Journal articles on the topic 'Green museum'
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Han, Heesup, Wansoo Kim, and Sanghyeop Lee. "Drivers of museum visitors' willingness to practice green activities." Social Behavior and Personality: an international journal 46, no. 2 (February 2, 2018): 233–47. http://dx.doi.org/10.2224/sbp.6558.
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Our objectives were to propose and test a single framework for the relationships among environmental awareness and positive and negative anticipated feelings in building museum visitors' green behavioral intentions, and also to identify the role of environmental awareness as an independent variable or a moderator in these relationships. The proposed model and hypotheses were in general supported by data collected from a field survey completed by 270 visitors to museums in Seoul, South Korea. Results of structural equation modeling analysis indicated that anticipated feelings had a significant direct impact on visitors' behavioral intentions and mediated the influence of environmental awareness on intentions. Moreover, through a test for metric invariance, we established that it was more suitable to use environmental awareness as an independent variable rather than as a moderator variable. As museum visitors' ecofriendly behavior had rarely been explored previously in research, our findings provide meaningful insights for museum researchers and practitioners.
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Aulia, Rahma, Zairin Zain, and Valentinus Pebriano. "MUSEUM SENI RUPA MODERN DI PONTIANAK." JMARS: Jurnal Mosaik Arsitektur 9, no. 1 (February 21, 2021): 270. http://dx.doi.org/10.26418/jmars.v9i1.45157.
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Museums in general are used to store, maintain, secure and utilize museum collections in the form of cultural heritage objects. Fine arts museums are appreciated through visions with visible media and have a physical form or simply presented as a show. The city of Pontianak does not yet have a place to carry out the function of this fine art museum. The museum collection focuses on modern fine art with long-term loans to the museum. There are some art enthusiasts in Pontianak but there is no place to channel this interest. The design method uses three stages. The first stage, data collection by classifying data as information and facts on a problem. The second stage, the analysis aims to analyze the data that has been obtained. The third stage is systematic and systematic by using images in the form of stages with product results, namely, planning drawings and design reports. The design of the Modern Art Museum in Pontianak uses a green architectural approach, namely building planning that seeks to minimize various harmful influences on human health and the environment. This museum has two floors divided according to functions, namely manager and visitor functions. The facade used is of the 3R type (Reduce, Reuse, Recycle), so the walls use bricks and the windows will use low e-glass material and uPVC frames. The comparison composition of 60:40 for buildings and green land follows the requirements for building a museum.
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Cole, Laura B., G. Lindsay, and A. Akturk. "Green building education in the green museum: design strategies in eight case study museums." International Journal of Science Education, Part B 10, no. 2 (February 25, 2020): 149–65. http://dx.doi.org/10.1080/21548455.2020.1723182.
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Kwan, Ming, Anthony Kong, and Terry Lam. "Promoting Green Living by The Jockey Club Museum of Climate Change in Hong Kong." International Journal of Marketing Studies 11, no. 2 (May 23, 2019): 55. http://dx.doi.org/10.5539/ijms.v11n2p55.
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Using the case study of The Jockey Club Museum of Climate Change in Hong Kong, the purpose is to explore how museum can take part to promote green living.
Design/Methodology/Approach—This paper explores the contributions of The Jockey Club Museum of Climate Change as a means to increase environmental awareness for the society. The objectives of The Jockey Club Museum of Climate Change aimed at showing the importance of community involvement, advocating environmentally friendly education and nurturing visitors’ moral obligation to engage in pro-environmental protection behavior. Authors conducted twenty-five in-depth semi-structured interviews with visitors so as to fully understand the influences brought by the museum.
Findings—The Jockey Club Museum of Climate Change was perceived by all of the study visitors as a meaningful, influencing and educative museum, which raised environmental awareness, upheld moral obligation to engage in environmental protection, and induced greater pro-environmental behavior. Based on the results, eight benefits are generated by The Jockey Club Museum of Climate Change to environmental protection for the entire globe.
Practical implications—Based on the insights gained from visitors, eight positive influences are contributed by The Jockey Club Museum of Climate Change for nurturing visitors to adopt a green living in order to combat climate change.
Originality/value—This paper urges for the importance of all communities, all business sectors, all kinds of organizations and governments to engage in environmental protection for sustainable development. The aim of such an episode is to arouse all the communities, business sectors, organizations, museums, educational institutions and countries to promote and adopt green living so as to combat climate change.
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Meirelles, Anna Cristina Resque, and Marcondes Lima da Costa. "Mineralogy and chemistry of the green stone artifacts (muiraquitãs) of the museums of the Brazilian State of Pará." Rem: Revista Escola de Minas 65, no. 1 (March 2012): 59–64. http://dx.doi.org/10.1590/s0370-44672012000100008.
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Muiraquitãs, lithic artifacts found in the Amazon basin, have been considered to be Asian in origin, or to have been sculpted by the legendary female Amazon warriors. These pieces are now very rare, and are found mainly in museum collections. In the present study, the mineralogical and chemical content of 23 specimens from the collections of the Museu de Gemas (Gemstone Museum) and Museu do Encontro (Meeting Museum) in Belém, Brazil, were analyzed. Most of the pieces were made of minerals commonly found in Brazil - quartz, albite, microcline, variscite, anorthite, and tremolite (the equivalent of nephritic jade). However, four of the pieces were made of jadeite, that is, jadeitic jade, which is unknown in the Amazon basin or in other parts of Brazil. The confirmation of the presence of this mineral in some of the artifacts reopens the debate on the mineralogical origin of the muiraquitãs found in the Amazon basin. Before the present discovery, their origin was defended as Amazonian due to the absence of jadeite jade in the searched pieces and the fact that jadeite was not found in Brazil but in Central America and Asia.
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Taber, Nancy. "Khaki and Emerald Green." Atlantis 41, no. 2 (April 2, 2021): 88–94. http://dx.doi.org/10.7202/1076202ar.
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Pantalony, David Alexander. "The Presence, Provenance and Presentness of a Non Artifact." Museum and Society 17, no. 3 (November 29, 2019): 301–6. http://dx.doi.org/10.29311/mas.v17i3.3207.
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This article is a biography of a green tile collected from a Canadian hospital. It explores various properties of the tile in order to draw out lessons for research and display in museums. There are immediate sensory qualities of the tile that have inspired an exhibit about the colour green in medicine; there are aspects of the tile's provenance that bring out multiple local and international narratives; there are stories of the tile's present context that provide a powerful reminder that museum artifacts are not just vehicles for exploring the past, but for understanding what remains in the present.
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Pope, Aaron. "The Green Museum: A Primer on Environmental Practice." Curator: The Museum Journal 53, no. 2 (April 2010): 259–60. http://dx.doi.org/10.1111/j.2151-6952.2010.00026.x.
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Faul-Zeitler, Roberta. "Green Museum Design: Is It Good for Collections?" Collections 2, no. 3 (September 2006): 181–93. http://dx.doi.org/10.1177/155019060600200303.
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Chung, Namho, Inessa Tyan, and Seung Jae Lee. "Eco-Innovative Museums and Visitors’ Perceptions of Corporate Social Responsibility." Sustainability 11, no. 20 (October 17, 2019): 5744. http://dx.doi.org/10.3390/su11205744.
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This study assumes that green technologies at tourist destinations are a part of corporate social responsibility (CSR). It investigates how technology-based eco-innovation is related to sustainable development goals (SDGs) and how eco-innovative CSR performance affects tourists’ perceptions of destinations, emotions, and WOM (word of mouth) intentions in the context of sustainability and smart tourism. A dataset collected from the Handok Museum in South Korea was analyzed via a partial least squares (PLS) method, using structural equation modeling. This study examines the link between museum visitors’ awareness of CSR and green technology. The constructs (perceived quality, image, and reputation) are positively correlated with CSR; museum visitors’ emotions are in a parallel relationship with WOM intentions. The results confirm that the green technology implemented in the tourist destination is perceived as CSR by visitors. These technologies have a positive impact on environmental sustainability and contribute to a positive tourist experience. Thus, this paper encourages social responsibility practices at tourist destinations, as well as the development of green technology. This is the first empirical study that demonstrates how the profit-related concept of CSR can be applied to nonprofit organizations, Furthermore, for the first time, the managerial concept of CSR has been reviewed with technology-based eco-innovation in a museum setting.
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Boisset, Fernando, and Pedro Pablo Ferrer Gallego. "Typification of the marine siphonous green algae Caulerpa prolifera (Bryopsidales, Chlorophyta)." Phytotaxa 221, no. 2 (July 30, 2015): 148. http://dx.doi.org/10.11646/phytotaxa.221.2.4.
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The typification of the marine siphonous green algae Caulerpa prolifera (Forsskål) J.V. Lamouroux (≡ Fucus prolifer Forsskål) (Caulerpaceae), including f. obovata (J. Agardh) Weber-van Bosse and f. zosterifolia Børgesen, is discussed. Original material conserved in the Natural History Museum of Denmark (Copenhagen) at C (Herbarium Forsskålii) and in the Botanical Museum of Lund University at LD are designated as the corresponding lectotypes.
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Bogochanova, A. V. "Open air reconstruction holidays (from the experience of work of GCMAK)." Ethnography of Altai and Adjacent Territories 10 (2020): 319–23. http://dx.doi.org/10.37386/2687-0592-2020-10-319-323.
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The article examines the experience of the State Art Museum of the Altai Territory in holding reconstruction holidays in the open air. The venue for the events was the territory of the «Green Square» adjacent to the museum building.
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Economou, G., E. Konstantinidi-Syvridi, I. Kougemitrou, M. Perraki, and D. C. Smith. "A MINERALOGICAL STUDY OF SOME MYCENAEAN SEALS EMPLOYING MOBILE RAMAN MICROSCOPY." Bulletin of the Geological Society of Greece 43, no. 2 (January 23, 2017): 804. http://dx.doi.org/10.12681/bgsg.11246.
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The National Archaeological Museum in Athens is the largest archaeological museum in Greece, and one of the most important museums in the world, devoted to Ancient Greek art and history. Among other exhibits, it owns a large collection of gemstones some of which were used during prehistoric times (Mycenaean period) as seals. Their shape varies from round to oval, flattish or cylindrical, and they are delicately engraved as intaglios with a variety of depictions (lions, bulls, man, etc). They show a wide range of colours from reddish, brown, to purplish and blue. The six sealstones described here come from the Chamber Tombs of Mycenae (15th-14th cent. BC). Museum exhibit labels recognize them as varieties of quartz such as jasper (NAM 3138), sardonyx (NAM 2316 & 2865), agate (NAM 4928), amazonite (NAM 2863) and gold-mounted carnelian (NAM 6489). Raman Spectroscopic analysis has been carried out with a new MRM (Mobile Raman Microscope) using a Kaiser Holoprobe with a NIR 785nm laser. The Raman spectra acquired from 1s-60s measurements confirmed that, in all six sealstones, quartz was the major mineral species clearly identified by its characteristic peaks. The second most important phase was moganite, a little-known polymorph of quartz. The amber-coloured sealstone (NAM 6489) was confirmed as carnelian, whereas the blue-green amazonite-coloured sealstone (NAM 2863) was not detected as amazonite. Small amounts of haematite were detected in the NAM 2865 & NAM 3138.
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Pantalony, David. "Biography of an Artifact: The Theratron Junior and Canada’s Atomic Age." Scientia Canadensis 34, no. 1 (December 16, 2011): 51–63. http://dx.doi.org/10.7202/1006928ar.
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In this article I examine the life of an artifact, the Theratron Junior, a sleek green radiotherapy machine from 1956 displayed in a permanent exhibit at the Canada Science and Technology Museum. It is currently seen through the lens of Canadian innovations, but the Theratron Junior brims with features and history that touch on several other historical narratives—scientific, commercial, labour, aesthetics and patient experience. The striking “sea foam” green paint, for example, has inspired an independent exhibition at the museum on the colour green in twentieth-century medicine. In addition, research into the former life of the specific machine on display (serial no. 15 from 1956), including the people who made and used it, has produced a reinvigorated artifact biography that enriches and challenges conventional narratives from Canada’s early atomic era. The lessons from careful artifact studies are readily clear—we are missing opportunities by taking for granted the most familiar items on our museum floors.
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Wei, Tong Hua, Shi Tang, and Wei Zhu. "Research of Green Reconstruction of Hangzhou Arts & Crafts Museum." Advanced Materials Research 598 (November 2012): 106–9. http://dx.doi.org/10.4028/www.scientific.net/amr.598.106.
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Based on the characteristics of the deserted plants of refining and looming workshops in Hangzhou Honglei Silk Mill, the green low-carbon reconstruction targeting industrial remains along The Grand Canal is carried out from five aspects including land saving, water saving, energy saving, material saving and interior environmental quality control, under the guidance of the technical strategy called Evaluation Standard for Green Buildings. With the help of the integration of several appropriate technologies, the goal of the green reconstruction is accomplished, with no increasing costs.
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Thomson, LJ, N. Morse, E. Elsden, and HJ Chatterjee. "Art, nature and mental health: assessing the biopsychosocial effects of a ‘creative green prescription’ museum programme involving horticulture, artmaking and collections." Perspectives in Public Health 140, no. 5 (May 24, 2020): 277–85. http://dx.doi.org/10.1177/1757913920910443.
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Aims: To assess the biopsychosocial effects of participation in a unique, combined arts- and nature-based museum intervention, involving engagement with horticulture, artmaking and museum collections, on adult mental health service users. Methods: Adult mental health service users (total n = 46 across two phases) with an average age of 53 were referred through social prescribing by community partners (mental health nurse and via a day centre for disadvantaged and vulnerable adults) to a 10-week ‘creative green prescription’ programme held in Whitworth Park and the Whitworth Art Gallery. The study used an exploratory sequential mixed methods design comprising two phases – Phase 1 (September to December 2016): qualitative research investigating the views of participants ( n = 26) through semi-structured interviews and diaries and Phase 2 (February to April 2018): quantitative research informed by Phase 1 analysing psychological wellbeing data from participants ( n = 20) who completed the UCL Museum Wellbeing Measure pre–post programme. Results: Inductive thematic analysis of Phase 1 interview data revealed increased feelings of wellbeing brought about by improved self-esteem, decreased social isolation and the formation of communities of practice. Statistical analysis of pre–post quantitative measures in Phase 2 found a highly significant increase in psychological wellbeing. Conclusion: Creative green prescription programmes, using a combination of arts- and nature-based activities, present distinct synergistic benefits that have the potential to make a significant impact on the psychosocial wellbeing of adult mental health service users. Museums with parks and gardens should consider integrating programmes of outdoor and indoor collections-inspired creative activities permitting combined engagement with nature, art and wellbeing.
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Poulsen, Axel Dalberg. "Botanical Garden of the University of Oslo, Norway." Sibbaldia: the International Journal of Botanic Garden Horticulture, no. 13 (November 10, 2015): 15–32. http://dx.doi.org/10.24823/sibbaldia.2015.72.
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The Botanical Garden in Oslo was established in 1814 and is the oldest part of the Natural History Museum, one of the two museums of the University of Oslo. To celebrate the bicentenary, the Museum decided to launch an ambitious programme of events covering the entire year and adding several new permanent assets. This paper provides a brief history of and current information about the Garden and describes the previously existing and new features, along with a map of the Garden. The bicentenary celebrations raised the profile of the Garden enormously in Norway, and it experienced a huge increase in visitor numbers as well as extensive media coverage. The increased popularity of the Garden and the expected future rise in population in the neighbouring suburbs simultaneously challenge the Garden to satisfy the need for green space as well as providing scientifically based information which reinforces the importance of plants.
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Hamidah, Noor, and Ilham Akbar. "Merancang Museum Sejarah Kota Seribu Sungai di Kota Banjarmasin." JURNAL TEKNIK 15, no. 2 (October 4, 2021): 120–29. http://dx.doi.org/10.31849/teknik.v15i2.7462.
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Banjarmasin City is one of the cities located in South Kalimantan Province. The Banjarmasin city area is not only surrounded by small rivers, but also by a large river, namely the Barito River in the west, and is divided by the Martapura River in the middle, so that Banjarmasin City is called the City of a Thousand Rivers. Banjarmasin City is an old city that does not yet have a representative city history museum which is expected to be one of the Indonesian Heritage Cities Network. The design of the Thousand Rivers City History Museum is a building that accommodates the historical knots of the early formation of the City of Banjarmasin and the development of the City of Banjarmasin until now, as well as storing historical objects that have been found, such as heirlooms in the form of kris, sabers, and war equipment and household furniture. before.
The purpose of this paper is to publish the design of the history museum of the city of a thousand rivers in Banjarmasin City with a green architectural approach. The method uses qualitative methods to examine the function and form of the building through literature studies, comparative studies, and precedent studies as well as field observations. The design approach is green architecture by collecting and using data from literature studies. The result of the design is the application of green architectural principles by utilizing climatic conditions, minimizing solar radiation, and good environmental management in historical museum buildings.
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Raya, Syah Irza, and Tamara Adriani Salim. "KHAZANAH ARSIP SEBAGAI KOLEKSI MUSEUM: STUDI KASUS ARSIP MAKAM BELANDA PENELEH DI MUSEUM SIOLA SURABAYA." Jurnal Kearsipan 14, no. 2 (December 30, 2019): 79–90. http://dx.doi.org/10.46836/jk.v14i2.138.
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Museum Siola Surabaya has been keeping both artefact and paper-based colonial archives since 2015. What matters the most are to provide various sources of history of Surabaya, such as old furnitures, Surabaya topography maps, pictures of Surabaya mayors, city’s placard and certificate and Peneleh Dutch Cemetery archives. Before 2015, the archives were kept by Hygiene and Green Public Outdoor Service that has authority to manage cemetery at Surabaya. Unfortunately there are only limited pages of archives that are safe to be exhibited, such as cemetery map, the deceased biographies and cemetery register books. The archives kept as one
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Levrant, Stephen. "The secret museum at Perry Green: Preservation of agenius loci." Museum Management and Curatorship 11, no. 3 (September 1992): 275–83. http://dx.doi.org/10.1080/09647779209515320.
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Ghurotul Muhajjalin, Muhammad Ghiyas. "KAJIAN KONSEP ARSITEKTUR HIJAU PADA BANGUNAN MUSEUM GEOLOGI, STUDI KASUS : MUSEUM GEOLOGI BANDUNG." Jurnal Arsitektur ZONASI 3, no. 2 (July 4, 2020): 211–19. http://dx.doi.org/10.17509/jaz.v3i2.24898.
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Abstract: Concern for nature must indeed be considered, because to prevent undesirable effects such as global warming or damage to the surrounding environment. The cause of this impact is a result of nature and even human actions themselves, such as due to volcanoes erupting, waste disposal, vehicle pollution, and others. But there are also causes of other things, namely the establishment of a building without looking at the surrounding environment, which only emphasizes the function and aesthetics, so it becomes a very important problem. Green architecture is a concept where buildings to be erected must have criteria to support the natural surroundings, so this concept is very used to minimize or prevent natural damage caused by buildings. An example of the building that will be applied in this research is the Geology Museum, considering that Indonesia has a complex geographical location and natural wealth from the bowels and extraterrestrial. The method used in this research is a qualitative descriptive method, which is the depiction or explaining the facts in the field by analyzing and discussing them broadly so that they can find results and conclusions.Keywords: Green Architecture, Museum, Qualitative Descriptive. Abstrak: Kepedulian terhadap alam memang harus diperhatikan, karena untuk mencegah dampak-dampak yang tidak diinginkan seperti pemanasan bumi atau kerusakan lingkungan sekitar. Penyebab dari dampak ini merupakan akibat dari alam bahkan perbuatan manusia itu sendiri, seperti akibat gunung berapi meletus, pembuangan limbah, polusi kendaraan, dan lain-lain. Namun ada juga penyebab dari hal lain yaitu berdirinya suatu bangunan tanpa melihat lingkungan sekitarnya, yang hanya mementingkan fungsi maupun estetikanya, sehingga menjadi suatu permasalahan yang sangat penting. Arsitektur hijau merupakan sebuah konsep dimana bangunan yang akan didirikan harus memiliki kriteria untuk mendukung alam sekitar, sehingga konsep ini sangat digunakan untuk meminimalisir atau mencegah terjadinya kerusakan alam yang disebabkan oleh bangunan. Sebagai contoh bangunan yang akan diterapkan pada penelitian ini adalah Museum Geologi, mengingat Indonesia memiliki letak geografis yang kompleks dan kekayaan alam dari perut dan luar bumi. Metode yang digunakan dalam penelitian ini adalah metode deskriptif kualitatif, yaitu penggambaran atau menjelaskan fakta-fakta yang ada di lapangan dengan cara menganalisis serta membahasnya secara luas sehingga dapat menemukan hasil dan kesimpulan. Kata Kunci: Arsitektur Hijau, Museum, Deskriptif Kualitatif
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WILLIAMS, D. J. "E.E. Green’s collection of scale insects (Hemiptera: Sternorrhyncha: Coccomorpha) in The Natural History Museum, London, U.K." Zootaxa 4318, no. 2 (September 7, 2017): 201. http://dx.doi.org/10.11646/zootaxa.4318.2.1.
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In 1940, E.E. Green’s collection of scale insects, consisting of 6505 microscope slides and 2172 boxes of dry material, was donated to the The Natural History Museum, London, U.K. (then the British Museum (Natural History)). Green was a tea and coffee planter in Sri Lanka, and later became Government Agricultural Entomologist there before retiring to England in 1913. He continued to work on scale insects and became one of the foremost scale insect specialists at the time. His collection includes most of the species he described as new, but is also important because it contains authentic material sent to Green by other contemporary workers on scale insects. The collection is listed as it was when originally donated, firstly giving the names of species that Green recognised at the time, followed by the number of microscope slides, followed by numbers of developmental stages in the material; lastly is provided the current name of each species. The list is divided into the 31 extant families represented in Green’s collection.
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Molyneaux, Brian Leigh. "The British Museum of Native North America Rayna Green Melanie Fernandez." Public Historian 23, no. 4 (October 2001): 143–45. http://dx.doi.org/10.2307/3379648.
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Gardiner, Caroline, and Anthony Burton. "Visitor survey at the Bethnal green museum of childhood: Two viewpoints." International Journal of Museum Management and Curatorship 6, no. 2 (June 1987): 155–63. http://dx.doi.org/10.1080/09647778709515062.
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Levrant, S. "The secret museum at perry green: Preservation of a genius loci." Museum Management and Curatorship 11, no. 3 (September 1992): 275–83. http://dx.doi.org/10.1016/0964-7775(92)90039-8.
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Yun, Misun. "What James Saw: The Bethnal Green Museum and Charles Eliot Norton." Litteraria Copernicana, no. 1(21)/ (February 24, 2017): 37. http://dx.doi.org/10.12775/lc.2017.003.
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Gardiner, C. "Visitor survey at the Bethnal Green Museum of Childhood Two viewpoints." Museum Management and Curatorship 6, no. 2 (June 1987): 155–63. http://dx.doi.org/10.1016/0260-4779(87)90005-7.
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w, P. N. "The past must have a future." Geological Curator 7, no. 1 (May 1999): 2. http://dx.doi.org/10.55468/gc414.
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This issue, the first of volume 7, contains some of the papers presented at the one-day meeting Has the Past a Future? held at the Geological Society of London on 24th September 1998. The meeting was organised by John Thackray for the History of Geology Group , the Geological Curators' Group, and the GeoConservation Commission. Altogether eight papers were presented of which five appear herein. In addition Chris Green (Royal Holloway, Egham) spoke on the work of the Curry Fund of the Geologists' Association, John Martin (Leicestershire Museums) recalled the considerable work and stages involved in collecting, conserving and exhibiting the Rutland Dinosaur, while John Thackray (Natural History Museum, London) discussed the longevity of modem electronic archives.
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PYRON, R. ALEXANDER, and DAVID A. BEAMER. "A nomenclatural and taxonomic review of the salamanders (Urodela) from Holbrook’s North American Herpetology." Zootaxa 5134, no. 2 (May 10, 2022): 151–96. http://dx.doi.org/10.11646/zootaxa.5134.2.1.
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John Edwards Holbrook published North American Herpetology in 11 volumes from 1836–1842, authoring the first accounts of numerous amphibians and reptiles from the eastern and central United States, including 32 salamanders (Urodela). We reviewed these and located 51 extant salamander specimens from Holbrook in the Academy of Natural Sciences (Philadelphia), Museum of Comparative Zoology (Cambridge), and Muséum national d’Histoire naturelle (Paris), six of which are types. We identified four other specimens figured by Holbrook in the MNHN and National Museum of Natural History (Washington), all of which are types from descriptions by other authors. We designate lectotypes for S. porpyhritica Green, 1827 (USNM 3840; reversing neotype MCZ A-35778), Salamandra gutto-lineata Holbrook, 1838a (ANSP 716), S. auriculata Holbrook, 1838b (MNHN-RA 0.4675), S. maculo-quadrata Holbrook, 1840 (ANSP 821), S. granulata De Kay in Holbrook, 1842e (USNM 3981), S. quadridigitata Holbrook, 1842e (ANSP 490; reversing neotype UF 178833), and Plethodon variolosum Duméril, Bibron, and Duméril, 1854 (MNHN-RA 0.4666). Allocation of S. auriculata Holbrook, 1838b, S. “Haldemani” Holbrook, 1840, and P. variolosum Duméril, Bibron, and Duméril, 1854 is still ambiguous. We consider S. maculo-quadrata Holbrook, 1840 to be a junior subjective synonym of S. fusca Green, 1818; no valid name has ever been applied to Black-bellied Salamanders (Desmognathus sp. “quadramaculatus”) at the species level, and up to five candidate species require new names. Additional discoveries of data and specimens pertaining to Holbrook’s names may remain to be made among his surviving papers and collections.
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Farell, Evan, and I. Gusti Ngurah Anom Gunawan. "PERANCANGAN MUSEUM B.J. HABIBIE DENGAN PENDEKATAN GREEN ARCHITECTURE SEBAGAI WISATA EDUKASI DI KOTA BATAM." SIGMA TEKNIKA 5, no. 2 (November 29, 2022): 420–31. http://dx.doi.org/10.33373/sigmateknika.v5i2.4612.
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Kota Batam merupakan salah satu kota yang terletak di Kepulauan Riau dan bertetangga dengan Singapura. Tidak terpungkiri bahwa banyak wisatawan yang keluar masuk ke Kota Batam, Kota Batam sendiri di bawah olahannya Otorita Batam yang pernah di pimpin oleh B.J. Habibie. Sosok B.J. Habibie pun sangat berkontribusi besar pada kota ini, beliau sudah merencankan bahwa suatu saat Singapura akan penuh dan para investor akan masuk ke Kota Batam. Namun Kota Batam sendiri masih sangat kurang dalam objek wisata di kota ini. Dari permasalahan tersebut diakukan penelitian secara cross-sectional dan kualitatif dengan survey langsung serta pengenalan dekat dengan site. Dengan dilakukan penelitian ini diharapkan dapat menghasilkan desain museum sebagai wisata edukasi yang inovatif, sustain, berkonsep Green Architecture dan layak sebagai Ikon Kota Batam. Serta perancangan ini menjadi suatu bentuk penghormatan bagi almrh B.J. Habibie atas jasanya di Kota Batam. Kata kunci : Museum; Wisata Edukasi; Green Architecture
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Busciglio-Ritter, Thomas. "Paris-on-Hudson." Athanor 37 (December 3, 2019): 59–66. http://dx.doi.org/10.33009/fsu_athanor116676.
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In 1969, a curious picture entered the collections of the Metropolitan Museum of Art, in New York City, as part of a major bequest by American banker Robert Lehman (1891-1969). Identified as a Hudson River Scene, the painting, undated and unsigned, depicts an idyllic river landscape, surrounded by green hills, indeed reminiscent of the Hudson River School. Yet the attribution devised by the museum for might appear curious at first glance, as it does not rule out the possibility of a work produced by a little-known French painter named Victor de Grailly. Born in Paris in 1804, Grailly died in the same city in 1887. Mentioned in several museum collections, his pictures constitute a debatable body of work to this day. But if only a few biographical elements have been saved about the artist, the crunch of the debate lies elsewhere.
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Simmons, Anne H. "FOMO case studies: loss, discovery and inspiration among relics." Art Libraries Journal 41, no. 2 (April 2016): 72–76. http://dx.doi.org/10.1017/alj.2016.3.
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In 2009, I was two years into my tenure as a museum employee, managing a collection of small exhibition brochures, pamphlets and gallery announcements at the National Gallery of Art Library. That summer, New York Times art critic Roberta Smith reported on a phenomenon I had also observed in my capacity as Reference Librarian for Vertical Files: the decline of the printed gallery post card. Smith's ArtsBeat blog post, ‘Gallery Card as Relic,’ is a breezy elegy surveying recent “final notice” cards mailed from commercial galleries that were “going green” by eliminating paper mailings. I, however, was feeling less light-hearted about the demise of what Smith describes as a “useful bit of art-world indicator…[and] an indispensable constant creatively deployed by artists, avidly cherished by the ephemera-obsessed and devotedly archived by museums.”
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Yang, Jing, and Jiang Li. "Smart Home: Chicago`s Greenest House and Green Architecture Popularity." Advanced Materials Research 598 (November 2012): 87–91. http://dx.doi.org/10.4028/www.scientific.net/amr.598.87.
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In keeping with the new era of information and ecology, the urgent mission of the architect is how to provide the latest green house information and some of the practices and relevant hands-on experiences for the public. In 2012, the Museum of Science and Industry of Chicago built a green house in its yard. The green house exhibition-Smart Home: Green + Wired highlights the importance of environmentally friendly effort. The exhibition intents to present for residents and visitors on how green house could help improve the environment as well as save money. The exhibition also focuses on the purpose of working together: the academia of architecture, the industrial companies and the public, trying to conserve and protect Chicago for future generations. Furthermore, with the introduction of Smart Home, this essay aims to inspire the deeper thinking about popularity of green architecture in China.
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Febriyana Sinambela, Chrescensia, and Hilma Tamiami Fachrudin. "Design of Toba Caldera Geopark Museum in Balige With A Green Architecture Approach." International Journal of Architecture and Urbanism 6, no. 2 (September 14, 2022): 152–66. http://dx.doi.org/10.32734/ijau.v6i2.9687.
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The Lake Toba area as a Global Geopark Network is imaged as a super destination with the world's largest and one of the deepest volcanic lakes, thus making it a world heritage with diverse diversity such as geology, biology, and culture. Lake Toba creates extraordinary natural phenomena, making this area rich in geological diversity such as expanses and rock types, and contains geological heritage values (heritage), cultural heritage, and bio-heritage that are well known International. However, attractions in the Toba Caldera Geopark area have not provided education only as a place of recreation for tourists. Therefore, it is necessary to design the Toba Caldera Geopark Museum as a place for organizing, collecting, maintaining, researching, presenting information about the benefits and potentials of the Toba Caldera Geopark area with the theme of green architecture and accommodating recreational and educational activities for visitors. This study used qualitative research methods. Several data collection, several data collection methods are used, primary data and secondary data. In designing the geopark museum utilizing the concept of energy-efficient green architecture in natural lightings such as skylights, natural ventilation, respect for the site, respect for users, and experience materials.
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Bratu, Ioan, Olivia Florena Mărunțoiu, Daniela Toader, Laura Troșan, and Claudiu TĂNĂSELIA. "Investigarea științifică a icoanei pe lemn Bunavestire din patrimoniul Muzeului Etnografic al Transilvaniei." Anuarul Muzeului Etnograif al Transilvaniei 30 (December 20, 2016): 278–92. http://dx.doi.org/10.47802/amet.2016.30.15.
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In order to preserve and restore the wooden icon “Bunavestire” belonging to the Transylvanian Museum of Ethnography, non-destrictive (XRF) and destructive (FTIR spectroscopy) investigation methods were employed. Spruce fir is the wood species for the icon and several painting materials were employed: Scheele green, diluted with lead white, red iron mixed with Vermillon, gold foil for gilded areas and copper oxide for black. For restoration malachite, titanium white, lead white, orpiment, lead yellow and red iron were employed. Before restoration a scientific investigation is necessary.
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Vervust, Bart, Stefan Van Dongen, and Raoul Van Damme. "The effect of preservation on lizard morphometrics – an experimental study." Amphibia-Reptilia 30, no. 3 (2009): 321–29. http://dx.doi.org/10.1163/156853809788795209.
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AbstractThe millions of conserved biological specimens that are stored upon the shelves of Natural History Museums across the world constitute a capital of biological information that is becoming increasingly accessible to students of various disciplines. Most students have taken measures of body size and shape of preserved museum specimens to test various elements of ecological and evolutionary theory. One possible hazard of using morphological measurements of museum specimens is that fixation and preservation may deform bodies or body parts, but most researchers implicitely assume that the magnitude of conservation-induced distortions are insufficient to jeopardize their analyses. However, no study to our knowledge has clearly quantified those possible distortions. In this study, we have measured 17 morphological variables on a set of 65 green iguanas (Iguana iguana), starting shortly after their death and then repeatedly over a two month period, a period during which they were fixated and preserved. Our aims were (1) to quantify and compare the deformation in different morphometrics frequently used in evolutionary studies; (2) to determine the amount of temporal variation that can be attributed to reader variability; and (3) to build conversion equations that should improve the reliability of morphological comparisons of life and conserved specimens. Conserved lizards revealed major reduction in snout vent length and body weight. Changes in other measured traits are more subtle, but persistent. These facts disturb analyses when using relative measurements, especially when comparing (often small) intraspecific differences or even morphological differences within populations in a temporal frame. We urge caution in using museum specimens as direct proxies for living organisms in ecological and taxonomic studies.
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Казакова, А. Ю. "Green History: Polish Experience of Musealisation of Landscape Art Heritage." Nasledie Vekov, no. 1(29) (March 31, 2022): 87–96. http://dx.doi.org/10.36343/sb.2022.29.1.009.
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Рецензия призвана познакомить отечественного читателя с практически не развитой в России формой актуализации культурного потенциала исторических садов и парков, которая представляет собой их превращение в объекты самостоятельного музейного показа. Работа польского специалиста по музеефикации зеленых насаждений анализируется с точки зрения возможностей компаративного анализа состава, использования и сохранности садового культурного наследия как национального, так и регионального уровней; роли, доли и места памятников садово-паркового искусства и исторически ценных озелененных территорий в культурной политике государства и потребностей населения (туристических, оздоровительных, рекреационных, досуговых, образовательных и иных), перспектив исследования взаимоотношений между элитарной и массовой культурой садоводства и ландшафтного дизайна. The review presents the experience of musealisation of objects of landscape and park cultural heritage summarized in the books of Jacek Kuśmierski, who is a Polish specialist in the field of conservation and restoration of green spaces of historical value. The books were published in 2020 and 2021 by the Foundation for the Reconstruction of the “Dwór Sarny” Palace and Park Complex, located in the village of Ścinawka Górna in Lower Silesia (Republic of Poland). The time was chosen to coincide with the certification in 2020 by the Council of Europe of the European Route of Historical Gardens, in which Kuśmierski sees great international, tourist, nature conservationб and culture-preserving importance. Since specialized descriptions of historical gardens and parks as independent objects of musealisation, museum and tourist display are still rare not only in domestic but also in European literature, small works by Kuśmierski have indisputable novelty and practical value. Mapping of historical gardens of Europe and garden museums, classification of types of garden heritage and forms of their musealisation open up broad prospects for comparative research and understanding of the structure, levels, functions of “high” and “low” garden culture in Russia and abroad. The historiography of the scientific analysis of the problem of musealisation of green spaces and the periods of the formation of the institutional framework of this process in Europe that the author identified determine the theoretical significance of the work. The book is addressed to specialists in museum business. It can also be useful to persons who study the problems of forming a favorable urban environment, the potential of the socioeconomic development of territories, and determines the guidelines of urban development. The preservation of cultural heritage objects and the conditions that can ensure it are independent and extremely urgent problems for Russia. They indicate the value of familiarization with the European experience of protecting historically valuable green spaces for specialists in the field of jurisprudence, state and municipal management. Kuśmierski’s works suggest the need to revise the priorities of the state cultural policy in the field of cultural heritage protection. This policy should shift towards the “musealisation of the world”. Kuśmierski characterizes “musealisation of the world” as a pan-European sociocultural trend of increasing the value of historical memory, as efforts to ensure the preservation of not only an isolated artifact, but its entire unique ecosystem as a complex of elements of natural, tangible and intangible cultural heritage.
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Schiavon, Nick, Patricia Panganiban, Sara Valadas, Carlo Bottaini, Cristina Barrocas Dias, Ana Manhita, and Antonio Candeias. "A Multi-Analytical Study of Egyptian Funerary Artifacts from Three Portuguese Museum Collections." Heritage 4, no. 4 (October 1, 2021): 2973–95. http://dx.doi.org/10.3390/heritage4040166.
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A diachronic, multi-analytical approach combining EDXRF, µFTIR, µRaman, SEM-EDS, and Py-GC/MS has been adopted with the aim to study for the first time the painting materials used to decorate Egyptian funerary masks and sarcophagi ranging from the Late Period to the Roman Period and stored in the Archaeological National Museum (MNA) and the Carmo Archaeological Museum (MAC) of Lisbon and the Natural History Museum of the University in Oporto (MNH-FCUP). Results indicate that yellow and red ochres, realgar, cinnabar, Egyptian blue, and Egyptian green were used as pigments while chalk served as the preparatory layer. Over the 1000-year timeline of the studied artifacts, the palette remained remarkably consistent with previous findings as exemplified by cinnabar being used for red pigments in samples only dated after the Ptolemaic period. The presence of Sn in Egyptian blue and Egyptian green pigments used in one sample suggests the use of recycled bronze scraps during pigment production. Black pigments in two Late Period masks were found to be produced by mixing Egyptian blue with red ochre suggesting either a hitherto unknown method for production of purple pigments in the Egyptian palette or, alternatively, an attempt to create a specific hue or shade of dark brown or black. The results of this study contribute to further expand the database of Ancient Egyptian painting materials while at the same time helping to valorize three important Egyptian collections in Portugal.
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Bald Romano, Irene, William John Tait, Christina Bisulca, Pearce Paul Creasman, Gregory Hodgins, and Tomasz Wazny. "An Ancient Egyptian Senet Board in the Arizona State Museum." Zeitschrift für Ägyptische Sprache und Altertumskunde 145, no. 1 (June 1, 2018): 71–85. http://dx.doi.org/10.1515/zaes-2018-0005.
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Summary This article discusses a fragment of a rare, wooden slab-style Egyptian senet board that was given to the Arizona State Museum, University of Arizona (Tucson, Arizona) in 1922 by Lily S. Place, an American who lived in Cairo in the 1910s and 1920s and purchased ancient Egyptian objects from dealers and in the bazaars; it has no ancient provenience. Using a multi-disciplinary approach, the authors provide a reading and interpretation of the incised hieroglyphs, establish a radiocarbon date for the game board from 980 to 838 B.C.E., identify the wood as Abies (fir), probably Abies cilicica, demonstrate that the board was fashioned from freshly-cut wood, and identify the inlay substance as a green copper-wax pigment.
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SHUMOVSKAYA, Darya. "EDUCATIONAL ACTIVITY IN PUSHCHINO MUSEUM OF ECOLOGY AND LOCAL LORE." LIFE OF THE EARTH 42, no. 4 (November 25, 2020): 465–72. http://dx.doi.org/10.29003/m1775.0514-7468.2020_42_4/465-472.
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Formation of an educational weekend program popularizing the foundations of mineralogy, botany and local history of the area, developed for primary and secondary school students is considered. The program development and implementation was carrying out for the Pushchino Museum of Ecology and Local Lore in 2018-2019. Possibilities of initial acquaintance with the world of plants and minerals within the framework of the museum exposition in combination with both excursion and independent activity on the ecological path of the city and in the Green Zone are shown. A thematic selection of classical popular scientific literature has been made to develop further keen interest in the subject. The program of acquaintance with the area was tested on the groups of the Tatiana school in Moscow, students of summer camps from general education schools and students of the ecological circle “Living River” in Pushchino town.
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Bates, Elaine. "Can natural history collections support a connection to nature for young children and families?" Museum and Society 16, no. 3 (November 21, 2018): 369–82. http://dx.doi.org/10.29311/mas.v16i3.2795.
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Recent studies indicate that contact with nature is important for children’s development, and supports creativity, wellbeing, problem solving and empathy with nature as adults. Researchers raise concerns that this experience is being eroded by a decline in green spaces (especially in cities) and an increasingly risk averse society (Bragg et al.2013; Louv 2005; Moss 2012; Pretty et al. 2009).Whilst direct experiences of nature may be increasingly rare for young children, Kellert’s work on biophilia and child development (2005) suggests that indirect experiences with nature, such as those occurring during a museum visit, may be able to compensate for this. Within this context, Manchester Museum developed Nature Discovery (opened in December 2014), a gallery aimed at engaging under-5s and their parents with nature. As well as drawing from existing studies of young children in museums, the gallery responded to research carried out with local parents, young children and teachers. This research focused on documenting parent and child interactions during a series of child-led, family visits to the existing natural history galleries and further visits by different families to evaluate the new gallery (2015).Using existing nature connection measures (Cheng and Munro 2012; Ernst and Theimer 2011), the results suggest that natural history objects can support a connection to nature, which may result in environmentally friendly behaviours in adulthood. Parent and child interaction is identified as a key characteristic of supporting a connection to nature and in supporting children’s learning.
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Elizandri, Bellanti Nur, Andhika Nurul Wahidah, Karina Indah Solihah, Syahra A. F. Sari, Dinar D. T. P. Purbasari, Hayati Sari Hasibuan, and Rudy P. Tambunan. "PEMODELAN KONEKTIVITAS SPASIAL TROTOAR BERKELANJUTAN ANTAR ZONA DI KOTA TUA JAKARTA." MAJALAH ILMIAH GLOBE 22, no. 1 (April 23, 2020): 21. http://dx.doi.org/10.24895/mig.2020.22-1.1154.
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<p>Kota Tua Jakarta adalah objek wisata sejarah di Kota Jakarta. Wilayah Kota Tua Jakarta terbagi ke dalam lima zona, yaitu Zona 1 Sunda Kelapa (Masjid Luar Batang, Museum Bahari, Menara Syahbandar, Gudang VOC, dll), Zona 2 Fatahillah (Museum Bank Mandiri, Museum Bank Indonesia, Museum Sejarah Jakarta, Alun-alun Fatahillah, Museum Wayang, Museum Seni, Stasiun Jakarta Kota, dll), Zona 3 Pecinan (Komunitas Pelukis Jalanan, Pusat Obat Tradisional Cina, Pusat Perniagaan, dll), Zona 4 Pekojan (Kampung Arab, Langgar Tinggi, Mesjid An-Nawier, dll), dan Zona 5 Peremajaan (Pusat Perniagaan, Bangunan Cina, Gedung Tua, Wisata Kuliner). Namun, sebagian besar wisatawan domestik dan mancanegara hanya berkunjung ke Zona 2 sehingga penyampaian sejarah Kota Tua Jakarta menjadi kabur dan distribusi pendapatan pariwisata Kota Tua Jakarta juga tidak merata. Ketidakmerataan distribusi pendapatan menimbulkan berbagai permasalahan ekonomi dan sosial di Zona 1. Untuk menganalisis isu tersebut, metode yang digunakan pada penelitian ini adalah wawancara tidak terstruktur dan observasi partisipatori yang berorientasi spasial. Berdasarkan hasil wawancara, observasi, dan analisis spasial yang dilakukan, wisatawan hanya mengunjungi Zona 2 karena kemudahan aksesibilitas di Zona 2 dibandingkan dengan zona lainnya serta buruknya kondisi trotoar yang menghubungkan Zona 2 dengan zona lainnya. Lebih dalam, buruknya kondisi trotoar berimplikasi pada terbentuknya area-area ruang mati (<em>death space</em>) di Jalan Kakap dan Ekor Kuning. Kehadiran ruang mati (<em>death space</em>) di Jalan Kakap dan Ekor Kuning mengundang terjadinya tindak kriminal dan masalah sosial lainnya di wilayah tersebut. Oleh karena itu, tulisan ini mencoba menawarkan solusi perbaikan pada trotoar-trotoar yang mengonekasikan zona-zona di Kota Tua Jakarta, khususnya Zona 1 dan Zona 2. Konsep desain yang digunakan pada perbaikan tersebut adalah <em>Green-sidewalks</em>.</p>
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West, Robert. "Vertebrate Paleontology of the Green River Basin, Wyoming, 1840-1910." Earth Sciences History 9, no. 1 (January 1, 1990): 45–56. http://dx.doi.org/10.17704/eshi.9.1.83871301283k8757.
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Paleontological exploration in the Green River Basin in the first half of the nineteenth century demonstrated the presence of vertebrate fossils there. Studies of potential wagon and railroad routes revealed additional information about the occurrence and distribution of fossiliferous rocks during the 1850s. Post Civil War government geologic and geographic surveys yielded large numbers of fossil mammals and created the setting for competition and controversy among Leidy, Cope and Marsh. Numerous publications resulted, as well as Leidy's departure from paleontology. Residents of Fort Bridger worked with all the Eastern scientists to provide information about fossil localities; many specimens also were sent east. Four Princeton expeditions in the 1870s and 1880s preceded the systematic work of the American Museum of Natural History in 1893 and 1903-1906. By 1909 the geological and vertebrate paleontologic framework of the basin was firmly established.
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McVicar, Mhairi. "Specifying intent at the Museum of Childhood." Architectural Research Quarterly 16, no. 3 (September 2012): 218–28. http://dx.doi.org/10.1017/s1359135513000067.
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In a 2009 interview, architect Peter St John of Caruso St John Architects defined a good architect as one who makes few compromises, highlighting precise instructions as imperative in achieving this. An architectural project, St John stated, 'is far more likely to work well if you put an enormous effort into defining what you want, to achieve quality’. At Caruso St John Architects' 2006 entrance addition to the Victoria and Albert Museum of Childhood in Bethnal Green, London [1], the precise specification of mortar and mastic joints throughout a cut-stone facade was employed to define expectations of quality in the constructed facade. These specifications, written in accordance with the recommendations of professional practice, set out stringent expectations of dimensional perfection. When dimensional variations during design development and construction threatened to disrupt these expectations, the precise definition of quality shifted, becoming less defined by dimensional perfection and more reliant upon the ‘architectural intentions’ underpinning the project. In referencing conceptual, ideological, historical and technological intentions which were difficult definitively to express, this critical phrase – ‘architectural intentions’ – is examined here in terms of its ambiguity in the context of the written specification [2].Ambiguity in the written specification is emphatically rejected by regulatory and advisory bodies in the architectural profession, which frequently advise that the written specification must provide, above all else, certainty. In The Architects' Journal in 1989, author Francis Hall went as far as describing the properly drafted specification as the ‘one certain opportunity’ for an architect to set down a ‘definitive and enforceable expression of standard and quality’. ‘Properly drafted’ is typically translated as a prosaic language, specifically devoid of poetic content. The ability of the unambiguous written specification to convey adequately the poetic content of architectural intentions has, however, been under critique since its inception.
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Qian, Jiang. "Research on Energy Saving and Emission Reduction of Ecological Environment of Modern Green Art Museum." IOP Conference Series: Earth and Environmental Science 692, no. 3 (March 1, 2021): 032029. http://dx.doi.org/10.1088/1755-1315/692/3/032029.
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Kercher, S. ""Pullman Porters: From Service to Civil Rights." National Railroad Museum, Green Bay, Wisc. http://www.nationalrrmuseum.org." Journal of American History 97, no. 1 (June 1, 2010): 117–20. http://dx.doi.org/10.2307/jahist/97.1.117.
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Maryin, Dmitrij V. "“I write with green paste”: ink color as an element of presentation and interpretation of epistolary documents (based on the material of the cycle of letters by V. M. Shukshin to M. S. Yakutina)." Sibirskiy filologicheskiy zhurnal, no. 2 (2022): 132–43. http://dx.doi.org/10.17223/18137083/79/10.
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This paper shows the role of ink color as one of the elements of the graphic component of the epistolary text in interpreting letters and presenting them in the process of publishing and museum exhibiting. The analysis was made of a cycle of letters by famous Russian writer V. M. Shukshin to M. S. Yakutina. It is proved that different ink colors create an entire spectrum of semantic connections and intertextual echoes, allowing the writer to express his thoughts, feelings, impressions of dreams, and memories inspired by communication with a friend of youth in a more comprehensive way. The unity of the addressee and thematic commonalities and regular references from later letters to earlier ones allows uniting them into a cycle of three letters. For each letter, Shukshin uses a different ink color: black, green, and red, with each color implying certain semantics: black - the restoration of communication; green - hope and youth; red - repentance and death. The analysis results provide a conclusion that when publishing significant epistolary texts for the first time, it is necessary to attach facsimile and indicate the color of ink and/or other graphic features in the commentary, for example, way of writing: ballpoint pen, pencil, typed/printer; the presence of drawings, the type of paper: writing or drawing paper. In addition, when photocopies rather than originals are exhibited in the museum, color photocopies should be used.
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SCHÜLLER, MYRIAM, and PAT A. HUTCHINGS. "New insights in the taxonomy of Trichobranchidae (Polychaeta) with description of a new Terebellides species from Australia." Zootaxa 2395, no. 1 (March 10, 2010): 1. http://dx.doi.org/10.11646/zootaxa.2395.1.1.
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During taxonomic studies on the Trichobranchidae housed at the Australian Museum, Sydney morphological characters of specimens were found to serve taxonomists on four taxonomic levels – family, genus, species and specimen level. The number of neuropodial uncini per torus and abdominal segments, long considered holding information for species determination, proved to be highly variable within species. Characters found to be consistent within species were e.g., the position of nephridial papillae, shape of branchiae and chaetae, and the development of anterior segments and lateral lappets. Also, staining in methyl green resulted in a clear pattern without intraspecific variability in most cases and is since considered a helpful tool for identification of Trichobranchidae. In this study an overview of morphological characters of Trichobranchidae and their information for taxonomy is given based on the trichobranchid collection of the Australian Museum. Additionally, description of a new species Terebellides jitu sp. nov., formerly treated as a variation of Terebellides narribri, is given. The description of T. narribri is revised.
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Miller, Randall F. "Discovery of the Holotype of Cyathospongia(?) eozoica Matthew, a supposed Precambrian sponge from Saint John, New Brunswick." Canadian Journal of Earth Sciences 27, no. 3 (March 1, 1990): 473–75. http://dx.doi.org/10.1139/e90-043.
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Discovery of the holotype of the supposed sponge Cyathospongia(?) eozoica Matthew in the collections of the New Brunswick Museum completes a search for two doubtful Precambrian "sponges" described by Matthew almost a century ago. The organic nature of C.(?) eozoica had been questioned almost since its publication in 1890, but the specimen had been inaccessible. Examination of the holotype of C.(?) eozoica suggests the "spicules" from the Green Head Group of Saint John are probably a boxwork-like weathering pattern and are not organic.
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Brunetta, Leslie. "Science for Art's Sake." MRS Bulletin 11, no. 6 (December 1986): 26–29. http://dx.doi.org/10.1557/s0883769400054178.
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Victorian men placed fig leaves over those parts of classical statues they didn't want their wives and children to see. Yet it's easy for someone looking at those statues today to assume that the leaves play some part in the Roman and Greek concepts of physical beauty.A fig leaf may be the most blatant breach of an artist's original inspiration you'll encounter in a museum, but it's not likely to be the only one. Other more subtle transgressions are displayed in nearly every gallery and museum in the country—but unmasking them takes more than just a discerning eye. For instance, did the 17th-century painter see the world as quiet and subdued, or have his bright colors been muted by a 19th-century varnish? Did the classical sculptor intend his work to have an even, green patina, or has the Renaissance infatuation with antiquity allowed this corrosion to hide his varying shades of burnished bronze? Did Leonardo conceive the face of the Christ of “The Last Supper” as speaking, or silent, as his overpainters would have it?“Modern conservators really make us think about objects, says Carol Faill, administrator of college collections at Franklin & Marshall College. “There's been a consciousness raising about objects' own integrity.” Art and science are being used together as never before to gain an understanding of the physical and chemical properties of materials and their role in the fine arts.