Visualizing the internal structure is a crucial step in acquiring knowledge about the origin, state, and composition of cultural heritage artifacts. Among the most powerful techniques for exposing... Show moreVisualizing the internal structure is a crucial step in acquiring knowledge about the origin, state, and composition of cultural heritage artifacts. Among the most powerful techniques for exposing the interior of cultural heritage objects is computed tomography (CT), a technique that computationally forms a 3D image using hundreds of radiographs acquired in a full circular range. The diversity in materials, shapes and sizes of cultural heritage objects poses a challenge for the broad application of this technique, since each scan needs to be tailored to the object. Moreover, the lack of affordable and versatile CT equipment in museums, combined with the challenge of transporting precious collection objects, currently keeps this technique out of reach for most cultural heritage applications. In this thesis, we explore how CT imaging can be further integrated in cultural heritage applications by 1) integrating expert feedback into the data acquisition process, 2) tailoring acquisition methods to obtain specific information, 3) developing a low-cost method to use in-house X-ray facilities for 3D CT imaging and 4) providing tools to interactively visualise and inspect the CT data. Show less
The photographic surface is the pivotal carrier of information – be it the mediated image or material indications about the object. It is presented here as the entrance into the study of... Show moreThe photographic surface is the pivotal carrier of information – be it the mediated image or material indications about the object. It is presented here as the entrance into the study of photographic materiality that unfolds in a profound scanning of a photograph’s multi-layered dimensionality and of all the interactions that (can) take place in its lifetime – ranging from human to molecular. The chosen case studies are photoworks (hybrid photographic works of art) that are partially overpainted and show (first) signs of degrading photographic material. The different (material) properties of the two interacting media with their distinct surfaces pose challenging questions on a representational, chemical, conservational as well as a theoretical level. The key concern is: How does the photographic surface act in hybrid photoworks as interface between substances and their surrounding space? By panning back and forth between material, technical, and theoretical studies and the case studies – Tacita Dean’s (*1965) Crowhurst II (2007), and two photoworks by Ger van Elk (1941-2014): Dutch Grey (1983/84) and Russian Diplomacy’s (1974) – I follow the methodological path of a multi-angled analysis of photoworks in order to respond to their hybrid nature and to think with their materiality and subject matter. The result is an in-depth theoretical investigation of the photographic surface as interface between substances and spaces within photoworks in particular, and ontologically in any chemically created photograph. It ties together philosophical, esthetical, technical and ethical point of views and therewith creates a deep understanding of photographic materiality at the verge of digital dominance. Show less
Muchatar, U.; Nugraha, F.M.; Sunjayadi, R.A.; Gustinelly, E.; Manullang, R.D.; Risdiani, R.; Veer, C. van 't 2021
An analysis of the changing public role of Teylers Museum in the nineteenth century, from the vantage point of the Museum's scientific instrument collection
By the turn of century, increasing interest in archaeology in Jordan had resulted in more excavations and explorations of archaeological sites, and an increase in the number of monuments and... Show moreBy the turn of century, increasing interest in archaeology in Jordan had resulted in more excavations and explorations of archaeological sites, and an increase in the number of monuments and antiquities being revealed. In response, it was necessary and urgent to establish museums in which to display such remains, aesthetically and historically and to ensure their protection. This was achieved over a fairly short period of time, and museums have the role of displaying and safeguarding the collection in its custody. However, a preliminary check gave the impression that most museums in Jordan do not have the necessary human and material resources to perform this function satisfactorily. In recent years, museum science experienced a strong advancement, in particular when dealing with issues of indoor environment, and models of requirements have been designed. This thesis aims to describe, analyse and discuss the current situation of a number of selected museums in Jordan, with a focus on aspects of indoor environment. It intends to be an inclusive study that would provide recommendations and suggestions, hopefully enabling official senior level museum staff to address these needs, and work to improve them in order to portray a good image of Jordan and its historical legacy. It has been noticed that, at present, some artefacts are suffering deterioration and damage due to uncontrolled environmental conditions and mishandling by untrained staff; if this situation is not addressed promptly it may well lead to the destruction of these valuable and vulnerable objects. For this reason, a study of the processes of deterioration is required, prior to any recommendations concerning conservation treatments. In fact, excavated archaeological objects can be conserved and stabilized by a combination of instruments, whether these objects are on display or kept in storage. Therefore the indoor museum environment should be controlled and the staff properly trained to deal with objects adequately. These are basic necessities to ensure that museums and staff are able to fulfil the role of a modern museum, i.e. to be a sustainable social and educational resource. Show less
Since the mid-1990s, Japanese and American museum curators have experienced a firestorm of criticism for their exhibits on the Second World War, highlighting the relationship between museums, their... Show moreSince the mid-1990s, Japanese and American museum curators have experienced a firestorm of criticism for their exhibits on the Second World War, highlighting the relationship between museums, their audiences and the professional responsibilities of curators. Show less
