Not to further complicate, but "dressing gown" can refer to any gender or sex, and has nothing to do with weights of embellishment. That's just a formal word for bathrobe. Just as "bathing gown," a popular phrase for some time, is a more formalized "bathing suit." Treating it as a referrant for gender or sex isn't workable in my opinion.

Chenhall is correct, its a matter of semantics and preference. If it helps you in your collections atmosphere to think of gowns as formal and dresses as informal, that's fine. As a seamstress, in the sewing world its not really a descriptor. I tend to lean into the descriptive after Chenhall, since a systematic nomenclature will always have its limits.

Amber Clifford-Napoleone
Director, McClure Archives and University Museum

On Wed, Aug 1, 2018 at 12:58 PM, William Shepherd <[log in to unmask]> wrote:
Hello Josh,

        As you've seen in the Nomenclature, gowns are typically considered a type of dress. In this case both are likely to refer to clothing worn by a woman. That being said a dress in not necessarily a gown. Kind of like fingers and thumbs; all thumbs are fingers but not all fingers are thumbs. Gowns are typically more formal, heavier, higher quality or fancier materials, and more detailed design elements. Dresses are often lighter, more multi-purpose, and utilitarian. You would wear a dress to work or shopping but a gown would be worn to a wedding or special event. You're likely to come across some items that seem to fall in a grey area in between the two but it may come down to the decision of the cataloguer when the item is being processed.

        To complicate things a dress and gown can have other meanings and gown specifically can refer to other types such as a graduation gown or judge's robes.

        Hopefully this helps to clear it up a bit.

William Shepherd
Collections Officer
Swift Current Museum
44 Robert Street West
Swift Current, Saskatchewan
S9H 4M9
Phone: 306-778-4815
Fax: 306-778-4818

Archives: http://sain.scaa.sk.ca/collections/swift-current-museum
Library: https://www.librarything.com/profile/SwiftCurrentMuseum
Website: http://www.swiftcurrent.ca

-----Original Message-----
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========================================================================Date: Thu, 2 Aug 2018 10:15:44 -0400 Reply-To: Museum discussion list <[log in to unmask]> Sender: Museum discussion list <[log in to unmask]> From: Elizabeth Walton <[log in to unmask]> Subject: Re: Dress Nomenclature In-Reply-To: <[log in to unmask]> MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="000000000000707529057274724f" Message-ID: <[log in to unmask]> --000000000000707529057274724f Content-Type: text/plain; charset="UTF-8" What it comes down to is that historic costume is incredibly complicated and if at all possible please have someone highly trained in costume history/care do your identification and cataloguing. I have had to correct more wrong IDs than I can count in collections over the years and then see them displayed with the wrong information as a result. (Please stop assuming all white dresses are wedding dresses!) If you have not studied costume at length you will have wrong information in your database (wrong dates, wrong materials, wrong ID). Many "dresses" will actually be in multiple pieces in the 18th and 19th century, making it more of an ensemble than a dress (they frequently would have day and evening bodices with the same skirt, they look like a single piece when dressed). In the 20th century one piece dresses are common, but not before. As others have pointed out there are many kinds of gowns that are not anything like dresses. On Wed, Aug 1, 2018 at 10:44 AM, Josh Jordan <[log in to unmask]> wrote: > I have a question regarding how institutions differentiate between a > "dress" and a "gown" in their catalogs. Does it have to do with the > material it is made from? Is it the event the garment would be worn to? > What criteria is used? I did see in Chenhall's Nomenclature that a gown is > a type of dress. > > Want to know how institutions in the field define the terms. > > Thanks > > ========================================================> 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). --000000000000707529057274724f Content-Type: text/html; charset="UTF-8" Content-Transfer-Encoding: quoted-printable
What it comes down to is that historic costume is incredibly complicated and if at all possible please have someone highly trained in costume history/care do your identification and cataloguing. I have had to correct more wrong IDs than I can count in collections over the years and then see them displayed with the wrong information as a result. (Please stop assuming all white dresses are wedding dresses!)

If you have not studied costume at length you will have wrong information in your database (wrong dates, wrong materials, wrong ID). Many "dresses" will actually be in multiple pieces in the 18th and 19th century, making it more of an ensemble than a dress (they frequently would have day and evening bodices with the same skirt, they look like a single piece when dressed). In the 20th century one piece dresses are common, but not before. 

As others have pointed out there are many kinds of gowns that are not anything like dresses. 





On Wed, Aug 1, 2018 at 10:44 AM, Josh Jordan <[log in to unmask]> wrote:
I have a question regarding how institutions differentiate between a "dress" and a "gown" in their catalogs.  Does it have to do with the material it is made from?  Is it the event the garment would be worn to?  What criteria is used?  I did see in Chenhall's Nomenclature that a gown is a type of dress.

Want to know how institutions in the field define the terms.

Thanks     

=========================================================
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--000000000000707529057274724f-- ========================================================================Date: Thu, 2 Aug 2018 14:31:32 +0000 Reply-To: Museum discussion list <[log in to unmask]> Sender: Museum discussion list <[log in to unmask]> From: Wayne Eldred <[log in to unmask]> Subject: Re: Dress Nomenclature Comments: To: Elizabeth Walton <[log in to unmask]> In-Reply-To: <[log in to unmask]> MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="----=_Part_1011986_502142532.1533220292139" Message-ID: <[log in to unmask]> ------=_Part_1011986_502142532.1533220292139 Content-Type: text/plain; charset=UTF-8 Content-Transfer-Encoding: quoted-printable The costume soc of america or the fashion archives and museum (the latter at shippensburg Univ in PA) should be of assistance. Wayne EldredCollections ManagerMattatuck Museum, Waterbury, CT On Thu, Aug 2, 2018 at 10:16 AM, Elizabeth Walton<[log in to unmask]> wrote: What it comes down to is that historic costume is incredibly complicated and if at all possible please have someone highly trained in costume history/care do your identification and cataloguing. I have had to correct more wrong IDs than I can count in collections over the years and then see them displayed with the wrong information as a result. (Please stop assuming all white dresses are wedding dresses!) If you have not studied costume at length you will have wrong information in your database (wrong dates, wrong materials, wrong ID). Many "dresses" will actually be in multiple pieces in the 18th and 19th century, making it more of an ensemble than a dress (they frequently would have day and evening bodices with the same skirt, they look like a single piece when dressed). In the 20th century one piece dresses are common, but not before.  As others have pointed out there are many kinds of gowns that are not anything like dresses.  On Wed, Aug 1, 2018 at 10:44 AM, Josh Jordan <[log in to unmask]> wrote: I have a question regarding how institutions differentiate between a "dress" and a "gown" in their catalogs.  Does it have to do with the material it is made from?  Is it the event the garment would be worn to?  What criteria is used?  I did see in Chenhall's Nomenclature that a gown is a type of dress. Want to know how institutions in the field define the terms. Thanks      ============================== =========================== 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). To unsubscribe from the MUSEUM-L list, click the following link: http://home.ease.lsoft.com/scripts/wa-HOME.exe?SUBED1=MUSEUM-L&A=1 ========================================================= Important Subscriber Information: The Museum-L FAQ file is located at http://www.finalchapter.com/museum-l-faq/ . You may obtain detailed information about the listserv commands by sending a one line e-mail message to [log in to unmask] . The body of the message should read "help" (without the quotes). If you decide to leave Museum-L, please send a one line e-mail message to [log in to unmask] . The body of the message should read "Signoff Museum-L" (without the quotes). ------=_Part_1011986_502142532.1533220292139 Content-Type: text/html; charset=UTF-8 Content-Transfer-Encoding: quoted-printable The costume soc of america or the fashion archives and museum (the latter at shippensburg Univ in PA) should be of assistance.

Wayne Eldred
Collections Manager
Mattatuck Museum, Waterbury, CT


On Thu, Aug 2, 2018 at 10:16 AM, Elizabeth Walton
What it comes down to is that historic costume is incredibly complicated and if at all possible please have someone highly trained in costume history/care do your identification and cataloguing. I have had to correct more wrong IDs than I can count in collections over the years and then see them displayed with the wrong information as a result. (Please stop assuming all white dresses are wedding dresses!)

If you have not studied costume at length you will have wrong information in your database (wrong dates, wrong materials, wrong ID). Many "dresses" will actually be in multiple pieces in the 18th and 19th century, making it more of an ensemble than a dress (they frequently would have day and evening bodices with the same skirt, they look like a single piece when dressed). In the 20th century one piece dresses are common, but not before. 

As others have pointed out there are many kinds of gowns that are not anything like dresses. 





On Wed, Aug 1, 2018 at 10:44 AM, Josh Jordan <[log in to unmask]> wrote:
I have a question regarding how institutions differentiate between a "dress" and a "gown" in their catalogs.  Does it have to do with the material it is made from?  Is it the event the garment would be worn to?  What criteria is used?  I did see in Chenhall's Nomenclature that a gown is a type of dress.

Want to know how institutions in the field define the terms.

Thanks     

============================== ===========================
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------=_Part_1011986_502142532.1533220292139-- ========================================================================Date: Thu, 2 Aug 2018 19:11:21 +0000 Reply-To: Museum discussion list <[log in to unmask]> Sender: Museum discussion list <[log in to unmask]> From: Lauren Paustian <[log in to unmask]> Subject: broken lock on a display case Content-Type: multipart/alternative; boundary="_000_CY4PR15MB1477DE989D308F42BBF0110CEF2C0CY4PR15MB1477namp_" MIME-Version: 1.0 Message-ID: <[log in to unmask]> --_000_CY4PR15MB1477DE989D308F42BBF0110CEF2C0CY4PR15MB1477namp_ Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: quoted-printable Dear all, I work for a library/archive in New York City that has a small gallery space which holds rotating exhibits. My organization has a table top display case from Waddell which cannot lock. The barrel lock is loose, and the key seems to have disappeared. However the lock broke and whatever happened to the key, is institutional knowledge that has been lost to time and staff changes. I inquired with a local locksmith, and he said that the manufacturer would need to replace the lock. I inquired with Waddell about having the lock fixed, but that would require shipping the case back to their Ohio facility to have a new lock retrofitted into the case, which seems prohibitively expensive. Are there any other solutions I'm not thinking of? Or do any New York museum colleagues have the name of a locksmith who could manage such work? Thanks very much! Sincerely, Lauren Paustian Collections Care Coordinator Leo Baeck Institute 15 West 16th Street New York, NY 10011 [log in to unmask] 212-294-8301 x8404 www.lbi.org| 1938projekt.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). --_000_CY4PR15MB1477DE989D308F42BBF0110CEF2C0CY4PR15MB1477namp_ Content-Type: text/html; charset="us-ascii" Content-Transfer-Encoding: quoted-printable

Dear all,

 

I work for a library/archive in New York City that has a small gallery space which holds rotating exhibits.   

 

My organization has a table top display case from Waddell which cannot lock.  The barrel lock is loose, and the key seems to have disappeared.  However the lock broke and whatever happened to the key, is institutional knowledge that has been lost to time and staff changes. 

 

I inquired with a local locksmith, and he said that the manufacturer would need to replace the lock.  I inquired with Waddell about having the lock fixed, but that would require shipping the case back to their Ohio facility to have a new lock retrofitted into the case, which seems prohibitively expensive. 

 

Are there any other solutions I’m not thinking of?  Or do any New York museum colleagues have the name of a locksmith who could manage such work?

 

Thanks very much!

 

Sincerely,

Lauren Paustian

 

Collections Care Coordinator

Leo Baeck Institute

15 West 16th Street

New York, NY 10011

[log in to unmask]

212-294-8301 x8404

www.lbi.org| 1938projekt.org

 

 


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--_000_CY4PR15MB1477DE989D308F42BBF0110CEF2C0CY4PR15MB1477namp_-- ========================================================================Date: Thu, 2 Aug 2018 15:50:01 -0400 Reply-To: Museum discussion list <[log in to unmask]> Sender: Museum discussion list <[log in to unmask]> From: ALLEN NOFTZ <[log in to unmask]> Subject: Re: broken lock on a display case In-Reply-To: <[log in to unmask]> MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="000000000000e705180572791d2a" Message-ID: <[log in to unmask]> --000000000000e705180572791d2a Content-Type: text/plain; charset="UTF-8" Content-Transfer-Encoding: quoted-printable Don't know of any lock that cannot be replaced with a local lock smith, or someone handy with a few tools. What is the name or numbers on the lock? Will look it up. Probably available on the internet. Al Noftz 231-386-9936 On Thu, Aug 2, 2018 at 3:11 PM, Lauren Paustian <[log in to unmask]> wrote: > Dear all, > > > > I work for a library/archive in New York City that has a small gallery > space which holds rotating exhibits. > > > > My organization has a table top display case from Waddell which cannot > lock. The barrel lock is loose, and the key seems to have disappeared. > However the lock broke and whatever happened to the key, is institutional > knowledge that has been lost to time and staff changes. > > > > I inquired with a local locksmith, and he said that the manufacturer would > need to replace the lock. I inquired with Waddell about having the lock > fixed, but that would require shipping the case back to their Ohio facility > to have a new lock retrofitted into the case, which seems prohibitively > expensive. > > > > Are there any other solutions I’m not thinking of? Or do any New York > museum colleagues have the name of a locksmith who could manage such work? > > > > Thanks very much! > > > > Sincerely, > > Lauren Paustian > > > > *Collections Care Coordinator* > > *Leo Baeck Institute* > > *15 West 16th Street > * > > *New York, NY 10011 > * > > *[log in to unmask] <[log in to unmask]>* > > *212-294-8301 x8404* > > www.lbi.org| 1938projekt.org > > > > > > ------------------------------ > > To unsubscribe from the MUSEUM-L list, click the following link: > http://home.ease.lsoft.com/scripts/wa-HOME.exe?SUBED1=MUSEUM-L&A=1 > ========================================================= Important Subscriber Information: The Museum-L FAQ file is located at http://www.finalchapter.com/museum-l-faq/ . You may obtain detailed information about the listserv commands by sending a one line e-mail message to [log in to unmask] . The body of the message should read "help" (without the quotes). If you decide to leave Museum-L, please send a one line e-mail message to [log in to unmask] . The body of the message should read "Signoff Museum-L" (without the quotes). --000000000000e705180572791d2a Content-Type: text/html; charset="UTF-8" Content-Transfer-Encoding: quoted-printable
Don't know of any lock that cannot be replaced with a local lock smith, or someone handy with a few tools. What is the name or numbers on the lock?  Will look it up.  Probably available on the internet.  Al Noftz 231-386-9936

On Thu, Aug 2, 2018 at 3:11 PM, Lauren Paustian <[log in to unmask]> wrote:

Dear all,

 

I work for a library/archive in New York City that has a small gallery space which holds rotating exhibits.   

 

My organization has a table top display case from Waddell which cannot lock.  The barrel lock is loose, and the key seems to have disappeared.  However the lock broke and whatever happened to the key, is institutional knowledge that has been lost to time and staff changes. 

 

I inquired with a local locksmith, and he said that the manufacturer would need to replace the lock.  I inquired with Waddell about having the lock fixed, but that would require shipping the case back to their Ohio facility to have a new lock retrofitted into the case, which seems prohibitively expensive. 

 

Are there any other solutions I’m not thinking of?  Or do any New York museum colleagues have the name of a locksmith who could manage such work?

 

Thanks very much!

 

Sincerely,

Lauren Paustian

 

Collections Care Coordinator

Leo Baeck Institute

15 West 16th Street

New York, NY 10011

[log in to unmask]

212-294-8301 x8404

www.lbi.org| 1938projekt.org

 

 


To unsubscribe from the MUSEUM-L list, click the following link:
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--000000000000e705180572791d2a-- ========================================================================Date: Thu, 2 Aug 2018 23:24:55 -0700 Reply-To: Museum discussion list <[log in to unmask]> Sender: Museum discussion list <[log in to unmask]> From: Margaret Geiss-Mooney <[log in to unmask]> Subject: Re: Dress Nomenclature MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="----=_NextPart_000_0171_01D42AB8.05B42C70" Message-ID: <017001d42af2$b2130470$16390d50$@net> This is a multi-part message in MIME format. ------=_NextPart_000_0171_01D42AB8.05B42C70 Content-Type: text/plain; charset="utf-8" Content-Transfer-Encoding: quoted-printable Good evening, MuseumLers – Take a look at the Terminology resource offered online by the ICOM – Committee for Costume via their webpage: http://network.icom.museum/costume/publications/terminology/ Document what and why your final decision in writing so future generations can follow your reasoning. Regards, Meg . _ _ _ _ _ _ _ _ _ ___________ Margaret E. Geiss-Mooney Textile/Costume Conservator & Collections Care/Management Consultant Professional Associate – AIC National Heritage Responder - AIC 1-707-763-8694 [log in to unmask] | Linked-In On Wed, Aug 1, 2018 at 10:44 AM, Josh Jordan <[log in to unmask]> wrote: I have a question regarding how institutions differentiate between a "dress" and a "gown" in their catalogs. Does it have to do with the material it is made from? Is it the event the garment would be worn to? What criteria is used? I did see in Chenhall's Nomenclature that a gown is a type of dress. Want to know how institutions in the field define the terms. Thanks ========================================================= 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_0171_01D42AB8.05B42C70 Content-Type: text/html; charset="utf-8" Content-Transfer-Encoding: quoted-printable

Good evening, MuseumLers – Take a look at the Terminology resource offered online by the ICOM – Committee for Costume via their webpage:

http://network.icom.museum/costume/publications/terminology/

 

Document what and why your final decision in writing so future generations can follow your reasoning.

Regards,

Meg

.   _  _  _  _  _  _  _   _  _   ___________    

Margaret E. Geiss-Mooney    

Textile/Costume Conservator &   

Collections Care/Management Consultant      

Professional Associate – AIC

National Heritage Responder - AIC 

1-707-763-8694    

[log in to unmask]   

| Linked-In    

 

 

On Wed, Aug 1, 2018 at 10:44 AM, Josh Jordan <[log in to unmask]> wrote:

I have a question regarding how institutions differentiate between a "dress" and a "gown" in their catalogs.  Does it have to do with the material it is made from?  Is it the event the garment would be worn to?  What criteria is used?  I did see in Chenhall's Nomenclature that a gown is a type of dress.

Want to know how institutions in the field define the terms.
Thanks     

 


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------=_NextPart_000_0171_01D42AB8.05B42C70-- ========================================================================Date: Fri, 3 Aug 2018 11:39:39 -0700 Reply-To: Museum discussion list <[log in to unmask]> Sender: Museum discussion list <[log in to unmask]> From: topladave <[log in to unmask]> Subject: Upcoming Online Courses for Museum and Conservation Professionals - August 2018 MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="0000000000004d569205728c4199" Message-ID: <[log in to unmask]> --0000000000004d569205728c4199 Content-Type: text/plain; charset="UTF-8" Hi Everyone, Here is the schedule for the upcoming online courses I teach to museum and conservation students and professionals for August / Sept. 2018. All the courses are designed for busy working professionals and students. You do the courses entirely on your own time and schedule. No tests - No quizzes. There is an assignment to complete the course. *August* *Copyright and Intellectual Property 101 for Museums - August 6th.Four Week Course - $175Here is the link for payment:* *www.copyrightclass18.eventbrite.com * *Care and Conservation of Historic Ceramics - August 13th.Three Week Course - $175Here is the link for payment:* *www.ceramicscareclass16.eventbrite.com Care and Conservation of Historic Cannons - August 20th.Three Week Course - $175Here is the link for payment:www.cannoncareclass15.eventbrite.com * *SeptemberCare and Conservation of Historic Firearms - September 10th.Three Week Course - $175Here is the link for payment:* *www.firearmscareclass22.eventbrite.com * *Paranormal Investigations and Programs in Museums and Historic Sites - September 17th.* *Three Week Course - $175Here is the link for payment:* *www.paranormalmuseumclass22.eventbrite.com * *Care and Conservation of Archaeological Collections - September 24th.Three Week Course - $175Here is the link for payment:* *www.archaeologicalcollectionsclass13.eventbrite.com * If you have any questions feel free to email me. Cheers! Dave David Harvey Principal Conservator & Museum Consultant Los Angeles CA USA www.cityofangelsconservation.weebly.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). --0000000000004d569205728c4199 Content-Type: text/html; charset="UTF-8" Content-Transfer-Encoding: quoted-printable
Hi Everyone,                                                                                                                                                                                 
Here is the schedule for the upcoming online courses I teach to museum and conservation students and professionals for August / Sept. 2018.                                                                                                                                                                             
All the courses are designed for busy working professionals and students. You do the courses entirely on your own time and schedule. No tests - No quizzes. There is an assignment to complete the course.                                        


August

Copyright and Intellectual Property 101 for Museums  - August 6th.
Four Week Course - $175
Here is the link for payment:
Care and Conservation of Historic Ceramics - August 13th.
Three Week Course - $175
Here is the link for payment:
www.ceramicscareclass16.eventbrite.com

Care and Conservation of Historic Cannons - August 20th.
Three Week Course - $175
Here is the link for payment:
September

Care and Conservation of Historic Firearms - September 10th.
Three Week Course - $175
Here is the link for payment:
Paranormal Investigations and Programs in Museums and Historic Sites - September 17th.
Three Week Course - $175
Here is the link for payment:
Care and Conservation of Archaeological Collections - September 24th.
Three Week Course - $175
Here is the link for payment:

If you have any questions feel free to email me.

Cheers!
Dave

David Harvey
Principal Conservator & Museum Consultant
Los Angeles CA  USA
www.cityofangelsconservation.weebly.com


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--0000000000004d569205728c4199-- ========================================================================Date: Fri, 3 Aug 2018 17:02:42 -0400 Reply-To: Museum discussion list <[log in to unmask]> Sender: Museum discussion list <[log in to unmask]> From: John Veverka <[log in to unmask]> Subject: Course - Visitor motivations for selecting/attending (or not attending) interpretive programs and services. Comments: To: [log in to unmask] MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="----=_Part_10863_1359971727.1533330162260" Message-ID: <[log in to unmask]> ------=_Part_10863_1359971727.1533330162260 Content-Type: text/plain; charset=utf-8 Content-Transfer-Encoding: quoted-printable The Heritage Interpretation Training Center Visitormotivations for selecting/attending (or not attending) interpretiveprograms and services. A visitor-centeredcourse on how to increase your visitor program participationnumbers (attendance) in/at interpretive programs/services and experiences, basedon research from visitor interpretive content/topic preferences andexpectations. CourseTuition: $300.00 (3.5 CEU’s). Courseweb site: http://www.heritageinterp.com/visitor_motives_for_attending_interpretive_program.html Way back in the 1970’s working as a seasonal interpretivenaturalist with Ohio State Parks for 5 seasons, I observed several things thataffected my program attendances including: - We offered many program topics that almost no oneattended. - We offered some programs that only older park visitorswanted. - We offered some experiences that only younger visitorswanted. - We offered programs or experiences that visitorsattended, but for different reasons (perceived outcomes). I felt that we (interpreters) offered interpretive programsfor our weekly schedules on topics that WE liked or were interested in – neverthinking about program topics or experiences that the visitors might beinterested in. Two seasons of visitor survey research (surveyed over 4000visitors) at the Ohio State Park I worked at, for my M.S. in interpretation (atThe Ohio State University), I wanted to learn, among other things, what programtopics the visitors were interested in. I surveyed 90 different programtopics, including program topics we actually offered. I also wanted tolearn why visitors actually attended programs I was offering. So what didI learn? - None of the interpretive program topics we actuallyoffered were selected as preferred program topics that the visitors actually wanted to attend or have aninterest in. - Some program topics were preferred mostly by men. - Some program topics were preferred mostly by women. - Some program topics were preferred by both men and womenbut for different reasons (based on Maslow’s Hierarchy of Needs). - There were significant program topic preferencesdifferences by different age groups and genders. - There were significant scheduling differences as to whenvisitors wanted to participant in interpretive programs or experiences. - And more.... Based on the results, and now 30 years of interpretiveconsulting work, I consistently think about just who the visitors/market groupsare you want, and, what do THEY want? What products are you sellinganyway? Thus the “visitor” analysis as part of our interpretive masterplanning work. If this course on better understanding your visitor'smotivations for selecting and attending interpretive programs or experiences issomething you could use, check out the course content below. You canstart the course at any time and complete the course at your own pace. Course tuitionincludes: - Copy of John Veverka M.S. Thesis on Visitor Motivationsfor selecting and attending interpretive programs. - E-Copy of Veverka textbook “Interpretive Master Planning”. - Numerous handouts and articles on marketing forinterpretation and visitor survey research. - Handouts on mass customization and markets of one. - YouTube video introductions for each unit. - You can call/SKYPE course instructor/coach when you havequestions. The course units combine aspects of interpretive planning,motivational psychology, visitor survey research strategies, interpretivewriting for marketing, and visitation tracking. Unit One - Interpretive Master Planning –the model of interpretive planning. Unit Two - Visitor motivational psychology– Maslow and visitor needs and motivations. Unit Three - Visitor surveyresearch/questionnaire development and survey strategies. Unit Four - Timing is everything – when/where to offer interpretiveexperiences and program duration. Unit Five - Using the survey results –markets of one and mass customization. Unit Six - Creating new visitor-centeredinterpretive programs/services/experiences (mission, theme reviews andobjectives). Interpretive program planning strategies. Unit Seven - Rethinking marketing – “if youadvertise an interpretive program, tour or experience and you ask the visitorsto “give you an hour or two of your time”, or you charge for your programsor experiences, what benefits for attending the program or experience areyou offering them in return? What’s in it for them? Are you offering a$1.00 perceived experience for $10.00? Unit Eight - Interpretive writing forinterpretive program/service flyer/web-based advertising. Unit Nine - Tracking long-term follow-upbased on new interpretive program/services offerings. Are your visitornumbers increasing for interpretive programs or experiences? If youhave any questions please feel free to contact me. JohnVeverka Director/Coach HeritageInterpretation Training Center [log in to unmask] We offer 41 courses on heritage interpretation: http://www.heritageinterp.com/interpretive_training_center_course_catalogue_.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). ------=_Part_10863_1359971727.1533330162260 Content-Type: text/html; charset=utf-8 Content-Transfer-Encoding: quoted-printable
The Heritage Interpretation Training Center
 
Visitor motivations for selecting/attending (or not attending)
interpretive programs and services.
 
A visitor-centered course on how to increase your visitor program
participation numbers (attendance) in/at interpretive programs/services and experiences,
based on research from visitor interpretive content/topic preferences and expectations.
 
Course Tuition: $300.00 (3.5 CEU’s).
 
 
 
Way back in the 1970’s working as a seasonal interpretive naturalist with Ohio State Parks for 5 seasons, I observed several things that affected my program attendances including:
 
- We offered many program topics that almost no one attended.
- We offered some programs that only older park visitors wanted.
- We offered some experiences that only younger visitors wanted.
- We offered programs or experiences that visitors attended, but for different reasons (perceived outcomes).
 
I felt that we (interpreters) offered interpretive programs for our weekly schedules on topics that WE liked or were interested in – never thinking about program topics or experiences that the visitors might be interested in.
 
Two seasons of visitor survey research (surveyed over 4000 visitors) at the Ohio State Park I worked at, for my M.S. in interpretation (at The Ohio State University), I wanted to learn, among other things, what program topics the visitors were interested in.  I surveyed 90 different program topics, including program topics we actually offered.  I also wanted to learn why visitors actually attended programs I was offering.  So what did I learn?
 
- None of the interpretive program topics we actually offered were selected as preferred
  program topics that the visitors actually wanted to attend or have an interest in.
- Some program topics were preferred mostly by men.
- Some program topics were preferred mostly by women.
- Some program topics were preferred by both men and women but for different reasons (based
  on Maslow’s Hierarchy of Needs).
- There were significant program topic preferences differences by different age groups and   
  genders.
- There were significant scheduling differences as to when visitors wanted to participant in
   interpretive programs or experiences.
- And more....
 
Based on the results, and now 30 years of interpretive consulting work, I consistently think about just who the visitors/market groups are you want, and, what do THEY want? What products are you selling anyway?  Thus the “visitor” analysis as part of our interpretive master planning work.
 
If this course on better understanding your visitor's motivations for selecting and attending interpretive programs or experiences is something you could use, check out the course content below.  You can start the course at any time and complete the course at your own pace.
 
 
Course tuition includes:
 
- Copy of John Veverka M.S. Thesis on Visitor Motivations for selecting and attending
  interpretive programs.
- E-Copy of Veverka textbook “Interpretive Master Planning”.
- Numerous handouts and articles on marketing for interpretation and visitor survey research.
- Handouts on mass customization and markets of one.
- YouTube video introductions for each unit.
- You can call/SKYPE course instructor/coach when you have questions.
 
The course units combine aspects of interpretive planning, motivational psychology, visitor survey research strategies, interpretive writing for marketing, and visitation tracking.
 
Unit One - Interpretive Master Planning – the model of interpretive planning.
 
Unit Two - Visitor motivational psychology – Maslow and visitor needs and motivations.
 
Unit Three - Visitor survey research/questionnaire development and survey strategies.
 
Unit Four - Timing is everything – when/where to offer interpretive experiences and program duration.
 
Unit Five - Using the survey results – markets of one and mass customization.
 
Unit Six - Creating new visitor-centered interpretive programs/services/experiences (mission, theme reviews and objectives). Interpretive program planning strategies.
 
Unit Seven - Rethinking marketing – “if you advertise an interpretive program, tour or experience and you ask the visitors to “give you an hour or two of your time”, or you charge for your programs or experiences, what benefits for attending the program or experience are you offering them in return?  What’s in it for them? Are you offering a $1.00 perceived experience for $10.00?
 
Unit Eight - Interpretive writing for interpretive program/service flyer/web-based advertising.
 
Unit Nine - Tracking long-term follow-up based on new interpretive program/services offerings.  Are your visitor numbers increasing for interpretive programs or experiences?
 
 
 
If you have any questions please feel free to contact me.
 
John Veverka
Director/Coach
Heritage Interpretation Training Center
 
We offer 41 courses on heritage interpretation:
http://www.heritageinterp.com/interpretive_training_center_course_catalogue_.html
 
 
 
 
 
 
 

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------=_Part_10863_1359971727.1533330162260-- ========================================================================Date: Sat, 4 Aug 2018 08:16:03 +0200 Reply-To: Museum discussion list <[log in to unmask]> Sender: Museum discussion list <[log in to unmask]> From: "=?UTF-8?Q?C._Müller-Straten?=" <[log in to unmask]> Subject: Re: Dress Nomenclature In-Reply-To: <017001d42af2$b2130470$16390d50$@net> MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="------------5007FC9F69596C119DA5DF72" Message-ID: <[log in to unmask]> This is a multi-part message in MIME format. --------------5007FC9F69596C119DA5DF72 Content-Type: text/plain; charset=utf-8; format=flowed Content-Transfer-Encoding: quoted-printable Hi, to my personal understanding the terminological question is difficult, because both terms do not mean the same - and both have different meanings. In most cases, the context will solve the problem. *Dress* 1) a female garment, covering//the body above OR below the waist (1-3 or more pieces) see ICOM definition 2) the same as a (traditional) costume, libery, array, garb. But for both, men and women. *Gown* has even more meanings is mostly in use for female garments, but quite different ones: 1) the same as a lab coat, work coat, smock, pinafore, frock... 2) the same as dress 1) = an general or generic term. 3) the same as a (plastic) cape used in a barber's shop (=a special cape) 4) the same as a cape = a general or generic term 5) the same as a festive (long) evening gown= ball gown = a special dress 1), in contrary to the little black dress or so-called cocktail dresses. By the way: The historical ICOM vocabulary should be used with caution; it contains lots of omissions and errors. Best Christian Mueller-Straten See also http://www.museum-aktuell.de/index.php?site=kwb&TM=8 Am 03.08.2018 um 08:24 schrieb Margaret Geiss-Mooney: > > Good evening, MuseumLers – Take a look at the Terminology resource > offered online by the ICOM – Committee for Costume via their webpage: > > http://network.icom.museum/costume/publications/terminology/ > > Document what and why your final decision in writing so future > generations can follow your reasoning. > > Regards, > > Meg > > .   _  _  _  _  _  _  _   _  _ ___________ > > Margaret E. Geiss-Mooney > > Textile/Costume Conservator & > > Collections Care/Management Consultant > > Professional Associate – AIC > > National Heritage Responder - AIC > > 1-707-763-8694 > > [log in to unmask] > > | Linked-In > > On Wed, Aug 1, 2018 at 10:44 AM, Josh Jordan > <[log in to unmask]> wrote: > > I have a question regarding how institutions differentiate between > a "dress" and a "gown" in their catalogs.  Does it have to do with > the material it is made from?  Is it the event the garment would > be worn to?  What criteria is used?  I did see in Chenhall's > Nomenclature that a gown is a type of dress. > > Want to know how institutions in the field define the terms. > Thanks > > > ------------------------------------------------------------------------ > > To unsubscribe from the MUSEUM-L list, click the following link: > http://home.ease.lsoft.com/scripts/wa-HOME.exe?SUBED1=MUSEUM-L&A=1 > -- *Verlag Dr. Christian Müller-Straten* Crossmedia-Spezialverlag für die Bewahrung von Kultur und Natur Redaktion: Dr. Adelheid Straten ([log in to unmask]) Herausgeber: Dr. Christian Mueller-Straten Kunzweg 23, 81243 München, Germany http://www.museum-aktuell.de T. 0049-(0)89-839 690 43, Fax -44, [log in to unmask] Üblicherweise erreichbar: 7-20 h MEZ Media: MUSEUM AKTUELL print und MUSEUM AKTUELL Online (mit Tausenden von Jobs in MUSC-Jobs), EXPOTIME!, RESTAURATORENBLÄTTER - Papers in Conservation, das große Restauratoren-Wörterbuch KONSERVATIV, Europäisches Museumsportal www.museum-aktuell.de Kommerzielle Anliegen: Medienberatung Lutz F. Boden Marktstr. 6, 21698 Harsefeld T. 0049-(0)4164 9063507, mobil: 0175 – 3328668 [log in to unmask] Office hours: 9 am - 6 pm ========================================================= 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). --------------5007FC9F69596C119DA5DF72 Content-Type: text/html; charset=utf-8 Content-Transfer-Encoding: quoted-printable

Hi,


to my personal understanding the terminological question is difficult, because both terms do not mean the same - and both have different meanings. In most cases, the context will solve the problem.

Dress

1) a female garment, covering the body above OR below the waist (1-3 or more pieces) see ICOM definition

2) the same as a (traditional) costume, libery, array, garb. But for both, men and women.

Gown has even more meanings is mostly in use for female garments, but quite different ones:

1) the same as a lab coat, work coat, smock, pinafore, frock...

2) the same as dress 1) = an general or generic term.

3) the same as a (plastic) cape used in a barber's shop (=a special cape)

4) the same as a cape = a general or generic term

5) the same as a festive (long) evening gown= ball gown = a special dress 1), in contrary to the little black dress or so-called cocktail dresses.

By the way: The historical ICOM vocabulary should be used with caution; it contains lots of omissions and errors.

Best


Christian Mueller-Straten

See also http://www.museum-aktuell.de/index.php?site=kwb&TM=8



Am 03.08.2018 um 08:24 schrieb Margaret Geiss-Mooney:

Good evening, MuseumLers – Take a look at the Terminology resource offered online by the ICOM – Committee for Costume via their webpage:

http://network.icom.museum/costume/publications/terminology/

 

Document what and why your final decision in writing so future generations can follow your reasoning.

Regards,

Meg

.   _  _  _  _  _  _  _   _  _   ___________    

Margaret E. Geiss-Mooney    

Textile/Costume Conservator &   

Collections Care/Management Consultant      

Professional Associate – AIC

National Heritage Responder - AIC 

1-707-763-8694    

[log in to unmask]   

| Linked-In    

 

 

On Wed, Aug 1, 2018 at 10:44 AM, Josh Jordan <[log in to unmask]> wrote:

I have a question regarding how institutions differentiate between a "dress" and a "gown" in their catalogs.  Does it have to do with the material it is made from?  Is it the event the garment would be worn to?  What criteria is used?  I did see in Chenhall's Nomenclature that a gown is a type of dress.

Want to know how institutions in the field define the terms.
Thanks     

 


To unsubscribe from the MUSEUM-L list, click the following link:
http://home.ease.lsoft.com/scripts/wa-HOME.exe?SUBED1=MUSEUM-L&A=1


--
Verlag Dr. Christian Müller-Straten
Crossmedia-Spezialverlag für die Bewahrung von Kultur und Natur
Redaktion: Dr. Adelheid Straten ([log in to unmask])
Herausgeber: Dr. Christian Mueller-Straten
Kunzweg 23, 81243 München, Germany
http://www.museum-aktuell.de T. 0049-(0)89-839 690 43, Fax -44, [log in to unmask]
Üblicherweise erreichbar: 7-20 h MEZ
Media: MUSEUM AKTUELL print und MUSEUM AKTUELL Online (mit Tausenden von Jobs in MUSC-Jobs), EXPOTIME!,
RESTAURATORENBLÄTTER - Papers in Conservation, das große Restauratoren-Wörterbuch KONSERVATIV, Europäisches Museumsportal www.museum-aktuell.de
Kommerzielle Anliegen: Medienberatung Lutz F. Boden
Marktstr. 6, 21698 Harsefeld
T. 0049-(0)4164 9063507, mobil: 0175 – 3328668
[log in to unmask]
Office hours: 9 am - 6 pm

To unsubscribe from the MUSEUM-L list, click the following link:
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--------------5007FC9F69596C119DA5DF72-- ========================================================================Date: Sat, 4 Aug 2018 09:23:25 +0200 Reply-To: Museum discussion list <[log in to unmask]> Sender: Museum discussion list <[log in to unmask]> From: "=?UTF-8?Q?C._Müller-Straten?=" <[log in to unmask]> Subject: Re: Dress Nomenclature In-Reply-To: <[log in to unmask]> MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="------------A7D08BDFF38766A37CDE4FC2" Message-ID: <[log in to unmask]> This is a multi-part message in MIME format. --------------A7D08BDFF38766A37CDE4FC2 Content-Type: text/plain; charset=utf-8; format=flowed Content-Transfer-Encoding: quoted-printable > Hi all, > > I have been asked why I said that both terms do not mean the same and > making the statement gown 2) is the same as dress 1). > To my logical understanding, two words mean the same only if they > refer completely to the same object. As both terms refer to different > objects, they do not mean "the same". My conclusion would be the same, > if only one of both terms in question would refer to different objects. > > Christian > > > Am 04.08.2018 um 08:16 schrieb C. Müller-Straten: >> >> Hi, >> >> >> to my personal understanding the terminological question is >> difficult, because both terms do not mean the same - and both have >> different meanings. In most cases, the context will solve the problem. >> >> *Dress* >> >> 1) a female garment, covering//the body above OR below the waist (1-3 >> or more pieces) see ICOM definition >> >> 2) the same as a (traditional) costume, libery, array, garb. But for >> both, men and women. >> >> *Gown* has even more meanings is mostly in use for female garments, >> but quite different ones: >> >> 1) the same as a lab coat, work coat, smock, pinafore, frock... >> >> 2) the same as dress 1) = an general or generic term. >> >> 3) the same as a (plastic) cape used in a barber's shop (=a special cape) >> >> 4) the same as a cape = a general or generic term >> >> 5) the same as a festive (long) evening gown= ball gown = a special >> dress 1), in contrary to the little black dress or so-called cocktail >> dresses. >> >> By the way: The historical ICOM vocabulary should be used with >> caution; it contains lots of omissions and errors. >> >> Best >> >> >> Christian Mueller-Straten >> >> See also http://www.museum-aktuell.de/index.php?site=kwb&TM=8 >> >> >> >> Am 03.08.2018 um 08:24 schrieb Margaret Geiss-Mooney: >>> >>> Good evening, MuseumLers – Take a look at the Terminology resource >>> offered online by the ICOM – Committee for Costume via their webpage: >>> >>> http://network.icom.museum/costume/publications/terminology/ >>> >>> Document what and why your final decision in writing so future >>> generations can follow your reasoning. >>> >>> Regards, >>> >>> Meg >>> >>> .   _  _  _  _  _  _  _   _ _   ___________ >>> >>> Margaret E. Geiss-Mooney >>> >>> Textile/Costume Conservator & >>> >>> Collections Care/Management Consultant >>> >>> Professional Associate – AIC >>> >>> National Heritage Responder - AIC >>> >>> 1-707-763-8694 >>> >>> [log in to unmask] >>> >>> | Linked-In >>> >>> On Wed, Aug 1, 2018 at 10:44 AM, Josh Jordan >>> <[log in to unmask]> wrote: >>> >>> I have a question regarding how institutions differentiate >>> between a "dress" and a "gown" in their catalogs.  Does it have >>> to do with the material it is made from?  Is it the event the >>> garment would be worn to?  What criteria is used?  I did see in >>> Chenhall's Nomenclature that a gown is a type of dress. >>> >>> Want to know how institutions in the field define the terms. >>> Thanks >>> >>> >>> ------------------------------------------------------------------------ >>> >>> To unsubscribe from the MUSEUM-L list, click the following link: >>> http://home.ease.lsoft.com/scripts/wa-HOME.exe?SUBED1=MUSEUM-L&A=1 >>> >> >> -- >> *Verlag Dr. Christian Müller-Straten* >> Crossmedia-Spezialverlag für die Bewahrung von Kultur und Natur >> Redaktion: Dr. Adelheid Straten ([log in to unmask]) >> Herausgeber: Dr. Christian Mueller-Straten >> Kunzweg 23, 81243 München, Germany >> http://www.museum-aktuell.de T. 0049-(0)89-839 690 43, Fax -44, >> [log in to unmask] >> Üblicherweise erreichbar: 7-20 h MEZ >> Media: MUSEUM AKTUELL print und MUSEUM AKTUELL Online (mit Tausenden >> von Jobs in MUSC-Jobs), EXPOTIME!, >> RESTAURATORENBLÄTTER - Papers in Conservation, das große >> Restauratoren-Wörterbuch KONSERVATIV, Europäisches Museumsportal >> www.museum-aktuell.de >> Kommerzielle Anliegen: Medienberatung Lutz F. Boden >> Marktstr. 6, 21698 Harsefeld >> T. 0049-(0)4164 9063507, mobil: 0175 – 3328668 >> [log in to unmask] >> Office hours: 9 am - 6 pm >> >> ------------------------------------------------------------------------ >> >> To unsubscribe from the MUSEUM-L list, click the following link: >> http://home.ease.lsoft.com/scripts/wa-HOME.exe?SUBED1=MUSEUM-L&A=1 >> > > -- > *Verlag Dr. Christian Müller-Straten* > Crossmedia-Spezialverlag für die Bewahrung von Kultur und Natur > Redaktion: Dr. Adelheid Straten ([log in to unmask]) > Herausgeber: Dr. Christian Mueller-Straten > Kunzweg 23, 81243 München, Germany > http://www.museum-aktuell.de T. 0049-(0)89-839 690 43, Fax -44, > [log in to unmask] > Üblicherweise erreichbar: 7-20 h MEZ > Media: MUSEUM AKTUELL print und MUSEUM AKTUELL Online (mit Tausenden > von Jobs in MUSC-Jobs), EXPOTIME!, > RESTAURATORENBLÄTTER - Papers in Conservation, das große > Restauratoren-Wörterbuch KONSERVATIV, Europäisches Museumsportal > www.museum-aktuell.de > Kommerzielle Anliegen: Medienberatung Lutz F. Boden > Marktstr. 6, 21698 Harsefeld > T. 0049-(0)4164 9063507, mobil: 0175 – 3328668 > [log in to unmask] > Office hours: 9 am - 6 pm -- *Verlag Dr. Christian Müller-Straten* Crossmedia-Spezialverlag für die Bewahrung von Kultur und Natur Redaktion: Dr. Adelheid Straten ([log in to unmask]) Herausgeber: Dr. Christian Mueller-Straten Kunzweg 23, 81243 München, Germany http://www.museum-aktuell.de T. 0049-(0)89-839 690 43, Fax -44, [log in to unmask] Üblicherweise erreichbar: 7-20 h MEZ Media: MUSEUM AKTUELL print und MUSEUM AKTUELL Online (mit Tausenden von Jobs in MUSC-Jobs), EXPOTIME!, RESTAURATORENBLÄTTER - Papers in Conservation, das große Restauratoren-Wörterbuch KONSERVATIV, Europäisches Museumsportal www.museum-aktuell.de Kommerzielle Anliegen: Medienberatung Lutz F. Boden Marktstr. 6, 21698 Harsefeld T. 0049-(0)4164 9063507, mobil: 0175 – 3328668 [log in to unmask] Office hours: 9 am - 6 pm ========================================================= 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). --------------A7D08BDFF38766A37CDE4FC2 Content-Type: text/html; charset=utf-8 Content-Transfer-Encoding: quoted-printable
[log in to unmask]">

Hi all,

I have been asked why I said that both terms do not mean the same and making the statement gown 2) is the same as dress 1).
To my logical understanding, two words mean the same only if they refer completely to the same object. As both terms refer to different objects, they do not mean "the same". My conclusion would be the same, if only one of both terms in question would refer to different objects.

[log in to unmask]">

Christian


Am 04.08.2018 um 08:16 schrieb C. Müller-Straten:
[log in to unmask]">

Hi,


to my personal understanding the terminological question is difficult, because both terms do not mean the same - and both have different meanings. In most cases, the context will solve the problem.

Dress

1) a female garment, covering the body above OR below the waist (1-3 or more pieces) see ICOM definition

2) the same as a (traditional) costume, libery, array, garb. But for both, men and women.

Gown has even more meanings is mostly in use for female garments, but quite different ones:

1) the same as a lab coat, work coat, smock, pinafore, frock...

2) the same as dress 1) = an general or generic term.

3) the same as a (plastic) cape used in a barber's shop (=a special cape)

4) the same as a cape = a general or generic term

5) the same as a festive (long) evening gown= ball gown = a special dress 1), in contrary to the little black dress or so-called cocktail dresses.

By the way: The historical ICOM vocabulary should be used with caution; it contains lots of omissions and errors.

Best


Christian Mueller-Straten

See also http://www.museum-aktuell.de/index.php?site=kwb&TM=8



Am 03.08.2018 um 08:24 schrieb Margaret Geiss-Mooney:

Good evening, MuseumLers – Take a look at the Terminology resource offered online by the ICOM – Committee for Costume via their webpage:

http://network.icom.museum/costume/publications/terminology/

 

Document what and why your final decision in writing so future generations can follow your reasoning.

Regards,

Meg

.   _  _  _  _  _  _  _   _  _   ___________    

Margaret E. Geiss-Mooney    

Textile/Costume Conservator &   

Collections Care/Management Consultant      

Professional Associate – AIC

National Heritage Responder - AIC 

1-707-763-8694    

[log in to unmask]   

| Linked-In    

 

 

On Wed, Aug 1, 2018 at 10:44 AM, Josh Jordan <[log in to unmask]> wrote:

I have a question regarding how institutions differentiate between a "dress" and a "gown" in their catalogs.  Does it have to do with the material it is made from?  Is it the event the garment would be worn to?  What criteria is used?  I did see in Chenhall's Nomenclature that a gown is a type of dress.

Want to know how institutions in the field define the terms.
Thanks     

 


To unsubscribe from the MUSEUM-L list, click the following link:
http://home.ease.lsoft.com/scripts/wa-HOME.exe?SUBED1=MUSEUM-L&A=1


--
Verlag Dr. Christian Müller-Straten
Crossmedia-Spezialverlag für die Bewahrung von Kultur und Natur
Redaktion: Dr. Adelheid Straten ([log in to unmask])
Herausgeber: Dr. Christian Mueller-Straten
Kunzweg 23, 81243 München, Germany
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Kommerzielle Anliegen: Medienberatung Lutz F. Boden
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Verlag Dr. Christian Müller-Straten
Crossmedia-Spezialverlag für die Bewahrung von Kultur und Natur
Redaktion: Dr. Adelheid Straten ([log in to unmask])
Herausgeber: Dr. Christian Mueller-Straten
Kunzweg 23, 81243 München, Germany
http://www.museum-aktuell.de T. 0049-(0)89-839 690 43, Fax -44, [log in to unmask]
Üblicherweise erreichbar: 7-20 h MEZ
Media: MUSEUM AKTUELL print und MUSEUM AKTUELL Online (mit Tausenden von Jobs in MUSC-Jobs), EXPOTIME!,
RESTAURATORENBLÄTTER - Papers in Conservation, das große Restauratoren-Wörterbuch KONSERVATIV, Europäisches Museumsportal www.museum-aktuell.de
Kommerzielle Anliegen: Medienberatung Lutz F. Boden
Marktstr. 6, 21698 Harsefeld
T. 0049-(0)4164 9063507, mobil: 0175 – 3328668
[log in to unmask]
Office hours: 9 am - 6 pm

--
Verlag Dr. Christian Müller-Straten
Crossmedia-Spezialverlag für die Bewahrung von Kultur und Natur
Redaktion: Dr. Adelheid Straten ([log in to unmask])
Herausgeber: Dr. Christian Mueller-Straten
Kunzweg 23, 81243 München, Germany
http://www.museum-aktuell.de T. 0049-(0)89-839 690 43, Fax -44, [log in to unmask]
Üblicherweise erreichbar: 7-20 h MEZ
Media: MUSEUM AKTUELL print und MUSEUM AKTUELL Online (mit Tausenden von Jobs in MUSC-Jobs), EXPOTIME!,
RESTAURATORENBLÄTTER - Papers in Conservation, das große Restauratoren-Wörterbuch KONSERVATIV, Europäisches Museumsportal www.museum-aktuell.de
Kommerzielle Anliegen: Medienberatung Lutz F. Boden
Marktstr. 6, 21698 Harsefeld
T. 0049-(0)4164 9063507, mobil: 0175 – 3328668
[log in to unmask]
Office hours: 9 am - 6 pm

To unsubscribe from the MUSEUM-L list, click the following link:
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--------------A7D08BDFF38766A37CDE4FC2-- ========================================================================Date: Mon, 6 Aug 2018 10:56:13 +0000 Reply-To: Museum discussion list <[log in to unmask]> Sender: Museum discussion list <[log in to unmask]> From: Th Gray <[log in to unmask]> Subject: Licensed Interpretation MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="----=_Part_2644513_746329367.1533552973749" Message-ID: <[log in to unmask]> ------=_Part_2644513_746329367.1533552973749 Content-Type: text/plain; charset=UTF-8 Content-Transfer-Encoding: 7bit A Charleston judge said no to licensing tour guides because such practices limit free speech. Leaving aside the first amendment arguments, our research suggests that our entire field consists almost exclusively of unlicensed professionals. T.H. Gray, Director-Curator American Hysterical Society ========================================================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_2644513_746329367.1533552973749 Content-Type: text/html; charset=UTF-8 Content-Transfer-Encoding: 7bit
A Charleston judge said no to licensing tour guides because such practices limit free speech. Leaving aside the first amendment arguments, our research suggests that our entire field consists almost exclusively of unlicensed professionals.


T.H. Gray, Director-Curator American Hysterical Society

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------=_Part_2644513_746329367.1533552973749-- ========================================================================Date: Mon, 6 Aug 2018 08:26:20 -0400 Reply-To: Museum discussion list <[log in to unmask]> Sender: Museum discussion list <[log in to unmask]> From: Brad Bredehoft <[log in to unmask]> Subject: Moving Museum Collections course begins Sept 3 on MuseumStudy.com MIME-Version: 1.0 Content-Type: text/plain; charset=utf-8; format=flowed Content-Transfer-Encoding: 7bit Message-ID: <[log in to unmask]> Join Instructor Lori Benson, veteran of three large scale museum collection moves, for the 4 week online course Moving Museum Collections. This course provides an overview of how to plan and manage a move to avoid the many pitfalls. The course will help you define the scope of your project, develop a work plan and schedule, prepare a communication scheme, define proposals for vendors, choose equipment, estimate costs, identify hazards, organize staffing and establish packing techniques and standards. Whether you are moving across the hall or across town, Moving Museum Collections will provide a guide for a successful move. Visit our website for more information. http://www.museumstudy.com/courses/course-list/moving-museum-collections/ -- Brad Bredehoft CEO Museum Study, LLC www.MuseumStudy.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). ========================================================================Date: Mon, 6 Aug 2018 14:45:18 +0200 Reply-To: Museum discussion list <[log in to unmask]> Sender: Museum discussion list <[log in to unmask]> From: Jadran Kale <[log in to unmask]> Subject: Re: Licensed Interpretation In-Reply-To: <[log in to unmask]> MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="------------BE8E60B1E6E54723DB6F3497" Message-ID: <[log in to unmask]> This is a multi-part message in MIME format. --------------BE8E60B1E6E54723DB6F3497 Content-Type: text/plain; charset=utf-8; format=flowed Content-Transfer-Encoding: 7bit Dear Mr Gray and the rest of museumlites, Thank you for a very interesting news. Again I have to ask for help, because of: > > 451: Unavailable due to legal reasons > > We recognize you are attempting to access this website from a country > belonging to the European Economic Area (EEA) including the EU which > enforces the General Data Protection Regulation > (GDPR) and therefore access cannot be granted > at this time. For any issues, contact [log in to unmask] > or call 843-577-7111 > . > Please, can you digest (can't utter a c-word) this newspiece? Sincerely yours, Jadran Kale, curator ethnologist City Museum of Sibenik, Croatia On 6.8.2018 12:56, Th Gray wrote: > A Charleston judge said no to licensing tour guides > > because such practices limit free speech. Leaving aside the first > amendment arguments, our research suggests that our entire field > consists almost exclusively of unlicensed professionals > . > > > T.H. Gray, Director-Curator American Hysterical Society ========================================================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). --------------BE8E60B1E6E54723DB6F3497 Content-Type: text/html; charset=utf-8 Content-Transfer-Encoding: 7bit
Dear Mr Gray and the rest of museumlites,


Thank you for a very interesting news. Again I have to ask for help, because of:

451: Unavailable due to legal reasons

We recognize you are attempting to access this website from a country belonging to the European Economic Area (EEA) including the EU which enforces the General Data Protection Regulation (GDPR) and therefore access cannot be granted at this time. For any issues, contact [log in to unmask] or call 843-577-7111.


Please, can you digest (can't utter a c-word) this newspiece?

Sincerely yours,

Jadran Kale, curator ethnologist
City Museum of Sibenik, Croatia


On 6.8.2018 12:56, Th Gray wrote:
[log in to unmask]">
A Charleston judge said no to licensing tour guides because such practices limit free speech. Leaving aside the first amendment arguments, our research suggests that our entire field consists almost exclusively of unlicensed professionals.


T.H. Gray, Director-Curator American Hysterical Society


To unsubscribe from the MUSEUM-L list, click the following link:
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--------------BE8E60B1E6E54723DB6F3497-- ========================================================================Date: Sat, 4 Aug 2018 09:17:37 +0200 Reply-To: Museum discussion list <[log in to unmask]> Sender: Museum discussion list <[log in to unmask]> From: "=?UTF-8?Q?C._Müller-Straten?=" <[log in to unmask]> Subject: Re: Dress Nomenclature In-Reply-To: <[log in to unmask]> MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="------------81751F635588A1CBD903D6B5" Message-ID: <[log in to unmask]> This is a multi-part message in MIME format. --------------81751F635588A1CBD903D6B5 Content-Type: text/plain; charset=utf-8; format=flowed Content-Transfer-Encoding: quoted-printable Hi all, I have been asked why I said that both terms do not mean the same and making the statement Gown 2) is the same as dress 1). To my logical understanding, two word mean the same only if they denote completely the same object. As both terms refer to different objects, they do not mean "the same". My conclusion would be the same, if only one of both terms in question would refer to different objects. Christian Am 04.08.2018 um 08:16 schrieb C. Müller-Straten: > > Hi, > > > to my personal understanding the terminological question is difficult, > because both terms do not mean the same - and both have different > meanings. In most cases, the context will solve the problem. > > *Dress* > > 1) a female garment, covering//the body above OR below the waist (1-3 > or more pieces) see ICOM definition > > 2) the same as a (traditional) costume, libery, array, garb. But for > both, men and women. > > *Gown* has even more meanings is mostly in use for female garments, > but quite different ones: > > 1) the same as a lab coat, work coat, smock, pinafore, frock... > > 2) the same as dress 1) = an general or generic term. > > 3) the same as a (plastic) cape used in a barber's shop (=a special cape) > > 4) the same as a cape = a general or generic term > > 5) the same as a festive (long) evening gown= ball gown = a special > dress 1), in contrary to the little black dress or so-called cocktail > dresses. > > By the way: The historical ICOM vocabulary should be used with > caution; it contains lots of omissions and errors. > > Best > > > Christian Mueller-Straten > > See also http://www.museum-aktuell.de/index.php?site=kwb&TM=8 > > > > Am 03.08.2018 um 08:24 schrieb Margaret Geiss-Mooney: >> >> Good evening, MuseumLers – Take a look at the Terminology resource >> offered online by the ICOM – Committee for Costume via their webpage: >> >> http://network.icom.museum/costume/publications/terminology/ >> >> Document what and why your final decision in writing so future >> generations can follow your reasoning. >> >> Regards, >> >> Meg >> >> .   _  _  _  _  _  _  _   _ _   ___________ >> >> Margaret E. Geiss-Mooney >> >> Textile/Costume Conservator & >> >> Collections Care/Management Consultant >> >> Professional Associate – AIC >> >> National Heritage Responder - AIC >> >> 1-707-763-8694 >> >> [log in to unmask] >> >> | Linked-In >> >> On Wed, Aug 1, 2018 at 10:44 AM, Josh Jordan >> <[log in to unmask]> wrote: >> >> I have a question regarding how institutions differentiate >> between a "dress" and a "gown" in their catalogs.  Does it have >> to do with the material it is made from?  Is it the event the >> garment would be worn to?  What criteria is used?  I did see in >> Chenhall's Nomenclature that a gown is a type of dress. >> >> Want to know how institutions in the field define the terms. >> Thanks >> >> >> ------------------------------------------------------------------------ >> >> To unsubscribe from the MUSEUM-L list, click the following link: >> http://home.ease.lsoft.com/scripts/wa-HOME.exe?SUBED1=MUSEUM-L&A=1 >> > > -- > *Verlag Dr. Christian Müller-Straten* > Crossmedia-Spezialverlag für die Bewahrung von Kultur und Natur > Redaktion: Dr. Adelheid Straten ([log in to unmask]) > Herausgeber: Dr. Christian Mueller-Straten > Kunzweg 23, 81243 München, Germany > http://www.museum-aktuell.de T. 0049-(0)89-839 690 43, Fax -44, > [log in to unmask] > Üblicherweise erreichbar: 7-20 h MEZ > Media: MUSEUM AKTUELL print und MUSEUM AKTUELL Online (mit Tausenden > von Jobs in MUSC-Jobs), EXPOTIME!, > RESTAURATORENBLÄTTER - Papers in Conservation, das große > Restauratoren-Wörterbuch KONSERVATIV, Europäisches Museumsportal > www.museum-aktuell.de > Kommerzielle Anliegen: Medienberatung Lutz F. Boden > Marktstr. 6, 21698 Harsefeld > T. 0049-(0)4164 9063507, mobil: 0175 – 3328668 > [log in to unmask] > Office hours: 9 am - 6 pm > > ------------------------------------------------------------------------ > > To unsubscribe from the MUSEUM-L list, click the following link: > http://home.ease.lsoft.com/scripts/wa-HOME.exe?SUBED1=MUSEUM-L&A=1 > -- *Verlag Dr. Christian Müller-Straten* Crossmedia-Spezialverlag für die Bewahrung von Kultur und Natur Redaktion: Dr. Adelheid Straten ([log in to unmask]) Herausgeber: Dr. Christian Mueller-Straten Kunzweg 23, 81243 München, Germany http://www.museum-aktuell.de T. 0049-(0)89-839 690 43, Fax -44, [log in to unmask] Üblicherweise erreichbar: 7-20 h MEZ Media: MUSEUM AKTUELL print und MUSEUM AKTUELL Online (mit Tausenden von Jobs in MUSC-Jobs), EXPOTIME!, RESTAURATORENBLÄTTER - Papers in Conservation, das große Restauratoren-Wörterbuch KONSERVATIV, Europäisches Museumsportal www.museum-aktuell.de Kommerzielle Anliegen: Medienberatung Lutz F. Boden Marktstr. 6, 21698 Harsefeld T. 0049-(0)4164 9063507, mobil: 0175 – 3328668 [log in to unmask] Office hours: 9 am - 6 pm ========================================================= 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). --------------81751F635588A1CBD903D6B5 Content-Type: text/html; charset=utf-8 Content-Transfer-Encoding: quoted-printable

Hi all,

I have been asked why I said that both terms do not mean the same and making the statement Gown 2) is the same as dress 1). To my logical understanding, two word mean the same only if they denote completely the same object. As both terms refer to different objects, they do not mean "the same". My conclusion would be the same, if only one of both terms in question would refer to different objects.

Christian


Am 04.08.2018 um 08:16 schrieb C. Müller-Straten:
[log in to unmask]">

Hi,


to my personal understanding the terminological question is difficult, because both terms do not mean the same - and both have different meanings. In most cases, the context will solve the problem.

Dress

1) a female garment, covering the body above OR below the waist (1-3 or more pieces) see ICOM definition

2) the same as a (traditional) costume, libery, array, garb. But for both, men and women.

Gown has even more meanings is mostly in use for female garments, but quite different ones:

1) the same as a lab coat, work coat, smock, pinafore, frock...

2) the same as dress 1) = an general or generic term.

3) the same as a (plastic) cape used in a barber's shop (=a special cape)

4) the same as a cape = a general or generic term

5) the same as a festive (long) evening gown= ball gown = a special dress 1), in contrary to the little black dress or so-called cocktail dresses.

By the way: The historical ICOM vocabulary should be used with caution; it contains lots of omissions and errors.

Best


Christian Mueller-Straten

See also http://www.museum-aktuell.de/index.php?site=kwb&TM=8



Am 03.08.2018 um 08:24 schrieb Margaret Geiss-Mooney:

Good evening, MuseumLers – Take a look at the Terminology resource offered online by the ICOM – Committee for Costume via their webpage:

http://network.icom.museum/costume/publications/terminology/

 

Document what and why your final decision in writing so future generations can follow your reasoning.

Regards,

Meg

.   _  _  _  _  _  _  _   _  _   ___________    

Margaret E. Geiss-Mooney    

Textile/Costume Conservator &   

Collections Care/Management Consultant      

Professional Associate – AIC

National Heritage Responder - AIC 

1-707-763-8694    

[log in to unmask]   

| Linked-In    

 

 

On Wed, Aug 1, 2018 at 10:44 AM, Josh Jordan <[log in to unmask]> wrote:

I have a question regarding how institutions differentiate between a "dress" and a "gown" in their catalogs.  Does it have to do with the material it is made from?  Is it the event the garment would be worn to?  What criteria is used?  I did see in Chenhall's Nomenclature that a gown is a type of dress.

Want to know how institutions in the field define the terms.
Thanks     

 


To unsubscribe from the MUSEUM-L list, click the following link:
http://home.ease.lsoft.com/scripts/wa-HOME.exe?SUBED1=MUSEUM-L&A=1


--
Verlag Dr. Christian Müller-Straten
Crossmedia-Spezialverlag für die Bewahrung von Kultur und Natur
Redaktion: Dr. Adelheid Straten ([log in to unmask])
Herausgeber: Dr. Christian Mueller-Straten
Kunzweg 23, 81243 München, Germany
http://www.museum-aktuell.de T. 0049-(0)89-839 690 43, Fax -44, [log in to unmask]
Üblicherweise erreichbar: 7-20 h MEZ
Media: MUSEUM AKTUELL print und MUSEUM AKTUELL Online (mit Tausenden von Jobs in MUSC-Jobs), EXPOTIME!,
RESTAURATORENBLÄTTER - Papers in Conservation, das große Restauratoren-Wörterbuch KONSERVATIV, Europäisches Museumsportal www.museum-aktuell.de
Kommerzielle Anliegen: Medienberatung Lutz F. Boden
Marktstr. 6, 21698 Harsefeld
T. 0049-(0)4164 9063507, mobil: 0175 – 3328668
[log in to unmask]
Office hours: 9 am - 6 pm

To unsubscribe from the MUSEUM-L list, click the following link:
http://home.ease.lsoft.com/scripts/wa-HOME.exe?SUBED1=MUSEUM-L&A=1


--
Verlag Dr. Christian Müller-Straten
Crossmedia-Spezialverlag für die Bewahrung von Kultur und Natur
Redaktion: Dr. Adelheid Straten ([log in to unmask])
Herausgeber: Dr. Christian Mueller-Straten
Kunzweg 23, 81243 München, Germany
http://www.museum-aktuell.de T. 0049-(0)89-839 690 43, Fax -44, [log in to unmask]
Üblicherweise erreichbar: 7-20 h MEZ
Media: MUSEUM AKTUELL print und MUSEUM AKTUELL Online (mit Tausenden von Jobs in MUSC-Jobs), EXPOTIME!,
RESTAURATORENBLÄTTER - Papers in Conservation, das große Restauratoren-Wörterbuch KONSERVATIV, Europäisches Museumsportal www.museum-aktuell.de
Kommerzielle Anliegen: Medienberatung Lutz F. Boden
Marktstr. 6, 21698 Harsefeld
T. 0049-(0)4164 9063507, mobil: 0175 – 3328668
[log in to unmask]
Office hours: 9 am - 6 pm

To unsubscribe from the MUSEUM-L list, click the following link:
http://home.ease.lsoft.com/scripts/wa-HOME.exe?SUBED1=MUSEUM-L&A=1

--------------81751F635588A1CBD903D6B5-- ========================================================================Date: Mon, 6 Aug 2018 10:48:01 -0400 Reply-To: Museum discussion list <[log in to unmask]> Sender: Museum discussion list <[log in to unmask]> From: "Anne W. Ackerson" <[log in to unmask]> Subject: The Problem with HR in Small Museums MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="00000000000039d04e0572c55d86" Message-ID: <[log in to unmask]> --00000000000039d04e0572c55d86 Content-Type: text/plain; charset="UTF-8" When Leadership Matters' guest blogger Kay Smith needed human resources support, but didn't have access to it at the small museum where she worked, she was left to challenge the status quo by herself. She offers up some advice that we think works for most museums. https://bit.ly/2OdkVx2 Happy reading, Joan Baldwin -- Anne W. Ackerson Creative Leadership & Management Solutions 1914 Burdett Avenue Troy, New York 12180 T: 518-271-2455 E: [log in to unmask] Co-Author: *Women in the ** Museum: Lessons from the Workplace * ; *Leadership Matters *; and the *Leadership Matters Blog* Co-founder: *Gender Equity in Museums Movement * Read my Blog , *Leading by Design* Follow me on Twitter and on LinkedIn Visit my Website *Subscribe to Take 5 , the newsletter with a fresh take on nonprofit life* *Take 5* Website ========================================================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). --00000000000039d04e0572c55d86 Content-Type: text/html; charset="UTF-8" Content-Transfer-Encoding: quoted-printable
When Leadership Matters' guest blogger Kay Smith needed human resources support, but didn't have access to it at the small museum where she worked, she was left to challenge the status quo by herself. She offers up some advice that we think works for most museums.


Happy reading,

Joan Baldwin


--
Anne W. Ackerson
Creative Leadership & Management Solutions
1914 Burdett Avenue
Troy, New York  12180
T:  518-271-2455
E:  [log in to unmask]





Read my Blog, Leading by Design
Follow me on Twitter and on LinkedIn
Visit my Website

Subscribe to Take 5, the newsletter with a fresh take on nonprofit life

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--00000000000039d04e0572c55d86-- ========================================================================Date: Mon, 6 Aug 2018 09:06:30 -0600 Reply-To: Museum discussion list <[log in to unmask]> Sender: Museum discussion list <[log in to unmask]> From: Michael Rebman <[log in to unmask]> Subject: Re: Licensed Interpretation In-Reply-To: <[log in to unmask]> MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="000000000000c040c50572c5a182" Message-ID: <[log in to unmask]> --000000000000c040c50572c5a182 Content-Type: text/plain; charset="UTF-8" Greetings, In summary, the City of Charleston in South Carolina formerly required tour guides to take a test and become licensed. The logic for Charleston was that they wanted all private for-profit tour guides to demonstrate a solid knowledge of Charleston history, based on facts assembled in a book prepared by the Historic Charleston Foundation. A libertarian group, representing three people who failed the test, sued the city. The logic of the libertarian group was that tour guides tell stories, and requiring the tour guides to demonstrate knowledge prepared by historians limited their ability to tell stories, whether or not they were conveying correct information about Charleston and its history. A judge ruled that the test violated the free speech of the tour guides, and threw out the law requiring the test and license. Thank you, Michael R . On Mon, Aug 6, 2018 at 6:45 AM, Jadran Kale <[log in to unmask]> wrote: > Dear Mr Gray and the rest of museumlites, > > > Thank you for a very interesting news. Again I have to ask for help, > because of: > > > Please, can you digest (can't utter a c-word) this newspiece? > > Sincerely yours, > > Jadran Kale, curator ethnologist > City Museum of Sibenik, Croatia > ========================================================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). --000000000000c040c50572c5a182 Content-Type: text/html; charset="UTF-8" Content-Transfer-Encoding: quoted-printable
Greetings,

In summary, the City of Charleston in South Carolina formerly required tour guides to take a test and become licensed.  The logic for Charleston was that they wanted all private for-profit tour guides to demonstrate a solid knowledge of Charleston history, based on facts assembled in a book prepared by the Historic Charleston Foundation.  A libertarian group, representing three people who failed the test, sued the city.  The logic of the libertarian group was that tour guides tell stories, and requiring the tour guides to demonstrate knowledge prepared by historians limited their ability to tell stories, whether or not they were conveying correct information about Charleston and its history.  A judge ruled that the test violated the free speech of the tour guides, and threw out the law requiring the test and license.

Thank you,

Michael R
.

On Mon, Aug 6, 2018 at 6:45 AM, Jadran Kale <[log in to unmask]> wrote:
Dear Mr Gray and the rest of museumlites,


Thank you for a very interesting news. Again I have to ask for help, because of:


Please, can you digest (can't utter a c-word) this newspiece?

Sincerely yours,

Jadran Kale, curator ethnologist
City Museum of Sibenik, Croatia


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--000000000000c040c50572c5a182-- ========================================================================Date: Mon, 6 Aug 2018 11:15:13 -0400 Reply-To: Museum discussion list <[log in to unmask]> Sender: Museum discussion list <[log in to unmask]> From: Ken Yellis <[log in to unmask]> Subject: Re: Licensed Interpretation In-Reply-To: <[log in to unmask]> MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="----=_Part_128838_643960748.1533568512933" Message-ID: <[log in to unmask]> ------=_Part_128838_643960748.1533568512933 Content-Type: text/plain; charset=utf-8 Content-Transfer-Encoding: quoted-printable Is the city appealing the ruling? Ken Yellis 21 Gibbs Lane, Portsmouth, RI 02871 (401) 619-4524 • Cell: (401) 662-7769 [log in to unmask] -----Original Message----- From: Michael Rebman <[log in to unmask]> To: MUSEUM-L <[log in to unmask]> Sent: Mon, Aug 6, 2018 11:08 am Subject: Re: [MUSEUM-L] Licensed Interpretation Greetings, In summary, the City of Charleston in South Carolina formerly required tour guides to take a test and become licensed.  The logic for Charleston was that they wanted all private for-profit tour guides to demonstrate a solid knowledge of Charleston history, based on facts assembled in a book prepared by the Historic Charleston Foundation.  A libertarian group, representing three people who failed the test, sued the city.  The logic of the libertarian group was that tour guides tell stories, and requiring the tour guides to demonstrate knowledge prepared by historians limited their ability to tell stories, whether or not they were conveying correct information about Charleston and its history.  A judge ruled that the test violated the free speech of the tour guides, and threw out the law requiring the test and license. Thank you, Michael R. On Mon, Aug 6, 2018 at 6:45 AM, Jadran Kale <[log in to unmask]> wrote: Dear Mr Gray and the rest of museumlites, Thank you for a very interesting news. Again I have to ask for help, because of: Please, can you digest (can't utter a c-word) this newspiece? Sincerely yours, Jadran Kale, curator ethnologist City Museum of Sibenik, Croatia To unsubscribe from the MUSEUM-L list, click the following link: http://home.ease.lsoft.com/scripts/wa-HOME.exe?SUBED1=MUSEUM-L&A=1 ========================================================= Important Subscriber Information: The Museum-L FAQ file is located at http://www.finalchapter.com/museum-l-faq/ . You may obtain detailed information about the listserv commands by sending a one line e-mail message to [log in to unmask] . The body of the message should read "help" (without the quotes). If you decide to leave Museum-L, please send a one line e-mail message to [log in to unmask] . The body of the message should read "Signoff Museum-L" (without the quotes). ------=_Part_128838_643960748.1533568512933 Content-Type: text/html; charset=utf-8 Content-Transfer-Encoding: quoted-printable
Is the city appealing the ruling?


Ken Yellis
21 Gibbs Lane, Portsmouth, RI 02871
(401) 619-4524 • Cell: (401) 662-7769
[log in to unmask]



-----Original Message-----
From: Michael Rebman <[log in to unmask]>
To: MUSEUM-L <[log in to unmask]>
Sent: Mon, Aug 6, 2018 11:08 am
Subject: Re: [MUSEUM-L] Licensed Interpretation

Greetings,

In summary, the City of Charleston in South Carolina formerly required tour guides to take a test and become licensed.  The logic for Charleston was that they wanted all private for-profit tour guides to demonstrate a solid knowledge of Charleston history, based on facts assembled in a book prepared by the Historic Charleston Foundation.  A libertarian group, representing three people who failed the test, sued the city.  The logic of the libertarian group was that tour guides tell stories, and requiring the tour guides to demonstrate knowledge prepared by historians limited their ability to tell stories, whether or not they were conveying correct information about Charleston and its history.  A judge ruled that the test violated the free speech of the tour guides, and threw out the law requiring the test and license.

Thank you,

Michael R
.

On Mon, Aug 6, 2018 at 6:45 AM, Jadran Kale <[log in to unmask]> wrote:
Dear Mr Gray and the rest of museumlites,


Thank you for a very interesting news. Again I have to ask for help, because of:


Please, can you digest (can't utter a c-word) this newspiece?

Sincerely yours,

Jadran Kale, curator ethnologist
City Museum of Sibenik, Croatia


To unsubscribe from the MUSEUM-L list, click the following link:
http://home.ease.lsoft.com/scripts/wa-HOME.exe?SUBED1=MUSEUM-L&A=1


To unsubscribe from the MUSEUM-L list, click the following link:
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------=_Part_128838_643960748.1533568512933-- ========================================================================Date: Mon, 6 Aug 2018 17:51:28 +0200 Reply-To: Museum discussion list <[log in to unmask]> Sender: Museum discussion list <[log in to unmask]> From: Jadran Kale <[log in to unmask]> Subject: Re: Licensed Interpretation In-Reply-To: <[log in to unmask]> MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="000000000000ebb4aa0572c6403f" Message-ID: <[log in to unmask]> --000000000000ebb4aa0572c6403f Content-Type: text/plain; charset="UTF-8" Content-Transfer-Encoding: quoted-printable Thank you! One could say that historians also tell stories... Yours sincerely, Jadran Kale. pon, 6. kol 2018. 17:17 Ken Yellis < [log in to unmask]> je napisao: > Is the city appealing the ruling? > > >  > > > *Ken Yellis21 Gibbs Lane, Portsmouth, RI 02871(401) 619-4524 • Cell: (401) > [log in to unmask] <[log in to unmask]> * > > > > -----Original Message----- > From: Michael Rebman <[log in to unmask]> > To: MUSEUM-L <[log in to unmask]> > Sent: Mon, Aug 6, 2018 11:08 am > Subject: Re: [MUSEUM-L] Licensed Interpretation > > Greetings, > > In summary, the City of Charleston in South Carolina formerly required > tour guides to take a test and become licensed. The logic for Charleston > was that they wanted all private for-profit tour guides to demonstrate a > solid knowledge of Charleston history, based on facts assembled in a book > prepared by the Historic Charleston Foundation. A libertarian group, > representing three people who failed the test, sued the city. The logic of > the libertarian group was that tour guides tell stories, and requiring the > tour guides to demonstrate knowledge prepared by historians limited their > ability to tell stories, whether or not they were conveying correct > information about Charleston and its history. A judge ruled that the test > violated the free speech of the tour guides, and threw out the law > requiring the test and license. > > Thank you, > > Michael R > . > > On Mon, Aug 6, 2018 at 6:45 AM, Jadran Kale <[log in to unmask]> wrote: > > Dear Mr Gray and the rest of museumlites, > > > Thank you for a very interesting news. Again I have to ask for help, > because of: > > > Please, can you digest (can't utter a c-word) this newspiece? > > Sincerely yours, > > Jadran Kale, curator ethnologist > City Museum of Sibenik, Croatia > > > > ------------------------------ > > To unsubscribe from the MUSEUM-L list, click the following link: > http://home.ease.lsoft.com/scripts/wa-HOME.exe?SUBED1=MUSEUM-L&A=1 > > ------------------------------ > > To unsubscribe from the MUSEUM-L list, click the following link: > http://home.ease.lsoft.com/scripts/wa-HOME.exe?SUBED1=MUSEUM-L&A=1 > ========================================================= Important Subscriber Information: The Museum-L FAQ file is located at http://www.finalchapter.com/museum-l-faq/ . You may obtain detailed information about the listserv commands by sending a one line e-mail message to [log in to unmask] . The body of the message should read "help" (without the quotes). If you decide to leave Museum-L, please send a one line e-mail message to [log in to unmask] . The body of the message should read "Signoff Museum-L" (without the quotes). --000000000000ebb4aa0572c6403f Content-Type: text/html; charset="UTF-8" Content-Transfer-Encoding: quoted-printable
Thank you!


One could say that historians also tell stories...

Yours sincerely,
Jadran Kale.

pon, 6. kol 2018. 17:17 Ken Yellis <[log in to unmask]> je napisao:
Is the city appealing the ruling?


Ken Yellis
21 Gibbs Lane, Portsmouth, RI 02871
(401) 619-4524 • Cell: (401) 662-7769
[log in to unmask]



-----Original Message-----
From: Michael Rebman <[log in to unmask]>
To: MUSEUM-L <[log in to unmask]>
Sent: Mon, Aug 6, 2018 11:08 am
Subject: Re: [MUSEUM-L] Licensed Interpretation

Greetings,

In summary, the City of Charleston in South Carolina formerly required tour guides to take a test and become licensed.  The logic for Charleston was that they wanted all private for-profit tour guides to demonstrate a solid knowledge of Charleston history, based on facts assembled in a book prepared by the Historic Charleston Foundation.  A libertarian group, representing three people who failed the test, sued the city.  The logic of the libertarian group was that tour guides tell stories, and requiring the tour guides to demonstrate knowledge prepared by historians limited their ability to tell stories, whether or not they were conveying correct information about Charleston and its history.  A judge ruled that the test violated the free speech of the tour guides, and threw out the law requiring the test and license.

Thank you,

Michael R
.

On Mon, Aug 6, 2018 at 6:45 AM, Jadran Kale <[log in to unmask]> wrote:
Dear Mr Gray and the rest of museumlites,


Thank you for a very interesting news. Again I have to ask for help, because of:


Please, can you digest (can't utter a c-word) this newspiece?

Sincerely yours,

Jadran Kale, curator ethnologist
City Museum of Sibenik, Croatia


To unsubscribe from the MUSEUM-L list, click the following link:
http://home.ease.lsoft.com/scripts/wa-HOME.exe?SUBED1=MUSEUM-L&A=1


To unsubscribe from the MUSEUM-L list, click the following link:
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--000000000000ebb4aa0572c6403f-- ========================================================================Date: Mon, 6 Aug 2018 10:29:54 -0600 Reply-To: Museum discussion list <[log in to unmask]> Sender: Museum discussion list <[log in to unmask]> From: Michael Rebman <[log in to unmask]> Subject: Re: Licensed Interpretation In-Reply-To: <[log in to unmask]> MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="00000000000003023d0572c6cc53" Message-ID: <[log in to unmask]> --00000000000003023d0572c6cc53 Content-Type: text/plain; charset="UTF-8" Greetings, I am not sure. The articles indicate that the the city attorneys are "currently reviewing the judge's order and expect to have recommendations for next steps early next week". That could mean appealing, or that could mean drafting new laws or policies that allow licensing without violating the judge's order. Thank you, Michael R . On Mon, Aug 6, 2018 at 9:15 AM, Ken Yellis < [log in to unmask]> wrote: > Is the city appealing the ruling? > ========================================================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). --00000000000003023d0572c6cc53 Content-Type: text/html; charset="UTF-8" Content-Transfer-Encoding: quoted-printable
Greetings,

I am not sure.  The articles indicate that the the city attorneys are "currently reviewing the judge's order and expect to have recommendations for next steps early next week".  That could mean appealing, or that could mean drafting new laws or policies that allow licensing without violating the judge's order.

Thank you,

Michael R
.


On Mon, Aug 6, 2018 at 9:15 AM, Ken Yellis <[log in to unmask]> wrote:
Is the city appealing the ruling?


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--00000000000003023d0572c6cc53-- ========================================================================Date: Mon, 6 Aug 2018 15:52:34 +0000 Reply-To: Museum discussion list <[log in to unmask]> Sender: Museum discussion list <[log in to unmask]> From: Anne Ruppert <[log in to unmask]> Subject: Fall internship in Bonham, TX Content-Type: multipart/alternative; boundary="_000_BN7PR14MB2435771899CE7255FB5245F3CE200BN7PR14MB2435namp_" MIME-Version: 1.0 Message-ID: <[log in to unmask]> --_000_BN7PR14MB2435771899CE7255FB5245F3CE200BN7PR14MB2435namp_ Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: quoted-printable Please share with all interested students. Thank you. Sam Rayburn House State Historic Site Texas Historical Commission Fall Internship 2018 Issue Date: August 6, 2018 Closing Date: September 1, 2018 Start Date: Negotiable POSITION TITLE: Intern (1 opening) LOCATION: Sam Rayburn House State Historic Site, 890 W. State Hwy 56, Bonham, Texas. BRIEF DESCRIPTION OF DUTIES: The Sam Rayburn House State Historic Site has one internship opening for the fall of 2018: Option I/Collections: Interns may work on one or more of the following projects: packing and storing artifacts; cataloging and researching the museum collection; taking digital photographs of artifacts; re-housing and cleaning artifacts; data entry of collections records; and organizing site resources. Option II/Interpretation: Interns may work on one or more of the following projects: develop themed tours of historic house; develop engaging programming and events for the Sam Rayburn House State Historic Site; develop off-site programming and outreach for schools and other community organizations; and develop multi-sensory tours and/or accessible tours for groups with various abilities. DESIRED QUALIFICATIONS: Interest in museums, history, and/or education. Strong writing, research and communications skills. Strong organizational, multitasking and people skills. Knowledge of American and Texas history. Knowledge of standard office computer skills, including database software and word processing. Ability to work independently and on detailed tasks. Degree or expected degree in anthropology, archeology, archival/library studies, art, art history, education, history, museum studies, political science, social studies, sociology, or a related field. Demonstrated interest in museum programs, education and/or history. WORK SCHEDULE: Monday-Friday (negotiable) PROJECT SUPERVISOR: Anne Ruppert, Curator, Sam Rayburn House State Historic Site TERM OF POSITION: Preferably September - December, 2018 (negotiable) WHO MAY APPLY: Applications will be accepted from currently enrolled college students who are in their second, third or fourth year of coursework as well as graduate students and recent Bachelor's and Master's degree graduates. COMPENSATION: This is an unpaid position. HOW TO APPLY: Submit resume, official transcript and the completed Texas Historical Commission internship application, found here: http://www.thc.state.tx.us/about-us/job-openings/internship-program to: Texas Historical Commission Staff Services, Attn: Internship Program P.O. Box 12276 Austin, TX 78711 To learn more about previous SRHSHS interns, visit: http://www.visitsamrayburnhouse.com/index.aspx?page=848 http://www.visitsamrayburnhouse.com/index.aspx?page=897 Anne Ruppert Curator Sam Rayburn House State Historic Site Texas Historical Commission P.O. Box 308 Bonham, TX 75418 903-583-5558 p 903-640-0800 f www.visitsamrayburnhouse.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). --_000_BN7PR14MB2435771899CE7255FB5245F3CE200BN7PR14MB2435namp_ Content-Type: text/html; charset="us-ascii" Content-Transfer-Encoding: quoted-printable

Please share with all interested students. Thank you.

 

 

Sam Rayburn House State Historic Site

Texas Historical Commission

Fall Internship 2018

 

Issue Date: August 6, 2018

Closing Date: September 1, 2018

Start Date: Negotiable

 

POSITION TITLE:  Intern (1 opening)  

 

LOCATION: Sam Rayburn House State Historic Site, 890 W. State Hwy 56, Bonham, Texas. 

 

BRIEF DESCRIPTION OF DUTIES: The Sam Rayburn House State Historic Site has one internship opening for the fall of 2018:  

 

Option I/Collections: Interns may work on one or more of the following projects: packing and storing artifacts; cataloging and researching the museum collection; taking digital photographs of artifacts; re-housing and cleaning artifacts; data entry of collections records; and organizing site resources. 

 

Option II/Interpretation: Interns may work on one or more of the following projects: develop themed tours of historic house; develop engaging programming and events for the Sam Rayburn House State Historic Site; develop off-site programming and outreach for schools and other community organizations; and develop multi-sensory tours and/or accessible tours for groups with various abilities.

 

DESIRED QUALIFICATIONS:  Interest in museums, history, and/or education.  Strong writing, research and communications skills.  Strong organizational, multitasking and people skills.  Knowledge of American and Texas history.  Knowledge of standard office computer skills, including database software and word processing.  Ability to work independently and on detailed tasks.  Degree or expected degree in anthropology, archeology, archival/library studies, art, art history, education, history, museum studies, political science, social studies, sociology, or a related field.  Demonstrated interest in museum programs, education and/or history. 

WORK SCHEDULE: Monday-Friday (negotiable) 

 

PROJECT SUPERVISOR: Anne Ruppert, Curator, Sam Rayburn House State Historic Site

 

TERM OF POSITION: Preferably September - December, 2018 (negotiable)

 

WHO MAY APPLY: Applications will be accepted from currently enrolled college students who are in their second, third or fourth year of coursework as well as graduate students and recent Bachelor’s and Master’s degree graduates. 

 

COMPENSATION: This is an unpaid position. 

 

HOW TO APPLY:  Submit resume, official transcript and the completed Texas Historical Commission internship application, found here: http://www.thc.state.tx.us/about-us/job-openings/internship-program to:

 

Texas Historical Commission

Staff Services, Attn: Internship Program

P.O. Box 12276

Austin, TX 78711

 

To learn more about previous SRHSHS interns, visit: http://www.visitsamrayburnhouse.com/index.aspx?page=848

http://www.visitsamrayburnhouse.com/index.aspx?page=897

 

 

Anne Ruppert

Curator

Sam Rayburn House State Historic Site

Texas Historical Commission

P.O. Box 308

Bonham, TX 75418

903-583-5558 p

903-640-0800 f

www.visitsamrayburnhouse.com

 

 


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--_000_BN7PR14MB2435771899CE7255FB5245F3CE200BN7PR14MB2435namp_-- ========================================================================Date: Mon, 6 Aug 2018 12:14:12 -0700 Reply-To: Museum discussion list <[log in to unmask]> Sender: Museum discussion list <[log in to unmask]> From: Valerie Colston <[log in to unmask]> Subject: How to Create Inter-Generational Project and Programs at Your Museum MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="00000000000034790b0572c915fd" Message-ID: <[log in to unmask]> --00000000000034790b0572c915fd Content-Type: text/plain; charset="UTF-8" Class Starts August 13th, 2018, Enroll Through August 20th, 2018. http://www.artmuseums.com/intergenerational-museum.html No matter our age we can probably remember a person older and younger than we who influences or influenced our lives. It could have been an aunt, a teacher, a mom or dad, the librarian that could always locate just the right resource. Most of us also remember a grandparent that taught us something we would have never learned without them. Admit it, wasn't it a teen that you went to for help before you first became internet savey? Generations help each other. The Museum is a safe, fun, an educational place for people to relate to each other and engage. Babies, Toddlers, Pre-school, Kinders, Tweens, Teens, Young Adults, Career Age Adults, Young Families, Seniors, Retired, and Assisted Living EVERYONE benefits by interacting with various ages and generations and all can learn from one another. This workshop presents programming ideas for museum staff who want to bring multigenerational and intergenerational activities into their museum programs and learn how others are doing it. Do you need tips, techniques and information to make your job easier in incorporating multigenerational activities and programs, or to plan future programming? *All Museums can benefit from the resources that will be offered in this 4 week workhop.* *Inter-generational Projects and Programming* This is a practical class with real life applications. You will learn why multi-generational programs are important and how to create them. You will have an opportunity to look at program examples and develop your own portfolio. Reading lists and other multi-generational resources will be included. Activities that are inclusive, relative, and fun for all ages will be outlined. Suggestions for exploring the talents of all ages and offering programs that bring family members together will also be presented. Online Format 12 hours 4 weeks Access 24/7 *Week 1- Defining intergenerational programming. Why is it beneficial? How do you find participants?* *Collaborating with other groups, companies, and organizations. The Gold Standard-taking a look at successful multigenerational programs.* *Week 2-What makes a good program? How to plan for it. How to locate good ideas. Creating an Event and Theme Calendar. Creating a program template.* *Week 3-Organizing an idea, project, and program portfolio. The Young, Old and In-Between-Creating Programming for all ages. Bring Seniors and Children and Teens will attend.* *Week 4-Planning Your Program. You have turned an idea into a plan. * *Purchase this ** class today by using your choice of credit card or pay pal by clicking this secured pay pal account below. Is Your Museum Paying for the Class? Museum Invoices Welcome.* *$99.00 per participant. One fee covers l participant. Group rates available upon request.* *http://www.artmuseums.com/intergenerational-museum.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). --00000000000034790b0572c915fd Content-Type: text/html; charset="UTF-8" Content-Transfer-Encoding: quoted-printable

Class Starts August 13th, 2018, Enroll Through August 20th, 2018. 

 http://www.artmuseums.com/intergenerational-museum.html

 

 

No matter our age we can probably remember a person older and younger than we who influences or influenced our lives.  It could have been an aunt, a teacher, a mom or dad, the librarian that could always locate just the right resource.  Most of us also remember a grandparent that taught us something we would have never learned without them.  Admit it, wasn't it a teen that you went to for help before you first became internet savey? Generations help each other.  The Museum is a safe, fun, an educational place for people to relate to each other and engage.

Babies, Toddlers, Pre-school, Kinders, Tweens, Teens, Young Adults, Career Age Adults, Young Families, Seniors, Retired, and Assisted Living EVERYONE benefits by interacting with various ages and generations and all can learn from one another.

This workshop presents programming ideas for museum staff who want to bring multigenerational and intergenerational activities into their museum programs and learn how others are doing it. 

Do you need tips, techniques and information to make your job easier in incorporating multigenerational activities and programs, or to plan future programming?

All Museums can benefit from the resources that will be offered in this 4 week workhop.

Inter-generational Projects and Programming

This is a practical class with real life applications. You will learn why multi-generational programs are important and how to create them.  You will have an opportunity to look at program examples and develop your own portfolio. Reading lists and other multi-generational resources will be included.

Activities that are inclusive, relative, and fun for all ages will be outlined. Suggestions for exploring the talents of all ages and offering programs that bring family members together will also be presented.

Online Format 12 hours 4 weeks Access 24/7

Week 1- Defining intergenerational programming. Why is it beneficial?   How do you find participants?

Collaborating with other groups, companies, and organizations. The Gold Standard-taking a look at successful multigenerational programs.

Week 2-What makes a good program? How to plan for it.  How to locate good ideas. Creating an Event and Theme Calendar.  Creating a program template.

Week 3-Organizing an idea, project, and program portfolio.  The Young, Old and In-Between-Creating Programming for all ages.  Bring Seniors and Children and Teens will attend.

Week 4-Planning Your Program.  You have turned an idea into a plan. 

Purchase this  class today by using your choice of credit card or pay pal by clicking this secured pay pal account below. Is Your Museum Paying for the Class?  Museum Invoices Welcome.

$99.00 per participant.  One fee covers l participant. Group rates available upon request.

http://www.artmuseums.com/intergenerational-museum.html



To unsubscribe from the MUSEUM-L list, click the following link:
http://home.ease.lsoft.com/scripts/wa-HOME.exe?SUBED1=MUSEUM-L&A=1

--00000000000034790b0572c915fd-- ========================================================================Date: Mon, 6 Aug 2018 12:08:46 -0700 Reply-To: Museum discussion list <[log in to unmask]> Sender: Museum discussion list <[log in to unmask]> From: Valerie Colston <[log in to unmask]> Subject: How to Create Inter-generational Projects and Programs for Your Museum MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="000000000000ba8a590572c9010e" Message-ID: <[log in to unmask]> --000000000000ba8a590572c9010e Content-Type: text/plain; charset="UTF-8" *Intergenerational Projects and Programming for Museums* Class Starts August 13th, 2018, Enroll Through August 20th, 2018. http://www.artmuseums.com/intergenerational-museum.html No matter our age we can probably remember a person older and younger than we who influences or influenced our lives. It could have been an aunt, a teacher, a mom or dad, the librarian that could always locate just the right resource. Most of us also remember a grandparent that taught us something we would have never learned without them. Admit it, wasn't it a teen that you went to for help before you first became internet savey? Generations help each other. The Museum is a safe, fun, an educational place for people to relate to each other and engage. Babies, Toddlers, Pre-school, Kinders, Tweens, Teens, Young Adults, Career Age Adults, Young Families, Seniors, Retired, and Assisted Living EVERYONE benefits by interacting with various ages and generations and all can learn from one another. [image: Craps Children Toys Parents Grandparents G] This workshop presents programming ideas for museum staff who want to bring multigenerational and intergenerational activities into their museum programs and learn how others are doing it. Do you need tips, techniques and information to make your job easier in incorporating multigenerational activities and programs, or to plan future programming? *All Museums can benefit from the resources that will be offered in this 4 week workhop.* *Intergenerational Projects and Programming* This is a practical class with real life applications. You will learn why multigenerational programs are important and how to create them. You will have an opportunity to look at program examples and develop your own portfolio. Reading lists and other multigenerational resources will be included. Activities that are inclusive, relative, and fun for all ages will be outlined. Suggestions for exploring the talents of all ages and offering programs that bring family members together will also be presented. Online Format 12 hours 4 weeks Access 24/7 *Week 1- Defining intergenerational programming. Why is it beneficial? How do you find participants?* *Collaborating with other groups, companies, and organizations. The Gold Standard-taking a look at successful multigenerational programs.* *Week 2-What makes a good program? How to plan for it. How to locate good ideas. Creating an Event and Theme Calendar. Creating a program template.* *Week 3-Organizing an idea, project, and program portfolio. The Young, Old and In-Between-Creating Programming for all ages. Bring Seniors and Children and Teens will attend.* *Week 4-Planning Your Program. You have turned an idea into a plan. * *Purchase this ** class today by using your choice of credit card or pay pal by clicking this secured pay pal account below. Is Your Museum Paying for the Class? Museum Invoices Welcome.* *$99.00 per participant. One fee covers l participant. Group rates available upon request.* *http://www.artmuseums.com/intergenerational-museum.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). --000000000000ba8a590572c9010e Content-Type: text/html; charset="UTF-8" Content-Transfer-Encoding: quoted-printable


Intergenerational Projects and Programming for Museums

Class Starts August 13th, 2018, Enroll Through August 20th, 2018. 

 http://www.artmuseums.com/intergenerational-museum.html

 

 

No matter our age we can probably remember a person older and younger than we who influences or influenced our lives.  It could have been an aunt, a teacher, a mom or dad, the librarian that could always locate just the right resource.  Most of us also remember a grandparent that taught us something we would have never learned without them.  Admit it, wasn't it a teen that you went to for help before you first became internet savey? Generations help each other.  The Museum is a safe, fun, an educational place for people to relate to each other and engage.

Babies, Toddlers, Pre-school, Kinders, Tweens, Teens, Young Adults, Career Age Adults, Young Families, Seniors, Retired, and Assisted Living EVERYONE benefits by interacting with various ages and generations and all can learn from one another.

Craps Children Toys Parents Grandparents G

    

This workshop presents programming ideas for museum staff who want to bring multigenerational and intergenerational activities into their museum programs and learn how others are doing it. 

Do you need tips, techniques and information to make your job easier in incorporating multigenerational activities and programs, or to plan future programming?

All Museums can benefit from the resources that will be offered in this 4 week workhop.

Intergenerational Projects and Programming

This is a practical class with real life applications. You will learn why multigenerational programs are important and how to create them.  You will have an opportunity to look at program examples and develop your own portfolio. Reading lists and other multigenerational resources will be included.

Activities that are inclusive, relative, and fun for all ages will be outlined. Suggestions for exploring the talents of all ages and offering programs that bring family members together will also be presented.

Online Format 12 hours 4 weeks Access 24/7

Week 1- Defining intergenerational programming. Why is it beneficial?   How do you find participants?

Collaborating with other groups, companies, and organizations. The Gold Standard-taking a look at successful multigenerational programs.

Week 2-What makes a good program? How to plan for it.  How to locate good ideas. Creating an Event and Theme Calendar.  Creating a program template.

Week 3-Organizing an idea, project, and program portfolio.  The Young, Old and In-Between-Creating Programming for all ages.  Bring Seniors and Children and Teens will attend.

Week 4-Planning Your Program.  You have turned an idea into a plan. 

Purchase this  class today by using your choice of credit card or pay pal by clicking this secured pay pal account below. Is Your Museum Paying for the Class?  Museum Invoices Welcome.

$99.00 per participant.  One fee covers l participant. Group rates available upon request.

http://www.artmuseums.com/intergenerational-museum.html



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--000000000000ba8a590572c9010e-- ========================================================================Date: Mon, 6 Aug 2018 13:56:24 -0600 Reply-To: Museum discussion list <[log in to unmask]> Sender: Museum discussion list <[log in to unmask]> From: Collections Research for Museums <[log in to unmask]> Subject: Online Course: Opening and Closing Seasonal Museums begins August 20, 2018 MIME-Version: 1.0 Content-Type: text/html; charset=UTF-8 Content-Transfer-Encoding: quoted-printable Message-ID: <[log in to unmask]>

Online Course: Opening and Closing Seasonal Museums begins August 20, 2018


MS 219: Opening and Closing Seasonal Museums 

August 20 to September 7, 2018

Instructor: Diana Komejan

Location: http://museumclasses.org

Description:

The seasonal closure of a museum presents unique challenges and opportunities for collection preservation. This is an introductory-level conservation course exploring simple collection preservation methods for seasonal museums. The target Audience for the course is curators and other museum personnel, volunteers, site managers, maintenance personnel. No prior conservation training necessary. Participants will learn about the challenges and opportunities associated with caring for collections in seasonal facilities. They will learn about the risks to collections and how to mitigate them through closing and re-opening procedures, as well as throughout the winter season.

For more information or to sign up: https://www.collectioncare.org/opening-and-closing-seasonal-museums-line-course


Feel free to contact me with questions.

Peggy Schaller
Northern States Conservation Center
www.collectioncare.org
museumclasses.org
[log in to unmask]

and

Collections Research for Museums
4830 E Kansas Dr
Denver, CO 80246
303-757-7962
Toll free: 1-877-757-7962
[log in to unmask]
Website: http://www.museumcollectionmgmt.com/


To unsubscribe from the MUSEUM-L list, click the following link:
http://home.ease.lsoft.com/scripts/wa-HOME.exe?SUBED1=MUSEUM-L&A=1

========================================================================Date: Tue, 7 Aug 2018 08:23:25 +1200 Reply-To: Museum discussion list <[log in to unmask]> Sender: Museum discussion list <[log in to unmask]> From: Roger Smith <[log in to unmask]> Subject: Global Museum | Starving UK Museums Of Skilled Workers | Acknowledging The Intellectual Labour Of Curators | Frozen 42,000 Year-Old Worms Come Back To Life | Ode To The Library Museum | Common Sense & The Abolition Of Image Fees Comments: To: Roger Smith <[log in to unmask]> MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="----=_NextPart_000_0062_01D42E27.EB5EAE40" Message-ID: <[log in to unmask]> This is a multipart message in MIME format. ------=_NextPart_000_0062_01D42E27.EB5EAE40 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Welcome back to GLOBAL MUSEUM, your award-winning & free online compendium, read weekly since 1998 by 8,000+ readers in more than 201 countries. http://www.globalmuseum.org ** House of Lords warns Brexit may starve UK museums of skilled workers The National Museums Directors Council and the Museums Association made a joint submission, expressing severe concerns about the impact of Brexit on museum staff, audiences and the sharing of collections, ideas and expertise across European borders. ** Acknowledging the Intellectual Labour of Curators in a Museum In the world of museums, where I work as a curator, and where I have often witnessed lack of proper crediting, it is time to properly recognize the deeply collaborative intellectual labour that underpins so much of what we do. ** The Louvres Critically Acclaimed Delacroix Show Gets Record-Breaking Attendance A record half a million people went to the Louvres Eugne Delacroix blockbuster, which is headed to the Metropolitan Museum of Art in the fall. _______________________________________________________________________ ARE YOU ONE OF THE 4,403? Our Community on the LinkedIn Platform - Join the Global Museum Social Network Meet & Make Friends, Share Photos & Videos, Blog, Use the Forum. Become one of our first 5,000 members. Join Today at http://www.linkedin.com/groups/Globalmuseum-3968927 ________________________________________________________________________ ** They stole a priceless gold bar from a Key West museum and theyre paying the price Saying they destroyed a priceless artifact, a federal judge has handed out prison terms to the two thieves who eight years ago helped themselves to a 17th century gold bar that had been the centrepiece of a Key West museum.. ** Amid MoMAs $450 Million Expansion, Employee Tensions Are Running High The dispute is not the first of its kind, either for MoMA or for any number of major institutions that spend lavishly on expansions while refusing to meet their workers demands. ** While Building a Museum for Mosaics in Israel, Another Gorgeous Mosaic Is Found The 1,700-year-old manse unearthed in Lod featured every luxury, as well as glorious mosaics showing animals but no people. ** How one historic museum has provided a lifeline for the world's fastest bird On June 20 1855, a smattering of Oxford dons and other college notables gathered as the foundation stone was laid for what was intended to be a dedicated science museum at the university. ____________________________________________________________________________ _____________ Become a Facebook Follower - Join 2,369 of us who Like Global Museum on Facebook http://www.facebook.com/pages/Global-Museum/129179522574? ____________________________________________________________________________ _____________ ** Should Museums Be Advocating For Viewers to Slow Down? Now in its eighth year, the annual event Slow Art Day hasnt necessarily gained a lot of popularity, but the notion behind it, to discourage fleeting-glance style art spectating, might have a growing number of advocatesat least on the part of museum professionals. ** Planned Japanese war museum criticized for tourism focus A project to build a war museum in the town of Nishiki, Kumamoto Prefecture, has drawn the ire of a group of local residents, who say the initiative is downplaying its peaceful purpose. ** Technology Museum of l'Empord This small, family-run museum is largely unknown, despite the fact it boasts a huge collection of old, rare typewriters and sewing machines. ** Ode to the Library Museum By immobilizing pages, by securing spines, by presenting material that is illegible or unintelligible to the average modern reader, the library museum ruptures our habitual schema for what to do when confronted with a text. ____________________________________________________________________________ __ Pin Us on Pinterest. Global Museum's Pinterest Boards - Enjoy! 1.95K Pins, 467 Followers http://pinterest.com/globalmuseum/museums/ ____________________________________________________________________________ __ ** Diary of an art historian: at last, some common sense for the abolition of image fees I bring better news from the campaign to abolish fees for images of works in British public collections. Birmingham Museums Trust has decided to go for open access, the first major British museum to do so. ** Does Polly really want a cracker? Te Papa will be welcoming Dr Barbara Mizumo Tomotani in September, to work on the isotopic and morphometric analyses of some of New Zealands most threatened endemic birds (including some extinct species) 10 species from kakapo to huia. ** New Free Guide: Working With Freelancers A new guide Working with Freelancers has been created to support museums in finding, commissioning, briefing, working with and paying freelancers and consultants. ** Pariss first digital art museum: all lit up at Atelier des Lumires The museum is in a former foundry and is operated by Culturespaces, a French museum foundation that specialise in immersive art displays. ____________________________________________________________________________ __ Add Us To Your Google+ Circles 191,274 in Circles. 14,516 in Community so far - https://plus.google.com/109387399901726606466 ____________________________________________________________________________ __ ** Worms frozen in permafrost for up to 42,000 years come back to life Nematodes moving and eating again for the first time since the Pleistocene age in major scientific breakthrough, say experts. ** 19th Century Women Artists Get Overdue Recognition Will Their Market Follow? In 19th century Paris, the cards were stacked against women making art, and certainly against making a living making art. ** Museum of Interest - Topaz Museum A museum in rural Utah documents the history of the Japanese Americans who were forcibly relocated there. ** California museum can keep Cranachs looted by Nazis The Federal appeals court says the Norton Simon Museum can keep two 16th century masterpieces depicting Adam and Eve by the German Renaissance painter Lucas Cranach the Elder. ____________________________________________________________________________ _______________ Follow Us On Twitter - http://twitter.com/globalmuseum 195K Museum News Tweets from around the Globe, 4,820 Followers worldwide and growing fast ____________________________________________________________________________ ________________ ** Volunteers find 560,000-year-old milk tooth in France French and Spanish volunteer archaeologists have discovered a child's milk tooth dating back 560,000 years in the mountains of southern France. ** Popular Art, Architecture & Design Call for Papers ** Now On View: Preserving Modern and Contemporary Museum Collections The Conservation Center for Art & Historic Artifacts (CCAHA) ** Museums Association Conference & Exhibition 2018 8-10 November, Belfast ** This Week's Horoscopes Leo - Betrayal, treason, and vile calumny will be the order of things next week, which you must admit, sounds a lot cooler than the light office work youre used to. All the latest Museum News, Views & Vacancies plus Bookshop, Museum Store, Resume Postings, Museum Studies Listing & More. Global Museum - since 1998 www.globalmuseum.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). ------=_NextPart_000_0062_01D42E27.EB5EAE40 Content-Type: text/html; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable

Welcome back to GLOBAL MUSEUM, your award-winning & free online compendium, read weekly since 1998 by 8,000+ readers in more than 201 countries.

http://www.globalmuseum.org

 

** House of Lords warns Brexit may starve UK museums of skilled workers

The National Museums Directors’ Council and the Museums Association made a joint submission, expressing “severe concerns” about the impact of Brexit on museum staff, audiences and the sharing of collections, ideas and expertise across European borders.

 

** Acknowledging the Intellectual Labour of Curators in a Museum

In the world of museums, where I work as a curator, and where I have often witnessed lack of proper crediting, it is time to properly recognize the deeply collaborative intellectual labour that underpins so much of what we do.

 

** The Louvre’s Critically Acclaimed Delacroix Show Gets Record-Breaking Attendance

A record half a million people went to the Louvre’s Eugne Delacroix blockbuster, which is headed to the Metropolitan Museum of Art in the fall.

_______________________________________________________________________

 

ARE YOU ONE OF THE 4,403?

Our Community on the LinkedIn Platform - Join the Global Museum Social Network – Meet & Make Friends, Share Photos & Videos, Blog, Use the Forum.

Become one of our first 5,000 members.  Join Today at http://www.linkedin.com/groups/Globalmuseum-3968927

________________________________________________________________________

 

** They stole a ‘priceless’ gold bar from a Key West museum — and they’re paying the price

Saying they destroyed a priceless artifact, a federal judge has handed out prison terms to the two thieves who eight years ago helped themselves to a 17th century gold bar that had been the centrepiece of a Key West museum..

 

** Amid MoMA’s $450 Million Expansion, Employee Tensions Are Running High

The dispute is not the first of its kind, either for MoMA or for any number of major institutions that spend lavishly on expansions while refusing to meet their workers’ demands.

 

** While Building a Museum for Mosaics in Israel, Another Gorgeous Mosaic Is Found

The 1,700-year-old manse unearthed in Lod featured every luxury, as well as glorious mosaics showing animals but no people.

 

** How one historic museum has provided a lifeline for the world's fastest bird

On June 20 1855, a smattering of Oxford dons and other college notables gathered as the foundation stone was laid for what was intended to be a dedicated science museum at the university.

_________________________________________________________________________________________

 

Become a Facebook Follower - Join 2,369 of us who Like Global Museum on Facebook  http://www.facebook.com/pages/Global-Museum/129179522574? 

_________________________________________________________________________________________

 

** Should Museums Be Advocating For Viewers to Slow Down?

Now in its eighth year, the annual event Slow Art Day hasn’t necessarily gained a lot of popularity, but the notion behind it, to discourage fleeting-glance style art spectating, might have a growing number of advocates—at least on the part of museum professionals.

 

** Planned Japanese war museum criticized for tourism focus

A project to build a war museum in the town of Nishiki, Kumamoto Prefecture, has drawn the ire of a group of local residents, who say the initiative is “downplaying its peaceful purpose.”

 

** Technology Museum of l'Empord

This small, family-run museum is largely unknown, despite the fact it boasts a huge collection of old, rare typewriters and sewing machines.

 

** Ode to the Library Museum

By immobilizing pages, by securing spines, by presenting material that is illegible or unintelligible to the average modern reader, the library museum ruptures our habitual schema for what to do when confronted with a text.

______________________________________________________________________________

 

Pin Us on Pinterest. Global Museum's Pinterest Boards - Enjoy!

1.95K Pins, 467 Followers http://pinterest.com/globalmuseum/museums/

______________________________________________________________________________

 

** Diary of an art historian: at last, some common sense for the abolition of image fees

I bring better news from the campaign to abolish fees for images of works in British public collections. Birmingham Museums Trust has decided to go for “open access”, the first major British museum to do so.

 

** Does Polly really want a cracker?

Te Papa will be welcoming Dr Barbara Mizumo Tomotani in September, to work on the isotopic and morphometric analyses of some of New Zealand’s most threatened endemic birds (including some extinct species) – 10 species from kakapo to huia.

 

** New Free Guide: Working With Freelancers

A new guide – Working with Freelancers – has been created to support museums in finding, commissioning, briefing, working with and paying freelancers and consultants.

 

** Paris’s first digital art museum: all lit up at Atelier des Lumires

The museum is in a former foundry and is operated by Culturespaces, a French museum foundation that specialise in immersive art displays.

______________________________________________________________________________

 

Add Us To Your Google+ Circles – 191,274 in Circles.   14,516 in Community so far - https://plus.google.com/109387399901726606466 

______________________________________________________________________________

 

** Worms frozen in permafrost for up to 42,000 years come back to life

Nematodes moving and eating again for the first time since the Pleistocene age in major scientific breakthrough, say experts.

 

** 19th Century Women Artists Get Overdue Recognition — Will Their Market Follow?

In 19th century Paris, the cards were stacked against women making art, and certainly against making a living making art.

 

** Museum of Interest - Topaz Museum

A museum in rural Utah documents the history of the Japanese Americans who were forcibly relocated there.

 

** California museum can keep Cranachs looted by Nazis

The Federal appeals court says the Norton Simon Museum can keep two 16th century masterpieces depicting Adam and Eve by the German Renaissance painter Lucas Cranach the Elder.

___________________________________________________________________________________________

 

Follow Us On Twitter - http://twitter.com/globalmuseum    

195K Museum News Tweets from around the Globe, 4,820 Followers worldwide and growing fast ____________________________________________________________________________________________

 

** Volunteers find 560,000-year-old milk tooth in France

French and Spanish volunteer archaeologists have discovered a child's milk tooth dating back 560,000 years in the mountains of southern France.

 

** Popular Art, Architecture & Design

Call for Papers

 

** Now On View: Preserving Modern and Contemporary Museum Collections

The Conservation Center for Art & Historic Artifacts (CCAHA)

 

** Museums Association Conference & Exhibition 2018

8-10 November, Belfast

 

** This Week's Horoscopes

Leo - Betrayal, treason, and vile calumny will be the order of things next week, which you must admit, sounds a lot cooler than the light office work you’re used to.

 

All the latest Museum News, Views & Vacancies plus Bookshop, Museum Store, Resume Postings, Museum Studies Listing & More.

Global Museum -  since 1998 www.globalmuseum.org


To unsubscribe from the MUSEUM-L list, click the following link:
http://home.ease.lsoft.com/scripts/wa-HOME.exe?SUBED1=MUSEUM-L&A=1

------=_NextPart_000_0062_01D42E27.EB5EAE40-- ========================================================================Date: Tue, 7 Aug 2018 09:45:26 -0500 Reply-To: Museum discussion list <[log in to unmask]> Sender: Museum discussion list <[log in to unmask]> From: David Beard <[log in to unmask]> Subject: Re: Global Museum | Starving UK Museums Of Skilled Workers | Acknowledging The Intellectual Labour Of Curators | Frozen 42,000 Year-Old Worms Come Back To Life | Ode To The Library Museum | Common Sense & The Abolition Of Image Fees MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Message-ID: <[log in to unmask]> I will be out of the office from Monday July 30 through Friday August 3. Returning on Monday, August 6. If you need immediate assistance, call 225-342-1942 and they can direct your call. David Beard Executive Director USS KIDD Veterans Museum Baton Rouge, LA 225-342-1942, x. 12 ========================================================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, 7 Aug 2018 16:00:00 -0600 Reply-To: Museum discussion list <[log in to unmask]> Sender: Museum discussion list <[log in to unmask]> From: Collections Research for Museums <[log in to unmask]> Subject: Online Course Introduction to Museums begins September 3, 2018 MIME-Version: 1.0 Content-Type: text/html; charset=UTF-8 Content-Transfer-Encoding: quoted-printable Message-ID: <[log in to unmask]>

Online Course Introduction to Museums begins September 3, 2018

MS 101: Introduction to Museums

September 3 to 28, 2018

Instructor: Kimberly Kenney

Location: http://museumclasses.org

Description:

The United States has more than 17,000 museums, we can only guess at the world's total. While most people think of a museum as 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 designed 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 staff members, board members, interns, volunteers, as well as anyone interested in becoming a museum professional or learning more about the profession.

For more information or to sign up: https://www.collectioncare.org/introduction-museums-line-course


Feel free to contact me with questions

Peggy Schaller
Northern States Conservation Center
www.collectioncare.org
museumclasses.org
[log in to unmask]

and

Collections Research for Museums
4830 E Kansas Dr
Denver, CO 80246
303-757-7962
Toll free: 1-877-757-7962
[log in to unmask]
Website: http://www.museumcollectionmgmt.com/


To unsubscribe from the MUSEUM-L list, click the following link:
http://home.ease.lsoft.com/scripts/wa-HOME.exe?SUBED1=MUSEUM-L&A=1