A partir de l'exemple montpelliérain, la présente étude s'intéresse au phénomène culturel ducollectionnisme, en appréhendant de manière conjointe collectionneurs et collections entre leXVIe siècle et le XVIIIe siècle. Considérée comme capitale scientifique durant l'époquemoderne, la ville s'offre comme un exemple privilégié pour aborder une approche croiséeentre histoire de l'art et sociologie de la culture savante.Face à une très grande diversité de sources, ce travail propose d'abord une réflexion sur lesdéfinitions mêmes de collectionneur et de collection, avant d'en présenter une analysetypologique. Le travail s'attache en second lieu à comprendre la dialectique entre lecollectionnisme et la curiosité, entendu comme désir de voir, d'avoir et de savoir. Cettedémarche ambitionne de mettre au jour les différents usages des collections et de leuréconomie, tout en abordant les différentes figures de collectionneurs, entre curieux, amateurs,connaisseurs et savants. Par ailleurs, le travail tente de rendre compte de la manière dont ceshommes, quelle que soit la nature des collections, mettent en oeuvre leur capacité de jugementen privilégiant l'expérience sensible. Lieu voué à la perception, la collection s'offre aussicomme lieu de célébration de la mémoire. Aussi l'étude s'attache-t-elle à comprendrecomment le collectionnisme contribue à la fabrique du regard. / From the city of Montpellier example, the present study focuses on the cultural phenomenonof collectionism, by approaching in a joint process, collectors and collections within theXVIth century and the XVIIIth century span. The city, recognized as a scientific capitalduring the modern period, offers a privileged example to undertake a crossed approachbetween art history and sociology of savant culture.Faced with a huge diversity of sources, the first proposal of this work is a reflexion on thecollector and the collection's very definition before presenting them in a typological analysis.In a second step, this work aims at understanding dialectics between collectionism andcuriosity, understood as desire of seeing, possessing and knowledge.This process aspires tounveil the various uses of collections and their economy, approaching jointly the differentcharacters of collectors, among curieux, amateurs, connoisseurships and savants. Moreover,attention is payed on giving account on the manner these persons, whichever the nature oftheir collection, make use of their judgement capacity while prioritizing sensitive experience.As a place dedicated to perception, the collection also offers itself a place of memorycelebration. Therefore, the study works toward understanding how collectionism contributesto the fabric of vision.

Review of Chicago History Museum, Digital Collection : Costume and Textile Collection. 2012.

Review of Chicago History Museum, Digital Collection : Costume and Textile Collection.2012.

The Malki Museum Tribal Special Library and Archives project is an on-site repository created in order to provide access to information regarding tribal culture and heritage to local tribal members and researchers. The project filled the need for a space dedicated to material related to the history of local Southern California Native American tribes and information regarding the topics of Archaeology, Anthropology and History. The collection includes: books, manuscripts, documents, audio/visual media, and photographs. Bringing together multimedia sources, the Special Tribal Library allows for the preservation and accessibility of these items through cataloging and digitizing the collection. This method allows for the collection to be available to the public while being able to preserve its integrity through limited handling. In order to facilitate the establishment of the Special Library and Archive, the Malki Museum Special Tribal Library and Archives project teamed up with the Malki Museum’s Director, as well as the Malki Museum’s Tribal Board of Directors. Several weeks of organization, assessment, and collaboration helped prepare the Special Library first for user-friendliness. The final product is the Malki Museum Tribal Special Library which provides tribal members and scholars alike a locality where research can be undertaken and acquired. The Malki Museum Tribal Special Library project helps bring important data within reach to its local community.

A l’instar d’autres médiums, la muséologie permet de rendre compte d’une manière dont l’homme s’approprie spécifiquement la réalité. Cette dernière consiste à y sélectionner des objets, à les prélever, puis à les agencer dans le cadre d’expérience que constitue le musée afin de créer ce que l’on appelle une réalité muséalisée : addition de savoirs contenus dans les objets, manifestés par l’exposition, puis proposés à l’acquisition par l’intermédiaire de sa visite. Cette relation spécifique de l’homme à la réalité est appelée muséalité et telle que ci-dessus relatée, renvoie aux travaux du muséologue Zbynĕk Zbyslav Stránský pour qui la collection d’objets revêt une place centrale au sein du système muséal. Mais à l’heure du numérique connecté et de la possibilité que nous avons de voir les éléments de la réalité sans se trouver physiquement en leur présence, l’importance accordée à la collection d’objets par Stránský semble rendre sa conception de la muséalité obsolète à penser la muséologie. Prenant par conséquent appui sur les travaux du sociologue et philosophe Hartmut Rosa, et notamment sur leur désignation du rôle joué par la perception olfactive dans la qualité de notre relation au monde, la présente recherche s’attache à démontrer que si inadéquation il y a entre les théories de Stránský et l’actualité de l’appropriation de la réalité par l’homme, elle n’incombe pas tant à la dimension physique des objets de musées, qu’à la mono-sensorialité des moyens dont il nous est permis de les entretenir. Alliant la théorie à la pratique, ce travail argumente le fait qu’actualisé au prisme du concept de résonance proposé par Rosa, les travaux de Stránský jouissent encore d’une légitimité à penser les muséologies d’aujourd’hui et de demain. / Like other mediums, museology shows a way in which man specifically appropriates reality. It consists in selecting objects from it, taking them out and arranging them in the museum's experimental setting in order to create what is called a musealized reality: addition of knowledge contained in objects, manifested by the exhibition, and offered for acquisition through the visit. This specific relation of man to reality is called museality and as mentioned above, refers to the work of the museologist Zbynĕk Zbyslav Stránský for whom the collection of objects is central to the museum system.But in the age of digital and the possibility that we have to see the elements of reality without being physically with them, the importance given to the collection of objects by Stránský seems to make his conception of museality obsolete to think museology.Taking as a result the work of the sociologist and philosopher Hartmut Rosa, and in particular his designation of the role played by olfactory perception in the quality of our relationship with the world, the present research endeavors to demonstrate that if there is a mismatch between Stránský's theories and the actuality of the appropriation of reality by man, it is not so much because of the physical dimension of museum objects than the mono-sensoriality of the means of which we are allowed to maintain them. Combining theory with practice, this work argues that, updated by the concept of resonance proposed by Rosa, Stránský's works still have a legitimacy to think about museologies of today and tomorrow.

Thesis (MBA.) -- University of Limpopo, 2007 / The Department of Health and Social Development in Limpopo endeavors to efficiently and effectively manage revenue collection. The study analyzed the revenue collection for the Capricorn district hospitals from 2001 to 2006 by identifying problems and possible solutions related to revenue collection. A quantitative analysis of data has been obtained from in- depth structured interviews and revenue records. An analytic retrospective study design was used. All revenue records from 2001/2002 to 2006/2007, financial managers, revenue clerks, and clients /patients who came to request credit from each hospital constituted the population of the study. The findings were that in 2001/2002 none of the hospitals were able to attain the revenue targets. In 2005/2006 revenue targets were increased by almost double the amount however all hospitals were able to attain the revenue targets as prescribed. It implies that the hospitals were able to collect more revenue than in the previous financial year. It has been noted that the appointment of CEOs has brought a tremendous change in revenue collection. It has been identified that revenue is the life blood for a country or institution. The institutions need commitment of all stakeholders to collect revenue.

By the 1990's many modes of artwork incorporated the constructs of the museum. Art forms including, 'ethnographic art', 'museum interventions', 'museum fictions' and 'artist museums' were considered to be located in similar realms to each other. These investigations into this emerging 'genre' of collection-art have primarily focussed upon the critique of the public museum and its grand-narratives. This thesis will attempt to recognise that the critique of institutional hierarchical systems is now considered integral to much collection art and extends this enquiry to incorporate private collections which examine the narratives of everyday existence. This paper adopts an interdisciplinary approach to material culture and art criticism in examining everyday objects within contemporary collection-art. In this context, this paper argues that: the investigation of collection motivations (fetish, souvenir and system) as metaphor, process and imagery in conjunction with the mimicking of museology methodologies (classification, order and display) is an effective model for interpreting everyday objects within contemporary collection-art. In formulating this argument, this paper examines the ways in which artists emulate museology methodologies in order to convey cultural significance for everyday objects. This is explored in conjunction with the employment of collection motivations by artists as a device to understand elements of human/object relations. In doing so, it contemplates the convergence between the practices of museums and collection-artists. These issues are explored through the visual and analytic investigations of key artist case studies including: Damien Hirst, Sylvie Fleury, Mike Kelley, Christian Boltanski, On Kawara, Luke Roberts, Jason Rhoades, Karsten Bott and Elizabeth Gower. In doing so, this paper argues that the everyday objects of collection-art can represent a broad range of socio/cultural concerns, so delineating a closer relationship between collection-art and material culture.

Garbage collectors (GCs) automate the problem of deciding when objects are no longer reachable and therefore should be reclaimed, however, there currently exists no automated process for the design of a correct garbage collector. Formal models exist that prove the correctness of individual GCs; more general models describe a wider range of GCs but do not prove their correctness or provide a concrete instantiation process. The lack of a formal model means that GCs have been designed in an ad-hoc manner, published without proof of correctness and with bugs; it also means that it is difficult to apply experience gained from one implementation to the design of another. This thesis presents Surf, an abstract model of distributed garbage collection that bridges the gap between expressibility and specificity: it can describe a wide range of GCs and contains a proof of correctness that defines a list of requirements that must be fulfilled. Surf’s design space and its requirements for correctness provide a process that may be followed to analyse an existing collector or create a new GC. Surf predicts the abstract behaviour of GCs; this thesis evaluates those predictions in light of the understood behaviour of published GCs to confirm the accuracy of the model. A distributed persistent implementation of the Train Algorithm is created as an instantiation of Surf and the model is used to analyse progress in the GC and drive the design of a partition selection policy that provides a lower bound on progress and therefore reduces the GC’s complexity to completeness. Tests with mesh data structures from finite element analysis confirm the progress predictions from Surf. Published GCs cluster mostly in one corner of the Surf design space so this thesis explores the design of a GC at an unoccupied design point: the Tram Algorithm. Analysis via Surf leads to the prediction that Trams are capable of discovering topology in the live object graph that approximately identifies the strongly connected components, permitting O(1) timeliness that is unique to the Tram Algorithm. / Thesis (Ph.D.) -- University of Adelaide, School of Computer Science, 2008

Garbage collector performance in LISP systems on custom hardware has been substantially improved by the adoption of lifetime-based garbage collection techniques. To date, however, successful lifetime-based garbage collectors have required special-purpose hardware, or at least privileged access to data structures maintained by the virtual memory system. I present here a lifetime-based garbage collector requiring no special-purpose hardware or virtual memory system support, and discuss its performance.

This study investigated the practices public and academic library administrators find useful and utilize in analyzing use of collections. The study also investigated administrators' satisfaction with their collection use analysis practices, and the impact they perceived automation to have upon collection use analysis practices. A survey developed for this study was sent to two stratified random samples of 495 academic libraries and 605 public libraries in the United States. Eight hundred and eighty-eight usable responses were received. Chi-square analyses of six null hypotheses were made and data analyzed computing totals, percentages and rankings. All six null hypotheses were rejected in specific instances. There were differences in the collection analysis practices nonautomated and automated libraries in the sample used found useful. There was a correlation between a library's satisfaction with its practices and its state of automation. In two of four instances there was a generalizable difference between the expectations of automated and nonautomated libraries regarding the utility of automated systems in gathering data for analyzing collection use. There was a difference in the practices used by the sample of automated and nonautomated libraries to analyze collection use. There was a difference in the collection analysis practices identified as useful by the sample of academic and public libraries. There was a difference in the practices used by the sample of academic and public libraries to analyze collection use. / Graduation date: 1990