English Heritage properties contain a wealth of textiles on open display, however these are ephemeral objects. Amongst the natural fibres found in historic houses, silk is reported to be the most vulnerable to damage, especially from light. The critical deterioration factors for silk deterioration have been reassessed highlighting the important role of humidity, which has previously been overlooked. Monitoring behind a number of tapestries has recorded the formation of high humidity microclimates. This is a possible reason for the similar condition of brightly coloured samples taken from the reverse of a tapestry and the same thread which had faded on the displayed side. Kinetics experiments studied the rate of silk deterioration and suggest the activation energy is approximately 50 kJ mol-1, although this may vary for other types of silk, such as weighted materials. However as elemental analysis demonstrated around 10% of the 100 samples, taken from over 1000 objects containing silk in the English Heritage collection, were from tin-weighted silks, plain silks were the study’s focus. Year long accelerated ageing experiments have demonstrated that although the inclusion of UV radiation during light ageing increased the rate of deterioration, light ageing caused small changes to silk. Thermal ageing with different humidity levels demonstrated increasing the relative humidity (RH), increased the rate of silk deterioration significantly. Further degradation of silk was observed when samples had been contaminated by the saturated salt solution used to create the RH environment during ageing. During ageing increased RH and increased temperatures led to greater yellowing of silk samples. Experimental results have been used to make preventive conservation recommendations including lowering the RH below 50%, reducing the temperature and the continued exclusion of UV radiation. A theoretical silk deterioration curve for unweighted silk has been drawn, from which initial isoperms have been plotted. The analytical results have been compared with near-infrared (NIR) spectroscopy using multivariate analysis (MVA). This developed a predictive model for the tensile strength of silk using the NIR spectra. The potential of this non-invasive, non-destructive technique to monitor silk condition in situ has been tested at Brodsworth Hall and shown to rank the condition of samples successfully.

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Made available in DSpace on 2015-10-06T13:03:28Z (GMT). No. of bitstreams: 0 Previous issue date: 2015-04-17. Added 1 bitstream(s) on 2015-10-06T13:18:29Z : No. of bitstreams: 1 000850547.pdf: 607121 bytes, checksum: 6b494bb9c8c80b2d72174816eb12fedc (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / A Biblioteca Central da universidade federal de Mato Grosso conta com um acervo de coleção de obras raras e especiais que recebe o nome do colecionador: Coleção Amidicis Tocantins - CAT. O colecionador, um homem comum, mas que gostava de colecionar livros de relevância social, faleceu e deixou a coleção aos cuidados da família, que decidiu doar a coleção. O processo de doação foi intermediado pelos membros da família e a reitoria da Universidade Federal do Mato Grosso, que no período demonstrou interesse em receber a coleção. A Biblioteca Central, como muitas outras bibliotecas públicas brasileiras, passa por problemas financeiros para o tratamento adequado da coleção, seja estrutural ou de capacitação pessoal. Dessa forma, as obras pertencentes à coleção não possuem tratamento algum, o que vem gerando muitos questionamentos. E a questão aqui trabalhada é: pode uma coleção anteriormente particular representar a memória coletiva? Na busca para a resolução dessa questão, elencou-se como objetivo principal identificar e discutir a relevância de uma coleção institucionalizada na configuração da memória social, no âmbito da Ciência da Informação, por meio do estudo do caso da Coleção Amidicis Tocantins. Nesse seguimento, busca-se analisar, no âmbito da Ciência da Informação, os termos coleção, objeto, memória e lugar de memória, estabelecendo assim um diálogo entre esses conceitos; analisar in loco a Coleção Amidicis Tocantins a fim de coletar informações e interpretar por meio da literatura as questões pertinentes ao significado e finalidade da coleção; apresentar de que forma a Coleções Amidicis Tocantins pode representar a memória social e refletir nos motivos pelo qual foi escolhida pela instituição. A metodologia do trabalho é o estudo de caso, na qual se utilizou da proposição teórica para se analisar os dados, dispostos em forma analítica e texto. A Coleção Amidicis... / The Mato Grosso Federal University Central Library counts with a collection of rare and special works that receives the collector's name: Coleção Amidicis Tocantins - CAT. The collector, a common man, who liked to collect social relevant books, died and left the collection under the care of his family which decided to donate the collection. The donation process was intermediated by the family members and the Mato Grosso Federal University rector who in the period showed interest in receiving the collection. The Central Library, as many others Brazilian public universities, struggles with financial problems to give proper treatment to the collection, be it structural or of personal capacitation.This way the works that belong to the collection don't have any treatment, which has been causing many questioning s. And the question here worked is: Can a previously particular collection represent a collective memory? In the search for the resolution of this question it was ranked as the main objective to identify and discuss the relevance of an institutionalized collection in the configuration of social memory, in the Information Science scope, through the studying of the Amidicis Tocantins Collection case. In this sequence it is aimed to analyze, in the Information Science scope, the terms collection, object, memory and place of memory, establishing, there for, a dialogue between these concepts; to analyze in loco the Amidicis Tocantins Collection in order to collect information and to interpret, through the literature, the questions pertinent to the collection's meaning and finality; to present how the Amidicis Tocantins Collection can represent a social memory and reflect the motives for which it was chosen by the institution. The works methodology is a case study in which has been utilized the theoretical proposition to analyze the data displaced in an analytical form and text.The Amidicis Tocantins Collection was analyzed in the ...

La formation de collections d'objets d'art constitue en Europe, au début du XVIIe siècle, une nouvelle habitude de la part des mécènes et des connaisseurs. Avec la diffusion de la pratique du collectionnisme dans la seconde moitié du XVIIe siècle et le développement du goût pour les tableaux en France -lesquels deviennent de plus en plus accessibles sur le marché-, un nombre grandissant de particuliers possèdent des oeuvres d'art sans pour autant être de grands collectionneurs. Coïncidant avec les débuts de la colonisation de la Nouvelle-France, nous pouvons nous demander quelécho a eu l'effervescence de ce goût au Canada. Il s'agit donc de retrouver la trace des divers objets d'art conservés dans les domiciles en Nouvelle-France, le long de la vallée laurentienne, de comprendre comment ils y ont circulé, quels étaient leur quantité et leur nature dans les intérieurs domestiques, puis quels rôles ils jouaient dans la société d'alors. Notre thèse examine donc les relations entre les particuliers et les oeuvres d'art en Nouvelle-France. Nous pensons que l'objet d'art ne s'inscrit pas d'emblée dans une classe ontologique propre où l'art suffit à l'art. Ainsi, en plus des discours légitimés sur l'art, nous devons aussi tenir compte des autres perspectives de compréhension et de modes de perception de l'oeuvre au sein de la civilisation des XVIIe et XVIIIe siècles. De fait, dans le cadre quotidien de la Nouvelle-France, l'oeuvred'art, si elle constitue un objet esthétique, ne se limite pas à ce rapport. Ainsi, ce qui est examiné porte sur la variété des compétences des laïcs de l'époque, c'est-à-dire la façon dont ils utilisent et perçoivent les images / At the beginning of the seventeenth century, in Europe, collecting art objects became a new habit for the patrons and the connoisseurs. The spread of the practice of collecting art in the second half of the seventeenth century, associated to the development of a taste for paintings in France – which are becoming increasingly available on the market – made a growing number of individuals buying art without being great collectors. Coinciding with the beginning of the colonization of the New France, we can ask if this taste for art also spread in Canada. This thesis traces the various works of art kept in homes of New France, along the St. Lawrence Valley. It tries to understand how these pieces of art circulated, how many there was, what was their variety in each domestic interior and what roles they played in the society. Furthermore, we examine therelationship between the individuals and the works of art in New France. We believe that the art object does not fall immediately into a clean ontological class where art is simply art. In addition to legitimate discourses on art, we think we must consider other perspectives for understanding the works of art in the seventeenth and the eighteenth centuries. In fact, the work of art is not considered simply as an aesthetic object in the everyday’s life of the New France. This thesis therefore examine how citizens interpreted art images and how they used the various art objects

Through creative practice research this thesis investigates the concept of touch and its application to museums with the process defined as ‘practice of touch’. The main practical outcome of this thesis is an interface between the museum visitor and an untouchable museum object as part of the object interpretation. The implementation of this idea is realised with the ‘Tactual Explorations’ project. The format of this project is a tactile exhibition consisting of virtual and conventional artworks combined. The subject of the study focuses on interaction between museum visitors and exhibits in order to create an accessible and tactile solution around museums’ ‘do not touch’ policy; without being limited to but being especially for blind and partially sighted visitors. The reason behind paying special attention to these members of the audience is the significance of the sense ‘touch’ in communicating with the world around them. While the main objective of this research is to gain more understanding of the concept of ‘touch’, on a deeper level it investigates whether or not a haptic interaction with untouchable visual information can be achieved with the aid of a creative interface between the museum visitor and an untouchable museum exhibit. By using this creative interface, the aim of the research extends to gaining a better understanding of touch through curating with information design and artistic methods. The purpose behind the idea is to form an inclusive museum experience free from assumptions of just one interpreter without rejecting the traditional methods of object interpretation. The practical outcome enhances dialogue with the existing information by paying special attention to tactile properties of a museum object through a set of artworks. The project is supported by other practical experiments in order to understand the value of visual/photographic information attached to an untouchable object and involve other scholars and artists in interpreting this information tactually. While accepting museums’ policy of ‘do not touch’, the praxis of this thesis is proposed as a method of interpretation that aims to bring in the ‘missing interactivity of touch’ through an engaging tactile exhibition of physical and virtual artworks made by various artists. In contrary to more common approaches of involving artists in interpreting museum objects, in this model created works are not inspired by the original, but directly based on its texture information in order to create haptic interaction, without using a direct replica or embossed copies. In other words, this interface is presented as an addition to the object’s formal interpretation, not to replace it. The research adopts creative practice research methodology in general; and realises it with a reflective and participatory approach borrowed from action research within interpretive research paradigm. The main research strategy deployed is practice-led. Rather than staying in the boundaries of qualitative research, the study takes guidance from the manifesto of performative research which is declared as an alternative to the qualitative and quantitative research methodologies, by offering creative approaches to conducting a research project.

The work focuses on all aspects related to the position of Student Brand Manager and marketing research, which is intended to support the claim of the benefits of Student Brand Manager in the university town. The work includes theoretical basis for understanding this topic and is dedicated to the description of Red Bull, with emphasis on analysis of all positions with which Student Brand Manager comes during their work in contact, so as to make clear his position within the marketing structure. The practical part of this thesis investigates the trends of brand awareness in student areas and assesses the contribution of activities Student Brand Manager. The conclusion contains a summary of the findings and recommendations for Student Brand Manager Coordinator.

Ke studiu migrace hmyzu a jiných členovců unášených větrnými proudy je výhodné moci sbírat jejich vzorky za letu. Použití bezpilotního letadla s pastí by mohlo být dobrou cestou, jak toho dosáhnout. Tato metoda byla zkoumána a bylo navrženo bezpilotní letadlo v podobě bezocasého dvojploŠníku s pastí umístěnou mezi křídly.

Magister Artium (Social Work) - MA(SW) / The researcher's concern for the topic was founded on the fact that previous research on child labour in Rwanda did not qualitatively explore the working and living conditions of child domestic workers in this specific contextual setting. The aim of the study therefore, was to explore the living and working conditions of child domestic workers in a contextual setting of Kigali city and its periphery. To achieve the objectives of this study, a qualitative approach was envisaged, utilizing a case study strategy. The population was selected among child domestic workers in four districts of Kigali city and its periphery. The criteria of selection and reaching participants were snowball sampling and purposive sampling techniques. Data was collected by means of a semi-structured interview with open-ended questions. The collected data was analyzed through a model that is presented as a spiral image including: Collecting and recording data; managing data; reading and writing memos; describing, classifying and interpreting; representing and visualizing (Creswell, 1998: 142-165). In order to increase trustworthiness, triangulation as a process that uses multiple perceptions to clarify meaning, was used through child workers themselves, their employers, neighbours and local authorities. Colleagues helped to verify translations from mother tongue into English. Participants, especially child domestic workers revealed that the main factors pushing them into the job market was poverty and family and socio-political conflicts. Findings concerning working and living conditions also indicate experiences of exploitation and maltreatment. It has also been revealed that most participants were ignorant about children's rights. Finally discussions allowed the researcher to discover what participants and especially child domestic participants were expecting in their future and suggestions of how child domestic work would be abolished.

Lurelle Van Arsdale Guild (1898-1985) was an author and illustrator of interior decorating literature; a collector of Americana; a pioneering industrial designer; and an amateur architect. Both a popular antiquarian and a modernist, his diverse interests often intermingled in his industrial designs. This dissertation uses Guild's multifaceted and at times contradictory career, which lasted from the 1920s to the 1960s, to explore how modernism drew upon the legacy of colonial American design to create objects that appeared contemporary but were grounded in tradition. This study positions Guild as the archetypal "historical modernist" while creating a larger framework for exploring the intersection of historicism and modernism in American design. The dissertation's introduction and chapter one explore the stylistic plurality that existed in the 1920s and 1930s and introduce the term "historical modernism" as a way to define the aesthetic and ideological overlaps between the era's dominant styles: the Colonial Revival and modernism. Chapters two and three focus on Guild's early career as an author and illustrator promoting traditional taste. The persona he created of the "Itinerant Antiquer" reflected his interest in early American decorative arts and architectural elements, which he and his wife collected and installed at Milestone Village, their property in Connecticut. Chapter four looks at how Guild's personal collection informed his work as an industrial designer. In the 1930s, Guild became a leading figure in the nascent field of industrial design. He drew upon his knowledge of Americana to create hybrid objects that appeared modern but were informed by the past and reflected the ambivalence many American consumers felt towards modernism. Chapter five explores the postwar years when Guild began to retreat from modernism. Instead, he focused on historicist design projects and became an amateur architect, building series of historical fantasy houses. Most histories of American modernism have disproportionately focused on forward-looking designs. This dissertation uses the work and biography of Lurelle Guild to reintroduce the idea of aesthetic pluralism into the historiography of modernist design and explores the legacy of the Colonial past on modernism in America.

Although many other ethnic and cultural studies have moved beyond essentialist labels and categories, Cuban-American studies persists in categorizing the people belonging to the cultural group in terms of how much time they have spent in Cuba, thus creating a hierarchy of "authentic" Cuban-ness. Isabel Alvarez Borland gives a comprehensive overview of Cuban-American literary categories, and through her description we can see how these categories may lend themselves to stratification. These categories include: the first generation, the second generation, the one-and-a-halfer, and the ethnic writer. To say that one generation of Cuban exiles is more or less authentically Cuban discounts the emotional connection of individuals to a homeland—a homeland that is now different for each generation, and therefore, all Cuban-Americans live with constructed ideas of Cuba that are not necessarily reflective of a "reality" of Cuba. Nevertheless, this does not necessarily mean that any of these individuals are any less Cuban or any less culturally or emotionally impacted by Cuba, as evidenced by someone like Cristina García who delves into Cuban culture in her writing and studying. The Agüero Sisters by Cristina García, can be read as a critique of this cultural categorization through the way in which characters in the novel obsess over taxonomizing animals and even other people. It seems in order for Cuban-American studies to move forward productively, these labels must be revised.