Academic literature on the topic 'Museum techniques Australia'

Two major collecting institutions in Australia, the Australian Museum (Sydney) and Museums Victoria (Melbourne), are currently undertaking large-scale anoxic rehousing projects in their collections to control conservation issues caused by pyrite oxidation. This paper will highlight the successes and challenges of the rehousing projects at both institutions, which have collaborated on developing strategies to mitigate loss to their collections. In 2017, Museums Victoria Conservation undertook a survey with an Oxybaby M+ Gas Analyser to assess the oxygen levels in all their existing anoxic microclimates before launching a program to replace failed microclimates and expand the number of specimens housed in anoxic storage. This project included a literature review of current conservation materials and techniques associated with anoxic storage, and informed the selection of the RP System oxygen scavenger and Escal Neo barrier film from Mitsubishi Gas Chemical Company as the best-practice products to use for this application. Conservation at the Australian Museum in Sydney was notified of wide-scale pyrite decay in the Palaeontology and Mineral collections. It was noted that many of the old high-barrier film enclosures, done more than ten years ago, were showing signs of failing. None of the Palaeontology specimens had ever been placed in microclimates. After consultation with Museums Victoria and Collection staff, a similar pathway used by Museums Victoria was adopted. Because of the scale of the rehousing project, standardized custom boxes were made, making the construction of hundreds of boxes easier. It is hoped that new products, like the tube-style Escal film, will extend the life of this rehousing project. Enclosures are being tested at the Australian Museum with a digital oxygen meter. Pyrite rehousing projects highlight the loss of Collection materials and data brought about by the inherent properties of some specimens. The steps undertaken to mitigate or reduce the levels of corrosion are linked to the preservation of both the specimens and the data kept with them (paper labels). These projects benefited from the collaboration of Natural Sciences conservators in Australia with Geosciences collections staff. Natural Science is a relatively recent specialization for the Australian conservation profession and it is important to build resources and capacity for conservators to care for these collections. This applied knowledge has already been passed on to other regions in Australia.

Developed by the cosmetics industry, silicone-based solvents such as Cyclomethicone D4 and D5 and emulsifiers Velevsil Plus and KSG 350Z have found useful applications in museum conservation after being pioneered by Richard Wolbers to safety clean acrylic paint films. These products’ unique properties are also applicable for cleaning of natural science specimens. Silicone solvents are volatile and will completely evaporate away from surfaces. They have very low polarity and cannot not solubilise fats or oils, such as natural preen oils found in feathers. Low viscosity gives them the ability to flood a porous surface, such as bone, protecting it from absorbing chemicals and soiling during cleaning. Velevsil Plus and KSG 350Z provide the desirable ability to form an emulsion with water, and or solvents in a silicone based solvent carrier, allowing for the strictly controlled application of water or solvent solutions to the surface of a specimen. This poster will present case studies from the Otago Museum (Dunedin, New Zealand) and Museums Victoria (Melbourne, Australia) investigating the use of these products in cleaning natural science specimens. The experiments include the removal of an aged wax and shellac coating from a Moa (Dinonris sp.) skeleton, the removal of acrylic coatings on extremely moisture sensitive pyritized fossils, and the cleaning of soiled feathers and fur. Issues around sourcing and shipping these specialised products to Australasia will also be discussed. The successful application of paintings conservation techniques to scientific specimens demonstrates the benefits of collaboration between specialisations in conservation for developing new techniques for caring for our collections.

The foundation of the Australian Society of Herpetologists in 1964 occurred at a time of change in Australian herpetology, as university-based herpetological studies began to spread, both within and between institutions, and a new generation of museum researchers was employed. The Society’s foundation can be traced to a single lineage of anuran research at the University of Western Australia, which flowered in the 1950s with the stimulus of new techniques and technology introduced to Australia by John Alexander Moore and then spread to the University of Melbourne and Monash University as former students established new research groups. This stimulus coincided with new zoology staff appointments, particularly of New Zealand herpetologists, at the University of Sydney and the Australian National University, all of whom began to support students working on herpetological topics. The spreading of herpetology across institutions and scientific disciplines necessitated increasing communication, provided by the Society through its newsletters and meetings, and the Society has continued to expand over the half a century of its existence, and in turn encouraged the diversification of Australian herpetological research and the training of new generations of herpetological students.

The 13th Conference on Australasian Vertebrate Evolution Palaeontology and Systematics (CAVEPS) took place in Perth, Western Australia, from 27 to 30 April 2011. This biennial meeting was jointly hosted by Curtin University, the Western Australian Museum, Murdoch University and the University of Western Australia. Researchers from diverse disciplines addressed many aspects of vertebrate evolution, including functional morphology, phylogeny, ecology and extinctions. New additions to the fossil record were reported, especially from hitherto under-represented ages and clades. Yet, application of new techniques in palaeobiological analyses dominated, such as dental microwear and geochronology, and technological advances, including computed tomography and ancient biomolecules. This signals a shift towards increased emphasis in interpreting broader evolutionary patterns and processes. Nonetheless, further field exploration for new fossils and systematic descriptions will continue to shape our understanding of vertebrate evolution in this little-studied, but most unusual, part of the globe.

AbstractIn settler societies like Canada, United States, and Australia, the bourgeoning discourse that frames colonial violence against Indigenous people as genocide has been controversial, specifically because there is much debate about the meaning and applicability of genocide. Through an analysis of the Canadian Museum for Human Rights, this paper analyzes what is revealed about settler colonialism in the nexus of difficult knowledge, curatorial decisions, and political debates about the label of genocide. I specifically examine competing definitions of genocide, the primacy of the Holocaust, the regulatory role of the settler state, and the limits of a human rights framework. My argument is that genocide debates related to Indigenous experiences operationalize a range of governing techniques that extend settler colonialism, even as Indigenous peoples confront existing hegemonies. These techniques include: interpretative denial; promoting an Oppression Olympics and a politics of distancing; regulating difference through state-based recognition and interference; and depoliticizing claims that overshadow continuing practices of assimilation, extermination, criminalization, containment, and forced movement of Indigenous peoples. By pinpointing these techniques, this paper seeks to build on Indigenous critiques of colonialism, challenge settler national narratives of peaceful and lawful origins, and foster ways to build more just relations between Indigenous and non-Indigenous peoples.

A bronze wine vessel attributed to 1600–1046 B.C., Shang dynasty in China, an object from the East Asian Collection of the Museum of Applied Arts and Sciences in Sydney (Australia), was studied using a non-destructive scientific analytical protocol based on the synergic combination of nuclear techniques. Gamma spectrometry, neutron-computed tomography, and proton-induced X-ray emission (PIXE) spectroscopy were applied to gain a better insight into the structural and compositional features of the artefact to prove its authenticity. Gamma spectrometry was performed to assess the risk of excessive sample activation induced by long exposure to the neutron beam and to determine the bulk elemental composition. Based on neutron-computed tomography, the porosities and the thickness of the metal wall were evaluated and found consistent with the piece-mould casting technology adopted by craftsmen during the Shang dynasty in China. Finally, PIXE spectroscopy demonstrated the use of a ternary (copper–tin-leaded) alloy and the nature of mineralisation on the surface.

Museums are attending to matters of technique in relation to objects and exhibitions suggesting a new or renewed interest in creative practice and how objects are made. This focus parallels practices and changes occurring in broader society. In this article I argue that a rise in attending to technique extends what various theorists have referred to as the ‘material turn’ in a dimension that underscores creative process and making. I do so by exploring two recent exhibitions, one in Israel and another in Australia, which have brought the notion of technique into focus through the context of textiles and other materials such as paper, porcelain, wood and metal. Through their emphasis on ‘gathering’ and ‘folding’, the construction of textiles and other forms are accentuated for public exploration, fostering new understandings of technique. Conclusions are drawn connecting museum contexts with that of broader society in reference to making, the role of the hand, and craft processes.

The monitoring and quantification of the illegal harvest of protected animal products is very vital for the conservation and protection of endangered species. Most of the methods and techniques used in the trade of these products are recognised to be incredibly time consuming and labour intensive requiring significant analyst expertise. In this study, we have demonstrated the potential of near-infrared spectroscopy combined with either principal component analysis or partial least square discriminant analysis regression as a rapid and non-invasive tool to classify horn and ivory samples stored in the Australian Museum, Sydney. This study has also demonstrated the attractiveness of the near-infrared technique as a screening tool that could revolutionise the tracking and identification of contraband materials produced from horn and ivory biomaterials.

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A rapid tool to discriminate rhino horn and ivory samples from different mammalian species based on the combination of near-infrared reflection (NIR) spectroscopy and chemometrics was evaluated. In this study, samples from the Australian Museum mammalogy collection were scanned between 950 nm and 1650 nm using a handheld spectrophotometer and analyzed using principal component analysis (PCA) and partial least squares discriminant analysis (PLS-DA). An overall correct classification rate of 73.5% was obtained for the classification of all samples. This study demonstrates the potential of NIR spectroscopy coupled with chemometrics as a means of a rapid, nondestructive classification technique of horn and ivory samples sourced from a museum. Near-infrared spectroscopy can be used as an alternative or complementary method in the detection of horn and ivory assisting in the combat of illegal trade and aiding the preservation of at-risk species.

Navigating cultural collections in museums can be a particular and challenging task. Indigenous cultural objects in museum collections all over the world are widely understood as having been removed from their Indigenous contexts and placed within new structures, given new meanings, within new hierarchies of value in systems associated with the colonial imperative. Therefore, for Indigenous Australians, the continuing consequences of such histories, ensure that encounters with cultural material from their communities are also encounters with these different hierarchies of value; they are encounters with uneven relationships of power in which they find themselves or their families implicated, and possibly even encounters with a contemporary reluctance to engage with difficult histories. This thesis critically examines my encounters with collected cultural material associated with my country—Yuwaalaraay country, the inland freshwater region of north western New South Wales. These encounters are explored in relation to key postcolonial frameworks including museums as contact zones (Pratt 1992; Clifford 1997), as well as cultural interface theory (Nakata 2002, 2007). Through these lenses, and by drawing on an adapted form of autoethnography, I explore sites of agency and potential, as well as probe limitations brought about by persistently defining the relationships between museums and source communities as dichotomous–the ultimate colonial legacy of the ‘self’ and the ‘other’. Finally, inspired by European studies of folklife, my research invites a reconsideration of historical Indigenous cultural material in collections not as relics of the past, but as products of everyday life and experience, fundamentally grounded by a uniquely Indigenous Australian consideration of the concept of ‘country’.

This study explores how design research writing can engage with historical reference in a radical way. In the 2002 essay “Shijian Tingzhi de Chengshi” (“City Froze in Time”), based on Chapter 2 of his 2000 PhD thesis, Xugou Chengshi (Fictionalising City), the Chinese architect Wang Shu proposes reinterpreting the traditional Chinese architecture and city through the anthropologist Claude Lévi-Strauss’s notion of “bricolage”, which is defined as making do with available objects. Bricolage is informative for understanding Wang’s design undertakings, which involve skilful adaptations of vernacular building types and construction techniques in new urban projects. Nevertheless, its fundamental role in shaping Wang’s design writings is yet to be fully understood. In his design writings, Wang employs a specific quotation method whereby words and paragraphs from other writers’ preexisting works are reused and woven into new textual compositions. Through formal analysis of “City Froze in Time” and comparisons of compositional patterns between the essay and Wang’s built projects, mainly the Xiangshan Campus of the China Academy of Art, Phase II, Hangzhou (2007) and the Ningbo History Museum, Ningbo (2008), this piece explores three issues. First, it demonstrates how textual fragments found in the past and uttered by others undergo bricolage in Wang’s essay. Second, it foregrounds the intention behind Wang’s chosen writing strategy and investigates broader critical issues, such as authorship and the past–present nonlinear order associated with Wang’s strategy. Third, it expresses how historical materials – understanding “materials” in an inclusive sense – are treated in comparable ways in Wang’s written and built works. By examining Wang’s case, this paper highlights a radical case of contemporary architectural research writing in which an attempt is made to demolish the boundary between theory and design by extending the make-do logic of design into the field of design reflection.