Academic literature on the topic 'Standard museali'

This study has been initiated from observation of changes in color from samples in foaming process using batch process. The brightly whitened color of foamed plastic sample in batch process has been artfully reproduced by adjusting foaming ratio. And we measured reflectivity per wavelength using spectrophotometer in the range of visible ray at an interval of 10nm. We also measured hue (color), chroma (color purity or saturation), and value (lightness or brightness) in accordance with Musell HV/C standard, through which the relation between foaming ratio and charactics in changes in color has been analyzed. Then we further discussed regarding the cause, focus area and application of our research.

Stomatorhinus ivindoensis n. sp. is described from the basin of the Ivindo River, a tributary of the Ogooué River, in Gabon, West Central Africa. This species is characterized by its very small size which is not known to exceed 56 mm standard length. It is distinguished from S. fuliginosus from the Congo basin, the only described Stomatorhinus for which all members of the type series are within the size range of S. ivindoensis, by a smaller caudal peduncle depth to length ratio, a narrower head, a greater number of lateral line scales with visible tubes and pores and by rounded caudal fin lobes. It is distinguished from the similar S. polli, also from the Congo basin, by a longer snout, a smaller eye and a greater interorbital width relative to head length. It is distinguished from S. walkeri, the only other species described from the Ogooué River basin, by its smaller size, smaller snout to pectoral fin distance (relative to standard length) and by its reduced numbers of pectoral rays, vertebrae, and lateral line scales with visible tubes and pores. Stomatorhinus ivindoensis is endemic to the Ivindo River basin of Gabon and is allopatrically distributed with respect to S. walkeri which, although found elsewhere in the Ogooué River basin, has never been recorded from the Ivindo River. Stomatorhinus ivindoensis may be the smallest species of mormyrid fish yet described.Stomatorhinus ivindoensis n. sp. est décrite de la rivière Ivindo, un affluent du fleuve Ogooué, au Gabon, Afrique Centrale. Cette espèce est caractérisée par sa très petite taille, qui ne dépasse pas 56 mm en longueur standard. Elle se distingue de S. fuliginosus du bassin du Congo, la seule espèce de Stomatorhinus décrite dont l’intervalle de taille des spécimens types est compris dans celui de S. ivindoensis, par un rapport largeur sur longueur du pédoncule caudal plus petit, une tête plus étroite, un nombre d’écailles percées le long de la ligne latérale plus grand et une nageoire caudale aux lobes arrondies. Elle se distingue de S. polli, une autre espèce similaire du bassin du Congo, par un museau plus long, un oeil plus petit, et une distance interorbitale plus grande par rapport à la longueur de la tête. Elle se distingue de S. walkeri, la seule autre espèce de Stomatorhinus décrite du

Archivbestände digitalisiert im Netz zu finden wird aus Nutzersicht heutzutage immer selbstverständlicher. Doch nicht nur um diesen Nutzungsbedürfnissen zu entsprechen, sondern auch aus Gründen der Erhöhung der Sichtbarkeit als Archiv gegen aussen, aus konservatorischen Gründen sowie aus Gründen der Bereitstellung des digitalisierten Materials für Forschung oder zu musealen Zwecken digitalisieren immer mehr Archive ihre Bestände.Um solche Digitalisierungsprojekte durchführen zu können, formulieren Archive Digitalisierungsstrategien, die unter den Aspekten Ziele, Ressourcen, Juristische Grundlagen, Auswahlkriterien, Standards, Erschliessung, Bereitstellung und Langzeitarchivierung die Handhabung des Archivs im Digitalisierungsprozess regeln.Die Arbeit untersucht die Digitalisierungsstrategien der beiden Gedächtnisinstitutionen Deutsches Literaturarchiv (Marbach) und Schweizerisches Literaturarchiv (Bern), die unterschiedlich mit dem Bereich der Digitalisierung umgehen: Während das Deutsche Literaturarchiv bisher kaum sichtbar Material digitalisiert und bereitgestellt hat, nun aber zu diesem Zweck ein Digitalisierungszentrum errichtet hat und die Koordination der entsprechenden Projekte „top-down“ regeln will, hat das Schweizerische Literaturarchiv schon mehrere Digitalisierungsprojekte durchgeführt, allerdings ohne selber formulierte Digitalisierungsstrategie; es orientiert sich für die Rahmenbedingungen an der Digitalisierungsleitlinie der Schweizerischen Nationalbibliothek und führt eigene Projekte nach einer „bottom-up“-Handhabung mit variierenden Regelungen je nach Projekt durch.Der Vergleich der beiden Strategien zeigt unter anderem, dass sich die beiden Literaturarchive zwar in der digitalisierten Erschliessung und Bereitstellung von Metadaten sehr fortschrittlich positionieren, bei der eigentlichen Digitalisierung von Archivgut jedoch sehr zurückhaltend vorgehen. Die Gründe dafür werden in der Untersuchung analysiert, und es werden Optimierungsvorschläge formuliert. Ein deutliches Fazit der Arbeit ist, dass die Digitalisierung von Archivgut und die Bereitstellung der Digitalisate im Semantic Web enorme Chancen für die Literaturarchive bietet und dieser Prozess somit vorangetrieben und optimiert werden sollte.

Abstract xCures operates a direct-to-patient, real-world evidence platform for decentralized clinical research. The platform leverages a nationwide observational research protocol (XCELSIOR, NCT03793088) to aggregate, normalize, and analyze N-of-1 clinical outcomes to continuously learn from and inform treatment decisions. Individual data elements are extracted directly from medical documents such as clinic notes, and radiology, genomics, and pathology reports. The data elements are standardized to established biomedical ontologies and stored in a validated and part 11 compliant electronic database, suitable for statistical analyses and regulatory filings. This permits comparison of patient outcomes across institutions and removes the burden of data entry from oncologists and their staff. As an extremely efficient real-world data solution, we have utilized this platform to accelerate both academic- and commercial-sponsored clinical research, prospectively integrating diagnostics and algorithms with interventional treatments. For each patient that participates in XCELSIOR, artificial intelligence-powered clinical decision support algorithms suggest testing and treatment options. These options and supporting treatment rationales are sourced from key opinion leaders, tumor boards, clinical researchers, practicing oncologists, and published literature, and ranked using the real-world outcomes data from the registry. At the conference, we will present an overview of this real-time learning infrastructure and report on clinical case studies for pharma and non-profit groups including over 75 virtual tumor boards and real-world evidence generated from over 150 patients with CNS cancers that we have helped in partnership with Cancer Commons and The Musella Foundation for Brain Tumor Research and Education. Outcomes analyses stratified by therapeutic interventions and biomarkers will be reported, including frequency of adverse events, time to treatment failure, time to disease progression, and overall survival. Interventions include standard-of-care chemotherapies as well as therapies accessed by clinical trial, expanded access, and off-label prescription.

The world species of the genus Heptascelio Kieffer (Hymenoptera: Platygastroidea, Platygastridae) are revised. The generic concept is expanded and the genus is redescribed. Eighteen species are recognized, of which only two were described previously: H. lugens Kieffer (Philippines) and H. striatosternus Narendran & Ramesh Babu (India, Sri Lanka, Nepal, Madagascar). Both species are redescribed, and H. punctisternus Narendran & Ramesh Babu is considered a junior synonym of H. striatosternus (new synonymy). The following species are described as new: H. albipes Masner, van Noort & Johnson, n.sp. (Cameroon, Gabon, Uganda); H. anthonyi Masner & Johnson, n.sp. (Zimbabwe); H. aquilinus Masner & Johnson, n.sp. (South Africa); H. bivius Johnson & Masner, n.sp. (Indonesia); H. castor Masner & Johnson, n.sp. (Indonesia, Malaysia); H. dayi Masner & Johnson, n.sp. (Indonesia); H. dispar Masner & Johnson, n.sp. (Botswana, Namibia, South Africa); H. hamatus Masner & Johnson, n.sp. (Thailand, Laos, Vietnam, Malaysia, Indonesia, Taiwan); H. lateralis Johnson, van Noort & Masner (Central African Republic, Gabon); H. noyesi Masner & Johnson, n.sp. (Madagascar); H. orarius Johnson & Masner, n.sp. (Madagascar); H. paralugens Masner & Johnson, n.sp. (Philippines); H. sicarius Johnson & Musetti, n.sp. (Madagascar), H. strigatus Masner, Johnson & van Noort, n.sp. (Gabon, Central African Republic); H. teres Johnson & Masner, n.sp. (Madagascar), and H. watshami Masner & Johnson, n.sp. (Democratic Republic of Congo, Kenya, Malawi, Zimbabwe). Heptascelio watshami has been reared from the eggs of Plagiotriptus pinivorus Descamps (Orthoptera: Thericleidae), a pest of pine. An electronic version of the identification key is available at WaspWeb at http://www.waspweb.org/ Platygastroidea/Keys/. The electronic version of this document has been formatted with embedded links to additional resources available online via the internet both to enhance the content and as a demonstration of the utility of international standards for biodiversity informatics.

As art museum education practices get more ambitious in form and content, and to a higher degree inform the overall audience strategies, the need for a research framing is required. The art museum is facing new and high expectation from society and policy makers in terms of being a relevant social and democratic platform inclusive for everyone. To manifest the changes, the institution must draw on all the different museal knowledges, not least the one about the audience. There has been a history of professional hierarchy and knowledge hegemony inside the art museum, where the object-based knowledge has trumped the practice-based. An important reason for this imbalance has been the lack of adequate practice related research methods and a theoretical framing within art museum education. Research in art museum has to a large extent operated within the classical art historical field, but more and more museums are looking to and are drawing on other models outside the museum disciplines to develop new adequate research standards. One of the museums that have undergone a profound change much due to a change in how they think about practice and research, is Tate with research leader Emily Pringle in the lead. Inspired by models within the arts and school system, they have developed a practice-led research method. In this article I will reflect on how and why it is important for art museum educators to do research on their own practice, drawing on both the Tate model and my own experience from working at the National Museum for over ten years.

At present many herbaria and musea around the globe are digitising their natural history collections. Capturing the label information on these specimens is crucial to finding these specimens and using their data. To this end, Meise Botanic Garden chose to record minimal data as part of its second mass digitization project. The collections digitized, dating back to the beginning of the 19th century, are diverse and poorly curated. Diversity of collectors, geography, languages and conventions increase the complexity of label interpretation and transcription. Examples from these records serve to illustrate both the problems and solutions to producing clean data. Label transcription was outsourced to the commercial company Picturae, who subcontracted Alembo to do the transcription. Quality control on random subsets of the data was regularly carried out by Alembo, Pictuare and Meise Botanic Garden. Despite the data being delivered at a high standard, extensive data cleaning was required (12-60% of the fields needed adjustment depending on the field). The amount of data cleaning was a function of the type of field, whether it was standardised or free text, as well as the length of the string (the longer the string the greater the variance). The main issue associated with data quality was legibility. Two factors were at work here: 1) orthography of the collectors was to some degree illegible; 2) the label information was obscured by something (often plant material). As transcribers only get to see a single specimen image at a time, this does not allow them to compare similar labels by the same collector. As a result the information transcribed is the best interpretation of the specimen label. The advantage of mass digitization and transcription, is that one can compare and analyse the data once the project has finished. Collectors often collect multiple specimens at the same collecting site, and herbaria tend to have many specimens from the same collector. These two factors allow information to be grouped and sorted, allowing for mass editing and cleaning of the data. The major transcription errors include: Misinterpretation of certain characters e.g. a & o; 1 & 7; u & n; w & m; z & s, etc.; Different versions of ‘same’ characters e.g. º vs °; «» vs " " vs “ ” vs ‘ ’; ß vs ss; æ vs ae; etc.; Inconsistent use of accented characters e.g. o ò ó ô õ ö ŏ ø; ij ÿ; l ł; s š; u ü ū ũ ŭ; etc.; The use of varying punctuation results in divergent strings; Non-visible characters e.g. tabs, invisible spaces, line feed, etc.; The switching of characters or numbers inadvertently; Data entered into the wrong field due to confusion amongst taxa, collectors & places; Data on the herbarium label that has been previously incorrectly transcribed from original label data resulting in wrong data (not technically a transcription error in this project); The order in which the information was entered is variable (problem for long strings e.g. verbatim locality); Transcriber not familiar with language on the label versus those who are. Misinterpretation of certain characters e.g. a & o; 1 & 7; u & n; w & m; z & s, etc.; Different versions of ‘same’ characters e.g. º vs °; «» vs " " vs “ ” vs ‘ ’; ß vs ss; æ vs ae; etc.; Inconsistent use of accented characters e.g. o ò ó ô õ ö ŏ ø; ij ÿ; l ł; s š; u ü ū ũ ŭ; etc.; The use of varying punctuation results in divergent strings; Non-visible characters e.g. tabs, invisible spaces, line feed, etc.; The switching of characters or numbers inadvertently; Data entered into the wrong field due to confusion amongst taxa, collectors & places; Data on the herbarium label that has been previously incorrectly transcribed from original label data resulting in wrong data (not technically a transcription error in this project); The order in which the information was entered is variable (problem for long strings e.g. verbatim locality); Transcriber not familiar with language on the label versus those who are. First steps taken in data cleaning Explore your data set, followed by some basic analysis; Clean obvious mistakes: Explore your data set, followed by some basic analysis; Clean obvious mistakes: Sort data, many things will group naturally; Group data using ‘keywords’; Trim fields; Remove hidden characters; Correct obvious spelling errors; Standardise common symbols, accents & characters. Sort data, many things will group naturally; Group data using ‘keywords’; Trim fields; Remove hidden characters; Correct obvious spelling errors; Standardise common symbols, accents & characters. Standardise & normalise data where possible Regroup or sort partially cleaned data Use the data to clean the data e.g. Standardise & normalise data where possible Regroup or sort partially cleaned data Use the data to clean the data e.g. Standardised collector & country code fields help to clean incomplete date fields; Country code can help correct the collector field & vice versa; Collector birth & death dates can be used to inform interpretation of the collection year. Standardised collector & country code fields help to clean incomplete date fields; Country code can help correct the collector field & vice versa; Collector birth & death dates can be used to inform interpretation of the collection year. Repeat the above steps until most of the “noise” is reduced. Repeat the above steps until most of the “noise” is reduced. When one first looks at the data it appears messy and full of errors, like an unsharp image. The first phase of data cleaning is to reduce as much of the noise as possible, at this stage the image starts to come into focus. The second phase is data validation, where inconsistencies or incongruencies in the data are identified and corrected. The third phase is augmentation and linking of data; in this phase the specimen data is expanded to link to other sources of related information thereby giving added value to the specimens. In reality, these processes can happen simultaneously, but the bulk of the changes follow these stages. The first phase is almost entirely a manual process, but as these changes are often done in batches it proceeds at a reasonable pace. The remaining phases were corrected using automated and manual processes. Data cleaning is not a one-off process, it takes more time than is often allocated to this phase in projects. In time, cleaning data errors, will eventually bring the picture into focus.

Il fine del progetto di ricerca è quello di studiare le condizioni e le procedure e definire gli obiettivi per intraprendere un percorso verso un museo sostenibile nel contesto italiano. Tale approccio può essere esteso anche ad alcuni beni culturali assimilabili ai musei. E' stato introdotto il tema dello sviluppo sostenibile, con i domini che ne vengono influenzati (società, ambiente, economia, cultura) e mettendo in evidenza alcune caratteristiche, tra cui i denominatori comuni tra le varie definizioni e l'ambiguità a seguito delle differenti interpretazioni, la dimensione multidisciplinare del tema, la questione della dimensione dei contesti di riferimento e l'orizzonte temporale. Di conseguenza, tali osservazioni valide per uno scenario più ampio, sono state ricondotte al rapporto tra sostenibilità e musei, analizzando le principali esperienze effettuate nel panorama nazionale ed internazionale, con un approfondimento legato al contesto statunitense (oggetto di un viaggio studio). Sono stati proposti dei principi per l'interpretazione e definite le principali tematiche che devono essere affrontate. Una parte centrale della testi riguarda la proposta per l'aggiornamento sulla base dei principi per la sostenibilità dei criteri tecnico-scientifici e degli standard a livello nazionale, tramite l'integrazione degli Ambiti dell'Atto d'Indirizzo (10.5.2001). In particolare, seguendo l'impostazione originale del documento sono stati integrati per tutti gli Ambiti la "Premessa" e la "Norma Tecnica"; solo per alcuni di essi si propone l'integrazione di "Linee Guida". Nella seconda parte della testi, l'Autore propone degli strumenti per l'analisi qualitativa e quantitativa del livello di sostenibilità per un museo. A valle di una estesa ricerca sullo stato dell'arte sui principali strumenti disponibili, utilizzati dai musei e da alcune istituzioni culturali per l'analisi dell'esistente, sono stati elaborati differenti outputs: due schede di indagine sotto forma di checklist e alcuni indicatori, che prevedono diversi livelli di approfondimento e che possono essere applicate con scalarità differente sul singolo museo o su un campione più ampio. In merito alle checklist, la prima è stata pensata per un'indagine preliminare per indagare l'interesse del museo ad intraprendere il percorso e su quali argomenti; la secondo è invece volta ad approfondire aspetti energetico ambientali ed aspetti connessi ai temi del facility management applicabili all'edificio museo. Per ciascun Ambito e per le diverse tematiche è stato proposto un elenco sufficientemente esteso di indicatori ed indicatori chiave di performance (KPIs). I precedenti strumenti sono stati pensati per stakeholders differenti: singolo museo; enti amministrativi (Comune, Regione, Aree Metropolitane), enti che operano a livello nazionale (MIBACT, ICOM, ...) o società esternalizzate di servizi. L’esito del progetto di ricerca è costituito da una piattaforma multiscala e multilivello, denominata “Sustainable Museum Model”, al momento ancora concettuale, che combina i criteri con gli indicatori e gli indicatori sintetici ed utile per condurre le istituzioni museali italiane ad operare in un’ottica di sostenibilità.

Il presente lavoro mira a ricostruire, attraverso i principali documenti, il dibattito che in Italia ha portato alla creazione del più recente Sistema Museale Nazionale. Si comincia con la presentazione del concetto di qualità, contestualizzandone il significato e dimostrandone l’importanza per un museo il più possibile dalla parte del pubblico. In seguito, si propongono le principali fonti internazionali che hanno ispirato il lavoro successivamente svolto nel nostro Pese: Codice etico dell’ICOM, National Standards & Best Practices for U.S Museums, Accreditation Scheme for Galleries and Museums in the U.K. Poi, seguendo un ordine cronologico, si propongono gli atti più significativi che in Italia hanno concorso allo sviluppo di un nuovo interesse nei confronti dell’applicazione dei requisiti minimi, o standard di qualità, ai servizi museali: Standard per i musei italiani (1999), Atto di indirizzo sui criteri tecnico-scientifici e sugli standard di funzionamento e sviluppo dei musei (2001), Codice dei beni culturali e del paesaggio (2004), Commissione per la definizione dei livelli minimi di qualità dell’attività di valorizzazione (2006), Carta per la qualità dei servizi (2007) e l’Adozione dei livelli minimi uniformi di qualità per i musei e i luoghi della cultura di appartenenza pubblica e attivazione del Sistema Museale Nazionale (2018). Infine, si cercherà di capire se davvero si possa parlare di un sistema unitario, per quanto riguarda l’adesione agli standard, in quanto, nonostante la portata nazionale di tali documenti, le modalità di applicazione sono state differenti a seconda delle Regioni. In conclusione, si desidererebbe fare il punto della situazione sul livello di raggiungimento del Sistema Museale Nazionale con il parare del Dott. Antonio Lampis, ex Direttore Generale dei musei del MiBACT e, in ultimo, svolgere una riflessione sulla caratteristica che, forse, più stupisce di questo lavoro: tutti i documenti analizzati sono frutto della legislazione italiana e non del management culturale.