia 804-314-5049 FAX: 804-648-5880 [log in to unmask] ========================================================= 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). ========================================================= 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). --0-321526365-1255454416=:73514 Content-Type: text/html; charset=utf-8 Content-Transfer-Encoding: quoted-printable
I had this occur and used this approach. When the visitor is disruptive or intimidating you ask them to change the behaivior. When it. Continues, you tell them to leave, and that if they return the police will be called over tresspass. You must actually be willing to follow through. I have dealt with restaimg orders and assaults in the past, and it isuch easier to stop it on the front end rather than the back end. If you are a State agency, talk to the legal folks to make sure you are correct with the agency policies. Otherwise seek adequate legal advice for your area. Remember that safety trumps almost all adects of personnel management.

Sent from my iPhone

On Oct 13, 2009, at 9:38 AM, Cathy Dean <[log in to unmask]> wrote:

Dear Listers,

One of our historic sites has recently had a problem with a visitor who is disruptive and difficult during tours and programs. Said visitor is not threatening, per se, but does sometimes intimidate our guides and gets in the way of enjoyment of the site by other visitors. This visitor has come to the site on multiple occasions, and has stayed for hours at a time (much longer than an average visitor). Our staff are afraid that this person may return, and would like to have a plan in place to deal with the situation.

Do any of you have policies or procedures for asking disruptive (but not physically dangerous) visitors to leave? We donâ€™t feel like this is a situation where the police necessarily need to be involved, at least not at this point, but we also feel that we need to find some way to assert our right to refuse service to visitors if deemed necessary by staff.

Many thanks,

Catherine E. Dean

Curator of Collections

Preservation Virginia

804-314-5049

FAX: 804-648-5880

[log in to unmask]

========================================================= 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).

========================================================= 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). --0-321526365-1255454416=:73514-- ========================================================================Date: Tue, 13 Oct 2009 13:22:22 -0400 Reply-To: Museum discussion list <[log in to unmask]> Sender: Museum discussion list <[log in to unmask]> From: Elizabeth Simon <[log in to unmask]> Subject: Re: Historic House Museums In-Reply-To: <[log in to unmask]> MIME-Version: 1.0 Content-Type: multipart/alternative; boundaryMessage-ID: <[log in to unmask]> --0016e648f2c404ab010475d44ad7 Content-Type: text/plain; charset=ISO-8859-1 You might want to check out the Tenement Museum in New York, which is doing some very innovative things with educational and interpretive programming. Although the Tenement Museum is a different kind of house museum, I think it fits the category in this instance. Elizabeth Simon ========================================================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). --0016e648f2c404ab010475d44ad7 Content-Type: text/html; charset=ISO-8859-1 Content-Transfer-Encoding: quoted-printable
You might want to check out the Tenement Museum in New York, which is doing some very innovative things with educational and interpretive programming. Although the Tenement Museum is a different kind of house museum, I think it fits the category in this instance.

Elizabeth Simon
========================================================= 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). --0016e648f2c404ab010475d44ad7-- ========================================================================Date: Tue, 13 Oct 2009 14:04:17 -0400 Reply-To: Museum discussion list <[log in to unmask]> Sender: Museum discussion list <[log in to unmask]> From: Regan Brooks <[log in to unmask]> Subject: Interns Comments: To: [log in to unmask] MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="----_=_NextPart_001_01CA4C2F.94E641B3" Message-ID: <[log in to unmask]> Our institution has had an intern program for a num This is a multi-part message in MIME format. ------_=_NextPart_001_01CA4C2F.94E641B3 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: quoted-printable Hi Everyone, Our institution has had an intern program for a number of decades now, however it has always been a bit on the informal side. We're looking at formalizing it a bit. Does anyone have suggestions? We have talked about intern contracts, Rules of Conduct, and exit interview surveys. Does anyone else utilize these? Opinions on them? We also have an intern apartment and most of our current staff agree we need a contract for the interns living there - any suggestions in that vein would be welcome as well. Thanks! Regan Brooks Registrar Gaston County Museum of Art & History PO Box 429 Dallas, NC 28034-0429 704.922.7681 ext. 107 Don't Know What to Do About H1N1 Flu? Call (704)-854-H1N1 (4161) Pursuant to North Carolina General Statute, Chapter 132, email correspondence to and from this address may be considered public record under the North Carolina Public Records Law and may be disclosed to third parties. ========================================================= 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). ------_=_NextPart_001_01CA4C2F.94E641B3 Content-Type: text/html; charset="us-ascii" Content-Transfer-Encoding: quoted-printable

Hi Everyone,

Our institution has had an intern program for a number of decades now, however it has always been a bit on the informal side. We’re looking at formalizing it a bit. Does anyone have suggestions? We have talked about intern contracts, Rules of Conduct, and exit interview surveys. Does anyone else utilize these? Opinions on them? We also have an intern apartment and most of our current staff agree we need a contract for the interns living there – any suggestions in that vein would be welcome as well.

Thanks!

Regan Brooks

Registrar

Gaston County Museum of Art & History

PO Box 429

Dallas, NC 28034-0429

704.922.7681 ext. 107

Don’t Know What to Do About H1N1 Flu? Call (704)-854-H1N1 (4161)

Pursuant to North Carolina General Statute, Chapter 132, email correspondence to and from this address may be considered public record under the North Carolina Public Records Law and may be disclosed to third parties. ========================================================= 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). ------_=_NextPart_001_01CA4C2F.94E641B3-- ========================================================================Date: Tue, 13 Oct 2009 15:00:50 -0400 Reply-To: Museum discussion list <[log in to unmask]> Sender: Museum discussion list <[log in to unmask]> From: Jeannine Mjoseth <[log in to unmask]> Subject: UPDATE: IMLS Calls for Laura Bush 21st Century Librarian Grant Applications MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: quoted-printable Message-ID: <[log in to unmask]> The following is a text-only press release from the federal Institute of Museum and Library Services (IMLS). An HTML version of this release can be viewed on the agency's Web site at http://www.imls.gov/news/2009/092309.shtm Update: The Institute of Museum and Library Services (IMLS) will be holding a technical assistance conference call to answer questions about the Laura Bush 21st Century Librarian Program applications, procedures, etc. on Thursday, October 15 at 2 p.m. (EST). Those wishing to join the conference call should phone 800/603-9527 and when prompted provide the conference id, # 28833738. Another technical assistance conference call will be held in mid-November. Please check http://www.imls.gov/applicants/grants/21centuryLibrarian.shtm for call-in information. The deadline for receipt of applications for the 2010 is December 15, 2009. FOR IMMEDIATE RELEASE Updated October 13, 2009 IMLS Press Contacts 202-653-4632 Jeannine Mjoseth, [log in to unmask] Mamie Bittner, [log in to unmask] IMLS Calls for Laura Bush 21st Century Librarian Grant Applications Application Deadline: December 15, 2009 Washington, DC-The Institute of Museum and Library Services (IMLS) invites proposals from libraries, archives, and library agencies, associations, and consortia for the Laura Bush 21st Century Librarian grant program. Categories of funding for the Laura Bush 21st Century Librarian program are as follows: * Doctoral programs in library and information science; * Master's programs in library and information science; * Research about library and information science as a profession, establishment of ongoing research capacity in graduate schools of library and information science, and research conducted by untenured, tenure-track faculty in graduate schools of library and information science in their field of research (Early Career Development program); * Pre-professional programs to interest future professionals in library and information science as a career; * Programs to build institutional capacity in graduate schools of library and information science by developing or enhancing programs; and * Continuing education for library and archives staff. The grant period for these projects is up to three years, except for doctoral program projects, which may be up to four years. Responding to the ongoing changes in the information professions, since 2003, IMLS has awarded more than $130 million in grants to fund the education of 3,543 master's degree students, 192 doctoral students, 1,496 pre-professional students, and 26,482 continuing education students. These grants have helped build the skills and abilities of the people who maintain the nation's information infrastructure at the grassroots level-librarians, archivists, and school library media specialists. Application guidelines and instructions are available here. Please direct any questions about the program to Kevin Cherry, Senior Program Officer, 202-653-4662, [log in to unmask]; Chuck Thomas, Senior Program Officer, 202-653-4663, [log in to unmask]; or Karmen Bisher, Program Specialist, 202-653-4664, [log in to unmask] IMLS will be holding a conference call to answer questions about applications, procedures, etc. on Thursday, October 15, at 2 pm (EST). Those wishing to join the conference call should phone 800/603-9527 and when prompted, provide the conference id, # 28833738. About the Institute of Museum and Library Services The Institute of Museum and Library Services is the primary source of federal support for the nation's 123,000 libraries and 17,500 museums. The Institute's mission is to create strong libraries and museums that connect people to information and ideas. The Institute works at the national level and in coordination with state and local organizations to sustain heritage, culture, and knowledge; enhance learning and innovation; and support professional development. To learn more about the Institute, please visit www.imls.gov. ========================================================= 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, 13 Oct 2009 14:19:12 -0500 Reply-To: Museum discussion list <[log in to unmask]> Sender: Museum discussion list <[log in to unmask]> From: Gail Kana Anderson <[log in to unmask]> Subject: Couriers Content-Type: multipart/alternative; boundary="Apple-Mail-10-128961942" MIME-Version: 1.0 (Apple Message framework v936) Message-ID: <[log in to unmask]> --Apple-Mail-10-128961942 Content-Type: text/plain; charset="US-ASCII"; format=flowed; delsp=yes Content-Transfer-Encoding: 7bit Hello, Would anyone be willing to share with our museum their guidelines, policies and procedures for staff members couriering artwork? We would like to add a section to our Collection Management Policy about the process. Thank you for your help. Gail Gail Kana Anderson Deputy Director/Curator of Collections Fred Jones Jr. Museum of Art The University of Oklahoma 555 Elm Avenue Norman, OK 73019-3003 t. 405.325.1664; f. 405.325.7696 [log in to unmask] GREAT NEWS! The FJJMA is growing again AND the museum is open during construction. Grand opening fall 2011! Remember, OU students ALWAYS get free admission with valid ID. ========================================================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). --Apple-Mail-10-128961942 Content-Type: text/html; charset="US-ASCII" Content-Transfer-Encoding: quoted-printable Hello,

Would anyone be willing to share with our museum their guidelines, policies and procedures for staff members couriering artwork? We would like to add a section to our Collection Management Policy about the process.

Thank you for your help.

Gail

Gail Kana Anderson
Deputy Director/Curator of Collections
Fred Jones Jr. Museum of Art
The University of Oklahoma
555 Elm Avenue
Norman, OK 73019-3003
t. 405.325.1664; f. 405.325.7696
[log in to unmask]

GREAT NEWS! The FJJMA is growing again AND the museum is open during construction. Grand opening fall 2011!
Remember, OU students ALWAYS get free admission with valid ID.

========================================================= Important Subscriber Information:
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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). --Apple-Mail-10-128961942-- ========================================================================Date: Tue, 13 Oct 2009 10:51:44 -0800 Reply-To: Museum discussion list <[log in to unmask]> Sender: Museum discussion list <[log in to unmask]> From: "Carrlee, Scott A (EED)" <[log in to unmask]> Subject: Internship opportunity in Anchorage Alaska MIME-version: 1.0 Content-type: multipart/alternative; boundary="Boundary_(ID_bbVI+VxrXhlS6eBXmkoYDQ)" Message-ID: <[log in to unmask]> This is a multi-part message in MIME format. --Boundary_(ID_bbVI+VxrXhlS6eBXmkoYDQ) Content-type: text/plain; charset=us-ascii Content-transfer-encoding: 7BIT Description: The Alaska Museum of Natural History has an internship opportunity available beginning January 2010. The intern will assist the Education Director with science education on topics including but not limited to geology, biology, and paleontology. This internship provides an excellent opportunity to gain experience in museum education practices. Duties include the following: * Develop and teach hands-on science curriculum for various age levels. * Give educational tours of the museum. * Facilitate preschool programs. * Help with clean up and organization of education and supply areas. * Facilitate possible outreach workshops to local schools. Compensation: $400/month full time. Part time to be determined. Flexible schedule. Requirements: Intern must have interest and/or experience in science or education. Ability to follow through on assigned tasks. Work well with children. Must pass background check. Application: Application Deadline: December 1, 2009 Notification of selection by December 7, 2009 Please mail a cover letter and resume with three references to: Alaska Museum of Natural History Attn: Education Director 201 N. Bragaw St. Anchorage, AK 99508 Or e-mail to [log in to unmask] Subject line: Education Internship ========================================================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). --Boundary_(ID_bbVI+VxrXhlS6eBXmkoYDQ) Content-type: text/html; charset=us-ascii Content-transfer-encoding: 7BIT

Description:

The Alaska Museum of Natural History has an internship opportunity available beginning January 2010. The intern will assist the Education Director with science education on topics including but not limited to geology, biology, and paleontology. This internship provides an excellent opportunity to gain experience in museum education practices.

Duties include the following:

Develop and teach hands-on science curriculum for various age levels.

Give educational tours of the museum.

Facilitate preschool programs.

Help with clean up and organization of education and supply areas.

Facilitate possible outreach workshops to local schools.

Compensation:

$400/month full time.

Part time to be determined.

Flexible schedule.

Requirements:

Intern must have interest and/or experience in science or education.

Ability to follow through on assigned tasks.

Work well with children.

Must pass background check.

Application:

Application Deadline: December 1, 2009

Notification of selection by December 7, 2009

Please mail a cover letter and resume with three references to:

Alaska Museum of Natural History

Attn: Education Director

201 N. Bragaw St.

Anchorage, AK 99508

Or e-mail to [log in to unmask]

Subject line: Education Internship

========================================================Important Subscriber Information:
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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). --Boundary_(ID_bbVI+VxrXhlS6eBXmkoYDQ)-- ========================================================================Date: Tue, 13 Oct 2009 13:45:26 -0400 Reply-To: Museum discussion list <[log in to unmask]> Sender: Museum discussion list <[log in to unmask]> From: Sarah LeCount <[log in to unmask]> Subject: Car Door Lock MIME-Version: 1.0 Content-Type: text/plain; charset=utf-8 Content-Transfer-Encoding: quoted-printable Message-ID: <20091013174526.AQ2CG.396636.root@hrndva-web16-z01> Hello everyone - I am new on the staff of a science/history museum. We have recently put a 1930s Cunningham-Ford Town Car on exhibit after having it professionally conserved. Although there is a solid, 3' high and 2' wide barrier around the car, we know that visitors have breeched the barrier and opened the driver's side door of the car. This door handle has a lock which doesn't work - either it is jammed (which is what the conservator said) or it was never meant to actually operate. The locks on the other doors work, so we thought we might be able to lock the driver's side from the inside, exit through another door and lock it - but there is no mechanism to lock the door from the inside. We are looking into reinforcing the existing barrier with a plexi screen, but are also wondering - can we try a lubricant in the lock? Or can we try to secure the driver's side door handle from the inside so it won't turn and allow access? There seems to be some hesitation in reconnecting with the conservator (not sure what the story is there) - so I'm hoping for some advice from the List. Thanks in advance! Sarah ========================================================= 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, 13 Oct 2009 16:14:28 EDT Reply-To: Museum discussion list <[log in to unmask]> Sender: Museum discussion list <[log in to unmask]> From: Barbara Hass <[log in to unmask]> Subject: Re: Car Door Lock MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="-----------------------------1255464868" Message-ID: <[log in to unmask]> -------------------------------1255464868 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit this auto museum has a 1936 on display -- perhaps they can help you _http://www.rmsc.org/About/Pressroom/detail/?id6_ (http://www.rmsc.org/About/Pressroom/detail/?id6) how about tie-chain the 2 inside door together and then lock the one side that works from the inside? Barbara Hass, retired librarian In a message dated 10/13/2009 2:05:17 P.M. Mountain Daylight Time, [log in to unmask] writes: Cunningham-Ford Town Car ========================================================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). -------------------------------1255464868 Content-Type: text/html; charset="US-ASCII" Content-Transfer-Encoding: quoted-printable
this auto museum has a 1936 on display -- perhaps they can help you

http://www.rmsc.org/About/Pressroom/detail/?id=166

how about tie-chain the 2 inside door together and then lock the one side that works from the inside?

Barbara Hass, retired librarian

In a message dated 10/13/2009 2:05:17 P.M. Mountain Daylight Time, [log in to unmask] writes:

Cunningham-Ford Town Car
========================================================= Important Subscriber Information:
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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). -------------------------------1255464868-- ========================================================================Date: Tue, 13 Oct 2009 16:34:57 -0400 Reply-To: Museum discussion list <[log in to unmask]> Sender: Museum discussion list <[log in to unmask]> From: Harry Heiss <[log in to unmask]> Subject: Re: Car Door Lock Comments: cc: [log in to unmask] In-Reply-To: <20091013174526.AQ2CG.396636.root@hrndva-web16-z01> MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="=_alternative 007110318525764E_=" Message-ID: <[log in to unmask]> This is a multipart message in MIME format. --=_alternative 007110318525764E_Content-Type: text/plain; charset="ISO-8859-1" Content-Transfer-Encoding: quoted-printable Personally, I like inter-active museum exhibits. So if it were me, I'd connect the driver's side door handle to the car's battery. Harry "Be nice to the archivist, or he'll erase you from history." --Anonymous ________________________________________ The contents of this message are mine personally and do not reflect any position of the Government or my agency. Use of this equipment is permitted by the agency?s policy governing limited personal use. ========================================================= 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). --=_alternative 007110318525764E_Content-Type: text/html; charset="ISO-8859-1" Content-Transfer-Encoding: quoted-printable
Personally, I like inter-active museum exhibits.

So if it were me, I'd connect the driver's side door handle to the car's battery.

Harry

"Be nice to the archivist, or he'll erase you from history."
--Anonymous

________________________________________

The contents of this message are mine personally and do not reflect any position of the Government or my agency. Use of this equipment is permitted by the agency’s policy governing limited personal use.

========================================================= 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). --=_alternative 007110318525764E_=-- ========================================================================Date: Tue, 13 Oct 2009 13:46:17 -0700 Reply-To: Museum discussion list <[log in to unmask]> Sender: Museum discussion list <[log in to unmask]> From: Gayle <[log in to unmask]> Subject: Re: Car Door Lock In-Reply-To: <20091013174526.AQ2CG.396636.root@hrndva-web16-z01> MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="0-1532113413-1255466777=:57363" Message-ID: <[log in to unmask]> --0-1532113413-1255466777=:57363 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: quoted-printable While I think the interactive idea Harry suggested is awesome, I would suggest you contact the Petersen Automotive Museum in Los Angeles and ask what they may be able to advise. http://www.petersen.org/ Looking for a Job in the Arts? http://groups.yahoo.com/group/MuseJobs Tweetcha Later! https://twitter.com/Indigo_Nights    ________________________________ From: Sarah LeCount <[log in to unmask]> To: [log in to unmask] Sent: Tue, October 13, 2009 10:45:26 AM Subject: [MUSEUM-L] Car Door Lock Hello everyone - I am new on the staff of a science/history museum. We have recently put a 1930s Cunningham-Ford Town Car on exhibit after having it professionally conserved. Although there is a solid, 3' high and 2' wide barrier around the car, we know that visitors have breeched the barrier and opened the driver's side door of the car. This door handle has a lock which doesn't work - either it is jammed (which is what the conservator said) or it was never meant to actually operate. The locks on the other doors work, so we thought we might be able to lock the driver's side from the inside, exit through another door and lock it - but there is no mechanism to lock the door from the inside. We are looking into reinforcing the existing barrier with a plexi screen, but are also wondering - can we try a lubricant in the lock? Or can we try to secure the driver's side door handle from the inside so it won't turn and allow access? There seems to be some hesitation in reconnecting with the conservator (not sure what the story is there) - so I'm hoping for some advice from the List. Thanks in advance! Sarah ========================================================= 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). ========================================================= 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). --0-1532113413-1255466777=:57363 Content-Type: text/html; charset=iso-8859-1 Content-Transfer-Encoding: quoted-printable

While I think the interactive idea Harry suggested is awesome, I would suggest you contact the Petersen Automotive Museum in Los Angeles and ask what they may be able to advise.

http://www.petersen.org/

Looking for a Job in the Arts?
http://groups.yahoo.com/group/MuseJobs

Tweetcha Later!
https://twitter.com/Indigo_Nights



From: Sarah LeCount <[log in to unmask]>
To: [log in to unmask]
Sent: Tue, October 13, 2009 10:45:26 AM
Subject: [MUSEUM-L] Car Door Lock

Hello everyone -

I am new on the staff of a science/history museum. We have recently put a 1930s Cunningham-Ford Town Car on exhibit after having it professionally conserved. Although there is a solid, 3' high and 2' wide barrier around the car, we know that visitors have breeched the barrier and opened the driver's side door of the car. This door handle has a lock which doesn't work - either it is jammed (which is what the conservator said) or it was never meant to actually operate. The locks on the other doors work, so we thought we might be able to lock the driver's side from the inside, exit through another door and lock it - but there is no mechanism to lock the door from the inside. We are looking into reinforcing the existing barrier with a plexi screen, but are also wondering - can we try a lubricant in the lock? Or can we try to secure the driver's side door handle from the inside so it won't turn and allow access? There seems to be some hesitation in reconnecting with the conservator (not sure what the story is there) - so I'm hoping for some advice from the List.

Thanks in advance!
Sarah

=========================================================
Important Subscriber Information:

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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).
========================================================= 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). --0-1532113413-1255466777=:57363-- ========================================================================Date: Tue, 13 Oct 2009 16:54:49 -0400 Reply-To: Museum discussion list <[log in to unmask]> Sender: Museum discussion list <[log in to unmask]> From: Brook Bowman <[log in to unmask]> Subject: Re: Car Door Lock In-Reply-To: <[log in to unmask]> MIME-Version: 1.0 Content-Type: multipart/alternative; boundaryMessage-ID: <[log in to unmask]> --0016e647195acb0a940475d7410b Content-Type: text/plain; charset=windows-1252 Content-Transfer-Encoding: quoted-printable It appears to me the problem is not how to lock the door but how to keep the visitor out! Harry has a great idea however, Radio shack sells a small 4" x 2" approx. alarm when the beam is broken a great ear spllitting alarm will sound, or if this is too much a "ding dong" alarm will sound., personally I use the ear splitter. they cost between $10&15 dollars and use 2 AA batteries . They are great of any number of uses where you might want to be made aware of any breach of security. [log in to unmask] On Tue, Oct 13, 2009 at 4:34 PM, Harry Heiss <[log in to unmask]>wrote: > > Personally, I like inter-active museum exhibits. > > So if it were me, I'd connect the driver's side door handle to the car's > battery. > > Harry > > > > "Be nice to the archivist, or he'll erase you from history." > --Anonymous > > > > ________________________________________ > > *The contents of this message are mine personally and do not reflect any > position of the Government or my agency. Use of this equipment is permitted > by the agency’s policy governing limited personal use.* > > ========================================================= 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). > > ========================================================= 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). --0016e647195acb0a940475d7410b Content-Type: text/html; charset=windows-1252 Content-Transfer-Encoding: quoted-printable
It appears to me the problem is not how to lock the door but how to keep the visitor out! Harry has a great idea however,

Radio shack sells a small 4" x 2" approx. alarm when the beam is broken a great ear spllitting alarm will sound, or if this is too

much a "ding dong" alarm will sound., personally I use the ear splitter.
they cost between $10&15 dollars and use 2 AA batteries . They are great of any number of uses where you might want to be made aware of any breach of security.

[log in to unmask]

On Tue, Oct 13, 2009 at 4:34 PM, Harry Heiss <[log in to unmask]> wrote:

Personally, I like inter-active museum exhibits.

So if it were me, I'd connect the driver's side door handle to the car's battery.

Harry

"Be nice to the archivist, or he'll erase you from history."
--Anonymous

________________________________________

The contents of this message are mine personally and do not reflect any position of the Government or my agency. Use of this equipment is permitted by the agency’s policy governing limited personal use.

========================================================= 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).

========================================================= 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). --0016e647195acb0a940475d7410b-- ========================================================================Date: Tue, 13 Oct 2009 17:13:34 -0400 Reply-To: Museum discussion list <[log in to unmask]> Sender: Museum discussion list <[log in to unmask]> From: David Lewias <[log in to unmask]> Subject: Re: Car Door Lock In-Reply-To: <20091013174526.AQ2CG.396636.root@hrndva-web16-z01> MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="--------MB_8CC1A61285B2EC8_35F8_28C2_webmail-m024.sysops.aol.com" Message-ID: <[log in to unmask]> ----------MB_8CC1A61285B2EC8_35F8_28C2_webmail-m024.sysops.aol.com Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset="us-ascii" Sarah, I agree with what others have said -- the problem is the visitors, not the lock....? I work at a fire museum -- lots of shiny red fire engines that seem to make it irresistible to keep out/off.?? We've found simple folded cardboard signs humorously reminding visitors, "Remember, I'm OLD please don't climb on me!" work pretty well.?? Of course, the inexpensive Radio Shack alarm would work well -- as would a simple sign, "This door is ALARMED!" or "This door is Electrified" -- depending on how much you want to deter your visitors! ? ~Wink!~ - David - David Lewis, Curator Aurora Regional Fire Museum www.AuroraRegionalFireMuseum.org -----Original Message----- From: Sarah LeCount <[log in to unmask]> To: [log in to unmask] Sent: Tue, Oct 13, 2009 12:45 pm Subject: [MUSEUM-L] Car Door Lock Hello everyone - I am new on the staff of a science/history museum. We have recently put a 1930s Cunningham-Ford Town Car on exhibit after having it professionally conserved. Although there is a solid, 3' high and 2' wide barrier around the car, we know that visitors have breeched the barrier and opened the driver's side door of the car. This door handle has a lock which doesn't work - either it is jammed (which is what the conservator said) or it was never meant to actually operate. The locks on the other doors work, so we thought we might be able to lock the driver's side from the inside, exit through another door and lock it - but there is no mechanism to lock the door from the inside. We are looking into reinforcing the existing barrier with a plexi screen, but are also wondering - can we try a lubricant in the lock? Or can we try to secure the driver's side door handle from the inside so it won't turn and allow access? There seems to be some hesitation in reconnecting with the conservator (not sure what the story is there) - so I'm hoping for some advice from the List. Thanks in advance! Sarah ========================================================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). ========================================================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). ----------MB_8CC1A61285B2EC8_35F8_28C2_webmail-m024.sysops.aol.com Content-Transfer-Encoding: 7bit Content-Type: text/html; charset="us-ascii"

Sarah,
I agree with what others have said -- the problem is the visitors, not the lock.... I work at a fire museum -- lots of shiny red fire engines that seem to make it irresistible to keep out/off.   We've found simple folded cardboard signs humorously reminding visitors, "Remember, I'm OLD please don't climb on me!" work pretty well.   Of course, the inexpensive Radio Shack alarm would work well -- as would a simple sign, "This door is ALARMED!" or "This door is Electrified" -- depending on how much you want to deter your visitors! ~Wink!~

- David -
David Lewis, Curator
Aurora Regional Fire Museum
www.AuroraRegionalFireMuseum.org

-----Original Message-----
From: Sarah LeCount <[log in to unmask]>
To: [log in to unmask]
Sent: Tue, Oct 13, 2009 12:45 pm
Subject: [MUSEUM-L] Car Door Lock
Hello everyone -



I am new on the staff of a science/history museum. We have recently put a 1930s 

Cunningham-Ford Town Car on exhibit after having it professionally conserved. 

Although there is a solid, 3' high and 2' wide barrier around the car, we know 

that visitors have breeched the barrier and opened the driver's side door of the 

car. This door handle has a lock which doesn't work - either it is jammed (which 

is what the conservator said) or it was never meant to actually operate. The 

locks on the other doors work, so we thought we might be able to lock the 

driver's side from the inside, exit through another door and lock it - but there 

is no mechanism to lock the door from the inside. We are looking into 

reinforcing the existing barrier with a plexi screen, but are also wondering - 

can we try a lubricant in the lock? Or can we try to secure the driver's side 

door handle from the inside so it won't turn and allow access? There seems to be 

some hesitation in reconnecting with the conservator (not sure what the story is 

there) - so I'm hoping for some advice from the List.



Thanks in advance!

Sarah



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Museum-L" (without the quotes).
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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). ----------MB_8CC1A61285B2EC8_35F8_28C2_webmail-m024.sysops.aol.com-- ========================================================================Date: Tue, 13 Oct 2009 19:15:21 -0400 Reply-To: Museum discussion list <[log in to unmask]> Sender: Museum discussion list <[log in to unmask]> From: Marc A Williams <[log in to unmask]> Subject: Re: Car Door Lock MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="----=_NextPart_000_00CC_01CA4C39.82756920" Message-ID: <33989765B00D47698D1345788D3A8FF4@PC261231188215> This is a multi-part message in MIME format. ------=_NextPart_000_00CC_01CA4C39.82756920 Content-Type: text/plain; charset="UTF-8" Content-Transfer-Encoding: quoted-printable Sarah, All of the previous posts seem to be on track, although I would order their priority and combine them. First, use the alarm idea to prevent the door from being reached. This is inexpensive, but be sure to write changing the batteries into the routine maintenance plan. Second, tie the two front doors together from the inside. This usually can be done with the interior handles. Pad them with thin ethafoam or a similar material, and use a ratchet strap so that they can be fully secure without any free play. If only these doors can be unlocked with the key, it may be necessary to strap the driver's door to another fixed surface, such as the rear passenger door, passenger seat or other firm surface. The idea is to prevent the initial opening of the door. Virtually everyone will give up if the initial tug is unyielding. The combination of alarm with resistance should deter all curious visitors. There are more invasive methods of securing the door, but these should not be necessary. Good luck! Marc American Conservation Consortium, Ltd. 4 Rockville Road Broad Brook, CT 06016 www.conservator.com 860-386-6058 *Collections Preservation Consultation *Conservation Assessments & Surveys *Environmental Monitoring & Low-Tech Control *Moisture Management Solutions *Collections in Historic Structures *Collections Care Grant Preparation *Conservation Treatment of: Furniture Painted Wood Horse-Drawn Vehicles Architectural Interiors Decorative Objects & Folk Art Marc A. Williams, President MS in Art Conservation, Winterthur Museum Program Former Chief Wooden Object Conservator, Smithsonian Institution Fellow, American Institute for Conservation (AIC) ----- Original Message ----- From: Sarah LeCount To: [log in to unmask] Sent: Tuesday, October 13, 2009 1:45 PM Subject: [MUSEUM-L] Car Door Lock Hello everyone - I am new on the staff of a science/history museum. We have recently put a 1930s Cunningham-Ford Town Car on exhibit after having it professionally conserved. Although there is a solid, 3' high and 2' wide barrier around the car, we know that visitors have breeched the barrier and opened the driver's side door of the car. This door handle has a lock which doesn't work - either it is jammed (which is what the conservator said) or it was never meant to actually operate. The locks on the other doors work, so we thought we might be able to lock the driver's side from the inside, exit through another door and lock it - but there is no mechanism to lock the door from the inside. We are looking into reinforcing the existing barrier with a plexi screen, but are also wondering - can we try a lubricant in the lock? Or can we try to secure the driver's side door handle from the inside so it won't turn and allow access? There seems to be some hesitation in reconnecting with the conservator (not sure what the story is there) - so I'm hoping for some advice from the List. Thanks in advance! Sarah ========================================================= 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). ========================================================= 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). ------=_NextPart_000_00CC_01CA4C39.82756920 Content-Type: text/html; charset="UTF-8" Content-Transfer-Encoding: quoted-printable ï»¿
Sarah,

All of the previous posts seem to be on track, although I would order their priority and combine them. First, use the alarm idea to prevent the door from being reached. This is inexpensive, but be sure to write changing the batteries into the routine maintenance plan. Second, tie the two front doors together from the inside. This usually can be done with the interior handles. Pad them with thin ethafoam or a similar material, and use a ratchet strap so that they can be fully secure without any free play. If only these doors can be unlocked with the key, it may be necessary to strap the driver's door to another fixed surface, such as the rear passenger door, passenger seat or other firm surface. The idea is to prevent the initial opening of the door. Virtually everyone will give up if the initial tug is unyielding. The combination of alarm with resistance should deter all curious visitors. There are more invasive methods of securing the door, but these should not be necessary. Good luck!

Marc

American Conservation Consortium, Ltd.
     4 Rockville Road
     Broad Brook, CT 06016
     www.conservator.com
     860-386-6058

*Collections Preservation Consultation
*Conservation Assessments & Surveys
*Environmental Monitoring & Low-Tech Control
*Moisture Management Solutions
*Collections in Historic Structures
*Collections Care Grant Preparation
*Conservation Treatment of:
     Furniture
     Painted Wood
     Horse-Drawn Vehicles
     Architectural Interiors
     Decorative Objects & Folk Art

Marc A. Williams, President
     MS in Art Conservation, Winterthur Museum Program
     Former Chief Wooden Object Conservator, Smithsonian Institution
     Fellow, American Institute for Conservation (AIC)

----- Original Message -----

From: [log in to unmask] href="mailto:[log in to unmask]">Sarah LeCount

To: [log in to unmask] href="mailto:[log in to unmask]">[log in to unmask]

Sent: Tuesday, October 13, 2009 1:45 PM

Subject: [MUSEUM-L] Car Door Lock

Hello everyone -

I am new on the staff of a science/history museum. We have recently put a 1930s Cunningham-Ford Town Car on exhibit after having it professionally conserved. Although there is a solid, 3' high and 2' wide barrier around the car, we know that visitors have breeched the barrier and opened the driver's side door of the car. This door handle has a lock which doesn't work - either it is jammed (which is what the conservator said) or it was never meant to actually operate. The locks on the other doors work, so we thought we might be able to lock the driver's side from the inside, exit through another door and lock it - but there is no mechanism to lock the door from the inside. We are looking into reinforcing the existing barrier with a plexi screen, but are also wondering - can we try a lubricant in the lock? Or can we try to secure the driver's side door handle from the inside so it won't turn and allow access? There seems to be some hesitation in reconnecting with the conservator (not sure what the story is there) - so I'm hoping for some advice from the List.

Thanks in advance!
Sarah

=========================================================
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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).
========================================================= 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). ------=_NextPart_000_00CC_01CA4C39.82756920-- ========================================================================Date: Tue, 13 Oct 2009 19:41:43 -0400 Reply-To: Museum discussion list <[log in to unmask]> Sender: Museum discussion list <[log in to unmask]> From: Andy Grilz <[log in to unmask]> Subject: Re: Car Door Lock In-Reply-To: <20091013174526.AQ2CG.396636.root@hrndva-web16-z01> MIME-Version: 1.0 Content-Type: multipart/alternative; boundaryMessage-ID: <[log in to unmask]> --001636ed7567aefbb10475d996ec Content-Type: text/plain; charset=ISO-8859-1 Hi Sarah, Have you considered the low tech option? A small plexi panel or box on a plexi post, bolted to the floor,low enough that it does not obscure the view but prevents visitors from grasping and/or operating the door handle? (I like the electrified option, too.) Andrew Grilz On Tue, Oct 13, 2009 at 1:45 PM, Sarah LeCount <[log in to unmask]>wrote: > Hello everyone - > > I am new on the staff of a science/history museum. We have recently put a > 1930s Cunningham-Ford Town Car on exhibit after having it professionally > conserved. Although there is a solid, 3' high and 2' wide barrier around the > car, we know that visitors have breeched the barrier and opened the driver's > side door of the car. This door handle has a lock which doesn't work - > either it is jammed (which is what the conservator said) or it was never > meant to actually operate. The locks on the other doors work, so we thought > we might be able to lock the driver's side from the inside, exit through > another door and lock it - but there is no mechanism to lock the door from > the inside. We are looking into reinforcing the existing barrier with a > plexi screen, but are also wondering - can we try a lubricant in the lock? > Or can we try to secure the driver's side door handle from the inside so it > won't turn and allow access? There seems to be some hesitation in > reconnecting with the conservator (not sure what the story is there) - so > I'm hoping for some advice from the List. > > Thanks in advance! > Sarah > > ========================================================> 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). > ========================================================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). --001636ed7567aefbb10475d996ec Content-Type: text/html; charset=ISO-8859-1 Content-Transfer-Encoding: quoted-printable Hi Sarah,

Have you considered the low tech option? A small plexi panel or box on a plexi post, bolted to the floor,low enough that it does not obscure the view but prevents visitors from grasping and/or operating the door handle?

(I like the electrified option, too.)

Andrew Grilz

On Tue, Oct 13, 2009 at 1:45 PM, Sarah LeCount <[log in to unmask]> wrote:

Hello everyone -

I am new on the staff of a science/history museum. We have recently put a 1930s Cunningham-Ford Town Car on exhibit after having it professionally conserved. Although there is a solid, 3' high and 2' wide barrier around the car, we know that visitors have breeched the barrier and opened the driver's side door of the car. This door handle has a lock which doesn't work - either it is jammed (which is what the conservator said) or it was never meant to actually operate. The locks on the other doors work, so we thought we might be able to lock the driver's side from the inside, exit through another door and lock it - but there is no mechanism to lock the door from the inside. We are looking into reinforcing the existing barrier with a plexi screen, but are also wondering - can we try a lubricant in the lock? Or can we try to secure the driver's side door handle from the inside so it won't turn and allow access? There seems to be some hesitation in reconnecting with the conservator (not sure what the story is there) - so I'm hoping for some advice from the List.

Thanks in advance!
Sarah

=========================================================
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========================================================= Important Subscriber Information:
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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). --001636ed7567aefbb10475d996ec-- ========================================================================Date: Tue, 13 Oct 2009 20:42:12 -0400 Reply-To: Museum discussion list <[log in to unmask]> Sender: Museum discussion list <[log in to unmask]> From: Lee Goodan <[log in to unmask]> Subject: Chicopet sword Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: quoted-printable MIME-Version: 1.0 Message-ID: <[log in to unmask]> 1864 sword and scabbard. Made by James Chicopet, MFFC. The sword has the initials A.D.K. on it and the scabbard has the initials G.K.C. We are looking to find out what type of soldier may have used this sword and any other information about the style/history. Please contact Stephanie at [log in to unmask] Thanks! Thanks, Stephanie Haiar Curator of Collections Gaston County Museum of Art & History 131 W. Main St. PO Box 429 Dallas, NC 28034 704-922-7681 x. 104 704-922-7683 (fax) ========================================================= 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, 13 Oct 2009 16:20:50 -0700 Reply-To: Museum discussion list <[log in to unmask]> Sender: Museum discussion list <[log in to unmask]> From: Stephen Nowlin <[log in to unmask]> Subject: University gallery loan agreements... Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable MIME-Version: 1.0 Message-ID: <[log in to unmask]> Hello, all -- we are re-doing the loan agreement we use to borrow artworks for our gallery from galleries, museums, and private collections. I would greatly appreciate being emailed examples of loan agreements from any of you associated with university galleries/museums. Many thanks in advance, /stephen _____________________________________ S t e p h e n N o w l i n http://xrl.us/exhibitstuff Vice President, Director, Alyce de Roulet Williamson Gallery Art Center College of Design 1700 Lida Street Pasadena, CA 91103 626.396.2397 [log in to unmask] _____________________________________ ========================================================= 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, 13 Oct 2009 22:10:55 -0400 Reply-To: Museum discussion list <[log in to unmask]> Sender: Museum discussion list <[log in to unmask]> From: Thomas W Kavanagh <[log in to unmask]> Subject: Re: Chicopet sword In-Reply-To: <[log in to unmask]> Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: quoted-printable MIME-Version: 1.0 Message-ID: <[log in to unmask]> Ms. Haar: Your sword was made by the Ames, not James, company of Chicopee -- not Chicopet-- Massachusetts. They were a major Union arms manufacturer during the recent unpleastaness. They are noted for the poor quality of their sword stamping..I personally own an M 1841 artillery saber made by Ames, dated 1864, marked by the inspector ADK, although those markings are hard to read. Does your sword have (1) a single brass guard with a rather curving blade? or (2) a multiple brass guard with a somewhat straight blade? Ifn (1) it is a n M 1841 artillery saber; Ifn (2) it is a cavalry saber. But whether it be a M1841 "wristbreaker" or a M1861 will depend upon closer inspection. rk ========================================================= 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, 13 Oct 2009 15:09:52 -0400 Reply-To: Museum discussion list <[log in to unmask]> Sender: Museum discussion list <[log in to unmask]> From: Claudia Ocello <[log in to unmask]> Subject: Re: Question About Refusing Access to Site to Problematic Vistors Mime-Version: 1.0 Content-Transfer-Encoding: quoted-printable Content-Type: text/html; charset=UTF-8 Message-ID: <[log in to unmask]> This is indeed a tough issue. We had a homeless person who attended many (if not all) of our Lunch Time Brown Bag programs when I worked at the New Jersey Historical Society. He would often take over the discussion afterwards (as well as eat many of the free cookies) and while not threatening, he was disruptive and sometimes unfair to other attendees. What we did is take him aside a few times before the program and suggest that he ask his questions privately after the program ended, which then gave us time to speak to the presenter to let them know what they might expect. It would seem to me that pulling the person aside first and suggesting an alternative would be the best course of action. You definitely have to be careful about refusing access.

Good luck! - Claudia

Claudia Ocello
President & CEO
Museum Partners Consulting, LLC
www.museumpartnersconsulting.com
Engaging Audiences, Empowering Staff

-----Original Message-----
From: Cathy Dean <[log in to unmask]>
Sent: Oct 13, 2009 10:38 AM
To: [log in to unmask]
Subject: [MUSEUM-L] Question About Refusing Access to Site to Problematic Vistors

Dear Listers,

One of our historic sites has recently had a problem with a visitor who is disruptive and difficult during tours and programs. Said visitor is not threatening, per se, but does sometimes intimidate our guides and gets in the way of enjoyment of the site by other visitors. This visitor has come to the site on multiple occasions, and has stayed for hours at a time (much longer than an average visitor). Our staff are afraid that this person may return, and would like to have a plan in place to deal with the situation.

Do any of you have policies or procedures for asking disruptive (but not physically dangerous) visitors to leave? We donâ€™t feel like this is a situation where the police necessarily need to be involved, at least not at this point, but we also feel that we need to find some way to assert our right to refuse service to visitors if deemed necessary by staff.

Many thanks,

Catherine E. Dean

Curator of Collections

Preservation Virginia

804-314-5049

FAX: 804-648-5880

[log in to unmask]

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<[log in to unmask]>
========================================================= 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: Wed, 14 Oct 2009 09:01:32 -0500 Reply-To: Museum discussion list <[log in to unmask]> Sender: Museum discussion list <[log in to unmask]> From: Miriam Norris <[log in to unmask]> Subject: Re: University gallery loan agreements... In-Reply-To: <[log in to unmask]> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Message-ID: <[log in to unmask]> If you could include me on copies of these loans that would be great. Also do any Universities use different loans for work that goes out on loan internally on campus? Who do you have sign these loan papers? -- Miriam S. Norris Collections Manager The Paul R. Jones Collection of American Art The University of Alabama 103 Garland Hall Tuscaloosa, AL 35487 205-348-5827 On 10/13/09 6:20 PM, "Stephen Nowlin" <[log in to unmask]> wrote: > Hello, all -- we are re-doing the loan agreement we use to borrow artworks > for our gallery from galleries, museums, and private collections. I would > greatly appreciate being emailed examples of loan agreements from any of you > associated with university galleries/museums. > > Many thanks in advance, > > /stephen > > _____________________________________ > S t e p h e n N o w l i n > > http://xrl.us/exhibitstuff > > Vice President, Director, > Alyce de Roulet Williamson Gallery > Art Center College of Design > 1700 Lida Street > Pasadena, CA 91103 > 626.396.2397 > [log in to unmask] > > _____________________________________ > > > ========================================================> 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). ========================================================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: Wed, 14 Oct 2009 09:26:50 -0400 Reply-To: Museum discussion list <[log in to unmask]> Sender: Museum discussion list <[log in to unmask]> From: Kathy Haas <[log in to unmask]> Subject: Re: Couriers In-Reply-To: <[log in to unmask]> MIME-version: 1.0 Content-type: multipart/alternative; boundary="----=_NextPart_000_0035_01CA4CB0.79225A50" Message-ID: <[log in to unmask]> This is a multi-part message in MIME format. ------=_NextPart_000_0035_01CA4CB0.79225A50 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Do you already have "A Code of Practice for Couriering Museum Objects." by the AAM registrar committee? We use that as our basic text. Katherine Haas Curatorial Assistant Rosenbach Museum & Library 2008 Delancey Pl. Philadelphia, PA 19103 215-732-1600 x129 215-545-7529 (fax) _____ From: Museum discussion list [mailto:[log in to unmask]] On Behalf Of Gail Kana Anderson Sent: Tuesday, October 13, 2009 3:19 PM To: [log in to unmask] Subject: [MUSEUM-L] Couriers Hello, Would anyone be willing to share with our museum their guidelines, policies and procedures for staff members couriering artwork? We would like to add a section to our Collection Management Policy about the process. Thank you for your help. Gail Gail Kana Anderson Deputy Director/Curator of Collections Fred Jones Jr. Museum of Art The University of Oklahoma 555 Elm Avenue Norman, OK 73019-3003 t. 405.325.1664; f. 405.325.7696 [log in to unmask] GREAT NEWS! The FJJMA is growing again AND the museum is open during construction. Grand opening fall 2011! Remember, OU students ALWAYS get free admission with valid ID. ========================================================= 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). ========================================================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). ------=_NextPart_000_0035_01CA4CB0.79225A50 Content-Type: text/html; charset="us-ascii" Content-Transfer-Encoding: quoted-printable
Do you already have "A Code of Practice for Couriering Museum Objects." by the AAM registrar committee? We use that as our basic text.
 
Katherine Haas

Curatorial Assistant

Rosenbach Museum & Library

2008 Delancey Pl.

Philadelphia, PA 19103

215-732-1600 x129

215-545-7529 (fax)
 
From: Museum discussion list [mailto:[log in to unmask]] On Behalf Of Gail Kana Anderson
Sent: Tuesday, October 13, 2009 3:19 PM
To: [log in to unmask]
Subject: [MUSEUM-L] Couriers

Hello,

Would anyone be willing to share with our museum their guidelines, policies and procedures for staff members couriering artwork? We would like to add a section to our Collection Management Policy about the process.

Thank you for your help.

Gail

Gail Kana Anderson

Deputy Director/Curator of Collections

Fred Jones Jr. Museum of Art

The University of Oklahoma

555 Elm Avenue

Norman, OK 73019-3003

t. 405.325.1664; f. 405.325.7696

[log in to unmask]

GREAT NEWS! The FJJMA is growing again AND the museum is open during construction. Grand opening fall 2011!

Remember, OU students ALWAYS get free admission with valid ID.
========================================================= Important Subscriber Information:
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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). ------=_NextPart_000_0035_01CA4CB0.79225A50-- ========================================================================Date: Wed, 14 Oct 2009 13:54:41 -0400 Reply-To: Museum discussion list <[log in to unmask]> Sender: Museum discussion list <[log in to unmask]> From: Christa McCay <[log in to unmask]> Subject: Winter/Spring Collections Internship Opportunity MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; DelSp="Yes"; format="flowed" Content-Disposition: inline Content-Transfer-Encoding: quoted-printable Message-ID: <[log in to unmask]> Hello all, This posting is for anyone who might be interested. Please note that this is an unpaid internship. Marietta Museum of History Winter/Spring 2010 Internship Mission: Dedicated to preserving the history of Marietta and Cobb County by providing an educational, engaging and enlightening experience. Background: The Marietta Museum of History opened its doors in 1996. The Museum is located on the second floor of the Historic Kennesaw House. The Museum has four galleries devoted to different aspects of Marietta and Cobb County History. The artifact collection numbers approximately 15,000 and consists of objects, photographs, library items, archives and textiles. Internship Duties: The Collections Intern reports to the Collections Manager/Registrar. He/she will assist with daily duties within the department such as cataloging, digitalizing the collection, and exhibit implementation. The internship will also include other specific projects such as continuing a full inventory and transferring paper collections records to electronic form using the Past Perfect database. Requirements: Must be familiar with Microsoft Office Programs and Adobe Suite a plus. Successful candidates will have an eye for detail, good writing ability, and a positive attitude about performing many kinds of tasks throughout the Museum. All interested persons must send a one page resume and cover letter by email to [log in to unmask] or by mail to: Christa McCay, Registrar Marietta Museum of History 1 Depot Street, Suite 200 Marietta, GA 30060 770-794-5726 All prospective interns must go through an interview either in the Museum or by phone with a member of the Museum staff. Application deadline is December 4th, 2009 at 4 pm. Any application after this date and time will not be accepted. \ ========================================================= 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, 13 Oct 2009 14:02:47 -0700 Reply-To: Museum discussion list <[log in to unmask]> Sender: Museum discussion list <[log in to unmask]> From: Tom Kenney <[log in to unmask]> Subject: Re: Car Door Lock MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: quoted-printable Message-ID: <[log in to unmask]> Sarah, That driver's door should indeed lock from the inside, as Cunningham and similar coach builders usually adapted the Ford hardware to their door panels. Cleaning and lubrication of the linkages may allow the mechanism to lock, or there may be broken components. Fortunately, many of these parts are available through the aftermarket. If you send us an image of the car, we can identify the year of the vehicle and check our library for a parts diagram. Then we can try to talk you through the disassembly of the door panel (which is fairly straightforward), allowing access to the mechanism. This depends, of course, on the condition of the door panel. I would not recommend securing the handle from the inside, because visitors can cause additional damage to the door by twisting that now-secured handle. We achieved good results in similar situations by posting a small sign nearby that reads "Yes, this door is locked." By the way, it was standard practice for most American car manufacturers to place keyed locks on the curb-side of their vehicles only, because no-one was expected to get out of their car into the street. Finally, and I don't mean to sound snarky, but if visitors are able to climb over a 3'X 2' barrier without being witnessed, your security staff may want to re-evaluate their procedures. I hope this helps; please let me know if I can be of further service. Tom Kenney Collections Manager/Registrar Petersen Automotive Museum [log in to unmask] -----Original Message----- From: Museum discussion list [mailto:[log in to unmask]] On Behalf Of Sarah LeCount Sent: Tuesday, October 13, 2009 10:45 AM To: [log in to unmask] Subject: Car Door Lock Hello everyone - I am new on the staff of a science/history museum. We have recently put a 1930s Cunningham-Ford Town Car on exhibit after having it professionally conserved. Although there is a solid, 3' high and 2' wide barrier around the car, we know that visitors have breeched the barrier and opened the driver's side door of the car. This door handle has a lock which doesn't work - either it is jammed (which is what the conservator said) or it was never meant to actually operate. The locks on the other doors work, so we thought we might be able to lock the driver's side from the inside, exit through another door and lock it - but there is no mechanism to lock the door from the inside. We are looking into reinforcing the existing barrier with a plexi screen, but are also wondering - can we try a lubricant in the lock? Or can we try to secure the driver's side door handle from the inside so it won't turn and allow access? There seems to be some hesitation in reconnecting with the conservator (not sure what the story is there) - so I'm hoping for some advice from the List. Thanks in advance! Sarah ========================================================= 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). ========================================================= 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: Wed, 14 Oct 2009 16:34:44 EDT Reply-To: Museum discussion list <[log in to unmask]> Sender: Museum discussion list <[log in to unmask]> From: Carola Rupert Enriquez <[log in to unmask]> Subject: Re: Historic House Museums MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="-----------------------------1255552483" Message-ID: <[log in to unmask]> -------------------------------1255552483 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit You might consider the McFaddin-Ward House in Beaumont, Texas. Good Luck! Carola Enriquez Museum Mentor In a message dated 10/12/2009 12:54:51 P.M. Pacific Daylight Time, [log in to unmask] writes: You might want to check out the conference "Rediscovering the Historic House Museum" at Stratford Hall, Virginia, Oct. 28-29. They are looking at precisely this topic - change and innovation for the future. http://www.stratfordhall.org/learn/education/housesym.php Carol Ely Locust Grove Louisville ========================================================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). ========================================================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). -------------------------------1255552483 Content-Type: text/html; charset="US-ASCII" Content-Transfer-Encoding: quoted-printable
You might consider the McFaddin-Ward House in Beaumont, Texas. Good Luck!

Carola Enriquez

Museum Mentor

In a message dated 10/12/2009 12:54:51 P.M. Pacific Daylight Time, [log in to unmask] writes:

You might want to check out the conference "Rediscovering the Historic
House Museum" at Stratford Hall, Virginia, Oct. 28-29. They are looking
at precisely this topic - change and innovation for the future.
http://www.stratfordhall.org/learn/education/housesym.php

Carol Ely
Locust Grove
Louisville

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========================================================= Important Subscriber Information:
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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). -------------------------------1255552483-- ========================================================================Date: Wed, 14 Oct 2009 16:18:50 -0500 Reply-To: Museum discussion list <[log in to unmask]> Sender: Museum discussion list <[log in to unmask]> From: George Goodale <[log in to unmask]> Subject: ship Content-Type: multipart/alternative; boundary="_000_4C8BD5E5E746E545943C0B8B1E5F379C0114B96B1A9DEXMB1brockg_" MIME-Version: 1.0 Message-ID: <[log in to unmask]> --_000_4C8BD5E5E746E545943C0B8B1E5F379C0114B96B1A9DEXMB1brockg_ Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Greetings; I would like the ship in question as I have many others in my collection, My wife works at the Amon Carter Museum as the Human Resources manager. I have the parts and the ability to repair such a model, and I appreciate the history. Sincerely..........George Goodale ========================================================= 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). --_000_4C8BD5E5E746E545943C0B8B1E5F379C0114B96B1A9DEXMB1brockg_ Content-Type: text/html; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable
Greetings;

I would like the ship in question as I have many others in my collection, My wife works at the Amon Carter Museum as the Human Resources manager.

I have the parts and the ability to repair such a model, and I appreciate the history.

Sincerely..........George Goodale
========================================================= 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). --_000_4C8BD5E5E746E545943C0B8B1E5F379C0114B96B1A9DEXMB1brockg_-- ========================================================================Date: Wed, 14 Oct 2009 15:31:29 -0700 Reply-To: Museum discussion list <[log in to unmask]> Sender: Museum discussion list <[log in to unmask]> From: Keni Sturgeon <[log in to unmask]> Subject: Looking for a sample contract for a quest curator In-Reply-To: <[log in to unmask]> MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="0-376027976-1255559489=:27098" Message-ID: <[log in to unmask]> --0-376027976-1255559489=:27098 Content-Type: text/plain; charset=us-ascii Hello All, I am hiring a guest curator for an exhibit next year and I'm looking for a sample contract for such a thing. If anyone has one they could/would forward along to me, it would be appreciated. Thanks in advance, Keni Sturgeon Curator and Museum Director Mission Mill Museum Salem, OR [log in to unmask] ========================================================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). --0-376027976-1255559489=:27098 Content-Type: text/html; charset=us-ascii
Hello All,

I am hiring a guest curator for an exhibit next year and I'm looking for a sample contract for such a thing. If anyone has one they could/would forward along to me, it would be appreciated.

Thanks in advance,
Keni Sturgeon
Curator and Museum Director
Mission Mill Museum
Salem, OR
[log in to unmask]

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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). --0-376027976-1255559489=:27098--