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Date: Mon, 22 Oct 2001 16:36:54 -0400
Reply-To: Museum discussion list <[log in to unmask]>
Sender: Museum discussion list <[log in to unmask]>
From: Shana O'Hara <[log in to unmask]>
Subject: Organizational Partnership Agreements
Mime-Version: 1.0
Content-Type: text/plain; format=flowed
I'm working on developing an ongoing partnership between my organization and
another. Our first task is to, in writing, outline our program goals and
various areas of responsibility. This is the first time that we're entering
into a project that is this extensive and calls for a detailed project
discription. As I've been writing it, the description is beginning to look
more and more like a contract. I was wondering if anyone has a general
agreement that they use when entering into a programmatic partnership with
another institution. If so, I would love it it you could e-mail it to me
directly. As it's our first time, I fear forgetting some major piece of the
puzzle!
Thanks,
Shana O'Hara
Aljira, a Center for Contemporary Art
Newark, NJ
[log in to unmask]
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Date: Tue, 23 Oct 2001 19:23:06 +1300
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: =?iso-8859-1?Q?Queen's_=A32_million_stamp=2C_Halloween_hauntings=2C_Trait?=
=?iso-8859-1?Q?or's_secret_memoir=2C_Rat_Pee_Terrace=2C_World's_biggest_s?=
=?iso-8859-1?Q?hoes=2C_Tapu_lizards___?=
Comments: To: [log in to unmask]
MIME-Version: 1.0
Content-Type: text/plain; charset="iso-8859-1"
Content-Transfer-Encoding: 8bit
Welcome back to Global Museum, your free webzine read in more than 90
countries each week. Free Online subscription. http://www.globalmuseum.org
The international headlines in this week's (for the full story visit the
webzine) edition include:
** Native who led WWII refugees to safety
Fry and others saved more than 2,000 people, many of them prominent
intellectuals, artists, and scientists who had waited too long to flee
France
** Unveiling a new spirit
With a band of Muslim extremists having declared holy war on the United
States, Vikan said he hopes the Walters can help educate people about the
religion's true tenets
** Museum makes no bones over new strategy
On that subject, South Australian Museum director Tim Flannery has bemoaned
the replacement of artefacts with "Disneyland-style" displays
** Smithsonian jumps at offer of obsolete speed dialer
The device gathered dust until a few weeks ago, when Lannucci decided to
throw it out
** Tapu put on lizards at Te Papa
The case is one of several fuelling tensions at the national museum between
Maori knowledge, and science
** Rare Neolithic Art Discovered on Greek Island
Rare Neolithic stone carvings depicting sailing ships, animals and fish have
been discovered on the Aegean island of Andros
** Pulitzer Prizes 'Un-Museum'
Above all, she did not want the regimentation that so many blockbuster
museum shows impose, did not want people to feel herded from gallery to
gallery to gift shop.
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** Queen's £2 million stamp to go on show
The Mauritian stamp was the first to be issued by a colonial post office
** Schoolboy deciphers ancient text
A schoolboy has beaten museum experts by deciphering ancient Egyptian
writing
** Museums host Halloween hauntings
Young trick-or-treaters will have a spooktacular time at the Betty Brinn
Children's Museum's Not-So-Scary Halloween
** Traitor Blunt's secret memoir
The document detailing his years of espionage will not be published until
2013, 30 years after the death of the fourth member of the Cambridge spy
circle
** Human body exhibition has vomit machine
The Grossology exhibition at the Peggy Notebaert Nature Museum also has a
huge sneezing nose
** Hunting change
A Gallic equivalent of Stonehenge, Dr Chris Scarre believes the monuments
were built when people changed from being hunter-gatherers to farmers
** Rare texts tell medieval tales
The text storeroom, called a geniza, contained 250,000 manuscripts and
fragments of manuscripts in Hebrew, most dating to the 11th to 13th
Centuries
** Made For The Maharajas
While the lavish jewels of India are on display at the Metropolitan Museum,
an almost-as-elegant array is on sale in the Met's shops
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** This Week's Horoscopes
Aquarius: (Jan. 20-Feb. 18) You will discover incontrovertible proof that
Lynn Anderson did, in fact, promise you a rose garden
** Wall-to-wall misery recalled as 'Rat Pee Terrace' gets facelift
The "back-to-back'' houses in Inge Street, central Birmingham - the
description derives from the way they were built, two deep with a shared
rear wall - are prime examples of their kind
** He carves out his dream by rebuilding part of a monastery
The stonemason has the daunting task of putting together a portion of the
13th century Spanish monastery that William Randolph Hearst took apart
** World's biggest shoes go on display
The German Shoe Museum in Hauenstein has awarded top billing to the pair
** Floods Swept Ancient Nile Cities Away
The researchers have concluded that the two cities collapsed when the land
they were built on suddenly liquefied
** This Week's GLOBAL MUSEUM CAPTION CONTEST
** Staying 'N Sync: Programming with and for Teens
** You've digitised but now what?
** Eldredge Prize for outstanding scholarship
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** "Art Positions" a "Pioneers Village" for cutting edge galleries created
by Art Basel Miami Beach
** New Zealand Museum Welcomes Canadian Intern .
** 3rd Science Centre World Congress.
** Workshop "University Collections: opportunities & access" Utrecht
** The Fragile Tradition: The German Cultural Imagination since 1500
** The American Federation of Arts' eighth annual Directors Forum
** The Bidding Culture and Local Government: Effects on the Development of
Public Libraries, Archives and Museums
** Ten Days that Shook New York: The Transit Strike of 1966
** Art, Light and Space from the middle ages to the present
** ECSITE Annual Conference 2001 "Sharing ideas, developing skills,
building networks"
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Date: Tue, 23 Oct 2001 09:40:13 -0400
Reply-To: Museum discussion list <[log in to unmask]>
Sender: Museum discussion list <[log in to unmask]>
From: Sandra Smith <[log in to unmask]>
Subject: Re: lighting policies and procedures
MIME-Version: 1.0
Content-Type: text/plain; charset="iso-8859-1"
Thanks for your response! In addition to lowering light levels to prevent
light damage to objects, I'm also concerned about policies which address two
issues in particular. One is the physical placement of lights near walls or
collection objects, which may put them at risk for burning should the light
source overheat. The other is the addition of lights that may overload
older wiring in historic buildings - do any of you have a maximum bulb
wattage or a maximum number of lights that you allow?
These issues seem like they should be no-brainers, but we're finding that we
may have to formally address these issues with specifics (no lights within
one foot of walls, etc.).
Thanks again!
Sandra Smith
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Date: Mon, 22 Oct 2001 21:59:39 -0400
Reply-To: Museum discussion list <[log in to unmask]>
Sender: Museum discussion list <[log in to unmask]>
From: [log in to unmask]
Subject: Re: WTC artifact / Museology (OFF-TOPIC)
Hi Lori, David, et al--
As usual, you all make good points. I just thought I'd add a couple of
references to this:
About removing an artifact from it's original context and putting it on
display, and the risk we run:
Barbara Kirshenblatt-Gimblett. essay in Exhibiting Cultures or Ch 1 of her
book Destination Culture.
About who decides what we collect:
Hunting the Gatherers: Ethnographic Collectors, Indigenous Peoples, and
Agency in Melanesia 1880-1940. I'm not sure about the subtitle. This book
may seem boring if you're not into that particular period, but the
introduction and certain of the essays raise some great points about the
potential for the community to influence the collector.
Kathy Mancuso
On Sat, 20 Oct 2001 14:28:17 -0500, Lori Allen <[log in to unmask]>
wrote:
>Mr. Haberstich, I salute you. Well said, indeed: "To me, that's the
museum
>paradox--that the very act of display, having
>removed an object from its original physical context, entails so much
risk."
>
>I am in the middle of a year-long graduate level study of the very
>foundations of Museology and the debate about this flag sums it up well.
>There are many questions we should all be rethinking. Who decides what we
>collect? In the past, collectors/museums had the benefit of time: wait a
>generation to see what becomes important in the public conscience and only
>collect those items. Now, with the idea of collection of contemporary
>objects, the choices are not so clear. By our very act of collection, we
>are deciding for ours and future generations what WILL be important. Can
we
>really be so presumptuous as to believe we can predict the future? Can we
>afford to be wrong and loose forever something so "valuable"? IF we
collect
>it, should we display it? When? How? Should we collect something that we
>think can never be displayed? There are another 2 semesters worth of
>questions I could ask, but I'll leave that up to my Prof. I am just very
>refreshed to see that someone else saw the dept of the question and its
>profoundness to the museum profession. Have a nice day!
>Lori Allen,
>Grad Student, UMSL
>
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Date: Tue, 23 Oct 2001 11:23:58 -0400
Reply-To: Museum discussion list <[log in to unmask]>
Sender: Museum discussion list <[log in to unmask]>
From: rkb <[log in to unmask]>
Subject: Re: "What to Do When sorrow is Attraction" (NYT article 10/23/01)
Comments: To: "Museum/Gallery listserv-mail (E-mail)"
<[log in to unmask]>
MIME-Version: 1.0
Content-Type: text/plain; charset="iso-8859-1"
Content-Transfer-Encoding: 8bit
Dear Listees:
I'd be interested in knowing what the museum community thinks of John
Tierney's excellent column in today's New York Times...here's the link:
http://www.nytimes.com/2001/10/23/nyregion/23BIG.html
Robin K. Blum
In My Book®
http://www.inmybook.com
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Date: Tue, 23 Oct 2001 12:54:17 -0700
Reply-To: Museum discussion list <[log in to unmask]>
Sender: Museum discussion list <[log in to unmask]>
From: Indigo Nights <[log in to unmask]>
Subject: Opportunities from Idealist 10/23/2001
MIME-Version: 1.0
Content-Type: text/plain; charset=us-ascii
Excerpted from today's listings and forwarded to
assist all who have come here looking for employment
and/or employment tools.
===
New Jobs:
===
Administrative Assistant
National TenPoint Leadership Foundation
Boston, Massachusetts United States
Salary: $25,000-$30,000
http://www.idealist.org/jobs/81997/81768
Development Associate
Institute for Democracy Studies
New York, New York United States
Salary: Salary is competitive and commensurate
with experience.
http://www.idealist.org/jobs/10838/81761
Center Manager
WLS Centers for Airway Science
Hillsboro, Oregon United States
Salary: $12-17 per hour based on experience
http://www.idealist.org/jobs/82014/81780
===
New Internships:
===
Office/Research Intern
Project for School Innovation
Dorchester, Massachusetts United States
http://www.idealist.org/internships/82024/80118
Wildflower Center National Internship Program (spring)
Lady Bird Johnson Wildflower Center
Austin, Texas United States
http://www.idealist.org/internships/81989/80113
===
New Volunteer Opportunities:
===
Executive Assistant
WLS Centers for Airway Science
Portland, Oregon United States
http://www.idealist.org/volunteerOpportunities/82014/81020
Hollween Not-So-Haunted Trail-Stepping Stones
United Way & Community Chest - Cincinnati, Ohio
Cincinnati, Ohio United States
http://www.idealist.org/volunteerOpportunities/6371/81015
General Office Duties
Keep Texas Beautiful
Austin, Texas United States
http://www.idealist.org/volunteerOpportunities/81993/81007
Learning Assistant-Hillsboro
WLS Centers for Airway Science
Hillsboro, Oregon United States
http://www.idealist.org/volunteerOpportunities/82014/81019
Make A Difference Day- Imago Earth Center
United Way & Community Chest - Cincinnati, Ohio
Cincinnati, Ohio United States
http://www.idealist.org/volunteerOpportunities/6371/81016
2001 Christmas Red Kettle Campaign-Salvation Army
United Way & Community Chest - Cincinnati, Ohio
Cincinnati, Ohio United States
http://www.idealist.org/volunteerOpportunities/6371/81014
Learning Assistant-North & Northeast Portland
WLS Centers for Airway Science
Portland, Oregon United States
http://www.idealist.org/volunteerOpportunities/82014/81018
===
New Events:
===
General Meeting: Gopher Tortoise Conservation
Initiative
Sierra Club, Central Florida Group
Orlando, Florida United States
Date : November 14, 2001
http://www.idealist.org/events/81992/79924
Countering Terrorism
World Federalist Association of Greater New York
New York, New York United States
Date : October 23, 2001
http://www.idealist.org/events/68936/79921
2002 National Youth Summit on Preventing Violence
National Crime Prevention Council-USA
Washington, District of Columbia United States
: February 16, 2002
: February 19, 2002
http://www.idealist.org/events/9123/79922
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to http://www.idealist.org/myfaq.html
And if you know anyone else who could benefit from
receiving these personal updates, please tell them
about http://www.idealist.org
Thanks!
=====
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=========================================================================
Date: Tue, 23 Oct 2001 16:54:42 -0400
Reply-To: Museum discussion list <[log in to unmask]>
Sender: Museum discussion list <[log in to unmask]>
From: "Feltus, Pamela" <[log in to unmask]>
Subject: Wash Post Article on Collecting 9-11 artifacts
MIME-Version: 1.0
Content-Type: text/plain; charset="iso-8859-1"
This might have been posted when I was on vacation, but here is an article
that a student posted to the GW Museum Studies listserve, which pertains to
the debate we've all been having.
http://www.washingtonpost.com/wp-dyn/articles/A48214-2001Oct12.html
Pamela Feltus
Curator
National Museum of American Jewish Military History
1811 R Street NW, Washington DC 20009
202-265-6280 x201
www.nmajmh.org
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Date: Tue, 23 Oct 2001 14:23:57 -0700
Reply-To: Museum discussion list <[log in to unmask]>
Sender: Museum discussion list <[log in to unmask]>
From: Roz Chatt <[log in to unmask]>
Subject: Re: "What to Do When sorrow is Attraction" (NYT article 10/23/01)
In-Reply-To: <000501c15bd6$bd278fa0$6601a8c0@Blum>
MIME-Version: 1.0
Content-Type: text/plain; charset=us-ascii
I agree with Tierney that curators would be the
people best suited to the task of setting up some
kind of observation post near the WTC where
people could
come to pay their respects.I'm sure there are
definitely curators and artists in NYC who would
be capable, or even the people who set up the
Holocast museum in Washington, DC or the ones in
Berlin, who would be sensitive to the situation
and the desire of people to see with their own
eyes. The only problem I see is who would pick
the curators? I'd hate to see Mayor Rudolph W.
Giuliani be given
that responsibility, but maybe he would be able
to choose good people for the job.
Rosalyn Chatt
Santa Cruz, CA
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Date: Tue, 23 Oct 2001 17:09:29 -0400
Reply-To: Museum discussion list <[log in to unmask]>
Sender: Museum discussion list <[log in to unmask]>
From: "Kym S. Rice" <[log in to unmask]>
Subject: George Washington University faculty position available
Faculty, Museum Studies Program.
The George Washington University, M.A. program in museum studies invites
applications for a full-time non-tenured track, renewable three-year
contract appointment at the assistant or associate professor rank beginning
in July 2002. This well-established program seeks a person with
comprehensive knowledge and experience in museum management and
administration and extensive graduate museum studies teaching experience in
those areas. Candidate should have a minimum of five years of senior level
non-profit museum experience in programmatic and general administration,
significant graduate museum studies teaching experience in the field of
museum management/administration and a record of related
publications/lectures. MBA or PhD preferred. The candidate
should also have an outstanding reputation in the museum profession for
leadership and innovation in management. Salary will be commensurate with
experience. Review of applications will begin February 1, 2002 and will
continue until the position is filled. To apply, send a cover letter with
statement of professional experience, including teaching and research
interests and qualifications, publications and reprints or other
professional products, and three reference letters to Chair, Museum Studies
Search Committee, Museum Studies Program, The George Washington University,
2035 F Street NW Washington, D.C. 20052. No telephone calls or faxed
submissions. Selected candidates will be asked to visit the campus and
deliver a lecture to faculty and students. Women and minorities are
encouraged to apply. The George Washington University is an Equal
Opportunity/Affirmative Action Employer.
=========================================================
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=========================================================================
Date: Wed, 24 Oct 2001 05:55:39 -0700
Reply-To: Museum discussion list <[log in to unmask]>
Sender: Museum discussion list <[log in to unmask]>
From: Indigo Nights <[log in to unmask]>
Subject: Resource and Volunteer Opportunities
MIME-Version: 1.0
Content-Type: text/plain; charset=us-ascii
The inputs below are excerpted from today's
Idealist.org newsletter and offered for your use.
===
New Resources:
===
The Greater Los Angeles Arts Resource Directory
ARTS, Inc.
Los Angeles, California United States
Book, Website English
http://www.idealist.org/resources/82051/79767
Ahead of the Curve
ARTS, Inc.
Los Angeles, California United States
Newsletter English
http://www.idealist.org/resources/82051/79768
===
New Volunteer Opportunities:
===
Artist Mentor
Art Start
New York, New York United States
http://www.idealist.org/volunteerOpportunities/41939/81028
=====
Indigo Nights
[log in to unmask]
__________________________________________________
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=========================================================================
Date: Wed, 24 Oct 2001 09:51:40 EDT
Reply-To: Museum discussion list <[log in to unmask]>
Sender: Museum discussion list <[log in to unmask]>
From: Eric Gyllenhaal <[log in to unmask]>
Subject: 2001 MacArthur Fellow: David Wilson, Museum of Jurassic Technology
MIME-Version: 1.0
Content-Type: text/plain; charset="US-ASCII"
Content-Transfer-Encoding: 7bit
Hi, all,
Here's a paragraph from the MacArthur Website:
"David Wilson is an artist, a designer, and the curator of the Museum of
Jurassic Technology, his own art installation and a provocative commentary on
how we organize and archive cultural artifacts. Through his collection of
biological, archaeological, and cultural curiosities, displayed as 'exhibits'
in a network of little rooms, Wilson blurs the distinctions among museum,
mausoleum, and library to challenge our acquiescence to the traditional means
of presenting and preserving knowledge. His work underscores the fragility of
our beliefs, and at the same time, highlights the remarkable potential of the
human imagination."
There's more information about him on this page:
http://www.macfound.org/programs/fel/2001fellows/wilson.htm
Eric Gyllenhaal
Selinda Research Associates
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=========================================================================
Date: Wed, 24 Oct 2001 08:21:36 -0500
Reply-To: Museum discussion list <[log in to unmask]>
Sender: Museum discussion list <[log in to unmask]>
From: Richard Fields <[log in to unmask]>
Subject: Request for Information
Mime-Version: 1.0
Content-Type: text/plain; charset=US-ASCII
Content-Transfer-Encoding: quoted-printable
I have someone who has a collection of mining company books. These books, =
mostly payroll, purchasing, and operations logs from the mid to late 19th =
century, are invaluable to researchers. His problem is the books need to =
be appraised, and he lives in rural northern Michigan, where there are no =
qualified appraisers. Does anyone have contacts that I can direct him to =
where he may get an appraisal? His goal is to get these books into one of =
two institutions in the area where researchers will access to them, but he =
has to get his own appraisals. Thank you, and you may reply off-list. =20
Richard A. Fields
Mine Interpretive Supervisor
Soudan Underground Mine State Park
P.O. Box 335
Soudan, MN 55782
(218) 753-2245/ Fax 2246
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Date: Wed, 24 Oct 2001 11:15:30 -0400
Reply-To: Museum discussion list <[log in to unmask]>
Sender: Museum discussion list <[log in to unmask]>
From: "Ann B. N'Gadi" <[log in to unmask]>
Subject: Re: Request for Information
Mime-Version: 1.0
Content-Type: text/plain; charset=US-ASCII
Content-Transfer-Encoding: quoted-printable
The Smithsonian Center for Materials Research and Education has a =
"guideline" on where to get appraisals done. It is available at http://www=
.si.edu/scmre/apraisal.html=20
Best wishes,
Ann N'Gadi
Technical Information Specialist
SCMRE
>>> [log in to unmask] 10/24/01 09:21AM >>>
I have someone who has a collection of mining company books. These books, =
mostly payroll, purchasing, and operations logs from the mid to late 19th =
century, are invaluable to researchers. His problem is the books need to =
be appraised, and he lives in rural northern Michigan, where there are no =
qualified appraisers. Does anyone have contacts that I can direct him to =
where he may get an appraisal? His goal is to get these books into one of =
two institutions in the area where researchers will access to them, but he =
has to get his own appraisals. Thank you, and you may reply off-list. =20
Richard A. Fields
Mine Interpretive Supervisor
Soudan Underground Mine State Park
P.O. Box 335
Soudan, MN 55782
(218) 753-2245/ Fax 2246
=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
=3D=3D=3D=3D=3D=3DImportant Subscriber Information:
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q/ . You may obtain detailed information about the listserv commands by =
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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).
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Date: Wed, 24 Oct 2001 11:04:50 -0400
Reply-To: Museum discussion list <[log in to unmask]>
Sender: Museum discussion list <[log in to unmask]>
From: Margot Jacqz <[log in to unmask]>
Subject: Re: "What to Do When sorrow is Attraction" (NYT article 10/23/01)
In-Reply-To: <[log in to unmask]>
Mime-Version: 1.0
Content-Type: text/plain; charset="us-ascii"; format=flowed
As a New Yorker, I was very grateful to see this column and hope its
provides some weight to good ideas already in the air. Perhaps it was
spawned by one of the parties involved?
I had lunch last week with a talented younger architect who is part of the
NYCRebuilds coalition on the Memorial Committee. For all of there reasons
Tierney articulates, he had proposed a public viewing platform or walkway
and been dismissed as "ghoulish." I hope that the group, and the American
Institute of Architecture / NY Chapter teams that are coming together, will
rethink that in the light of this column and move forward. What happens
here in NY, however, in cases like this, is too often no one chooses. We
have committees and competitions and juries and ... We can only hope that
in this instance the design and content professionals will come together
behind something quickly and convince the people who can make it happen -
not necessarily the mayor. My friend is pretty well regarded, and
determined and may just win through in a timely manner.
The challenge is not only to create something now, for the next year or two
as the cleanup continues, but to consider a future, more permanent,
memorial. I understand there is an exhibit is DC at the National Building
Museum addressing the need, nature and development of monuments. How timely.
- Margot
At 23 10 01, you wrote:
I agree with Tierney that curators would be the people best suited to the
task of setting up some kind of observation post near the WTC where people
could come to pay their respects.I'm sure there are definitely curators and
artists in NYC who would be capable, or even the people who set up the
Holocast museum in Washington, DC or the ones in Berlin, who would be
sensitive to the situation and the desire of people to see with their own
eyes. The only problem I see is who would pick the curators? I'd hate to
see Mayor Rudolph W. Giuliani be given that responsibility, but maybe he
would be able to choose good people for the job.
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Date: Wed, 24 Oct 2001 11:31:23 -0400
Reply-To: Museum discussion list <[log in to unmask]>
Sender: Museum discussion list <[log in to unmask]>
From: "Panza, Robin" <[log in to unmask]>
Subject: Re: "What to Do When sorrow is Attraction" (NYT article 10/23/01)
MIME-Version: 1.0
Content-Type: text/plain; charset="iso-8859-1"
>>>>From: Margot Jacqz [mailto:[log in to unmask]]
For all of there reasons Tierney articulates, he had proposed a public
viewing platform or walkway and been dismissed as "ghoulish." <<<<
Perhaps the person/people who labelled it "ghoulish" should talk to staff at
the Pearl Harbor memorial. How is this any more ghoulish than seeing the
sunken ships?
Robin K Panza [log in to unmask]
Collection Manager, Section of Birds ph: 412-622-3255
Carnegie Museum of Natural History fax: 412-622-8837
4400 Forbes Ave.
Pittsburgh PA 15213-4008 USA
=========================================================
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Date: Wed, 24 Oct 2001 11:30:02 -0400
Reply-To: Museum discussion list <[log in to unmask]>
Sender: Museum discussion list <[log in to unmask]>
From: belinda chun <[log in to unmask]>
Subject: Urgent Looking for Individual who posted job re: English Heritage
MIME-Version: 1.0
Content-Type: multipart/alternative;
boundary="----=_NextPart_000_003A_01C15C7F.38E63EE0"
This is a multi-part message in MIME format.
------=_NextPart_000_003A_01C15C7F.38E63EE0
Content-Type: text/plain;
charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable
I am trying to locate the individual who sent out a job posting =
regarding an Assistant Curator Position Ref LON/64/01 in London, England =
at the English Heritage at the Kenwood House. I have some problems =
regarding the application form and below is a brieging of it. Sorry for =
being an inconvenience to anyone but I really would appreciate it if the =
individual who posted this could give me some direction into wheather or =
not I may send in my application. Thank you in advance.
**************
My name is Belinda and recently I received the package regarding the =
position as an Assistant Cuator ref # LON/64/01 I tried to send the =
package by mail as the deadline is October 26 by 5PM. However since I =
only received the package yesterday in the late afternoon (October 23) I =
cannot have it possibally delivered in that time unless I pay $50 to =
send the application form? Can you possibally extend the deadline so =
that you can receive it early next week???
Please let me know, I may be reached 1-(905) 828-8136 or at =
[log in to unmask]
I also tried to reach you at 011-44-020-7973-3000 and =
011-44-020-7973-3507 and 011-44-0-171-973-3434 which I found on the =
websites trying to locate a Zoe Barnes however I keep getting the =
recording of "technical difficulty". I believe I fulfill the =
requirements for the position and have a strong opportunity in being =
considered.
Sincerely,
Belinda.
------=_NextPart_000_003A_01C15C7F.38E63EE0
Content-Type: text/html;
charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable
<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN">
<HTML><HEAD>
<META content=3D"text/html; charset=3Diso-8859-1" =
http-equiv=3DContent-Type>
<META content=3D"MSHTML 5.00.2314.1000" name=3DGENERATOR>
<STYLE></STYLE>
</HEAD>
<BODY bgColor=3D#ffffff>
<DIV>
<DIV><FONT face=3DArial size=3D2>I am trying to locate the individual =
who sent out a=20
job posting regarding an Assistant Curator Position Ref LON/64/01 in =
London,=20
England at the English Heritage at the Kenwood House. I have some =
problems=20
regarding the application form and below is a brieging of it. =
Sorry for=20
being an inconvenience to anyone but I really would appreciate it if the =
individual who posted this could give me some direction into wheather or =
not I=20
may send in my application. Thank you in advance.</FONT></DIV>
<DIV> </DIV>
<DIV><FONT face=3DArial size=3D2>**************</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>My name is Belinda and recently I =
received the=20
package regarding the position as an Assistant Cuator ref # LON/64/01 I =
tried to=20
send the package by mail as the deadline is October 26 by 5PM. =
However=20
since I only received the package yesterday in the late afternoon =
(October 23) I=20
cannot have it possibally delivered in that time unless I pay $50 to =
send the=20
application form? Can you possibally extend the deadline so that =
you can=20
receive it early next week???</FONT></DIV>
<DIV><FONT size=3D2><FONT face=3DArial>Please let me know, I may be =
reached 1-(905)=20
828-8136 or at <A=20
href=3D"mailto:[log in to unmask]">[log in to unmask]</A></FO=
NT></FONT></DIV>
<DIV><FONT face=3DArial size=3D2>I also tried to reach you at =
011-44-020-7973-3000=20
and 011-44-020-7973-3507 and 011-44-0-171-973-3434 which I found on the =
websites=20
trying to locate a Zoe Barnes however I keep getting the recording of =
"technical=20
difficulty". I believe I fulfill the requirements for the position =
and=20
have a strong opportunity in being considered.</FONT></DIV>
<DIV> </DIV>
<DIV><FONT face=3DArial size=3D2>Sincerely,</FONT></DIV>
<DIV><FONT face=3DArial =
size=3D2>Belinda.</FONT></DIV></DIV></BODY></HTML>
------=_NextPart_000_003A_01C15C7F.38E63EE0--
=========================================================
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=========================================================================
Date: Wed, 24 Oct 2001 12:13:14 -0400
Reply-To: Museum discussion list <[log in to unmask]>
Sender: Museum discussion list <[log in to unmask]>
From: Florence Suzuki <[log in to unmask]>
Subject: Job Posting - Museum Coordinator
Museum Coordinator:
for Salvation Army in Rancho PV. Must have excellent communication & degree
in museology and/or experience in small heritage museum administration.
Will need to develop, direct, establish traveling exhibit; supervise
volunteers; acquire, catalog, preservation efforts. Up t0 $45K.
Fax: (310)541-1697
Email: [log in to unmask]
=========================================================
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=========================================================================
Date: Wed, 24 Oct 2001 12:52:14 -0400
Reply-To: Museum discussion list <[log in to unmask]>
Sender: Museum discussion list <[log in to unmask]>
From: "Trost, Maxine @ SEC" <[log in to unmask]>
Subject: Edith Warton Lecture
MIME-Version: 1.0
Content-Type: text/plain; charset="iso-8859-1"
Contact: Brian McNiff
October 24, 2001
Telephone: 617-727-9180
"A Backward Glance: Landscape Archaeology at The Mount, Home of Edith
Wharton"
Lecture at the Massachusetts Archives
Secretary of the Commonwealth William Francis Galvin announced today that
the November talk in the Massachusetts Archives and Commonwealth Museum's
fall lecture series will be Timothy Binzen's presentation: "A Backward
Glance: Landscape Archaeology at The Mount, Home of Edith Wharton" at 10:30
a.m. on Saturday, November 3, 2001, at the Massachusetts Archives building
on Columbia Point in Dorchester (220 Morrissey Boulevard, Boston, MA 02125).
The Mount, an estate in Lenox, Massachusetts, was the home of American
novelist Edith Wharton at the turn of the 20th century. Wharton completed
several works while living at The Mount and was instrumental in the design
and construction of the mansion, its classical gardens and formal pathways.
Comprehensive restoration of this National Historic Landmark is now nearing
completion. Landscape archaeology has revealed many details of Wharton's
designs that had long been obscured by vegetation and has enabled their
accurate reconstruction. Tim Binzen will present historic photographs,
recent excavation photographs, and anecdotes to explore Wharton's
aesthetics, as they were expressed at The Mount.
Timothy Binzen is a cultural resources consultant and project archaeologist
with Archaeological Services at the University of Massachusetts, Amherst. He
received his MA in anthropology from the University of Connecticut.
The program is free and open to the public. Parking is free, and the
building is handicapped accessible. For additional information or a
brochure listing future lectures call 617-727-2816 or see our website at
www.state.ma.us/sec/arc.
-End-
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=========================================================================
Date: Wed, 24 Oct 2001 13:17:01 -0400
Reply-To: Museum discussion list <[log in to unmask]>
Sender: Museum discussion list <[log in to unmask]>
From: Ann Trowbridge <[log in to unmask]>
Subject: Re: "What to Do When sorrow is Attraction" (NYT article 10/23/01)
MIME-Version: 1.0
Content-Type: text/plain; charset="iso-8859-1"
Content-Transfer-Encoding: 7bit
I too favor a walkway to accommodate those who are coming to the
WTC site. There are great architects and artists who could make this a
pathway for remembrance rather than a crude runway for rubbernecking. I
don't think a lot of didactic interpretation is needed.
That said, I've been rather appalled by the NYC architectural leaders' quick
emphasis on rebuilding and some rather ill-disguised jockeying for the very
big plum job-- justified as proving to the world the resiliency of our
economy. The needed office space would surely be replaced by the market
left to its own devices -- no place does that better than NYC -- and
replacement space might be built more quickly on other sites where building
occupants would also be less fearful of being once again a target.
I suggest the WTC site should remain vacant at least until the last of the
children of those who died have grown to adulthood. Let's entrust their
generation with the responsibility for creating the future of the site. By
not so quickly taking away a tangible if painful part of children's memories
of their lost parents, I think we'd show the world another aspect of
strength.
Ann Trowbridge
(a NYC-born Philadelphia architect)
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Date: Wed, 24 Oct 2001 10:25:59 -0500
Reply-To: Museum discussion list <[log in to unmask]>
Sender: Museum discussion list <[log in to unmask]>
From: Missy Story <[log in to unmask]>
Subject: Thank you.
MIME-Version: 1.0
Content-Type: multipart/alternative;
boundary="----=_NextPart_000_0038_01C15C76.4604CAA0"
This is a multi-part message in MIME format.
------=_NextPart_000_0038_01C15C76.4604CAA0
Content-Type: text/plain;
charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable
I want to thank everyone who replied to my inquery about the leaf. With =
ya'lls helpful tips, I've identified it as a Sweetgum.
Thank you,
Missy Story
Museum Educator
Wickliffe Mounds Research Center
------=_NextPart_000_0038_01C15C76.4604CAA0
Content-Type: text/html;
charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable
<!DOCTYPE HTML PUBLIC "-//W3C//DTD W3 HTML//EN">
<HTML>
<HEAD>
<META content=3Dtext/html;charset=3Diso-8859-1 =
http-equiv=3DContent-Type>
<META content=3D'"MSHTML 4.72.3110.7"' name=3DGENERATOR>
</HEAD>
<BODY bgColor=3D#ffffff>
<DIV><FONT size=3D2>I want to thank everyone who replied to my inquery =
about the=20
leaf. With ya'lls helpful tips, I've identified it as a=20
Sweetgum.</FONT></DIV>
<DIV><FONT size=3D2></FONT> </DIV>
<DIV><FONT size=3D2>Thank you,</FONT></DIV>
<DIV><FONT size=3D2></FONT> </DIV>
<DIV><FONT size=3D2>Missy Story</FONT></DIV>
<DIV><FONT size=3D2>Museum Educator</FONT></DIV>
<DIV><FONT size=3D2>Wickliffe Mounds Research =
Center</FONT></DIV></BODY></HTML>
------=_NextPart_000_0038_01C15C76.4604CAA0--
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=========================================================================
Date: Wed, 24 Oct 2001 13:49:52 -0400
Reply-To: Museum discussion list <[log in to unmask]>
Sender: Museum discussion list <[log in to unmask]>
From: "Brose, David" <[log in to unmask]>
Subject: Digest format help requested.
MIME-Version: 1.0
Content-Type: text/plain; charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable
Several weeks ago our museum e-mail server crashed and
had to be reconfigured. Since that time I've not been able to get the
listserv to set the DIGEST option. Now, rather than receiving a single
daily update of museum list discussions, I'm flooded with scores of
individual comments. I've sent the obligate "help" message but the SET
DIGEST option seems to have evaporated.
I'd appreciate any help to change this.
Davis Brose
=09
=09
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Date: Wed, 24 Oct 2001 13:36:19 -0500
Reply-To: Museum discussion list <[log in to unmask]>
Sender: Museum discussion list <[log in to unmask]>
From: Amy Southon <[log in to unmask]>
Organization: Chicago Botanic Garden
Subject: Position Open-Chicago, Coord. Cont. Ed.
MIME-Version: 1.0
Content-Type: multipart/alternative;
boundary="------------3A4D74B36F94CFC126665BF4"
--------------3A4D74B36F94CFC126665BF4
Content-Type: text/plain; charset=iso-8859-1
Content-Transfer-Encoding: 8bit
Please excuse cross-postings.
Coordinator Continuing Education Symposia and
Special Programs, The School of the Chicago Botanic
Garden. The School is dedicated to providing a vast array
of educational and professional development opportunities
for the adult. The School includes the departments of
Continuing Education, Plant Information, the Library, and
the Intern Program. We are seeking a person with
excellent interpersonal, analytical and critical thinking skills
who can accomplish the following assignments: implement,
promote and evaluate existing symposia, professional
conferences and unique adult educational opportunities;
research and develop new programs which support the
Gardens strategic plan; manage program budgets; prepare
financial reports; and serve as a course instructor.
Qualified applicants will have a minimum of a BS or BA in
horticulture, plant science or related field. The individuals
should be able to manage multiple projects and be willing
to learn new program management practices and how to
operate new computer software systems.
Applications must include a letter of application stating
your philosophy of horticulture and conservation adult
education in non-traditional settings; résumé or curriculum
vitae; and a list of references. Please send all materials to
Carol Chaney, Human Resources, Chicago Botanic
Garden, 1000 Lake Cook Road, Glencoe, IL 60022 or
via E-mail [log in to unmask] For more
information, visit our Web site, www.chicagobotanic.org,
--------------3A4D74B36F94CFC126665BF4
Content-Type: text/html; charset=iso-8859-1
Content-Transfer-Encoding: 8bit
<!doctype html public "-//w3c//dtd html 4.0 transitional//en">
<html>
Please excuse cross-postings.
<p><b>Coordinator Continuing Education Symposia and</b>
<br><b>Special Programs</b>, The School of the Chicago Botanic
<br>Garden. The School is dedicated to providing a vast array
<br>of educational and professional development opportunities
<br>for the adult. The School includes the departments of
<br>Continuing Education, Plant Information, the Library, and
<br>the Intern Program. We are seeking a person with
<br>excellent interpersonal, analytical and critical thinking skills
<br>who can accomplish the following assignments: implement,
<br>promote and evaluate existing symposia, professional
<br>conferences and unique adult educational opportunities;
<br>research and develop new programs which support the
<br>Gardens strategic plan; manage program budgets; prepare
<br>financial reports; and serve as a course instructor.
<p>Qualified applicants will have a minimum of a BS or BA in
<br>horticulture, plant science or related field. The individuals
<br>should be able to manage multiple projects and be willing
<br>to learn new program management practices and how to
<br>operate new computer software systems.
<p>Applications must include a letter of application stating
<br>your philosophy of horticulture and conservation adult
<br>education in non-traditional settings; résumé or curriculum
<br>vitae; and a list of references. Please send all materials to
<br>Carol Chaney, Human Resources, Chicago Botanic
<br>Garden, 1000 Lake Cook Road, Glencoe, IL 60022 or
<br>via E-mail [log in to unmask] For more
<br>information, visit our Web site, www.chicagobotanic.org,
<br> </html>
--------------3A4D74B36F94CFC126665BF4--
=========================================================
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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).
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=========================================================================
Date: Wed, 24 Oct 2001 14:48:47 -0400
Reply-To: Museum discussion list <[log in to unmask]>
Sender: Museum discussion list <[log in to unmask]>
From: Autumn Woish <[log in to unmask]>
Subject: Re: Digest format help requested.
Mime-Version: 1.0
Content-Type: text/html
<html><div style='background-color:'><DIV>
<P>I've been having the same problem with the digest option - any help is appreciated. <BR>Autumn Woish<BR></P></DIV>
<DIV></DIV>
<DIV></DIV>>From: "Brose, David" <[log in to unmask]>
<DIV></DIV>>Reply-To: Museum discussion list <[log in to unmask]>
<DIV></DIV>>To: [log in to unmask]
<DIV></DIV>>Subject: Digest format help requested.
<DIV></DIV>>Date: Wed, 24 Oct 2001 13:49:52 -0400
<DIV></DIV>>
<DIV></DIV>> Several weeks ago our museum e-mail server crashed and
<DIV></DIV>>had to be reconfigured. Since that time I've not been able to get the
<DIV></DIV>>listserv to set the DIGEST option. Now, rather than receiving a single
<DIV></DIV>>daily update of museum list discussions, I'm flooded with scores of
<DIV></DIV>>individual comments. I've sent the obligate "help" message but the SET
<DIV></DIV>>DIGEST option seems to have evaporated.
<DIV></DIV>>
<DIV></DIV>> I'd appreciate any help to change this.
<DIV></DIV>>
<DIV></DIV>> Davis Brose
<DIV></DIV>>
<DIV></DIV>>
<DIV></DIV>>
<DIV></DIV>>
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Date: Wed, 24 Oct 2001 15:57:11 -0400
Reply-To: Museum discussion list <[log in to unmask]>
Sender: Museum discussion list <[log in to unmask]>
From: Kent Gay <[log in to unmask]>
Subject: Camera Obscura
I'm working on the design of an interpretive kiosk to be a
promotional presence on the waterfront of Liberty State Park facing
Manhattan. We wanted to include an interactive/interpretive aspect to
this. I've been drawing and dreaming up an over-sized camera
(perhaps looking like the iconic form of a field/studio camera) that you
can walk into.
This structure would integrate interpretive material about the physics
and mechanics of lenses, the human eye and camera and
photography. Drawing inspiration from other camera obscura this
would differ in that we can't create a light sealed environment for
viewing due to security reasons. I've been looking at creating a lens
configuration that projects an image of the Manhattan skyline onto the
back of a frosted or translucent imaging glass. We've created a simple
and small mockup here using a video projector lens and projecting
onto vellum.
I'm looking at projecting an image of the skyline across the distance of
3 to 6 feet within a tube (oversized camera lens) I would like to keep
this focal length small to keep the housing small but would also like
an image of about 12 to 18 inches in diameter. Ideally, this lens
configuration would allow a depth of field to accommodate focus on
the skyline and on people in front of the 'camera'.
I wondering if you can offer guidelines or suggest resources in
designing an optical system like this. At this time, I want to create a
full-scale mock-up of this and try it on the site where it is to be used.
Can you suggest a starting point in selecting a lens size and type? I'm
a complete novice at optics and would appreciate any help you can
offer.
Thanks
Kent Gay
Exhibit Designer
Liberty Science Center
Jersey City, NJ USA
[log in to unmask]
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Date: Wed, 24 Oct 2001 14:43:42 -0600
Reply-To: Museum discussion list <[log in to unmask]>
Sender: Museum discussion list <[log in to unmask]>
From: "Mandel, David" <[log in to unmask]>
Subject: Re: Camera Obscura
MIME-Version: 1.0
Content-Type: text/plain; charset="iso-8859-1"
There are a surprising number of working, walk-in camera obscuras around the
world. This page from the "Dead Media" discussion group lists addresses and
phone numbers for many of them. You may not have to reinvent the wheel:
http://www.deadmedia.org/notes/34/340.html
David Mandel
Chief of Exhibits
New Mexico Museum of Natural History & Science
1801 Mountain Road, NW
Albuquerque, NM 87104
505-841-2832
>I'm working on the design of an interpretive kiosk to be a
>promotional presence on the waterfront of Liberty
>State Park facing Manhattan. We wanted to include an
>interactive/interpretive aspect to this. I've been
>drawing and dreaming up an over-sized camera
>(perhaps looking like the iconic form of a
>field/studio camera) that you can walk into.
=========================================================
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Date: Wed, 24 Oct 2001 16:36:59 -0400
Reply-To: Museum discussion list <[log in to unmask]>
Sender: Museum discussion list <[log in to unmask]>
From: "J. Trant - Executive Director" <[log in to unmask]>
Subject: AMICO and VAGA sign rights agreement: More contemporary art for
The AMICO Library
Comments: To: [log in to unmask]
Mime-Version: 1.0
Content-Type: text/plain; charset="iso-8859-1" ; format="flowed"
Content-Transfer-Encoding: quoted-printable
AMICO Press Release
October 24, 2001
AMICO and VAGA Reach Rights Agreement to Further Expand
Contemporary and Modern Art in The AMICO Library (TM)
AMICO Headquarters; Pittsburgh, PA
The Art Museum Image Consortium, Inc. (AMICO) and the Visual
Artists and Galleries Association, Inc. (VAGA) have reached a
landmark agreement that will
expand the coverage of contemporary and modern art in the leading digital
library of works of art available for educational use. In this agreement, VA=
GA
has granted AMICO a non-exclusive, worldwide license to include digital imag=
es
of copyrighted works of art by artists and estates represented by VAGA and i=
ts
affiliated rights societies in The AMICO Library where they can be studied
along with multimedia documentation of other works of art in the collections=
of
AMICO member museums. In return, AMICO will make royalty payments to the
artists through VAGA.
"This is an additional cornerstone in the foundation that AMICO is
establishing to make The AMICO Library the educational provider of works of =
art
from the 20th century and beyond in digital form,=94 said Jennifer Trant,
Executive Director of AMICO. "AMICO members are delighted to now contribute
some of the most recognized works in their collections without the added bur=
den
of separate rights clearance,". Ms. Trant continued. Maxwell L. Anderson,
Director, Whitney Museum of American Art, observed, "as the arts community
navigates through the uncertain waters of copyright legislation in a wired
world, it is very exciting to have brought two critical constituencies toget=
her
in service of education: our major modern and contemporary artists and our
leading art museums."
Robert Panzer, Executive Director of VAGA, also considered the
agreement noteworthy. "As a representative and advocate for VAGA
artists=92 rights we must
balance needs of access and dissemination with protection and copyright," Mr=
=2E
Panzer noted. "This agreement between VAGA and AMICO heightens availability=
of
our artists=92 works for educational purposes, while still ensuring their
appropriate use under an educational license agreement; that's definitely a
win-win from VAGA=92s perspective.".
AMICO Library subscribers will benefit from this agreement as well. Along w=
ith
the existing AMICO agreement with the Artists Rights Society (ARS), the
AMICO/VAGA agreement expands the depth of resources contained in The AMICO
Library without any change in subscription fees. Individual teachers and
students won't need to obtain additional copyright clearances, often a
time-consuming and uncertain process, when using pivotal contemporary works =
by
artists, such as Robert Rauschenberg, Jasper Johns, and Robert Motherwell, i=
n
their educational projects.
About AMICO
The Art Museum Image Consortium (AMICO) is an independent non-profit
corporation with 501 (c) 3 designation from the IRS. Founded in 1997 with 2=
3
Members, the Consortium today is made up of over 30 major museums worldwide.
It=92s an innovative collaboration not seen before in museums that shares,
shapes, and standardizes digital information regarding museum collections an=
d
enables its educational use. Membership is open to any institution with a
collection of art.
AMICO members make annual contributions of multimedia documentation of works=
in
their museums=92 collections. This data is compiled by AMICO and made avail=
able
as The AMICO Library to universities, colleges, schools, and public librarie=
s
via distributors. Potential subscribers may preview a Thumbnail Catalog of =
The
AMICO Library and get further information at http://www.amico.org.
About VAGA
=46ounded in 1976, VAGA was the first organization in the U.S. to represent
visual artists' copyrights on a collective basis. Its membership includes
American artists and estates and also foreign artists and estates through
reciprocal agreements with sister organizations worldwide. Membership is op=
en
to all visual artists ranging from those just starting out to well-known
members of the art community such as, Robert Rauschenberg, Stuart Davis, Rob=
ert
Motherwell, Louise Bourgeois, Jasper Johns, Joseph Cornell, Ben Shahn, David
Smith, Carlos M=E9rida, Romare Bearden, James Rosenquist, Alexander Rodchenk=
o,
Donald Judd, Alex Katz, Thomas Hart Benton, Adolph Gottlieb, Tom Wesselmann,
Wayne Thiebaud, Vladimir and Georgi Stenberg, David Alfaro Siqueiros, H.C.
Westermann, Grant Wood, Ken Noland, Robert Smithson, and Larry Rivers.
Contact Information:
AMICO
Jennifer Trant
Executive Director
Art Museum Image Consortium
2008 Murray Avenue, Suite D
Pittsburgh, PA 15217
Phone: (412) 422 8533
=46ax: (412) 422 8594
Email: [log in to unmask]
http://www.amico.org
VAGA
Robert Panzer
Executive Director
Visual Artists and Galleries Association,
Inc. (VAGA)
350 Fifth Avenue, Suite 6305
New York, NY 10118
Phone: (212) 736 6666
=46ax: (212) 736 6767
E-mail: [log in to unmask]
--
________
J. Trant 2008 Murray Ave, Suite D
Executive Director Pittsburgh, PA 15217 USA
Art Museum Image Consortium
http://www.amico.org Phone: +1 412 422 8533
[log in to unmask] Fax: +1 412 422 8594
AMICO - Enabling Educational Use of Museum Multimedia
________
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=========================================================================
Date: Wed, 24 Oct 2001 20:20:11 EDT
Reply-To: Museum discussion list <[log in to unmask]>
Sender: Museum discussion list <[log in to unmask]>
From: Violet Ciotti <[log in to unmask]>
Subject: Re: Camera Obscura
MIME-Version: 1.0
Content-Type: text/plain; charset="US-ASCII"
Content-Transfer-Encoding: 7bit
You may want check the George Eastman House of International Photography in
Rochester, NY. I just went there a couple of weeks back and they had an
incredible display on Abelardo Morell (American, b. Cuba, 1948) with a
visitor walk thru of how a real camera obscura works. It was very
fascinating and enjoyable! It's organized by the Museum of Photographic
Arts, San Diego. In a nutshell:
Morell's series Camera Obscura turns the world topsy-turvy--is the image
upside down? Are we? How does a New York skyline drape itself languorously
over the top half of a room? The images in his series Domestic Objects and
Optical Phenomena explore a child's perspective of the world, which intrigued
Morell when he became a father. Another passion inspired the series Books,
Maps, and Paintings, where Morell creates images that present the familiar as
a rich visual experience. Throughout his work, Morell's imagination asks: "I
wonder what would happen if ... ," a question he delights in exploring to the
fullest. The Museum's installation will also include 13 new images.
In a parallel presentation organized by George Eastman House, families will
enjoy looking through and using various camera obscura devices, as well as
viewing both a video on the camera obscura and a display of early
pre-photographic optical drawing devices.
Visit their website for more information: http://www.eastman.org
Hope this helps!
Violet Ciotti
Public Programs Manager
Buffalo Museum of Science
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=========================================================================
Date: Wed, 24 Oct 2001 21:19:43 -0400
Reply-To: Museum discussion list <[log in to unmask]>
Sender: Museum discussion list <[log in to unmask]>
From: Verizon DSL <[log in to unmask]>
Subject: PastPerfect Job Opportunity
In-Reply-To: <B76745B570DED2118F900090274600384EF6AD@DARWIN>
MIME-Version: 1.0
Content-Type: text/plain; charset="iso-8859-1"
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Pastime Software Company, the makers of PastPerfect Museum Software and
Virtual Exhibit, is currently seeking a
Technical Trainer/Training Coordinator.
This energetic team player will spearhead our new training program by
soliciting, coordinating, and performing training classes throughout the
United States. This museum professional will work with small to medium size
groups to ensure their success with the Worlds Most Popular Museum
Cataloging Software!
We are looking for the right person! Please let us know if you have the
following credentials, or if you are right for the job in spite of these
credentials!
· Professional Museum Cataloging Experience
· Formal Museum education/training
· Development or Fundraising Experience
· M.A. Degree
· Professional Teaching Experience
· PastPerfect Experience, or equivalent
· Considerable knowledge of computer hardware and software.
· A desire to be an integral part of a dynamic client-centered organization.
Pastime Software is based in Pottstown, Pennsylvania, 20 minutes West of
King of Prussia, and 60 minutes West of Philadelphia.
This is salary position with benefits, plus travel and performance
incentives.
Base Salary is in the mid 20s with incentive potential to the mid 30s
Applications will be received until 11/26/2001, final selection 12/1/2001
Please submit all correspondence to [log in to unmask]
or fax 610-326-2338
Paper copies can be mailed to
Pastime Software Inc. 106 Coventry Pointe, North Coventry, PA 19465
=========================================================
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=========================================================================
Date: Thu, 25 Oct 2001 00:11:55 -0700
Reply-To: Museum discussion list <[log in to unmask]>
Sender: Museum discussion list <[log in to unmask]>
From: Steve Gilheany <[log in to unmask]>
Subject: 3 Day UCLA Extension Course in Document Imaging - Document
Management: Fall 2001 and Winter 2002
Comments: To: Listserv <[log in to unmask]>
MIME-Version: 1.0
Content-Type: text/plain; charset="Windows-1252"
Content-Transfer-Encoding: 8bit
*****
3 Day UCLA Extension Course in Document Imaging - Document Management: Fall
2001, Winter 2002
*****
Updated Document Management Site Summary at
http://www.archivebuilders.com/whitepapers/27006v005p.pdf
For those persons who cannot attend the class, all of the printed class
materials are available free at [http://www.ArchiveBuilders.com]
Three days, Fall 2001: Friday, November 16, 8:00 AM to 6:00 PM, Saturday,
November 17, 8:00 AM to 6:00 PM, and Sunday, November 18, 8:00 AM to 6:00
PM, at the at the Downtown Los Angeles World Trade Center, 350 S. Figueroa
Street, Suite 100, Los Angeles, CA 90071 (213) 628-9709. Winter 2002:
Friday, February 8, 8:00 AM to 6:00 PM, Saturday, February 9, 8:00 AM to
6:00 PM, and Sunday, February 10, 8:00 AM to 6:00 PM, at the World Trade
Center. The course is generally offered every quarter. Beginning and
ending times may change slightly. See [http://www.ArchiveBuilders.com] for
a copy of the course description.
This course is for managers who have been assigned to manage a document
imaging system or digital library, and must start immediately. This course
is designed to assist managers to be more effective in bringing the
immediate and long term benefits of document imaging and document management
to their organizations and to their organizations clients, customers, and
constituents. Students will gain an understanding of how document imaging
can be used and managed in both small and large-scale organizations.
Document imaging is the process of taking documents out of file cabinets,
and off shelves, and storing them in a computer. This course provides an
understanding of the details that there is often no time to review in the
rush to implement a system. The course content is intended to be useful to
students in their professional work for twenty years into the future and is
also intended to be useful for planning to preserve digital documents
forever. The course may be too broad for those students seeking to learn a
specific software application. Students will learn about the technology of
scanning, importing, transmitting, organizing, indexing, storing,
protecting, searching, retrieving, viewing, printing, preserving, and
authenticating documents for document imaging systems, digital libraries,
and archives. Image and document formats, metadata, XML (eXtensible Markup
Language), multimedia, rich text, PDF (Portable Document Format), GIS
(Geographic Information Systems), CAD (Computer Aided Design), VR (Virtual
Reality) indices, image enabled databases, data visualization, finite
element analysis models, animations, molecular models, RAM (Random Access
Memory) based SQL (Structured Query Language) databases, knowledge
management, data warehousing, records inventories, retention schedules,
black and white, grayscale, and color scanning, OCR (Optical Character
Recognition), multispectral imaging, audio and video digitizing, destructive
(lossy) and non-destructive (lossless) compression, digital signatures and
seals, encryption, the three components of vision: resolution, color, and
motion, the imaging technology of continuous tone, halftoning, dithering,
and pixels, and disaster planning will be discussed. System design issues
in hardware, software, networking, ergonomics, and workflow will be covered.
Emerging technologies such as the DVD Digital Video Disk, HDTV (High
Definition TV), and very high speed Internet, intranet, and extranet links,
Internet protocol stacks, and Internet 2 will be discussed. The course will
include the DVDs role in completing the convergence of the PC and
television, the convergence of telephony, cable, and the Internet, the
merging of home and office, the merging of business and entertainment, and
the management of the resulting document types. Many professionals including
records managers, librarians, and archivists work with document management
issues every day. While not limited to these professionals, this course
builds on the broad range of tools and techniques that exist in these
professions. The class content is designed so that students can benefit
from each part of the class without fully understanding every technical
detail presented. This course is designed for non-technical professionals.
Several system designs will be done based on system requirements provided by
the students. System designs are done to provide an understanding of the
design process, not to provide guaranteed solutions to specific problems.
Instructional techniques include storytelling. There is no hands-on use of
scanning equipment. The course is designed to improve the ability of
non-technical managers to participate in, and to direct, technical
discussions. The course includes the use of story telling techniques,
iconic objects, and videos. The UCLA Extension Catalog is at:
[https://www.uclaextension.org/course_listings/BrowseListings.cfm]. Please
search under course title and use the search keywords document imaging and
document management. Course number 814.14, Fall reg. number L9727U, 2.4
CEU, Cost: US$425. Please call +1 (310) 825-9971 to register by phone.
Please call +1 (310) 937-7000 for questions about course content. Please
call +1 (310) 825-4100 for enrollment questions. It is recommended that you
call the instructor before attending.
Most instruction materials are available free at
[http://www.ArchiveBuilders.com] All of the materials can be downloaded
with a single click and then printed with a single click. A bound copy of
the course materials entitled The Document Management Continuum (450 pages)
can be ordered for a nominal fee from the UCLA bookstore. See the website
above for ordering information. The materials are updated from time to
time, please check the version numbers.
Instructor: [log in to unmask], BA CS, MBA, MLS
Specialization in Information Science, CDIA (Certified Document Imaging
System Architect), CRM (Certified Records Manager), Sr. Systems Engineer,
[www.ArchiveBuilders.com] +1 (310) 937-7000, Fax: +1 (310) 937-7001.
The World Trade Center is connected to the Westin Bonaventure Hotel (213)
624-1000 and the Mariott (213) 617-1133 by elevated walkways.
[http://www.theBiltmore.com] (213) 624-1011 is also quite close. Many other
hotels are a short cab ride away. The LAX Motel 6 (310) 419-1234 (~US$60
per day) is about 1 hour away at rush hour if you have a car.
[http://www.motel6.com/index.asp?start=motel_detail.asp?MotelID=1260]
Prices subject to change without notice.
The instructor has taught classes similar to this course to document imaging
users and managers, in legal records management, to librarians and
archivists, and to various industry groups. He has worked in digital
document management and document imaging for twenty years. His experience
in the application of document management and document imaging in industry
includes: aerospace, banking, manufacturing, natural resources, petroleum
refining, transportation, energy, federal, state, and local government,
civil engineering, utilities, entertainment, commercial records centers,
archives, non-profit development, education, and administrative,
engineering, production, legal, and medical records management. At the same
time, he has worked in product management for hypertext, for windows based
user interface systems, for computer displays, for engineering drawing,
letter size, microform, and color scanning, and for xerographic,
photographic, newspaper, engineering drawing, and color printing.
In addition, the instructor has nine years of experience in data center
operations and database and computer communications systems design,
programming, testing, and software configuration management. He has an MLS
Specialization in Information Science and an MBA with a concentration in
Computer and Information Systems from UCLA, a California Adult Education
teaching credential, and a BA in Computer Science from the University of
Wisconsin at Madison. His industry certifications include: the CDIA
(Certified Document Imaging System Architect), the AIIM Master, and AIIM
Laureate, of Information Technologies (from AIIM International, the
Association of Information and Image Management, [http://www.AIIM.org]), and
the CRM (Certified Records Manager) (from the ICRM, the Institute of
Certified Records Managers, an affiliate of ARMA International, the
Association of Records Managers and Administrators, [http://www.ARMA.org]).
The following is an example of the course materials available at
[http://www.ArchiveBuilders.com] There are also several papers that
describe various document management topics in prose.
Computer storage requirements for various digitized document types:
1 scanned page (8 1/2 by 11 inches, A4) = 50 KiloBytes (KByte)
(on average, black & white, CCITT G4 compressed)
1 file cabinet (4 drawer) (10,000 pages on average) = 500 MegaBytes (MByte)
= 1 CD (ROM or WORM)
2 file cabinets = 10 cubic feet = 1,000 MBytes = 1 GigaByte (GByte)
10 file cabinets = 1 DVD (WORM)
1 box (in inches: 15 1/2 long x 12 wide x 10 deep) (2,500 pages) =
1 file drawer = 2 linear feet of files = 1 1/4 cubic feet = 125 MBytes
8 boxes = 16 linear feet = 2 file cabinets = 1 GByte
Displays and projectors:
UXGA 1600 x 1200 1.92 million pixels
HDTV = UXGAW (UXGA Wide) 1920 x 1200 2.304 million pixels
QXGA (Quad XGA) 2048 x 1536 3.146728 million pixels
QSXGA (Quad SXGA) 2560 x 2048 5.24288 million pixels
QUXGA (Quad XUXGA) 3200 x 2400 7.68 million pixels
QUXGAW or QUXGA-W (Quad UXGA Wide) 3840 x 2400 9.216 million pixels
Kodak 16 megapixel camera back 4080 x 4080 16.6464 million pixels
Steve Gilheany, CRM
Contact: [log in to unmask]
http://www.ArchiveBuilders.com
=========================================================
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=========================================================================
Date: Thu, 25 Oct 2001 16:17:38 +0800
Reply-To: Museum discussion list <[log in to unmask]>
Sender: Museum discussion list <[log in to unmask]>
From: kelvin james <[log in to unmask]>
Subject: Request for Valuation Information
Mime-Version: 1.0
Content-Type: text/plain; format=flowed
Dear Listers,
can anyone show me where to find information on valuate an object?
_________________________________________________________________
Get your FREE download of MSN Explorer at http://explorer.msn.com/intl.asp
=========================================================
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=========================================================================
Date: Wed, 24 Oct 2001 21:45:28 -0400
Reply-To: Museum discussion list <[log in to unmask]>
Sender: Museum discussion list <[log in to unmask]>
From: Keepsafe Systems/Jerry Shiner <[log in to unmask]>
Subject: Re: Camera Obscura-use telescope lens and mirrors
In-Reply-To: <[log in to unmask]>
Mime-Version: 1.0
Content-Type: text/plain; charset="us-ascii"; format=flowed
At 03:57 PM 24/10/01 -0400, you wrote:
>I'm looking at projecting an image of the skyline across the distance of
>3 to 6 feet within a tube (oversized camera lens) I would like to keep
>this focal length small to keep the housing small but would also like
>an image of about 12 to 18 inches in diameter. Ideally, this lens
>configuration would allow a depth of field to accommodate focus on
>the skyline and on people in front of the 'camera'.
Kent,
You're setting yourself quite a problem here, as you are combining opposites:
a longer focal length (usually in mm or inches, but yours is in feet)
essentially means more magnification and less (much less) depth of field
you'll need a very large lens to make the image bright enough. Again you
will have problems with depth of field (very large diameter to focal length
= wide "f stop" = minimum depth of field)
You might consider something done with one or more mirrors. This would
allow you to reverse the image, and also to set the lens above people
height. Everything would be distant, so no depth of field worries. The
magic of a real image projected on a ground glass (get a good one) will
compensate for many other sins. Beside's a large lens at ground level would
be putting a substantial investment in harms way. The mirrors would
elongate the path for a telephoto effect without taking up valuable floor
space. The ground glass screen could be positioned and angled for maximum
visibility and in the darkest possible area (very important), and again,
out of harm's way.
a full scale mock up means a proper lens. Why not make a working smaller
scale mock up? The effect on the viewer will be the same.
You might find an amateur telescope maker to grind a lens for you. You
don't need a camera's or good telescope's compound lens system for
chromatic correction, just a simple single convex lens would do. Please let
me know (off line) what you decide to do, and contact me off line if I can
be of any help dreaming this.
js
[log in to unmask]
Jerry Shiner
Keepsafe Systems
Microclimate and Oxygen-free storage supplies and solutions
www.keepsafe.ca
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Date: Thu, 25 Oct 2001 09:36:08 -0400
Reply-To: Museum discussion list <[log in to unmask]>
Sender: Museum discussion list <[log in to unmask]>
From: Lori Tomlinson <[log in to unmask]>
Subject: Re: UV blocking film for windows
Content-Type: text/plain; charset=iso-8859-1
Good Morning Listers!
A new museum will be opening in my area soon, in a space given to them by a local mall. The mall is not enclosed, and so the front window is exposed to massive amounts of sunlight (direct and indirect). I have been trying to track down sources of UV blocking film that can be used for large windows, but couldn't find any in the usual conservation supply catalogs. If any of you have used the film, and would share you purchase source, I will pass the info along to the new museum. They would much appreciate your help.
Lori Tomlinson
Executive Director
Florida Adventure Museum
Punta Gorda, Fla. USA
[log in to unmask]
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Important Subscriber Information:
The Museum-L FAQ file is located at http://www.finalchapter.com/museum-l-faq/ . You may obtain detailed information about the listserv commands by sending a one line e-mail message to [log in to unmask] . The body of the message should read "help" (without the quotes).
If you decide to leave Museum-L, please send a one line e-mail message to [log in to unmask] . The body of the message should read "Signoff Museum-L" (without the quotes).
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Date: Thu, 25 Oct 2001 10:57:50 +0100
Reply-To: Museum discussion list <[log in to unmask]>
Sender: Museum discussion list <[log in to unmask]>
From: Webmaster <[log in to unmask]>
Subject: Artguardian.com - Alert dated Oct. 24, 2001
Mime-Version: 1.0
Content-Type: text/html; charset=us-ascii
<HTML>
<HEAD>
<TITLE>ARTguardian.com - Alert area - Newsletter</TITLE>
<META content="text/html; charset=iso-8859-1" http-equiv=Content-Type>
<META content="MSHTML 5.00.2919.6307" name=GENERATOR>
</HEAD>
<BODY bgColor=#8cb6e0 leftMargin=0 topMargin=0 marginheight="0" marginwidth="0" link="#FF9933" vlink="#FF9933" alink="#FF9933">
<TABLE bgColor=#ffffff border=0 cellPadding=0 cellSpacing=0
width=734 height="1764">
<TBODY>
<TR>
<TD class=text1 height="72">
<div align="left"><img src="http://www.artguardian.com/images/corporate/logo_transparent_big_en.gif" width="420" height="80"></div>
</TD>
</TR>
<TR>
<TD class=text1 vAlign=top bordercolor="#FFFFFF" height="1741">
<blockquote><br>
<table width="675" border="0" cellspacing="2" height="1615">
<tr valign="top">
<td height="567" align="justify" width="364">
<p><a name="top"></a><font face="Arial, Helvetica, sans-serif" size="2">Hello,</font></p>
<p align="justify"><font face="Arial, Helvetica, sans-serif" size="2">The
Comité International de la Haute Horlogerie of Geneva and
Artguardian.com inform you that nearly <b>forty extremely valuable
watches were stolen during the night of 31 August 2001</b> from
the Musée de l'Horlogerie et de l'Emaillerie [the Watch,
Clock and Enamel Museum] in Geneva. They had been part of the
prestigious exhibition 'L'univers des montres à complications'
['The universe of complex watches'].</font></p>
<p align="justify"><font face="Arial, Helvetica, sans-serif" size="2">Many
of the stolen watches are listed and would be recognised by enthusiasts,
but sooner or later <b>they will all attract the attention of
collectors.</b></font></p>
<p align="justify"><font face="Arial, Helvetica, sans-serif" size="2">The
watches were on loan to this exhibition from <b>renowned companies
and museums </b>such as the Musée International d'Horlogerie
[the International Watch and Clock Museum] in La-Chaux-de-Fonds,
the Musée du Château des Monts du Locle and the Musée
de l'Horlogerie et de l'Emaillerie [the Watch, Clock and Enamel
Museum] in Geneva.</font></p>
<p align="justify"><font face="Arial, Helvetica, sans-serif" size="2">The
first person to provide information leading to the recovery of
the stolen watches and to the arrest and conviction of those responsible,
will receive <b>a reward</b> from the insurers of the exhibition.</font></p>
<p align="justify"><font face="Arial, Helvetica, sans-serif" size="2">We
would like to thank you in advance for <b>your valuable cooperation</b>.</font><font face="Arial, Helvetica, sans-serif" size="2"><br>
</font><font face="Arial, Helvetica, sans-serif"> </font> </p>
<table width="318" border="0" cellspacing="2">
<tr valign="top">
<td width="203" height="35"><b><font face="Arial, Helvetica, sans-serif" size="2">Comité
International de la Haute Horlogerie</font><font face="Arial, Helvetica, sans-serif" size="2" color="#336600"><br>
</font></b></td>
<td width="95" height="35"><b><font face="Arial, Helvetica, sans-serif" size="2">Artguardian.com</font></b></td>
</tr>
</table>
<br>
</td>
<td height="565" width="526" bgcolor="#FFFFFF" rowspan="2">
<div align="center">
<p><b><font face="Arial, Helvetica, sans-serif" size="4"><br>
Alert dated October 24, 2001<br>
</font></b></p>
<table width="332" border="0" cellspacing="2" height="69">
<tr>
<td height="63" bgcolor="#FEE7D8">
<div align="justify"><font face="Arial, Helvetica, sans-serif" size="2">This
alert allows you to take a quick look at the stolen watches,
categorised by maker and by museum. <br>
<b>Click on the orange links </b>to access <b>detailed
descriptions and larger photos.</b></font> </div>
</td>
</tr>
</table>
<br>
<div align="left"></div>
<table width="331" border="0" cellspacing="2" height="24">
<tr valign="top">
<td height="21" width="170">
<div align="left"><font face="Arial, Helvetica, sans-serif" size="2">Domain:
<b>Timepieces</b></font></div>
</td>
<td height="21" width="151"><font face="Arial, Helvetica, sans-serif" size="2">Sub-domain:
<b> Watch</b></font></td>
</tr>
<tr valign="top">
<td height="21" width="170"><font face="Arial, Helvetica, sans-serif" size="2">Date
of theft: <b>08.31.2001</b></font></td>
<td height="21" width="151"> </td>
</tr>
</table>
<br>
</div>
<table width="334" border="0" cellspacing="2" align="center" height="206" bgcolor="#EEF3F9">
<tr valign="top">
<td height="215">
<table width="325" border="0" cellspacing="2">
<tr>
<td valign="top"><img src="http://www.artguardian.com/images/stolenobjects/montreAP102_small_alert.gif" width="79" height="100"></td>
<td>
<table width="239" border="0" cellspacing="2">
<tr valign="top">
<td colspan="2" height="17">
<p><font face="Arial, Helvetica, sans-serif" size="2" color="#336699"><b><font size="3">Audemars
Piguet</font></b></font></p>
<p><font face="Arial, Helvetica, sans-serif" size="2" color="#336699"><b>Details
and photo of the 4 stolen watches:</b></font>
</p>
</td>
</tr>
<tr valign="top">
<td width="14" height="17"><font face="Arial, Helvetica, sans-serif" size="2" color="#FF9900"><b>></b></font></td>
<td width="281" height="17"><font face="Arial, Helvetica, sans-serif" size="2" color="#FF9900"><b><a href="http://www.artguardian.com/stolenobjects/en/stolenobjectsmontreAP102_en.htm" target="_blank">Pocket
watch with jumping hours and minute-repeater </a></b></font></td>
</tr>
<tr valign="top">
<td width="14" height="30"><font face="Arial, Helvetica, sans-serif" size="2" color="#FF9900"><b>></b></font></td>
<td width="281" height="30"><font face="Arial, Helvetica, sans-serif" size="2" color="#FF9900"><b><a href="http://www.artguardian.com/stolenobjects/en/stolenobjectsmontreAP100_en.htm" target="_blank">Wristwatch
with grande sonnerie and quarter-repeater </a></b></font></td>
</tr>
<tr valign="top">
<td width="14"><font face="Arial, Helvetica, sans-serif" size="2" color="#FF9900"><b>></b></font></td>
<td width="281"><font size="2" face="Arial, Helvetica, sans-serif" color="#FF9900"><b><a href="http://www.artguardian.com/stolenobjects/en/stolenobjectsmontreAP101_en.htm" target="_blank">"Star
Wheel" two faces pocket watch date and day</a></b></font></td>
</tr>
<tr valign="top">
<td width="14"><font face="Arial, Helvetica, sans-serif" size="2" color="#FF9900"><b>></b></font></td>
<td width="281"><font face="Arial, Helvetica, sans-serif" size="2" color="#FF9900"><b><a href="http://www.artguardian.com/stolenobjects/en/stolenobjectsmontreAP103_en.htm" target="_blank">"Royal
Oak" wristwatch with perpetual calendar</a></b></font></td>
</tr>
</table>
</td>
</tr>
</table>
</td>
</tr>
</table>
<div align="right"><a href="#top"><img src="http://www.artguardian.com/images/buttons/arrow_up1.gif" width="11" height="10" border="0"></a><br>
</div>
<table width="331" border="0" cellspacing="2" align="center" height="111" bgcolor="#EEF3F9">
<tr valign="top">
<td width="82" height="111"><img src="http://www.artguardian.com/images/stolenobjects/montreBM100_small_alert.gif" width="90" height="100"></td>
<td width="237" height="111">
<table width="226" border="0" cellspacing="2">
<tr valign="top">
<td colspan="2" height="17">
<p><font face="Arial, Helvetica, sans-serif" size="2" color="#336699"><b><font size="3">Baume
& Mercier</font></b></font></p>
<p></p>
<p><font face="Arial, Helvetica, sans-serif" size="2" color="#336699"><b>Details
and photo of the stolen watch:</b></font> </p>
</td>
</tr>
<tr valign="top">
<td width="14" height="17"><font face="Arial, Helvetica, sans-serif" size="2" color="#FF9900"><b>></b></font></td>
<td width="275" height="17">
<p><font face="Arial, Helvetica, sans-serif" size="2" color="#FF9900"><b><font face="Arial, Helvetica, sans-serif" size="2"><a href="http://www.artguardian.com/stolenobjects/en/stolenobjectsmontreBM100_en.htm" target="_blank">Gold
chronograph watch with leather strap</a></font></b></font></p>
</td>
</tr>
</table>
</td>
</tr>
</table>
<br>
<table width="329" border="0" cellspacing="2" align="center" height="210" bgcolor="#EEF3F9">
<tr valign="top">
<td width="82" height="207"><img src="http://www.artguardian.com/images/stolenobjects/montreCA102_small_alert.gif" width="79" height="100"></td>
<td width="237" height="207">
<table width="235" border="0" cellspacing="2">
<tr valign="top">
<td colspan="2" height="58">
<p><font color="#336699"><b><font face="Arial, Helvetica, sans-serif" size="3">Cartier</font></b></font><font face="Arial, Helvetica, sans-serif" size="3"><br>
</font></p>
<p><font face="Arial, Helvetica, sans-serif" size="2" color="#336699"><b>Details
and photo of the 4 stolen watches:</b></font> </p>
</td>
</tr>
<tr valign="top">
<td width="14" height="17"><font face="Arial, Helvetica, sans-serif" size="2" color="#FF9900"><b>></b></font></td>
<td width="275" height="17"><b><font size="2" face="Arial, Helvetica, sans-serif" color="#FF9900"><a href="http://www.artguardian.com/stolenobjects/en/stolenobjectsmontreCA102_en.htm" target="_blank">"Tortue"
rock crystal wristwatch with tourbillon </a></font></b></td>
</tr>
<tr valign="top">
<td width="14" height="19"><font face="Arial, Helvetica, sans-serif" size="2" color="#FF9900"><b>></b></font></td>
<td width="275" height="19"><b><font face="Arial, Helvetica, sans-serif" size="2" color="#FF9900"><a href="http://www.artguardian.com/stolenobjects/en/stolenobjectsmontreCA100_en.htm" target="_blank">Ultra-complicated
pocket watch</a></font></b></td>
</tr>
<tr valign="top">
<td width="14" height="18"><font face="Arial, Helvetica, sans-serif" size="2" color="#FF9900"><b>></b></font></td>
<td width="275" height="18"><b><font face="Arial, Helvetica, sans-serif" size="2" color="#FF9900"><a href="http://www.artguardian.com/stolenobjects/en/stolenobjectsmontreCA101_en.htm" target="_blank">Wristwatch
with simple complete calendar</a></font></b></td>
</tr>
<tr valign="top">
<td width="14" height="17"><font face="Arial, Helvetica, sans-serif" size="2" color="#FF9900"><b>></b></font></td>
<td width="275" height="17"><b><font face="Arial, Helvetica, sans-serif" size="2" color="#FF9900"><a href="http://www.artguardian.com/stolenobjects/en/stolenobjectsmontreCA103_en.htm" target="_blank">"Tortue"
wristwatch with minute repeater</a></font></b></td>
</tr>
</table>
</td>
</tr>
</table>
<div align="right"><a href="#top"><img src="http://www.artguardian.com/images/buttons/arrow_up1.gif" width="11" height="10" border="0"></a><br>
</div>
<table width="329" border="0" cellspacing="2" align="center" height="254" bgcolor="#EEF3F9">
<tr valign="top">
<td width="82" height="253"><img src="http://www.artguardian.com/images/stolenobjects/montreGP100_small_alert.gif" width="74" height="100"></td>
<td width="237" height="253">
<table width="235" border="0" cellspacing="2">
<tr valign="top">
<td colspan="2" height="17">
<p><font face="Arial, Helvetica, sans-serif" size="2" color="#336699"><b><font size="3">Girard
Perregaux</font></b></font><font face="Arial, Helvetica, sans-serif" size="2"><br>
</font></p>
<p><font face="Arial, Helvetica, sans-serif" size="2" color="#336699"><b>Details
and photo of the 4 stolen watches:</b></font> </p>
</td>
</tr>
<tr valign="top">
<td width="14" height="17"><font face="Arial, Helvetica, sans-serif" size="2" color="#FF9900"><b>></b></font></td>
<td width="281" height="17"><b><font face="Arial, Helvetica, sans-serif" size="2" color="#FF9900"><a href="http://www.artguardian.com/stolenobjects/en/stolenobjectsmontreGP100_en.htm" target="_blank">Pocket
hunter with quarter-repeater</a></font></b></td>
</tr>
<tr valign="top">
<td width="14" height="30"><font face="Arial, Helvetica, sans-serif" size="2" color="#FF9900"><b>></b></font></td>
<td width="281" height="30"><b><font face="Arial, Helvetica, sans-serif" size="2" color="#FF9900"><a href="http://www.artguardian.com/stolenobjects/en/stolenobjectsmontreGP101_en.htm" target="_blank">Double-face
pocket hunter with complete annual calendar</a></font></b></td>
</tr>
<tr valign="top">
<td width="14"><font face="Arial, Helvetica, sans-serif" size="2" color="#FF9900"><b>></b></font></td>
<td width="281"><b><font face="Arial, Helvetica, sans-serif" size="2" color="#FF9900"><a href="http://www.artguardian.com/stolenobjects/en/stolenobjectsmontreGP102_en.htm" target="_blank">Pocket
watch with grande sonnerie, petite sonnerie and minute-repeater</a></font></b></td>
</tr>
<tr valign="top">
<td width="14" height="34"><font face="Arial, Helvetica, sans-serif" size="2" color="#FF9900"><b>></b></font></td>
<td width="281" height="34"><b><font face="Arial, Helvetica, sans-serif" size="2" color="#FF9900"><a href="http://www.artguardian.com/stolenobjects/en/stolenobjectsmontreGP103_en.htm" target="_blank">Pocket
chronograph watch with double calendar and moon phases</a></font></b></td>
</tr>
</table>
</td>
</tr>
</table>
<br>
<table width="329" border="0" cellspacing="2" align="center" height="265" bgcolor="#EEF3F9">
<tr valign="top">
<td width="82" height="265"><img src="http://www.artguardian.com/images/stolenobjects/montreVC104_small_alert.gif" width="93" height="100"></td>
<td width="237" height="265">
<table width="235" border="0" cellspacing="2">
<tr valign="top">
<td colspan="2" height="17">
<p><font face="Arial, Helvetica, sans-serif" size="2" color="#336699"><b><font size="3">Vacheron
Constantin</font></b></font><font face="Arial, Helvetica, sans-serif" size="2"><br>
</font></p>
<p><font face="Arial, Helvetica, sans-serif" size="2" color="#336699"><b>Details
and photo of the 6 stolen watches:</b></font> </p>
</td>
</tr>
<tr valign="top">
<td width="8" height="17"><font face="Arial, Helvetica, sans-serif" size="2" color="#FF9900"><b>></b></font></td>
<td width="217" height="17"><b><font size="2" face="Arial, Helvetica, sans-serif" color="#FF9900"><a href="http://www.artguardian.com/stolenobjects/en/stolenobjectsmontreVC104_en.htm" target="_blank">"Malte"
dual time regulator wristwatch</a></font></b></td>
</tr>
<tr valign="top">
<td width="8" height="19"><font face="Arial, Helvetica, sans-serif" size="2" color="#FF9900"><b>></b></font></td>
<td width="217" height="19"><b><font face="Arial, Helvetica, sans-serif" size="2" color="#FF9900"><a href="http://www.artguardian.com/stolenobjects/en/stolenobjectsmontreVC100_en.htm" target="_blank">Minute-repeater
pocket watch</a></font></b></td>
</tr>
<tr valign="top">
<td width="8" height="17"><font face="Arial, Helvetica, sans-serif" size="2" color="#FF9900"><b>></b></font></td>
<td width="217" height="17"><b><font face="Arial, Helvetica, sans-serif" size="2" color="#FF9900"><a href="http://www.artguardian.com/stolenobjects/en/stolenobjectsmontreVC101_en.htm" target="_blank">Regulator
pocket watch with independent seconds-hand</a></font></b></td>
</tr>
<tr valign="top">
<td width="8" height="18"><font face="Arial, Helvetica, sans-serif" size="2" color="#FF9900"><b>></b></font></td>
<td width="217" height="18"><b><font face="Arial, Helvetica, sans-serif" size="2" color="#FF9900"><a href="http://www.artguardian.com/stolenobjects/en/stolenobjectsmontreVC102_en.htm" target="_blank">"Malte"
tourbillon wristwatch</a></font></b></td>
</tr>
<tr valign="top">
<td width="8" height="49"><font face="Arial, Helvetica, sans-serif" size="2" color="#FF9900"><b>></b></font></td>
<td width="217" height="49"><b><font face="Arial, Helvetica, sans-serif" size="2" color="#FF9900"><a href="http://www.artguardian.com/stolenobjects/en/stolenobjectsmontreVC103_en.htm" target="_blank">"Malte"
wristwatch with chronograph and perpetual calendar</a></font></b></td>
</tr>
<tr valign="top">
<td width="8" height="34"><font face="Arial, Helvetica, sans-serif" size="2" color="#FF9900"><b>></b></font></td>
<td width="217" height="34"><font face="Arial, Helvetica, sans-serif" size="2" color="#FF9900"><b><a href="http://www.artguardian.com/stolenobjects/en/stolenobjectsmontreVC105_en.htm" target="_blank">Yellow
gold skeleton wristwatch with perpetual calendar</a></b>
</font></td>
</tr>
</table>
</td>
</tr>
</table>
<div align="center"> <br>
<table width="328" border="0" cellspacing="2" height="105">
<tr>
<td bgcolor="#FEE7D8" height="97">
<div align="justify"><font face="Arial, Helvetica, sans-serif" size="2"><b>Artguardian
Art-Trade Watch service </b>increases the chances of recovering
stolen objects and reduces the saleability of stolen objects
for illicit dealers.<b><br>
This service is free for art professionals.<br>
</b>Interested? <b><a href="http://www.artguardian.com/services/en/subscription_en.jsp">Subscribe
right away</a></b>.</font></div>
</td>
</tr>
</table>
<p><font face="Arial, Helvetica, sans-serif" size="2"><b>Artguardian.com,
the Internet solution<br>
to protect your valuables</b><br>
<a href="http://www.artguardian.com/index/en/index_en.htm" target="_blank">http://www.artguardian.com</a></font><br>
<br>
<font face="Arial, Helvetica, sans-serif" size="2"><b> ¦
<a href="mailto:[log in to unmask]&subject=Pro-%20contact" target="_blank">Contact</a>
¦ <a href="mailto:[log in to unmask]&subject=Pro-%20Remove" target="_blank">Remove</a>
¦</b></font> </p>
</div>
</td>
</tr>
<tr valign="top">
<td height="1087" width="364">
<table width="329" border="0" cellspacing="2" align="center" height="451" bgcolor="#EEF3F9">
<tr valign="top">
<td colspan="2" height="464"><font face="Arial, Helvetica, sans-serif" size="3"><b>Watches
lent by museums</b></font>:<br>
<div align="left"></div>
<div align="left"></div>
<table width="322" border="0" cellspacing="2">
<tr valign="top">
<td width="94" height="89"><img src="http://www.artguardian.com/images/stolenobjects/montreMIH100_small_alert.gif" width="80" height="74"></td>
<td width="15" height="89"><font face="Arial, Helvetica, sans-serif" size="2" color="#FF9900"><b>></b></font></td>
<td width="199" height="89"><b><font face="Arial, Helvetica, sans-serif" size="2" color="#FF9900"><a href="http://www.artguardian.com/stolenobjects/en/stolenobjectsmontreMIH100_en.htm" target="_blank">Quartier-repeater
pocket watch functioning à toc (6 o'clock),
à tact (8 o'clock) and by means of a bell (in
the back of the case)</a></font></b></td>
</tr>
<tr valign="top">
<td rowspan="2" height="30" width="94"><img src="http://www.artguardian.com/images/stolenobjects/montreMHE100_small_alert.gif" width="75" height="100"></td>
<td width="15" height="38"><font face="Arial, Helvetica, sans-serif" size="2" color="#FF9900"><b>></b></font></td>
<td width="199" height="38"><b><font face="Arial, Helvetica, sans-serif" size="2" color="#FF9900"><a href="http://www.artguardian.com/stolenobjects/en/stolenobjectsmontreMHE100_en.htm" target="_blank">Pocket
watch with sectorial dials</a></font></b></td>
</tr>
<tr valign="top">
<td width="15" height="75"><font face="Arial, Helvetica, sans-serif" size="2" color="#FF9900"><b>></b></font></td>
<td width="199" height="75"><b><font face="Arial, Helvetica, sans-serif" size="2" color="#FF9900"><a href="http://www.artguardian.com/stolenobjects/en/stolenobjectsmontreMHE101_en.htm" target="_blank">Pocket
watch with perpetual calendar</a></font></b></td>
</tr>
<tr valign="top">
<td rowspan="7" height="250" width="94"><img src="http://www.artguardian.com/images/stolenobjects/montreMHCM101_small_alert.gif" width="86" height="100"></td>
<td width="15" height="15"><font face="Arial, Helvetica, sans-serif" size="2" color="#FF9900"><b>></b></font></td>
<td width="199" height="15"><b><font size="2" face="Arial, Helvetica, sans-serif" color="#FF9900"><a href="http://www.artguardian.com/stolenobjects/en/stolenobjectsmontreMHCM101_en.htm" target="_blank">Renaissance
pocket watch</a></font></b></td>
</tr>
<tr valign="top">
<td width="15" height="34"><font face="Arial, Helvetica, sans-serif" size="2" color="#FF9900"><b>></b></font></td>
<td width="199" height="34"><b><font face="Arial, Helvetica, sans-serif" size="2" color="#FF9900"><a href="http://www.artguardian.com/stolenobjects/en/stolenobjectsmontreMHCM100_en.htm" target="_blank">Pocket
watch with five-bell chimes</a></font></b></td>
</tr>
<tr valign="top">
<td width="15" height="11"><font face="Arial, Helvetica, sans-serif" size="2" color="#FF9900"><b>></b></font></td>
<td width="199" height="11"><b><font face="Arial, Helvetica, sans-serif" size="2" color="#FF9900"><a href="http://www.artguardian.com/stolenobjects/en/stolenobjectsmontreMHCM102_en.htm" target="_blank">Day
and night pocket watch</a></font></b></td>
</tr>
<tr valign="top">
<td width="15" height="34"><font face="Arial, Helvetica, sans-serif" size="2" color="#FF9900"><b>></b></font></td>
<td width="199" height="34"><b><font face="Arial, Helvetica, sans-serif" size="2" color="#FF9900"><a href="http://www.artguardian.com/stolenobjects/en/stolenobjectsmontreMHCM103_en.htm" target="_blank">Pocket
watch with perpetual calendar</a></font></b></td>
</tr>
<tr valign="top">
<td width="15" height="14"><font face="Arial, Helvetica, sans-serif" size="2" color="#FF9900"><b>></b></font></td>
<td width="199" height="14"><b><font face="Arial, Helvetica, sans-serif" size="2" color="#FF9900"><a href="http://www.artguardian.com/stolenobjects/en/stolenobjectsmontreMHCM104_en.htm" target="_blank">Pocket
watch with one hand</a></font></b></td>
</tr>
<tr valign="top">
<td width="15" height="45"><font face="Arial, Helvetica, sans-serif" size="2" color="#FF9900"><b>></b></font></td>
<td width="199" height="45"><b><font face="Arial, Helvetica, sans-serif" size="2" color="#FF9900"><a href="http://www.artguardian.com/stolenobjects/en/stolenobjectsmontreMHCM105_en.htm" target="_blank">Pocket
watch with one hand, making one complete revolution
in 6 hours</a></font></b></td>
</tr>
<tr valign="top">
<td width="15" height="34"><font face="Arial, Helvetica, sans-serif" size="2" color="#FF9900"><b>></b></font></td>
<td width="199" height="34"><b><font size="2" face="Arial, Helvetica, sans-serif" color="#FF9900"><a href="http://www.artguardian.com/stolenobjects/en/stolenobjectsmontreMHCM106_en.htm" target="_blank">Pocket
watch with aperture (hours) and sector (minutes)</a></font></b></td>
</tr>
</table>
</td>
</tr>
</table>
<div align="right"><a href="#top"><img src="http://www.artguardian.com/images/buttons/arrow_up1.gif" width="11" height="10" border="0"></a><br>
</div>
<table width="329" border="0" cellspacing="2" align="center" height="104" bgcolor="#EEF3F9">
<tr valign="top">
<td width="82" height="111"><img src="http://www.artguardian.com/images/stolenobjects/montrePA100_small_alert.gif" width="84" height="100"></td>
<td width="237" height="111">
<table width="238" border="0" cellspacing="2">
<tr valign="top">
<td colspan="2" height="17">
<p><font face="Arial, Helvetica, sans-serif" size="2" color="#336699"><b><font size="3">Parmigiani</font></b></font><font face="Arial, Helvetica, sans-serif" size="2"><br>
</font></p>
<p><font face="Arial, Helvetica, sans-serif" size="2" color="#336699"><b>Details
and photo of the stolen watch:</b></font> </p>
</td>
</tr>
<tr valign="top">
<td width="14" height="17"><font face="Arial, Helvetica, sans-serif" size="2" color="#FF9900"><b>></b></font></td>
<td width="281" height="17"><font face="Arial, Helvetica, sans-serif" size="2" color="#FF9900"><b><font face="Arial, Helvetica, sans-serif" size="2"><a href="http://www.artguardian.com/stolenobjects/en/stolenobjectsmontrePA100_en.htm" target="_blank">Wristwatch
"Ionica" with minute-repeater (without movement)</a></font></b></font></td>
</tr>
</table>
</td>
</tr>
</table>
<br>
<table width="329" border="0" cellspacing="2" align="center" height="171" bgcolor="#EEF3F9">
<tr valign="top">
<td width="82" height="219"><img src="http://www.artguardian.com/images/stolenobjects/montrePI101_small_alert.gif" width="82" height="100"></td>
<td width="237" height="219">
<table width="239" border="0" cellspacing="2">
<tr valign="top">
<td colspan="2" height="17">
<p><font face="Arial, Helvetica, sans-serif" size="2" color="#336699"><b><font size="3">Piaget</font></b></font><font face="Arial, Helvetica, sans-serif" size="2"><br>
</font></p>
<p><font face="Arial, Helvetica, sans-serif" size="2" color="#336699"><b>Details
and photo of the 4 stolen watches:</b></font> </p>
</td>
</tr>
<tr valign="top">
<td width="14" height="17"><font face="Arial, Helvetica, sans-serif" size="2" color="#FF9900"><b>></b></font></td>
<td width="281" height="17"><b><font face="Arial, Helvetica, sans-serif" size="2" color="#FF9900"><a href="http://www.artguardian.com/stolenobjects/en/stolenobjectsmontrePI101_en.htm" target="_blank">Wrist-chronograph
with simple calendar</a></font></b></td>
</tr>
<tr valign="top">
<td width="14" height="30"><font face="Arial, Helvetica, sans-serif" size="2" color="#FF9900"><b>></b></font></td>
<td width="281" height="30"><b><font size="2" face="Arial, Helvetica, sans-serif" color="#FF9900"><a href="http://www.artguardian.com/stolenobjects/en/stolenobjectsmontrePI100_en.htm" target="_blank">Pocket
watch with gong quarter-repeater</a></font></b></td>
</tr>
<tr valign="top">
<td width="14"><font face="Arial, Helvetica, sans-serif" size="2" color="#FF9900"><b>></b></font></td>
<td width="281"><b><font face="Arial, Helvetica, sans-serif" size="2" color="#FF9900"><a href="http://www.artguardian.com/stolenobjects/en/stolenobjectsmontrePI102_en.htm" target="_blank">Piaget
"Polo" wristwatch with simple calendar</a></font></b></td>
</tr>
<tr valign="top">
<td width="14" height="19"><font face="Arial, Helvetica, sans-serif" size="2" color="#FF9900"><b>></b></font></td>
<td width="281" height="19"><b><font face="Arial, Helvetica, sans-serif" size="2" color="#FF9900"><a href="http://www.artguardian.com/stolenobjects/en/stolenobjectsmontrePI103_en.htm" target="_blank">Wristwatch
with grande sonnerie</a></font></b></td>
</tr>
</table>
</td>
</tr>
</table>
<div align="right"><a href="#top"><img src="http://www.artguardian.com/images/buttons/arrow_up1.gif" width="11" height="10" border="0"></a><br>
</div>
<table width="329" border="0" cellspacing="2" align="center" height="203" bgcolor="#EEF3F9">
<tr valign="top">
<td width="82" height="199"><img src="http://www.artguardian.com/images/stolenobjects/montreRD102_small_alert.gif" width="67" height="100"></td>
<td width="237" height="199">
<table width="237" border="0" cellspacing="2">
<tr valign="top">
<td colspan="2" height="33">
<p><font face="Arial, Helvetica, sans-serif" size="2" color="#336699"><b><font size="3">Roger
Dubuis</font></b></font><font face="Arial, Helvetica, sans-serif" size="2"><br>
</font></p>
<p><font face="Arial, Helvetica, sans-serif" size="2" color="#336699"><b>Details
and photo of the 3 stolen watches:</b></font> </p>
</td>
</tr>
<tr valign="top">
<td width="14" height="33"><font face="Arial, Helvetica, sans-serif" size="2" color="#FF9900"><b>></b></font></td>
<td width="281" height="33"><b><font size="2" face="Arial, Helvetica, sans-serif" color="#FF9900"><a href="http://www.artguardian.com/stolenobjects/en/stolenobjectsmontreRD102_en.htm" target="_blank">"Muchmore"
wristwatch with perpetual calendar by apertures</a></font></b></td>
</tr>
<tr valign="top">
<td width="14" height="19"><font face="Arial, Helvetica, sans-serif" size="2" color="#FF9900"><b>></b></font></td>
<td width="281" height="19"><b><font face="Arial, Helvetica, sans-serif" size="2" color="#FF9900"><a href="http://www.artguardian.com/stolenobjects/en/stolenobjectsmontreRD100_en.htm" target="_blank">"Sympathie"
tourbillon wristwatch</a></font></b></td>
</tr>
<tr valign="top">
<td width="14" height="31"><font face="Arial, Helvetica, sans-serif" size="2" color="#FF9900"><b>></b></font></td>
<td width="281" height="31"><b><font face="Arial, Helvetica, sans-serif" size="2" color="#FF9900"><a href="http://www.artguardian.com/stolenobjects/en/stolenobjectsmontreRD101_en.htm" target="_blank">"Sympathie"
chronograph wristwatch with bi-retrograde perpetual
calendar</a></font></b></td>
</tr>
</table>
</td>
</tr>
</table>
</td>
</tr>
</table>
<div align="left"></div>
</blockquote>
<blockquote>
<blockquote>
<blockquote>
<blockquote>
<blockquote>
<blockquote>
<blockquote>
<div align="left"></div>
</blockquote>
</blockquote>
</blockquote>
</blockquote>
</blockquote>
</blockquote>
<div align="left"> <br>
<table width="683" border="0" cellspacing="2">
<tr>
<td width="329"><font face="Arial, Helvetica, sans-serif" size="2"><font size="1">Copyright
2001 Artguardian</font></font></td>
<td width="302">
<div align="right"><font face="Arial, Helvetica, sans-serif" size="2"></font></div>
</td>
<td width="29">
<div align="right"><a href="#top"><img src="http://www.artguardian.com/images/buttons/arrow_up1.gif" width="11" height="10" border="0"></a></div>
</td>
</tr>
</table>
</div>
</blockquote>
</TD>
</TR>
</TBODY>
</TABLE>
</BODY>
</HTML>
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=========================================================================
Date: Thu, 25 Oct 2001 10:29:03 -0500
Reply-To: Museum discussion list <[log in to unmask]>
Sender: Museum discussion list <[log in to unmask]>
From: "Bryan P. T. Lean" <[log in to unmask]>
Organization: St. Louis Co. Historical Society
Subject: Re: UV blocking film for windows
MIME-Version: 1.0
Content-Type: text/plain; charset="iso-8859-1"
Content-Transfer-Encoding: 7bit
3M makes some great UV filtering film in their "Sun Control" line:
http://www.3m.com/us/home_leisure/winfilm.jhtml
We are looking at retrofitting it to replacement windows in our 108 year old
building.
Bryan
Bryan P. T. Lean
Manager, Museum Operations
St. Louis County Historical Society
[log in to unmask]
www.thehistorypeople.org
www.vets-hall.org
----- Original Message -----
From: Lori Tomlinson <[log in to unmask]>
To: <[log in to unmask]>
Sent: Thursday, October 25, 2001 8:36 AM
Subject: Re: UV blocking film for windows
> Good Morning Listers!
>
> A new museum will be opening in my area soon, in a space given to them by
a local mall. The mall is not enclosed, and so the front window is exposed
to massive amounts of sunlight (direct and indirect). I have been trying to
track down sources of UV blocking film that can be used for large windows,
but couldn't find any in the usual conservation supply catalogs. If any of
you have used the film, and would share you purchase source, I will pass the
info along to the new museum. They would much appreciate your help.
>
> Lori Tomlinson
> Executive Director
> Florida Adventure Museum
> Punta Gorda, Fla. USA
> [log in to unmask]
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Date: Thu, 25 Oct 2001 08:35:37 -0700
Reply-To: Museum discussion list <[log in to unmask]>
Sender: Museum discussion list <[log in to unmask]>
From: Anne Douglas <[log in to unmask]>
Subject: Art & museum-related websites
Content-Type: text/plain
Mime-Version: 1.0
Hello everyone,
After 17 years in museum registration and collection management, Ive decided to stretch a little and do some writing. (But I havent quit my day job!) For several months Ive been working on three websites that might be of interest to this group:
The Busy Person's Guide to Art Museums Around the World
http://wz.com/arts/ArtMuseumsAroundTheWorld.html
and
The Busy Person's Guide to Museum Careers
http://wz.com/business/MuseumCareers.html
These two are part of the WZ.com group sites designed to gather the most helpful online resources on specific topics. Museum-L is one of the featured resources on the Museum Careers page. At each site you can sign up for my free e-newsletter.
I also have been writing short biographies of American Artists for Suite101. This site includes information about current and future exhibitions of American art in museums around the world, and links to museums with strong collections of American art. You can find it here:
http://www.suite101.com/welcome.cfm/american_artists
If you can take a minute to visit each site Id really appreciate it! And Id welcome any feedback, too.
Many thanks
Anne Fuhrman Douglas, [log in to unmask]
Join me on a trip around the world of Christmas!
http://www.christmasallaround.com
Suite101 Contributing Editor for American Artists
http://www.suite101.com/welcome.cfm/american_artists
....................................................
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Date: Thu, 25 Oct 2001 11:28:58 -0400
Reply-To: Museum discussion list <[log in to unmask]>
Sender: Museum discussion list <[log in to unmask]>
From: Danette Sokacich <[log in to unmask]>
Subject: SeeAmerica Day--November 11, 2001
October 25, 2001
Dear Colleagues:
We all know that the tragic attacks of September 11 have had a serious
impact the American sense of freedom to travel and see our great nation and
its many cultural attractions, including museums.
As you know, AAM, through the national consortium, Partners in Tourism:
Culture and Commerce, has established a mutually supportive relationship
with Travel Industry Association of America (TIA). I am honored to serve
on the TIA board of directors.
TIA has announced a major initiative to promote travel in the United
States. On Veterans Day, Sunday, November 11, 2001, the initiative,
SeeAmerica Day, will call people to celebrate America and its treasures.
We would like to encourage you to participate in ways appropriate to your
museum and in keeping with your resources (please visit www.aam-us.org for
examples of how many museums are responding to the tragedy of September
11). You can learn more by visiting www.tia.org and by working with your
local convention and visitors bureau or state tourism office.
Speaking on behalf of AAM and the board of directors, there is a great deal
of pride in the way that museums have responded to September 11 and the
disruptions that have followed at the same time, the precipitous and
dramatic decline in travel and tourism has drastically affected museum
attendance, admissions income, shop sales, etc. It is also in our best
interest to get America traveling again.
We know that by working with our communities and travel marketing
organizations that we can keep museums at the center of the efforts to heal
our nation and increase visitation to museums.
Sincerely,
Edward H. Able, Jr.
Cc: Bill Norman, TIA
Michael D. Gehrisch, IACVB
jdk/dev
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Date: Thu, 25 Oct 2001 09:52:12 -0700
Reply-To: Museum discussion list <[log in to unmask]>
Sender: Museum discussion list <[log in to unmask]>
From: Sonya Smith Allan <[log in to unmask]>
Subject: UO Museum of Natural History
Mime-Version: 1.0
Content-Type: text/plain; charset="ISO-8859-1"
Content-Transfer-Encoding: 7bit
Good Morning!
The University of Oregon Museum of Natural History (MNH) now has a list
serve which will be used to announce events and opportunities at the
MNH. Users can also share information and ideas about culture, history
and the natural world around us. In addition, you'll learn all kinds of
interesting information about Oregon. If you would like to subscribe, just
reply to this e-mail and indicate that you are interested in subscribing and
I'll add you to the list!
natural-history.uoregon.edu
Sonya
Sonya Smith Allan, M.A.
Marketing/Development
University of Oregon Museum of Natural History
1680 East 15th Avenue
Eugene, OR 97403-1224
541-346-5083
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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).
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Date: Thu, 25 Oct 2001 11:07:23 -0700
Reply-To: Museum discussion list <[log in to unmask]>
Sender: Museum discussion list <[log in to unmask]>
From: Katherine Child <[log in to unmask]>
Subject: Saddle Info
Content-Type: text/plain
Mime-Version: 1.0
Does anyone know anything about a saddle maker by the name of Porter? I have an inquiry from someone looking for historical and/or appraisal information on a 1904 Porter (Phoenix) saddle. She seems to think the fact that it was made in Phoenix rather than Tuscon is significant, but I have been unable to find any information about the maker. Any suggestions would be greatly appreciated. Thanks.
Katherine Child
Collections Manager
Phoenix Museum of History
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Date: Thu, 25 Oct 2001 12:51:12 -0400
Reply-To: Museum discussion list <[log in to unmask]>
Sender: Museum discussion list <[log in to unmask]>
From: Sara Badiali <[log in to unmask]>
Subject: Re: UO Museum of Natural History
In-Reply-To: <0F652C61576DD411968700500407EDC0AD8C41@ACCTG>
MIME-Version: 1.0
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Please sign me up!
Thanks
-Sara
-----Original Message-----
From: Museum discussion list [mailto:[log in to unmask]]On
Behalf Of Sonya Smith Allan
Sent: Thursday, October 25, 2001 12:52 PM
To: [log in to unmask]
Subject: UO Museum of Natural History
Good Morning!
The University of Oregon Museum of Natural History (MNH) now has a list
serve which will be used to announce events and opportunities at the
MNH. Users can also share information and ideas about culture, history
and the natural world around us. In addition, you'll learn all kinds of
interesting information about Oregon. If you would like to subscribe, just
reply to this e-mail and indicate that you are interested in subscribing and
I'll add you to the list!
natural-history.uoregon.edu
Sonya
Sonya Smith Allan, M.A.
Marketing/Development
University of Oregon Museum of Natural History
1680 East 15th Avenue
Eugene, OR 97403-1224
541-346-5083
=========================================================
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to [log in to unmask] . The body of the message should read "help"
(without the quotes).
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Date: Thu, 25 Oct 2001 15:27:51 -0400
Reply-To: Museum discussion list <[log in to unmask]>
Sender: Museum discussion list <[log in to unmask]>
From: Julia Merkel <[log in to unmask]>
Subject: Re: MUSEUM-L Digest - 23 Oct 2001 to 24 Oct 2001 (#2001-6)
In-Reply-To: <[log in to unmask]>
MIME-Version: 1.0
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Dear Colleagues:
I am looking for information from state universities
as to authority/ownership issues with museum collections.
Specifically:
1) Does ownership of the collections rest within the university
or has a separate foundation been established?
2) If a foundation, what kind? university or separate museum fd?
3) Do the collections reside within a university owned/maintained building?
4) Does an advisory committee or board oversee collections management
issues?
5) If so, please outline the composition of the board i.e.
academic? faculty? administrative officials? outside representatives?
Thank you very much for your responses,
--
Merkel, Julia
Curator of Collections
JMU Foundation Fine Art Collection
[log in to unmask]
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Date: Thu, 25 Oct 2001 13:32:44 -0700
Reply-To: Museum discussion list <[log in to unmask]>
Sender: Museum discussion list <[log in to unmask]>
From: Sonya Smith Allan <[log in to unmask]>
Subject: Re: UO Museum of Natural History
Mime-Version: 1.0
Content-Type: text/plain; charset="ISO-8859-1"
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Sara,
Great! Can you e-mail me your address - it didn't come across through
the posting. Thanks.
Sonya
>===== Original Message From Museum discussion list
<[log in to unmask]> =====
>Please sign me up!
>Thanks
>-Sara
>
>-----Original Message-----
>From: Museum discussion list
[mailto:[log in to unmask]]On
>Behalf Of Sonya Smith Allan
>Sent: Thursday, October 25, 2001 12:52 PM
>To: [log in to unmask]
>Subject: UO Museum of Natural History
>
>
>Good Morning!
>
>The University of Oregon Museum of Natural History (MNH) now has a
list
>serve which will be used to announce events and opportunities at the
>MNH. Users can also share information and ideas about culture, history
>and the natural world around us. In addition, you'll learn all kinds of
>interesting information about Oregon. If you would like to subscribe, just
>reply to this e-mail and indicate that you are interested in subscribing
and
>I'll add you to the list!
>
>natural-history.uoregon.edu
>
>Sonya
>
>Sonya Smith Allan, M.A.
>Marketing/Development
>University of Oregon Museum of Natural History
>1680 East 15th Avenue
>Eugene, OR 97403-1224
>541-346-5083
>
>========================================================
=
>Important Subscriber Information:
>
>The Museum-L FAQ file is located at
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>information about the listserv commands by sending a one line e-mail
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>to [log in to unmask] . The body of the message should
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>(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).
Sonya Smith Allan, M.A.
Marketing/Development
University of Oregon Museum of Natural History
1680 East 15th Avenue
Eugene, OR 97403-1224
541-346-5083
=========================================================
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Date: Thu, 25 Oct 2001 16:16:12 -0400
Reply-To: Museum discussion list <[log in to unmask]>
Sender: Museum discussion list <[log in to unmask]>
From: Kerry Carlin-Morgan <[log in to unmask]>
Subject: Re: UO Museum of Natural History
In-Reply-To: <3BD5C9B0@webmail>
MIME-Version: 1.0
Content-Type: TEXT/PLAIN; CHARSET=US-ASCII
Sonya,
Please add me to the list. Thank you. Kerry
Kerry A Carlin Morgan, Ph.D
Curator of Exhibits and Outreach
Georgia Museum of Natural History
University of Georgia
Athens, GA 30602-1882
706-542-2280
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Date: Thu, 25 Oct 2001 15:21:47 -0500
Reply-To: Museum discussion list <[log in to unmask]>
Sender: Museum discussion list <[log in to unmask]>
From: "Laura H. Nightengale" <[log in to unmask]>
Subject: Stolen ceramic vessels
Mime-Version: 1.0
Content-Type: multipart/alternative;
boundary="=====================_11232736==_.ALT"
--=====================_11232736==_.ALT
Content-Type: text/plain; charset="us-ascii"; format=flowed
Artifact Theft and Reward
On or about the night of July 27, 2001, someone stole 21 prehistoric Native
American pottery vessels, stone spear points, and replicas of painted
pebbles from the Texas Archeological Research Laboratory, J.J. Pickle
Research Campus Building 5, The University of Texas at Austin. Most of the
pottery vessels are from prehistoric Caddo Indian sites in northeast Texas,
but others are from the southwestern USA.
The Texas Archeological Research Laboratory is offering a cash reward of
$5000 for information leading to the arrest and conviction of the
individual(s) who stole these objects. If you have any relevant information
about this theft, please contact Chris Laureles (University of Texas Police
Department) at (512) 232-9641; this can be an anonymous call. You may also
report information confidentially on UTPD website, SILENT WITNESS, at
http://www.utexas.edu/admin/utpd/forms/silent.html
Photos and descriptions, including dimensions, of the vessels can be viewed
at our website at the following
URL: http://www.utexas.edu/research/tarl/theft.html
Laura H. Nightengale
Head of Collections
Texas Archeological Research Laboratory
The University of Texas at Austin
512-475-6853
--=====================_11232736==_.ALT
Content-Type: text/html; charset="us-ascii"
<html>
<font size=6 color="#0000FF"><b><u>Artifact Theft and Reward <br>
<br>
</u></b></font><font size=3>On or about the night of July 27, 2001,
someone stole 21 prehistoric Native American pottery vessels, stone spear
points, and replicas of painted pebbles from the Texas Archeological
Research Laboratory, J.J. Pickle Research Campus Building 5, The
University of Texas at Austin. Most of the pottery vessels are from
prehistoric Caddo Indian sites in northeast Texas, but others are from
the southwestern USA. <br>
<br>
<b>The Texas Archeological Research Laboratory is offering a cash reward
of $5000 for information leading to the arrest and conviction of the
individual(s) who stole these objects.</b> If you have any relevant
information about this theft, please contact Chris Laureles (University
of Texas Police Department) at (512) 232-9641; this can be an anonymous
call. You may also report information confidentially on UTPD website,
SILENT WITNESS, at
</font><a href="http://www.utexas.edu/admin/utpd/forms/silent.html" eudora="autourl"><font size=3 color="#0000FF"><u>http://www.utexas.edu/admin/utpd/forms/silent.html<br>
<br>
</a></u></font><font size=3>Photos and descriptions, including
dimensions, of the vessels can be viewed at our website at the following
URL:
<a href="http://www.utexas.edu/research/tarl/theft.html" eudora="autourl">http://www.utexas.edu/research/tarl/theft.html</a><br>
<br>
Laura H. Nightengale<br>
Head of Collections<br>
Texas Archeological Research Laboratory<br>
The University of Texas at Austin<br>
512-475-6853<br>
<br>
</font></html>
--=====================_11232736==_.ALT--
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=========================================================================
Date: Thu, 25 Oct 2001 04:14:19 -0700
Reply-To: Museum discussion list <[log in to unmask]>
Sender: Museum discussion list <[log in to unmask]>
From: Joel Ayala <[log in to unmask]>
Subject: Re: Saddle Info
In-Reply-To: <[log in to unmask]>
Mime-Version: 1.0
Content-Type: text/plain; charset="us-ascii"; format=flowed
Dear lady,
I might refer this person to one of the experts at:
http://www.appraisers.org/phoenix/
Peace,
ja
At 11:07 AM 10/25/2001 -0700, you wrote:
>Does anyone know anything about a saddle maker by the name of Porter? I
>have an inquiry from someone looking for historical and/or appraisal
>information on a 1904 Porter (Phoenix) saddle. She seems to think the fact
>that it was made in Phoenix rather than Tuscon is significant, but I have
>been unable to find any information about the maker. Any suggestions would
>be greatly appreciated. Thanks.
>
>Katherine Child
>Collections Manager
>Phoenix Museum of History
>
>
>Find the best deals on the web at AltaVista Shopping!
>http://www.shopping.altavista.com
>
>=========================================================
>Important Subscriber Information:
>
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>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).
=========================================================
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=========================================================================
Date: Thu, 25 Oct 2001 10:01:19 EDT
Reply-To: Museum discussion list <[log in to unmask]>
Sender: Museum discussion list <[log in to unmask]>
From: Andrew Fotta <[log in to unmask]>
Subject: Education advice
MIME-Version: 1.0
Content-Type: multipart/alternative;
boundary="part1_15f.2da5096.2909752f_boundary"
--part1_15f.2da5096.2909752f_boundary
Content-Type: text/plain; charset="ISO-8859-1"
Content-Transfer-Encoding: quoted-printable
Hello,
=A0=A0=A0=A0I have a dilema in regards to my education. First, the back stor=
y, I have=20
recently completed my bachelors degree in art history, and am looking to=20
eventually get into a museum in the art education department. I have done a=20
couple of internships, one in a small art gallery, and the other in a major=20
art museum, (neither were in the education department as there were none=20
available). Here's my problem, I can't decide which direction would be best,=
=20
to get my teaching certificate in art education, or to get a master's in art=
=20
education. I don't have a lot in the way of funds, so can only go part time,=
=20
so I can work full time. Which route, if either, would make me more=20
marketable to a museum and/or gallery? Ideally, I would like to do both, but=
=20
would like to be able to get a "real" job first, before I complete the other=
.=20
Can someone please tell me the ideal background for someone looking to get=20
into the art ed. field? I'd like to get as many facts/opinions as I can,=20
before I dive headlong into more schooling. I've been on the list for a few=20
months now, and have learned a lot about the field, and am eager to hear fro=
m=20
as many of you as I can.
Sincerely,
A slightly confused museum hopeful
--part1_15f.2da5096.2909752f_boundary
Content-Type: text/html; charset="ISO-8859-1"
Content-Transfer-Encoding: quoted-printable
<HTML><FONT FACE=3Darial,helvetica><FONT SIZE=3D2>Hello,
<BR>=A0=A0=A0=A0I have a dilema in regards to my education. First, the back=20=
story, I have recently completed my bachelors degree in art history, and am=20=
looking to eventually get into a museum in the art education department. I h=
ave done a couple of internships, one in a small art gallery, and the other=20=
in a major art museum, (neither were in the education department as there we=
re none available). Here's my problem, I can't decide which direction would=20=
be best, to get my teaching certificate in art education, or to get a master=
's in art education. I don't have a lot in the way of funds, so can only go=20=
part time, so I can work full time. Which route, if either, would make me mo=
re marketable to a museum and/or gallery? Ideally, I would like to do both,=20=
but would like to be able to get a "real" job first, before I complete the o=
ther. Can someone please tell me the ideal background for someone looking to=
get into the art ed. field? I'd like to get as many facts/opinions as I can=
, before I dive headlong into more schooling. I've been on the list for a fe=
w months now, and have learned a lot about the field, and am eager to hear f=
rom as many of you as I can.
<BR>
<BR>Sincerely,
<BR>A slightly confused museum hopeful</FONT></HTML>
--part1_15f.2da5096.2909752f_boundary--
=========================================================
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=========================================================================
Date: Thu, 25 Oct 2001 22:09:22 EDT
Reply-To: Museum discussion list <[log in to unmask]>
Sender: Museum discussion list <[log in to unmask]>
From: Mary Agnes Beach <[log in to unmask]>
Subject: Re: Education advice
MIME-Version: 1.0
Content-Type: multipart/alternative;
boundary="part1_21.1326e372.290a1fd2_boundary"
--part1_21.1326e372.290a1fd2_boundary
Content-Type: text/plain; charset="US-ASCII"
Content-Transfer-Encoding: 7bit
Dear Andrew:
Look on the AAM website and check the Aviso ads to get a realistic picture of
the requirements. There are several other good sites listing art museum jobs
which I would be happy to share with you if you would like to contact me
directly.
Mary Agnes Beach
--part1_21.1326e372.290a1fd2_boundary
Content-Type: text/html; charset="US-ASCII"
Content-Transfer-Encoding: 7bit
<HTML><FONT FACE=arial,helvetica><FONT SIZE=2>Dear Andrew:
<BR>
<BR>Look on the AAM website and check the Aviso ads to get a realistic picture of the requirements. There are several other good sites listing art museum jobs which I would be happy to share with you if you would like to contact me directly.
<BR>
<BR>Mary Agnes Beach</FONT></HTML>
--part1_21.1326e372.290a1fd2_boundary--
=========================================================
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=========================================================================
Date: Fri, 26 Oct 2001 03:45:41 -0400
Reply-To: Museum discussion list <[log in to unmask]>
Sender: Museum discussion list <[log in to unmask]>
From: Harry Needham <[log in to unmask]>
Organization: Harry Needham Consulting Services
Subject: studies involving native peoples
Comments: To: [log in to unmask]
Comments: cc: Lynda Kelly <[log in to unmask]>
Please excuse the cross-posting.
One of our Australian colleagues, Lynda Kelly at the Australian Museum in
Sydney, contacted me today regarding a study she is thinking of doing in
2003. I should mention that Lynda is one of the leading practitioners Down
Under in the field of museum evaluation and visitor studies.
In :Lynda's own words,:
"This project as I conceive it at the moment will involve examining the
evaluation processes and methodologies used by organisations to measure
outcomes and impacts of programs and products designed to provide services
to Indigenous people/native peoples/first peoples in order to
develop a framework for evaluating these programs across Australia in
conjunction with Indigenous communities. A series of case studies/best
practice examples will be looked at in Canada, New Zealand and the United
States in terms of methodologies, outcomes and lessons learned,
both positive and negative.
What I am interested in knowing is do you have any examples of case studies,
best practice in the US or Canada that I could include in my
(grant) application to look at? I think Canada is particularly interesting
and relevant for Australia and am looking at eval programs not only in the
cultural area but broadly. I looked at the Canadian Eval Soc website and the
Canadian Museum Assoc. but no luck really.
Hope you can help???"
If YOU can help, please respond directly to Lynda at [log in to unmask]
Thanks,
Harry
Harry Needham Consulting Services Inc.
Consulting, training & research solutions
for heritage institutions - and others!
74 Abbeyhill Drive
Kanata ON K2L 1H1 Canada
(voice) +1.613.831-1068
(fax) +1.613.831-9412
[log in to unmask]
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=========================================================================
Date: Fri, 26 Oct 2001 10:25:17 -0400
Reply-To: Museum discussion list <[log in to unmask]>
Sender: Museum discussion list <[log in to unmask]>
From: Sara Badiali <[log in to unmask]>
Subject: Re: UO Museum of Natural History
In-Reply-To: <0F652C61576DD411968700500407EDC0AD8C4A@ACCTG>
MIME-Version: 1.0
Content-Type: text/plain; charset="iso-8859-1"
Content-Transfer-Encoding: 7bit
Sonia,
Please use [log in to unmask]
Thank you.
-----Original Message-----
From: Museum discussion list [mailto:[log in to unmask]]On
Behalf Of Sonya Smith Allan
Sent: Thursday, October 25, 2001 4:33 PM
To: [log in to unmask]
Subject: Re: UO Museum of Natural History
Sara,
Great! Can you e-mail me your address - it didn't come across through
the posting. Thanks.
Sonya
>===== Original Message From Museum discussion list
<[log in to unmask]> =====
>Please sign me up!
>Thanks
>-Sara
>
>-----Original Message-----
>From: Museum discussion list
[mailto:[log in to unmask]]On
>Behalf Of Sonya Smith Allan
>Sent: Thursday, October 25, 2001 12:52 PM
>To: [log in to unmask]
>Subject: UO Museum of Natural History
>
>
>Good Morning!
>
>The University of Oregon Museum of Natural History (MNH) now has a
list
>serve which will be used to announce events and opportunities at the
>MNH. Users can also share information and ideas about culture, history
>and the natural world around us. In addition, you'll learn all kinds of
>interesting information about Oregon. If you would like to subscribe, just
>reply to this e-mail and indicate that you are interested in subscribing
and
>I'll add you to the list!
>
>natural-history.uoregon.edu
>
>Sonya
>
>Sonya Smith Allan, M.A.
>Marketing/Development
>University of Oregon Museum of Natural History
>1680 East 15th Avenue
>Eugene, OR 97403-1224
>541-346-5083
>
>========================================================
=
>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).
Sonya Smith Allan, M.A.
Marketing/Development
University of Oregon Museum of Natural History
1680 East 15th Avenue
Eugene, OR 97403-1224
541-346-5083
=========================================================
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to [log in to unmask] . The body of the message should read "help"
(without the quotes).
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=========================================================================
Date: Fri, 26 Oct 2001 09:05:50 -0500
Reply-To: Museum discussion list <[log in to unmask]>
Sender: Museum discussion list <[log in to unmask]>
From: Lake Superior Railroad Museum <[log in to unmask]>
Subject: recording devices
MIME-Version: 1.0
Content-Type: multipart/alternative;
boundary="----=_NextPart_000_001E_01C15DFD.686BF860"
This is a multi-part message in MIME format.
------=_NextPart_000_001E_01C15DFD.686BF860
Content-Type: text/plain;
charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable
Good morning. We are possibly embarking on a small oral history project, =
recording the stories of retired railroad employees. We currently have a =
small handheld tape recorder, but are curious about better quality =
recording equipment. We are a small museum with a limited budget, and =
will probably end up interviewing ten or so individuals. For those of =
you who have been involved in such a project, what type of equipment did =
you use, and were you pleased with it? Also, what was the approximate =
cost of the equipment?
Thank you for any help you can provide!
Alissa Acker
Curator of Education
Lake Superior Railroad Museum
------=_NextPart_000_001E_01C15DFD.686BF860
Content-Type: text/html;
charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable
<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN">
<HTML><HEAD>
<META content=3D"text/html; charset=3Diso-8859-1" =
http-equiv=3DContent-Type>
<META content=3D"MSHTML 5.00.3013.2600" name=3DGENERATOR>
<STYLE></STYLE>
</HEAD>
<BODY bgColor=3D#ffffff>
<DIV>Good morning. We are possibly embarking on a small oral history =
project,=20
recording the stories of retired railroad employees. We currently have a =
small=20
handheld tape recorder, but are curious about better quality recording=20
equipment. We are a small museum with a limited budget, and will =
probably end up=20
interviewing ten or so individuals. For those of you who have been =
involved in=20
such a project, what type of equipment did you use, and were you pleased =
with=20
it? Also, what was the approximate cost of the equipment?</DIV>
<DIV>Thank you for any help you can provide!</DIV>
<DIV> </DIV>
<DIV>Alissa Acker</DIV>
<DIV>Curator of Education</DIV>
<DIV>Lake Superior Railroad Museum</DIV></BODY></HTML>
------=_NextPart_000_001E_01C15DFD.686BF860--
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=========================================================================
Date: Fri, 26 Oct 2001 11:33:59 -0400
Reply-To: Museum discussion list <[log in to unmask]>
Sender: Museum discussion list <[log in to unmask]>
From: Tatiana Kamorina <[log in to unmask]>
Subject: New Work in the Wired Museum/Saturday at 2 p.m.
Mime-Version: 1.0
Content-Type: text/plain; charset="iso-8859-1"; format=flowed
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NEW WORK IN THE WIRED MUSEUM
Saturday, October 27, 2:00-4:00 p.m.
Iris and B. Gerald Cantor Film Center
36 East 8th Street, New York, New York
On Saturday afternoon, October 27, the Program in Museum Studies will host a
panel discussion, "New Work in the Wired Museum." As part of the British
Council-sponsored "UKwithNY," our event presents some of the most innovative
internet projects developed by museums in the United States and Great
Britain. I will introduce these projects to a panel of museum directors,
who then will provide commentary. The panel consists of Robert Anderson,
Director of the British Museum, Paul Thompson, Director of the Cooper-Hewitt
National Design Museum, and Patterson Sims, Director of the Montclair Art
Museum, and it promises to be a lively discussion. I encourage you to
attend this event, which will be held 2:00 =AD 4:00 at the Iris and B.=
Gerald
Cantor Film Center, 36 East 8th Street, and I look forward to seeing you
there.
Best regards,
Bruce Altshuler
Director
Program in Museum Studies
New York University
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Program in Museum Studies
Graduate School of Arts and Science
New York University
726 Broadway, Suite 601
New York, NY 10003
Tel: (212) 998-8082
Fax: (212) 995-4185
E-mail: [log in to unmask]
Web site: http://www.nyu.edu/gsas/program/museum
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
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Date: Fri, 26 Oct 2001 11:27:12 -0700
Reply-To: Museum discussion list <[log in to unmask]>
Sender: Museum discussion list <[log in to unmask]>
From: "Rogers, Susan" <[log in to unmask]>
Subject: Position: Senior Conservator
MIME-Version: 1.0
Content-Type: text/plain; charset="iso-8859-1"
Senior Conservator
The Huntington Library, Art Collections, & Botanical Gardens
Exempt, full time, regular staff position.
The Huntington invites applications for the position of Senior
Conservator in the Preservation Department's Conservation Lab for works on
paper, photographs, and illuminated manuscripts.
Reporting to the Chief Preservation Officer, the Senior Conservator
is responsible for the physical care, preservation, and conservation
treatment of works on paper, photographs, and illuminated manuscripts from
the Huntington's rare and general collections. The Senior Conservator
completes conservation treatments in an expedient manner; prepares reports,
and maintains statistics that document these treatments. The Senior
Conservator works in tandem with members of the preservation, conservation,
exhibition, photography, and imaging units within the Preservation
Department, to develop and carry out appropriate and expedient protocols and
techniques for treating, documenting, examining, exhibiting, housing, and
photographing materials from a wide range of historical periods. The Senior
Conservator will contribute to conservation surveys, and together with the
Curators & Chief Preservation Officer, will establish conservation
priorities and treatment strategies for the collections. The Senior
Conservator maintains and orders supplies and equipment as directed, and
monitors production in the lab. The supervision and training of interns and
grant-funded staff may be carried out by the Senior Conservator. Additional
duties may include assisting with the implementation of preservation
programs such as the education of collections users, monitoring
environmental controls, integrated pest management, emergency preparedness
and response.
Required Qualifications: A Masters degree or certificate in
Conservation or an undergraduate education plus a combination of equivalent
formalized advanced training and experience in the conservation of museum
and library materials. Expertise, as demonstrated by a portfolio, in the
conservation treatment of materials in at least one of the following three
fields: works on paper, photographs, illuminated manuscripts. Preferred
qualifications: A minimum of 5 years working in a conservation laboratory in
a museum or research library. Highly developed interpersonal skills coupled
with the desire to interact graciously and collaboratively with others in a
collegial team-oriented environment. Excellent writing skills. Some
supervisory experience is preferred.
Benefits Include: Medical and life insurance, flexible spending
accounts, access to a credit union, 403(b) savings plan, and paid vacation,
holidays, and sick leave.
Interested applicants should submit a letter of application, resume,
and
the names, addresses, and phone numbers of three references to:
Mr. Carl Foote, Director of Personnel and Administrative Services
The Huntington Library, Art Collections, & Botanical Gardens
1151 Oxford Road
San Marino, CA 91108
www.huntington.org <http://www.huntington.org>
Applications received by December 3, 2001 will be given first
consideration.
The Huntington, located about 15 miles north-east of downtown Los
Angeles, is a private, non-profit institution dedicated to advanced
scholarly research in British and American history, art, and literature,
combined with public art galleries and botanical gardens. The Huntington
exhibits collections of British, Renaissance, and American art, rare books
and manuscripts, as well as over 150 acres of specialized botanical gardens.
=========================================================
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=========================================================================
Date: Fri, 26 Oct 2001 08:16:55 -0500
Reply-To: Museum discussion list <[log in to unmask]>
Sender: Museum discussion list <[log in to unmask]>
From: Cinnamon Catlin-Legutko <[log in to unmask]>
Organization: Miami County Museum
Subject: UV blocking film for windows
MIME-Version: 1.0
Content-Type: text/plain; charset="iso-8859-1"
Content-Transfer-Encoding: 7bit
We are in the process of replacing the UV filter on our windows. The Miami
County Museum is housed in a National Register property that was locally
known as the Senger Dry Goods Co. Two sides of the building are lined with
storefront windows that we use for informational exhibits only - placing
accessioned items in these windows is criminal because of the extreme heat
and humidity fluctuations. After some investigation on the internet and
discussion with a local vendor, we decided that a nickel based film is best.
Currently the windows are covered in the standard issue copper colored film
that has now begun to deteriorate and "orange peel" which causes distortian
and reduces visibility. This nickel based product is produced by Century
Films and has been used in numerous museum and historic sites. I am told
that once installed you cannot tell that it's there. However, by going with
this product, we have increased the cost significantly. Because of the
amount of square feet we need to cover and the removal of the old, the bid
comes in at $6,500.00. Fortunately we have just secured funding for this
upgrade.
Please contact our local vendor if you'd like more information - maybe they
can help identify a vendor near you.
Tinted Wave
73 E. Canal
Peru, Indiana 46970
765-472-3899
Hope this helps.
Cinnamon Catlin-Legutko
Director/Curator
Miami County Museum
51 North Broadway
Peru, Indiana 46970
765-473-9183
=========================================================
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).
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=========================================================================
Date: Fri, 26 Oct 2001 12:24:41 -0700
Reply-To: Museum discussion list <[log in to unmask]>
Sender: Museum discussion list <[log in to unmask]>
From: "Mark Fowle @ INNOVA" <[log in to unmask]>
Organization: INNOVA Applied Technology
Subject: Re: recording devices
MIME-Version: 1.0
Content-Type: multipart/alternative;
boundary="----=_NextPart_000_0083_01C15E19.30297060"
This is a multi-part message in MIME format.
------=_NextPart_000_0083_01C15E19.30297060
Content-Type: text/plain;
charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable
Alissa,
We are somewhat on the other end of the oral history recording. That =
is, we receive recordings from our clients (exhibit design firms & =
museums) which we put on our digital audio repeaters as part of =
interactive exhibits. =20
For example: =
http://www.innova-at.com/moreinfo/prtfolio/Catalina/CATALINA.html
So the quality of the sound recording is important to us. The rule of =
thumb with sound reproduction is the same as data processing: "Garbage =
In, Garbage Out". If the original recording is of poor quality, then =
the reproduction is not going to be good.
Certainly, there are many factors involved: quality of the recording =
equipment, recording medium, recording environment, types of sounds =
recorded (music, sound fx, voice, etc.), quality output equipment, =
exhibit environment.
The good news, when it comes to oral history, is that the ear is very =
forgiving when it comes to the human voice. While it is difficult to =
understand someone who is mumbling or someone with a thick accent, if =
what they are saying is interesting then we listen more carefully and =
fill in the blanks.
Now to answer your question. It Depends! Of course, it depends on what =
you plan on doing with the oral histories. If you are planning to =
transcribe the interview, then you only need something that the =
transcriber can understand. If you are planning on using the audio as =
part of an exhibit, then quality of the sound is more important.
Most of the oral histories we have received have been on cassette tape. =
Cassette tape recorder are probably the cheapest and can produce decent =
quality sound. We categorize sound reproduction quality into three =
groups: AM Radio, FM Radio, & CD. A cassette tape CAN produce a sound =
quality somewhere between FM & CD. I emphasize CAN because this is =
capability of the medium (cassette tape) not the normal results that one =
sees from a cassette recorder sitting on a coffee table recording =
someone's ramblings.
So, why all this talk about cassette tape recorders when there are DATs, =
Mini-Discs, MP3 recorders and more. You can get decent quality sound =
recordings from a inexpensive cassette tape recorder if you work at it.
Here are my suggestions:=20
1- Buy a decent microphone. Don't expect to get a good recording by =
placing any recording device placed on a coffee table using the internal =
microphone. A lapel microphone, that clips onto ones collar gets the =
microphone close to the source of the sound. Handheld or stand-mounted =
microphones are much better than the internal one but can be =
distracting.
2- Control the environment. If possible, have the interviewees come to =
you. Set up a nice small, quite, out-of-the-way, carpeted room with =
your equipment and ask them to come to you. If you have to go to them, =
try to select a similar room as described above, ask them if they would =
mind unplugging the phone (don't for get to plug it back in! place it in =
front of the door if necessary! you can call them to tell them their =
phone is unplugged!). Put, the microphones close to the subjects.
3- Testing 1,2,3 Do a sound test. Make sure the recording levels are =
high enough to hear the subject but not every creak, rustle, or dog =
bark. If possible, don't play it back the tests to the interviewee (use =
earphones). Most people don't like the sound of their recorded voice, =
and playing it back to them can make them uneasy.
4- Get Help! Its best to have someone else (not the interviewer) in =
charge of the recording & monitor the recording levels while the session =
is in progress. This person needs to know the equipment! The =
interviewer cannot be telling this person how to work the equipment =
during the interview. The recordist can also help by giving hand =
signals to repeat question for bad takes, mumbled answers, or other =
problems. It might be a good idea to put the equipment and the =
recordist behind the subject, to prevent distraction.
I hope this helps, Hopefully others will share with you the type of =
equipment they use and costs
-Mark-
* Mark Fowle, General Manager
* INNOVA Applied Technology
* 2841 East 19th Street
* Signal Hill, CA 90804
* Email: [log in to unmask]
* http://www.INNOVA-AT.com/
* Phone: (800) 417-9060
* Fax: (800) 773-7694
* Providers of Interactive Solutions *
----- Original Message -----=20
From: Lake Superior Railroad Museum=20
To: [log in to unmask]
Sent: Friday, October 26, 2001 7:05 AM
Subject: recording devices
Good morning. We are possibly embarking on a small oral history =
project, recording the stories of retired railroad employees. We =
currently have a small handheld tape recorder, but are curious about =
better quality recording equipment. We are a small museum with a limited =
budget, and will probably end up interviewing ten or so individuals. For =
those of you who have been involved in such a project, what type of =
equipment did you use, and were you pleased with it? Also, what was the =
approximate cost of the equipment?
Thank you for any help you can provide!
Alissa Acker
Curator of Education
Lake Superior Railroad Museum
------=_NextPart_000_0083_01C15E19.30297060
Content-Type: text/html;
charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable
<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN">
<HTML><HEAD>
<META http-equiv=3DContent-Type content=3D"text/html; =
charset=3Diso-8859-1">
<META content=3D"MSHTML 5.50.4522.1800" name=3DGENERATOR>
<STYLE></STYLE>
</HEAD>
<BODY bgColor=3D#ffffff>
<DIV><FONT size=3D2>Alissa,</FONT></DIV>
<DIV><FONT size=3D2></FONT> </DIV>
<DIV><FONT size=3D2>We are somewhat on the other end of the oral history =
recording. That is, we receive recordings from our clients =
(exhibit design=20
firms & museums) which we put on our digital audio repeaters as part =
of interactive exhibits. </FONT></DIV>
<DIV><FONT size=3D2></FONT> </DIV>
<DIV><FONT size=3D2>For example: <A=20
href=3D"http://www.innova-at.com/moreinfo/prtfolio/Catalina/CATALINA.html=
">http://www.innova-at.com/moreinfo/prtfolio/Catalina/CATALINA.html</A></=
FONT></DIV>
<DIV><FONT size=3D2></FONT> </DIV>
<DIV><FONT size=3D2>So the quality of the sound recording is important =
to=20
us. The rule of thumb with sound reproduction is the same as data=20
processing: "Garbage In, Garbage Out". If the original =
recording is=20
of poor quality, then the reproduction is not going to be =
good.</FONT></DIV>
<DIV><FONT size=3D2></FONT> </DIV>
<DIV><FONT size=3D2>Certainly, there are many factors involved: quality =
of the=20
recording equipment, recording medium, recording environment, types of =
sounds=20
recorded (music, sound fx, voice, etc.), quality output equipment, =
exhibit=20
environment.</FONT></DIV>
<DIV><FONT size=3D2></FONT> </DIV>
<DIV><FONT size=3D2>The good news, when it comes to oral =
history, is that the=20
ear is very forgiving when it comes to the human voice. While it =
is=20
difficult to understand someone who is mumbling or someone with a thick =
accent,=20
if what they are saying is interesting then we listen more carefully and =
fill in=20
the blanks.</FONT></DIV>
<DIV><FONT size=3D2></FONT> </DIV>
<DIV><FONT size=3D2>Now to answer your question. It Depends! =
Of=20
course, it depends on what you plan on doing with the oral =
histories. If=20
you are planning to transcribe the interview, then you only need =
something=20
that the transcriber can understand. If you are planning on using =
the=20
audio as part of an exhibit, then quality of the sound is more=20
important.</FONT></DIV>
<DIV><FONT size=3D2></FONT> </DIV>
<DIV><FONT size=3D2>Most of the oral histories we have received have =
been on=20
cassette tape. Cassette tape recorder are probably the =
cheapest and=20
can produce decent quality sound. We categorize sound=20
reproduction quality into three groups: AM Radio, FM Radio, & =
CD. =20
A cassette tape CAN produce a sound quality somewhere between FM =
&=20
CD. I emphasize CAN because this is capability of the medium =
(cassette=20
tape) not the normal results that one sees from a cassette recorder =
sitting=20
on a coffee table recording someone's ramblings.</FONT></DIV>
<DIV><FONT size=3D2></FONT> </DIV>
<DIV><FONT size=3D2>So, why all this talk about cassette tape recorders =
when there=20
are DATs, Mini-Discs, MP3 recorders and more. You can get decent =
quality=20
sound recordings from a inexpensive cassette tape recorder if you work =
at=20
it.</FONT></DIV>
<DIV><FONT size=3D2></FONT> </DIV>
<DIV><FONT size=3D2>Here are my suggestions: </FONT></DIV>
<DIV><FONT size=3D2></FONT> </DIV>
<DIV><FONT size=3D2>1- Buy a decent microphone. Don't expect to get a =
good=20
recording by placing any recording device placed on a coffee table using =
the=20
internal microphone. A lapel microphone, that clips onto ones =
collar gets=20
the microphone close to the source of the sound. Handheld or =
stand-mounted=20
microphones are much better than the internal one but can be=20
distracting.</FONT></DIV>
<DIV><FONT size=3D2></FONT> </DIV>
<DIV><FONT size=3D2>2- Control the environment. If possible, have =
the=20
interviewees come to you. Set up a nice small, quite, =
out-of-the-way,=20
carpeted room with your equipment and ask them to come to =
you. If you=20
have to go to them, try to select a similar room as described above, ask =
them if=20
they would mind unplugging the phone (don't for get to plug it back in! =
place it=20
in front of the door if necessary! you can call them to tell them their =
phone is=20
unplugged!). Put, the microphones close to the =
subjects.</FONT></DIV>
<DIV><FONT size=3D2></FONT> </DIV>
<DIV><FONT size=3D2>3- Testing 1,2,3 Do a sound test. Make =
sure the=20
recording levels are high enough to hear the subject but not every =
creak,=20
rustle, or dog bark. If possible, don't play it back the =
tests to the=20
interviewee (use earphones). Most people don't like the sound of =
their=20
recorded voice, and playing it back to them can make them =
uneasy.</FONT></DIV>
<DIV><FONT size=3D2></FONT> </DIV>
<DIV><FONT size=3D2>4- Get Help! Its best to have someone else =
(not the=20
interviewer) in charge of the recording & monitor the recording =
levels=20
while the session is in progress. This person needs to know the=20
equipment! The interviewer cannot be telling this person how to =
work the=20
equipment during the interview. The recordist can also help by =
giving hand=20
signals to repeat question for bad takes, mumbled answers, or other=20
problems. It might be a good idea to put the equipment and the=20
recordist behind the subject, to prevent distraction.</FONT></DIV>
<DIV><FONT size=3D2></FONT><FONT size=3D2></FONT> </DIV>
<DIV><FONT size=3D2>I hope this helps, Hopefully others will share =
with you=20
the type of equipment they use and costs</FONT></DIV>
<DIV><FONT size=3D2></FONT> </DIV>
<DIV>-Mark-</DIV>
<DIV><FONT size=3D2></FONT> </DIV>
<DIV> * Mark Fowle, General Manager<BR> * INNOVA Applied=20
Technology<BR> * 2841 East 19th Street<BR> * Signal Hill, CA=20
90804<BR> * Email: <A=20
href=3D"mailto:[log in to unmask]">[log in to unmask]</A><BR>&n=
bsp;* <A=20
href=3D"http://www.INNOVA-AT.com/">http://www.INNOVA-AT.com/</A><BR> =
;* Phone:=20
(800) 417-9060<BR> * Fax: (800) 773-7694</DIV>
<DIV> </DIV>
<DIV> * Providers of Interactive Solutions *<BR></DIV>
<BLOCKQUOTE dir=3Dltr=20
style=3D"PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; =
BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px">
<DIV style=3D"FONT: 10pt arial">----- Original Message ----- </DIV>
<DIV=20
style=3D"BACKGROUND: #e4e4e4; FONT: 10pt arial; font-color: =
black"><B>From:</B>=20
<A [log in to unmask] =
href=3D"mailto:[log in to unmask]">Lake Superior=20
Railroad Museum</A> </DIV>
<DIV style=3D"FONT: 10pt arial"><B>To:</B> <A =
[log in to unmask]
=
href=3D"mailto:[log in to unmask]">[log in to unmask]
</A>=20
</DIV>
<DIV style=3D"FONT: 10pt arial"><B>Sent:</B> Friday, October 26, 2001 =
7:05=20
AM</DIV>
<DIV style=3D"FONT: 10pt arial"><B>Subject:</B> recording =
devices</DIV>
<DIV><BR></DIV>
<DIV>Good morning. We are possibly embarking on a small oral history =
project,=20
recording the stories of retired railroad employees. We currently have =
a small=20
handheld tape recorder, but are curious about better quality recording =
equipment. We are a small museum with a limited budget, and will =
probably end=20
up interviewing ten or so individuals. For those of you who have been =
involved=20
in such a project, what type of equipment did you use, and were you =
pleased=20
with it? Also, what was the approximate cost of the equipment?</DIV>
<DIV>Thank you for any help you can provide!</DIV>
<DIV><FONT size=3D2></FONT> </DIV>
<DIV>Alissa Acker</DIV>
<DIV>Curator of Education</DIV>
<DIV>Lake Superior Railroad Museum</DIV></BLOCKQUOTE></BODY></HTML>
------=_NextPart_000_0083_01C15E19.30297060--
=========================================================
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The Museum-L FAQ file is located at http://www.finalchapter.com/museum-l-faq/ . You may obtain detailed information about the listserv commands by sending a one line e-mail message to [log in to unmask] . The body of the message should read "help" (without the quotes).
If you decide to leave Museum-L, please send a one line e-mail message to [log in to unmask] . The body of the message should read "Signoff Museum-L" (without the quotes).
=========================================================================
Date: Fri, 26 Oct 2001 10:27:53 -0500
Reply-To: Museum discussion list <[log in to unmask]>
Sender: Museum discussion list <[log in to unmask]>
From: Eloise Scroggins <[log in to unmask]>
Subject: museums in their communities
Comments: cc: [log in to unmask]
Mime-Version: 1.0
Content-Type: text/plain; format=flowed
Hello everyone--I am working on a discussion seminar that I will be
facilitating for students in my public history graduate program. The topic
is on how musuems are changing to fit the needs of their communities, and
how this changes when a community is faced with a local disaster.
In particular, I am looking at a few different areas of museum practices and
have a few examples for discussion.
--Programming and exhibitions--I am interested in how the Cincinnati History
Museum was able to research, write, and mount an exhibition in less than
three months as a response to the race riots that occured in their city this
past April. The museum was in a position to participate in the larger
discussion taking place in their community between residents, community
leaders, police, and the media, and to add the historical perspective to
this debate.
--Collections--Using our recent discussion of the WTC flag, I would like to
discuss how local disasters force us to deal with issues of our
collections--whether an item is appropriate, whether there is some other
need for that item, etc.
--Museums directly relating to the crisis--for this I would like to deal
with the Elian Gonzalas museum in Miami. Obviously, this is a museum that is
taking a particular side on an issue, and how does that affect the community
in which it is built?
Other interesting community responses that I would be interested in learning
more about would be:
--responses by local organizations to the Columbine tragedy
--the memorial and terrorist center built in Oklahoma City
Those are just a few that come to mind. I know that we have discussed many
of these issues as part of our recent WTC flag debate, so we don't need to
rehash them now. Mainly, I am looking for suggested readings that I might
provide for students at this discussion. Does anyone know of any good
articles that relate to any of the above topics? Does anyone have any
suggestions for things I am leaving out?
Feel free to reply to me off list. Thank you in advance for your help.
Sincerely, Eloise Scroggins, Indianapolis
[log in to unmask]
_________________________________________________________________
Get your FREE download of MSN Explorer at http://explorer.msn.com/intl.asp
=========================================================
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).
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Date: Fri, 26 Oct 2001 13:34:03 -0700
Reply-To: Museum discussion list <[log in to unmask]>
Sender: Museum discussion list <[log in to unmask]>
From: Lisa Walker <[log in to unmask]>
Subject: Re: recording devices
In-Reply-To: <002101c15e27$52aa1be0$0200005a@lsrm1>
Mime-version: 1.0
Content-type: multipart/alternative; boundary="B_3086948043_832106"
> This message is in MIME format. Since your mail reader does not understand
this format, some or all of this message may not be legible.
--B_3086948043_832106
Content-type: text/plain; charset="ISO-8859-1"
Content-transfer-encoding: quoted-printable
Hi,
While I agree with Mark Fowle=B9s comments that recording on cassette under
the right conditions can produce acceptable results, there are ways and
means of producing amazing results with current technology.
=20
The white noise hiss that is produced with almost all cassette recordings
isn=B9t perceptible until listened to in juxtaposition with a higher quality
recording - with the difference being rather than the visitor listening to
a recording of someone speaking, they feel that they are listening to the
actual person speaking.
A good microphone with a wind screen and quiet recording environment (no
air-conditioning, electrical hums, clothes rustling) are key components but
so is the actual recording machine.
Dat (digital audio tape) recorders are industry standard and when used in
conjunction with a limiter (to reduce high-end buzz or low end hum) are my
personal machine of choice. Used portable Dats hit the market around $400 o=
r
less, with new ones around $1000 and up. If you don=B9t have a limiter, you
can use software to remove unwanted frequencies. After recording, it would
be wise to transfer the material to your hard drive and make back-up copies=
.
Dat tapes do break and are very sensitive to moisture. Once on the hard
drive, you will not experience any loss of quality, regardless of how many
copies you make.
Mini Disk recorders are very popular because of their efficiency. Rather
than recording on tape (like Dat or cassette) they use mini-cd=B9s to capture
the sound. This makes accessing material very easy because you can jump
around from point to point rather than scrubbing through the tape.
Mini-disks use compression algorhythms, though, which make them unpopular
with scientists =AD though this isn=B9t really a factor with the human voice.
These algorhythms remove frequencies which aren=B9t perceptible by the human
ear and usually produce little or no distortion in the frequencies that
count.=20
MP3 recorders =AD compress all frequencies and can produce extreme
distortions.
Another method would be to buy a really good sound card for your computer
and record directly to hard disk. Make sure the computer is in another room
or its hum will interfere with the recording process.
If you don=B9t wish to commit to purchasing equipment companies such as Long
and McQuade (Toronto) rent such items and will help you put a good recordin=
g
package together.=20
Best of luck,
Lisa Walker
Producer
Lunny Communications Group
www.lunny.com
On 10/26/01 7:05 AM, "Lake Superior Railroad Museum" <[log in to unmask]>
wrote:
> Good morning. We are possibly embarking on a small oral history project,
> recording the stories of retired railroad employees. We currently have a =
small
> handheld tape recorder, but are curious about better quality recording
> equipment. We are a small museum with a limited budget, and will probably=
end
> up interviewing ten or so individuals. For those of you who have been inv=
olved
> in such a project, what type of equipment did you use, and were you pleas=
ed
> with it? Also, what was the approximate cost of the equipment?
> Thank you for any help you can provide!
> =20
> Alissa Acker
> Curator of Education
> Lake Superior Railroad Museum
>=20
>=20
--B_3086948043_832106
Content-type: text/html; charset="ISO-8859-1"
Content-transfer-encoding: quoted-printable
<HTML>
<HEAD>
<TITLE>Re: recording devices</TITLE>
</HEAD>
<BODY>
<FONT FACE=3D"Verdana"><BR>
Hi,<BR>
<BR>
While I agree with Mark Fowle’s comments that recording on cassette u=
nder the right conditions can produce acceptable results, there are ways and=
means of producing amazing results with current technology.<BR>
<BR>
The white noise hiss that is produced with almost all cassette recordings i=
sn’t perceptible until listened to in juxtaposition with a higher qual=
ity recording - with the difference being rather than the visitor list=
ening to a recording of someone speaking, they feel that they are listening =
to the actual person speaking. <BR>
<BR>
A good microphone with a wind screen and quiet recording environment (no ai=
r-conditioning, electrical hums, clothes rustling) are key components but so=
is the actual recording machine.<BR>
<BR>
Dat (digital audio tape) recorders are industry standard and when used in c=
onjunction with a limiter (to reduce high-end buzz or low end hum) are my pe=
rsonal machine of choice. Used portable Dats hit the market around $400 or l=
ess, with new ones around $1000 and up. If you don’t have a limiter, y=
ou can use software to remove unwanted frequencies. After recording, it woul=
d be wise to transfer the material to your hard drive and make back-up copie=
s. Dat tapes do break and are very sensitive to moisture. Once on the hard d=
rive, you will not experience any loss of quality, regardless of how many co=
pies you make.<BR>
<BR>
Mini Disk recorders are very popular because of their efficiency. Rather th=
an recording on tape (like Dat or cassette) they use mini-cd’s to capt=
ure the sound. This makes accessing material very easy because you can jump =
around from point to point rather than scrubbing through the tape. Mini-disk=
s use compression algorhythms, though, which make them unpopular with scient=
ists – though this isn’t really a factor with the human voice. T=
hese algorhythms remove frequencies which aren’t perceptible by the hu=
man ear and usually produce little or no distortion in the frequencies that =
count. <BR>
<BR>
MP3 recorders – compress all frequencies and can produce extreme dist=
ortions.<BR>
<BR>
Another method would be to buy a really good sound card for your computer a=
nd record directly to hard disk. Make sure the computer is in another room o=
r its hum will interfere with the recording process. <BR>
<BR>
If you don’t wish to commit to purchasing equipment companies such as=
Long and McQuade (Toronto) rent such items and will help you put a good rec=
ording package together. <BR>
<BR>
Best of luck,<BR>
<BR>
Lisa Walker<BR>
Producer<BR>
Lunny Communications Group<BR>
www.lunny.com<BR>
<BR>
<BR>
<BR>
On 10/26/01 7:05 AM, "Lake Superior Railroad Museum" <lsrm@CPI=
NTERNET.COM> wrote:<BR>
<BR>
</FONT><BLOCKQUOTE><FONT FACE=3D"Verdana">Good morning. We are possibly embar=
king on a small oral history project, recording the stories of retired railr=
oad employees. We currently have a small handheld tape recorder, but are cur=
ious about better quality recording equipment. We are a small museum with a =
limited budget, and will probably end up interviewing ten or so individuals.=
For those of you who have been involved in such a project, what type of equ=
ipment did you use, and were you pleased with it? Also, what was the approxi=
mate cost of the equipment?<BR>
Thank you for any help you can provide!<BR>
<BR>
Alissa Acker<BR>
Curator of Education<BR>
Lake Superior Railroad Museum<BR>
<BR>
</FONT></BLOCKQUOTE><FONT FACE=3D"Verdana"><BR>
</FONT>
</BODY>
</HTML>
--B_3086948043_832106--
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=========================================================================
Date: Fri, 26 Oct 2001 09:15:27 -0700
Reply-To: Museum discussion list <[log in to unmask]>
Sender: Museum discussion list <[log in to unmask]>
From: Olivia Anastasiadis <[log in to unmask]>
Subject: Re: Education advice
MIME-Version: 1.0
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Dear Andrew,
I would encourage you to continue with a master's in art education. =
You can do that while you work at a "real" job full-time; it may take =
awhile, but those who hire see the higher education degree as a =
commitment to the field, and a sign that you will likely keep abreast of =
the field itself. This is not to say that teachers are not always =
staying abreast of their field, as I understand that teachers are also =
required to keep up. But in the museum field that's what the people who =
hire will look for when making their decisions. Now, I don't want all =
of you to gang up on me just because I am encouraging him to go with =
higher education. Many art educators with B.A.'s with loads of =
experience (internships, volunteer work, etc.) can also edge out someone =
with a master's, but it depends on the institution, and how much they're =
willing to pay. Unless money isn't an issue, and you do the work for =
the love of it, usually someone with a master's can command a little =
more pay.
O
Olivia S. Anastasiadis, Curator
Richard Nixon Library & Birthplace
18001 Yorba Linda Boulevard
Yorba Linda, CA 92886
(714) 993-5075 ext. 224; fax (714) 528-0544
----- Original Message -----=20
From: Andrew Fotta=20
To: [log in to unmask]
Sent: Thursday, October 25, 2001 7:01 AM
Subject: Education advice
Hello,=20
I have a dilema in regards to my education. First, the back story, =
I have recently completed my bachelors degree in art history, and am =
looking to eventually get into a museum in the art education department. =
I have done a couple of internships, one in a small art gallery, and the =
other in a major art museum, (neither were in the education department =
as there were none available). Here's my problem, I can't decide which =
direction would be best, to get my teaching certificate in art =
education, or to get a master's in art education. I don't have a lot in =
the way of funds, so can only go part time, so I can work full time. =
Which route, if either, would make me more marketable to a museum and/or =
gallery? Ideally, I would like to do both, but would like to be able to =
get a "real" job first, before I complete the other. Can someone please =
tell me the ideal background for someone looking to get into the art ed. =
field? I'd like to get as many facts/opinions as I can, before I dive =
headlong into more schooling. I've been on the list for a few months =
now, and have learned a lot about the field, and am eager to hear from =
as many of you as I can.=20
Sincerely,=20
A slightly confused museum hopeful=20
------=_NextPart_000_0010_01C15DFE.C055A840
Content-Type: text/html;
charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable
<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN">
<HTML><HEAD>
<META http-equiv=3DContent-Type content=3D"text/html; =
charset=3Diso-8859-1">
<META content=3D"MSHTML 5.50.4611.1300" name=3DGENERATOR>
<STYLE></STYLE>
</HEAD>
<BODY bgColor=3D#ffffff>
<DIV><FONT face=3DArial size=3D2>Dear Andrew,</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT> </DIV>
<DIV><FONT face=3DArial size=3D2> I would encourage =
you to=20
continue with a master's in art education. You can do that while =
you work=20
at a "real" job full-time; it may take awhile, but those who hire see =
the higher=20
education degree as a commitment to the field, and a sign that you will =
likely=20
keep abreast of the field itself. This is not to say that teachers =
are not=20
always staying abreast of their field, as I understand that teachers are =
also=20
required to keep up. But in the museum field that's what the =
people who=20
hire will look for when making their decisions. Now, I don't want =
all of=20
you to gang up on me just because I am encouraging him to go with higher =
education. Many art educators with B.A.'s with loads of experience =
(internships, volunteer work, etc.) can also edge out someone with a =
master's,=20
but it depends on the institution, and how much they're willing to =
pay. =20
Unless money isn't an issue, and you do the work for the love of it, =
usually=20
someone with a master's can command a little more pay.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT> </DIV>
<DIV><FONT face=3DArial size=3D2>O<BR>Olivia S. Anastasiadis, =
Curator<BR>Richard=20
Nixon Library & Birthplace<BR>18001 Yorba Linda Boulevard<BR>Yorba =
Linda,=20
CA 92886<BR>(714) 993-5075 ext. 224; fax (714) =
528-0544<BR></FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT> </DIV>
<DIV>----- Original Message ----- </DIV>
<BLOCKQUOTE=20
style=3D"PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; =
BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px">
<DIV=20
style=3D"BACKGROUND: #e4e4e4; FONT: 10pt arial; font-color: =
black"><B>From:</B>=20
<A [log in to unmask] =
href=3D"mailto:[log in to unmask]">Andrew=20
Fotta</A> </DIV>
<DIV style=3D"FONT: 10pt arial"><B>To:</B> <A =
[log in to unmask]
=
href=3D"mailto:[log in to unmask]">[log in to unmask]
</A>=20
</DIV>
<DIV style=3D"FONT: 10pt arial"><B>Sent:</B> Thursday, October 25, =
2001 7:01=20
AM</DIV>
<DIV style=3D"FONT: 10pt arial"><B>Subject:</B> Education advice</DIV>
<DIV><BR></DIV><FONT face=3Darial,helvetica><FONT size=3D2>Hello,=20
<BR> I have a dilema in regards to my =
education. First,=20
the back story, I have recently completed my bachelors degree in art =
history,=20
and am looking to eventually get into a museum in the art education=20
department. I have done a couple of internships, one in a small art =
gallery,=20
and the other in a major art museum, (neither were in the education =
department=20
as there were none available). Here's my problem, I can't decide which =
direction would be best, to get my teaching certificate in art =
education, or=20
to get a master's in art education. I don't have a lot in the way of =
funds, so=20
can only go part time, so I can work full time. Which route, if =
either, would=20
make me more marketable to a museum and/or gallery? Ideally, I would =
like to=20
do both, but would like to be able to get a "real" job first, before I =
complete the other. Can someone please tell me the ideal background =
for=20
someone looking to get into the art ed. field? I'd like to get as many =
facts/opinions as I can, before I dive headlong into more schooling. =
I've been=20
on the list for a few months now, and have learned a lot about the =
field, and=20
am eager to hear from as many of you as I can. <BR><BR>Sincerely, =
<BR>A=20
slightly confused museum hopeful</FONT> =
</FONT></BLOCKQUOTE></BODY></HTML>
------=_NextPart_000_0010_01C15DFE.C055A840--
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=========================================================================
Date: Fri, 26 Oct 2001 17:23:49 -0400
Reply-To: Museum discussion list <[log in to unmask]>
Sender: Museum discussion list <[log in to unmask]>
From: Karen Knutson <[log in to unmask]>
Subject: Re: recording devices
In-Reply-To: <[log in to unmask]>
MIME-version: 1.0
Content-type: text/plain; charset="us-ascii" ; format="flowed"
Hi there,
so here's my two cents. we've just spent the last year
recording the conversations of 200 visitor groups as they wander
through museums. we used sony mini disc recorders (199.00) available at
all major electronic stores (i.e.best buy, circuit city). They have
been highly reliable, and provide great sound quality. You can input
'track marks' as you record,and this allows you to immediately access
a particular part of the
conversation--you could do this as you change questions, or by time,
or.... We used cordless microphones (200.00 each NADY brand) but you
could use a cheaper plug in mike.
The mini-discs hold 74 minutes. They cost about 2.00 each, and we
prefer the FUJI brand (had more failures with memorex, but this is an
unscientific recommendation).
good luck!
Karen Knutson
Museum Learning Collaborative
www.museumlearning.com
=========================================================
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=========================================================================
Date: Fri, 26 Oct 2001 21:47:50 -0400
Reply-To: Museum discussion list <[log in to unmask]>
Sender: Museum discussion list <[log in to unmask]>
From: Rickie Good <[log in to unmask]>
Subject: Re: recording devices
MIME-Version: 1.0
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boundary="----=_NextPart_000_0030_01C15E67.DBB81000"
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I don't know if this will help, but our museum is working with the =
Veteran's History Project recording oral histories of WWII vets. The =
museum sets up and conducts the interview while our local ETV affiliate =
videotapes it. We've worked on videos with the station before, they do =
great work and do not charge us very much at all. You might want to =
check with your local station to see if they would work with you on =
this.
Rickie Good
"The only thing necessary for the triumph of evil is for good men to do =
nothing."=20
- Edmund Burke (1729-1797)
----- Original Message -----=20
From: Lake Superior Railroad Museum=20
To: [log in to unmask]
Sent: Friday, October 26, 2001 10:05 AM
Subject: recording devices
Good morning. We are possibly embarking on a small oral history =
project, recording the stories of retired railroad employees. We =
currently have a small handheld tape recorder, but are curious about =
better quality recording equipment. We are a small museum with a limited =
budget, and will probably end up interviewing ten or so individuals. For =
those of you who have been involved in such a project, what type of =
equipment did you use, and were you pleased with it? Also, what was the =
approximate cost of the equipment?
Thank you for any help you can provide!
Alissa Acker
Curator of Education
Lake Superior Railroad Museum
------=_NextPart_000_0030_01C15E67.DBB81000
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<HTML><HEAD>
<META http-equiv=3DContent-Type content=3D"text/html; =
charset=3Diso-8859-1">
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<STYLE></STYLE>
</HEAD>
<BODY bgColor=3D#ffffff>
<DIV><FONT face=3DArial>I don't know if this will help, but our museum =
is working=20
with the Veteran's History Project recording oral histories of WWII =
vets. =20
The museum sets up and conducts the interview while our local ETV=20
affiliate videotapes it. We've worked on videos with the =
station=20
before, they do great work and do not charge us very much at all. =
You=20
might want to check with your local station to see if they would work =
with you=20
on this.</FONT></DIV>
<DIV> </DIV>
<DIV>Rickie Good</DIV>
<DIV> </DIV>
<DIV>"The only thing necessary for the triumph of evil is for good men =
to do=20
nothing." <BR>- Edmund Burke (1729-1797)</DIV>
<DIV> </DIV>
<DIV><BR> </DIV>
<BLOCKQUOTE dir=3Dltr=20
style=3D"PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; =
BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px">
<DIV style=3D"FONT: 10pt arial">----- Original Message ----- </DIV>
<DIV=20
style=3D"BACKGROUND: #e4e4e4; FONT: 10pt arial; font-color: =
black"><B>From:</B>=20
<A [log in to unmask] =
href=3D"mailto:[log in to unmask]">Lake Superior=20
Railroad Museum</A> </DIV>
<DIV style=3D"FONT: 10pt arial"><B>To:</B> <A =
[log in to unmask]
=
href=3D"mailto:[log in to unmask]">[log in to unmask]
</A>=20
</DIV>
<DIV style=3D"FONT: 10pt arial"><B>Sent:</B> Friday, October 26, 2001 =
10:05=20
AM</DIV>
<DIV style=3D"FONT: 10pt arial"><B>Subject:</B> recording =
devices</DIV>
<DIV><BR></DIV>
<DIV>Good morning. We are possibly embarking on a small oral history =
project,=20
recording the stories of retired railroad employees. We currently have =
a small=20
handheld tape recorder, but are curious about better quality recording =
equipment. We are a small museum with a limited budget, and will =
probably end=20
up interviewing ten or so individuals. For those of you who have been =
involved=20
in such a project, what type of equipment did you use, and were you =
pleased=20
with it? Also, what was the approximate cost of the equipment?</DIV>
<DIV>Thank you for any help you can provide!</DIV>
<DIV> </DIV>
<DIV>Alissa Acker</DIV>
<DIV>Curator of Education</DIV>
<DIV>Lake Superior Railroad Museum</DIV></BLOCKQUOTE></BODY></HTML>
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=========================================================================
Date: Sat, 27 Oct 2001 14:01:20 EDT
Reply-To: Museum discussion list <[log in to unmask]>
Sender: Museum discussion list <[log in to unmask]>
From: Diane Siegel <[log in to unmask]>
Subject: Re: museums in their communities
MIME-Version: 1.0
Content-Type: text/plain; charset="US-ASCII"
Content-Transfer-Encoding: 7bit
Another interesting programmatic response was to the civil unrest in Los
Angeles following the Rodney King verdict. You might want to look for papers
or narratives describing responses like the Getty Multicultural intern
program.
Diane Siegel
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=========================================================================
Date: Sat, 27 Oct 2001 13:10:41 -0700
Reply-To: Museum discussion list <[log in to unmask]>
Sender: Museum discussion list <[log in to unmask]>
From: dylan j kendall <[log in to unmask]>
Subject: Re: museums in their communities
MIME-Version: 1.0
Content-Type: text/plain; charset=us-ascii
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I missed the beginning of this strand but if this helps, we are preparing
an exhibit for next year commemorating the 10-year anniversary of the
riots- we are working exclusively with the community, they choose their
own objects and write their own labels, the exhibit will be housed at
three different venues in Los Angeles
this is also the foundation for the project I run- the Open Museum of Los
Angeles, we provide services to communities to put together their own
exhibits or work with us collaboratively on museum-generated topics
you can check out the web site for more information on the Open Museum
and/or the riots exhibit
www.openmuseumla.org
if you would like more information you can contact me off list
Dylan Kendall
On Sat, 27 Oct 2001 14:01:20 EDT Diane Siegel <[log in to unmask]> writes:
> Another interesting programmatic response was to the civil unrest in
> Los
> Angeles following the Rodney King verdict. You might want to look
> for papers
> or narratives describing responses like the Getty Multicultural
> intern
> program.
>
> Diane Siegel
>
> =========================================================
> 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).
>
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> message to [log in to unmask] . The body of the message
> should read "Signoff Museum-L" (without the quotes).
>
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=========================================================================
Date: Sat, 27 Oct 2001 19:36:10 -0500
Reply-To: Museum discussion list <[log in to unmask]>
Sender: Museum discussion list <[log in to unmask]>
From: Robin Frisch <[log in to unmask]>
Subject: Re: UO Museum of Natural History
In-Reply-To: <3BD5C9B0@webmail>
Mime-version: 1.0
Content-type: text/plain; charset="US-ASCII"
Content-transfer-encoding: 7bit
I would like to subscribe!
Robin Frisch
[log in to unmask]
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Date: Sat, 27 Oct 2001 09:57:05 -0700
Reply-To: Museum discussion list <[log in to unmask]>
Sender: Museum discussion list <[log in to unmask]>
From: Lisa Mort-Putland <[log in to unmask]>
MIME-Version: 1.0
Content-Type: text/plain; charset="iso-8859-1"
Apologies for cross promoting
The Cultural Resource Management Program at the University of Victoria is
pleased to offer the following immersion and distance education courses.
Please contact us if you require further information at [log in to unmask]
<mailto:[log in to unmask]> or visit the web site for course outlines,
information about instructors, and admission and registration forms at
www.uvcs.uvic.ca/crmp <http://www.uvcs.uvic.ca/crmp>
Collections Management with Gillian Pearson
Despite the increasing emphasis on programming, funding, public access, and
community partnerships, collections-and the knowledge they convey-remain the
cornerstone of most museums. This distance education course addresses the
roles of collections in the changing museum world, and the principles and
practices, which guide acquisition, management and use. Through innovative
course materials and regular interactions with the instructor and other
participants, you develop your ability to:
* understand historic and contemporary factors which shape
museum collections
* define how collections and their management relate to
institutional mission and community interests
* respect legal and ethical frameworks
* understand the policy framework for collections management
* undertake a range of registration and documentation
functions
* manage collections information
* ensure collection safety in storage, on exhibit, and in
transit
* address the range of current issues affecting collections
and their management
* plan for collections development
Instructor: Gillian Pearson is a Toronto-based museum consultant and former
Registrar and Director of Policy Development at the Royal Ontario Museum
Dates: January 21 - April 20
Please register by: January 7
Fees: $560
Participants' Comments:
It was wonderful, enlightening, and extremely useful.
The materials and issues presented were very contemporary in nature. I feel
less 'dated' in my background and more confident in positions.
Museum Information Management
Effective management of the wealth of museum information provides a catalyst
for strong collections, programs, and relationships with communities. This
Internet-based distance education course explores the multi-layered nature
of museum information, examines the ways in which it is understood,
organized, and accessed, and goes on to provide frameworks to support
systematic and integrated organization and management. You develop your
ability to:
* understand the importance of information to museums, and the
perspectives that influence its value
* trace the evolution of museum information management and
understand how this shapes how information is gathered, structured,
accessed, and shared
* recognize complex and interrelated types of information,
using the ICOM-CIDOC model
* understand ways in which current and emerging technologies
enable museums to gather, manage, and share this information
* recognize the importance of integrated approaches
* critically assess the information systems available to
museums
* access resources and professional networks that support
museum information management
Instructor: James Blackaby is Director of Internet Strategies and
Information Services, Mystic Seaport, Connecticut
Dates: January 17-April 21
Please register by: January 5
Fee: $589 (credit/non-credit)
Participants' Comments:
"This course was well organized and implemented...the instructor's sense of
humour and personality reach right through the ether to grab my attention."
"Other students' perspectives gave it a living dimension."
Planning for Change in Cultural Organizations with Gail Lord
Effective planning establishes the foundation on which cultural
organizations grow, change, adapt, and prosper in an uncertain world. This
on-campus immersion course explores the pervasive forces of change that are
reshaping contemporary museum roles and practices, and focuses on the ways
in which you can anticipate and lead change to ensure institutional success.
You strengthen your ability to:
* recognize the range of social, economic, and political factors that
influence change in museums
* defend core museum principles and roles in the context of change
* utilize a range of planning tools to anticipate and shape your
museum's response to change
* analyze the implications of change
* implement and manage change strategies
*
* The critical role of community values and organizational mission in
the planning process are stressed throughout this on-campus immersion
course.
* Instructor: Gail Lord is principal of Lord Cultural Management, and
has extensive international experience in planning for museums and other
cultural organizations.
* Dates: February 4 - 9, with a preparatory assignment
* Please register by: January 9
* Fee: $560
*
* Participant's comments:
* Very, very clear view of a complex process-how to make sense and to
organize chaos.
* Gail has a natural gift for teaching; she also has tremendously
interesting experience; knowledgeable, insightful, curious, modest,
funny-obviously a great person to work with and for.
*
*
* Collaborative Knowledge Management in/through the Museum with James
Blackaby
* While other knowledge-based institutions tend to focus on ideas,
documentary sources, or abstractions from the real stuff of culture, museums
tackle the harder problem of making sense of "things". This three-day
on-campus workshop is for collections and information managers, curators,
and others involved in generating knowledge in and through museums and
collections. It explores the complex characteristics of museum information,
the potential and challenges inherent in effective information management,
and the ways in which collaborative management strategies with other
agencies and communities can lead towards knowledge. You strengthen your
understanding of:
* the nature of information relating to objects, people, places,
events and concepts
* the relationships among these kinds of data and their potential to
generate knowledge
* varied perspectives in the value and use of information
* issues and challenges in taking an integrated approach to managing
multiple kinds of data
* strategies for collaboration in the development and management of
information
* uncharted areas in the integrated management of educational and
programmatic information
*
* This workshop may be taken on a non-credit basis or it may be taken
as an optional component of the distance course Museum Information
Management that runs from January 28 - April 30th (see Distance Education
Courses)
* Instructor: James Blackaby is Director of Internet Strategies and
Information Services, Mystic Seaport, Connecticut
* Dates: February 13 - 15
* Please register by: January 17
* Fee: $290 (non-credit; no fee for participants in Museum Information
Management)
*
*
* Heritage Area Conservation: Strategies for Sustainable Management
with Robert Lemon
* The 17th century Muslim District in Xi'an, China is worlds and
centuries apart from Vancouver's 19th century Gastown, yet both heritage
areas share many similarities in how they can be conserved and managed. This
on-campus immersion course explores how such urban cores, large and small,
are evaluated, conserved, and developed in the context of community values
and priorities. Through lecture, discussions, field visits, case studies
that emphasize the practical application of conservation strategies you will
strengthen your ability to:
* identify and evaluate the significance of heritage areas in a range
of urban contexts
* analyze preservation concerns and issues relating to community
support, ownership, representation, access, and use
* select management approaches which respect conservation and
community goals
* build legal, community and management frameworks to ensure
sustainability
* address associated issues in economic and tourism development,
promotion, and interpretation
* learn from case studies and to make practical application of
conservation principles and objectives
* utilize effective tools for dealing with increased density within
heritage areas
*
* This course will explore how this is done and emphasizes the
practical application of such techniques
*
* Instructor: Robert Lemon is an architect and heritage consultant
with twenty years of experience in heritage conservation in British Columbia
* Dates: February 25 - March 2 with preparatory assignment
* Please register by: January 21
* Fees: $589
*
*
* Making Museums Matter with Stephen Weil
* In his 1917 essay The New Museum, pioneer North American
museologist, John Cotton Dana wrote that the first and obvious purpose of
every museum must be to add to the "happiness, wisdom and comfort" of the
community it served.
* Although museums have made great strides in their ability to survive
in an increasingly complex and competitive environment, it would be the
height of folly to confuse institutional survival with institutional
success. Survival is only a pre-condition. No less than in Dana's time,
success today must still be measured by what museums can contribute to the
"happiness, wisdom and comfort" of the communities they serve.
* This gathering of museum leaders challenges you, first, to identify,
perhaps even to rethink, the range of basic ways in which museums might
potentially contribute to the "happiness, wisdom and comfort" of their
communities and, second, to explore the particular ways in which your own
institution might fit into that range. Stephen E. Weil, one of museum
community's pre-eminent thinkers, provides the framework for a facilitated
three-day discussion in which you work with other directors, trustees, and
colleagues who shape change in museums, to:
* seek consensus on the attributes of a "good society" and how museums
in general might be uniquely capable of contributing toward the development
of those attributes
* against that background, think through the unique and defining
purposes of your own museum and how those purposes might best be articulated
to your community
* clarify the relationship of museum means (resources and operations)
with ends (desired outcomes) and recognize the danger that means may
sometimes become ends in themselves
* identify the internal/external obstacles that may interfere with
your own museum's ability to achieve desired outcomes and consider various
strategies that might be employed to overcome such obstacles
* analyze your own museum as a form of "social enterprise"
* develop measures of intermediate and ultimate institutional success
Facilitator: Stephen Weil is the emeritus senior scholar with the Center for
Education and Museum Studies at the Smithsonian Institution. His background
in law, his experience as Deputy Director of the Hirshhorn Museum and
Sculpture Garden, and his extensive involvement as a consultant to a range
of professional agencies and activities provide a foundation for his
reflections on the changing nature of museums in contemporary society. He is
the author of A Cabinet of Curiosities: Inquiries into Museums and Their
Prospects, Rethinking the Museum, and Beauty and the Beasts: On Museums,
Art, the Law, and the Market, as well as numerous journal articles and
conference presentations. His upcoming book Making Museums Matter is
scheduled for publication in May 2002.
Dates: March 7 - 9
Please register by: February 11
Fee: $340 (non-credit only)
Caring for Collections with Stefan Michalski
Preserving collections and providing safe and secure environments in which
they can be stored, studied and exhibited involves the coordination of a
range of complex physical and organizational factors. In this hands-on
workshop, you explore the principles and techniques of preventive care and
develop your ability to:
* recognize a range of factors that cause
deterioration
* diagnose symptoms of deterioration in collections
* assess the multiple risks to collections in a given
location, and rank order them
* understand systematically the role of facilities,
fittings, procedures and staff on control of these risks
* propose cost-effective mitigation of identified risks,
i.e. improve collection care
* resolve ethical, economic, and cultural issues
alongside risk management in
* collections care
Instructor: Stefan Michalski is the Manager of Preventive Conservation
Services with the Canadian Conservation Institute in Ottawa
Dates: April 8 - 13, with a preparatory assignment
Please register by: March 12
Fee: $560
Please contact us if you wish any further information on these sessions
offered by the University of Victoria or visit our website at
<http://www.uncs.uvic.ca/crmp>
For more information, please contact:
Lisa Mort-Putland, Program Coordinator
Cultural Resource Management Program
Continuing Studies, University of Victoria
PO Box 3030 STN CSC Victoria BC Canada V8W 3N6
Tel: 250 721-8462, Fax: 250 721-8774
Email: [log in to unmask]
Visit our Web site! http://www.uvcs.uvic.ca/crmp
To receive monthly email updates, contact [log in to unmask]
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=========================================================================
Date: Sun, 28 Oct 2001 23:05:01 -0500
Reply-To: Museum discussion list <[log in to unmask]>
Sender: Museum discussion list <[log in to unmask]>
From: Dale Jones <[log in to unmask]>
Subject: Seeking information on meta-organizations
Comments: To: museum-ed list <[log in to unmask]>,
ASTC <[log in to unmask]>
MIME-Version: 1.0
Content-Type: text/plain; charset="iso-8859-1"
Content-Transfer-Encoding: 7bit
I am posting this for a colleague at work..
Dear Colleagues,
I am looking for meta-organizations in the museum and non-profit field that
are characterized by the fact that they are basically associations of
associations. In other words, organizations with individual members
(associations) that come together to form a meta-organization.
I am interested to find out what purpose these federations,
meta-associations, or umbrella-organizations serve, and what kind of
internal structure they chose to further their objectives.
Any good leads and contacts are highly appreciated and will be reciprocated
by the insights I will gain from this survey.
Please send emails to [log in to unmask]
Thank you for your help!
Martin Storksdieck
Institute for Learning Innovation
166 West Street
Annapolis, MD 21401
Tel: (410) 268-5149
Fax: (410) 268-2179
On the web at www.ilinet.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).