Social Media Marketing: Determining and Comparing View of Public Library Directors and Users

ABSTRACT

Purpose: The present study aims to determine and compare the views of directors and users of public libraries on the use of social media for the marketing of library services.

Methodology: Data collection was done through two researcher-made questionnaires, one from the viewpoints of directors and one investigating the views of users. The questionnaires’ validity was done by four libraries and Information Science professionals, and the reliability was determined by the Cronbach’s alpha coefficient. The statistical population of this research is made up of all directors and users of 12 public libraries of the city of Isfahan, one of the largest cities in Iran.

Findings: In users’ viewpoints, the “interaction capability” is the most important feature that social media marketing can have in libraries. From the viewpoints of the directors, “creating a true picture of the role of the library” and “informing users about library services” are among the most important reasons for the marketing of libraries in the social media. From the perspective of both groups, the Telegram is the most appropriate medium for the marketing of library services.

Results: To maintain their customers and their market position, libraries need to use more exciting tools such as social media for marketing. Library directors of this study emphasized on this fact and 79.1% of users expressed interest in receiving library information through social media.

Value: The findings of this study would help the library directors to better decide on the marketing of their library services in social media.

Type of the study: Scientific-Research     

Identification of Synthetic Organic Pigments by Characteristic Colour Reactions

Abstract

The purpose of this study was to develop a method for the identification of synthetic organic pigments on the basis of colour reactions with four different chemical reagents: concentrated sulphuric acid, concentrated nitric acid, a mixture of concentrated sulphuric acid and concentrated nitric acid and, finally, a solution of potassium iodate in concentrated sulphuric acid. Colour reactions for a large number of synthetic organic pigments in the form of pure powdered material were recorded. It is shown that the colour reactions observed are in overall agreement with the chemical grouping of pigments (for instance, naphthol AS pigments or quinacridone pigments), i.e., pigments belonging to the same pigment group yield similar colour reactions. This fact is the basis for the construction of flow charts for identification. Tests performed on a number of artists' colours containing pigments in various binding media show that the binding media do not noticeably affect the colour reactions observed, making the flow charts useful for the identification of actual artists' pigments. A fifth chemical reagent, namely a saturated solution of potassium hydroxide in 96% ethanol, was tested and abandoned as a result of its instability, which resulted in severe problems with reproducibility, especially for certain pigment groups, for example the acetoacetarylide pigments.     

Broadcast advertising by candidates for the Michigan legislature: 1970

There's been a good deal of attention given in recent years to the effects of media on political campaigns, but most of that concern has centered on Presidential, Senate, and House contests. The following article, however, focuses in on the grass‐roots level by examining broadcast media use by candidates for the Michigan State legislature in the off‐year elections of 1970. Using state records and a survey of candidates, the author has constructed a picture of radio‐TV campaigning suggesting a wide variety of use, interest in further use, but limitations on usage by what candidates term excessive cost of broadcast time. This concern over expense overrides, to some extent, the recognized impact of media which in this survey correlates strongly with election success. The study is taken from the author's master's thesis written at Indiana State University.     

A Spot Test for Zinc White

Abstract

A new spot test for the identification of zinc white (zinc oxide) has been developed, using a silver-chromate reagent that produces a bright red colour. The nature of this red compound has been studied using both chemical and instrumental techniques. It has been found to be formed by chromate adsorption on the zinc oxide surface, and a tentative formula for the complex is given.     

Technique and treatment of the St Michael Weighing Souls in the Royal Convent of Santa Clara,Toledo, Spain

Abstract

The history, materials and technique of an early fifteenth-century wall painting, St Michael Weighing Souls, are described. The pigments are typical of mediaeval Spain but the methods by which they were applied show a sophisticated understanding of their optical properties. Complex mechanisms of deterioration in some areas of colour are discussed, together with the rationale, materials and methods used in the conservation treatment.     

Les préparations colorées des tableaux de l'Ecole Française des dix-septième et dix-huitième siècles

Abstract

Study by X-ray microanalysis of 155 coloured grounds from French paintings of the seventeenth and eighteenth centuries allowed us to establish the nature of their constituents. The colour was introduced by three varieties of pigment, brown earths, ochres and iron oxides which were used in combination with calcium carbonate, lead white and minium. This confirms the recipes mentioned in the old treatises. The presence of barium sulphate, unexpected in this period, is connected with the nature of the coloured pigments and the place of execution of the works.     

Effect of Light on Modern Digital Prints - Photographs and Documents

Abstract

This project examines the lightfastness of prints created with the most commonly used digital technologies (inkjet, color electrophotography, dye sublimation and digital press) along with prints created using traditional technologies (color photography, black-and-white electrophotography and offset lithography). The inclusion of traditional prints provides benchmarks for collection care professionals to better gauge the significance of the results. In this study, prints were subjected to two types of lighting used independently to simulate daylight through window glass and artificial indoor illumination. Five aspects of light damage were assessed: fade in the mid-tone neutral, fade in the darkest neutral tone, paper yellowing, changes in paper gloss and text readability. In general, digital prints were less sensitive to light than traditional prints; but each digital printing technology produced at least one sample that performed worse than its traditional benchmark in at least one of the aspects of light damage studied. Therefore, it is recommended that cultural heritage institutions strive to provide the most benign environment possible, taking display practices currently in use for traditional prints as a minimum starting point for the care of digital prints. Close monitoring for signs of change is also recommended.     

Canon 35 as viewed by the Illinois Judiciary

As heartening as the Oklahoma picture may have been to broadcasters, the story is a different one in other states. This is the report of a similar survey, of Illinois judges, in which a wholly opposite opinion to that of their Oklahoma colleagues as expressed.     

Colorimetric Evaluation of Pictorial Coatings in Conservation of Plasterworks from the Islamic Tradition

ABSTRACT

The main aim of our current investigation is the colorimetric evaluation of protective treatments (consolidants) applied to traditional Islamic plasterworks, under natural ageing conditions. From analyses of the original pictorial plaster remains in the Courtyard of the Maidens of the Real Alcázar in Seville, Spain (a World Heritage Site) we prepared test specimens, using materials and techniques similar to the original ones. We analysed 56 test specimens painted with four pigments (yellow, green, blue, and red), using two different binders (animal glue and gum arabic), onto which five representative consolidants were applied: barium hydroxide, acrylic copolymer, polyvinyl butyral, ethyl silicate, and bacterial carbonatogenesis. The test specimens were subjected to natural ageing for one year (indoors and outdoors), enabling a colorimetric assessment to be made of the changes of the polychrome surfaces. The colorimetric heterogeneity of the 56 specimens after ageing registered an average value of 2.7 CIELAB units, assessed using the mean colour difference with respect to the mean. In the aged specimens, the addition of consolidants resulted in average colour differences (mainly lightness differences) of 10.7 and 6.7 CIELAB units, considering as a reference the specimens without consolidants aged indoors and outdoors, respectively. These colour differences were very similar for both binders but not for the four pigments, higher values being found for the blue and red pigments. Considering as reference the samples without consolidants aged outdoors, we found no statistically significant colour differences, either among the five consolidants (p?=?.094) nor the two binders (p?=?.674) used. In addition to the magnitude of colour differences, the choice of the most appropriate consolidants must also consider aspects related to performance and effectiveness. Overall, for the type of paints tested, the polyvinyl butyral consolidant appeared to perform the best, followed by the ethyl silicate.     

Use of Polarised Light Microscopy to Improve Conservation of Parchment

ABSTRACT

The preservation state of parchment primarily depends on the structure of the collagen fibre network, which in turn is responsible for optical anisotropy, i.e. birefringence. Polarised light microscopy can therefore be used as a non-invasive technique that allows recording of birefringence distribution in the parchment, which directly relates to stress–strain distribution. Using samples from diverse sources (commercial parchment, parchment used by restorers for book binding, and parchment fabricated for the purpose of this study), we assessed the capability of polarised light microscopy for various diagnostics. We performed, for instance, identification of gelatinised regions, layered or ?brous regions in parchment cross section, qualitative analysis of parchment fat content (lipids), observation of stress-induced patterns resulting from tensile tests, and observation of water diffusion. These proof-of-principle experiments extend the capability of polarised light microscopy far beyond its common use and open the path to its deployment in conservation studies.     

THE CONSERVATION OF TAPESTRIES FOR MUSEUM DISPLAY

Abstract

A broad outline of the considerations which arise with regard to the conservation of a museum collection of tapestries is given in this paper. The various types of damage to, and deterioration of, tapestries is discussed.

Various methods of washing and dry cleaning, and the equipment necessary for these procedures, are reviewed, and a caution is included as to the necessity of testing all dyes for colour fastness in both water and any solvent used for dry cleaning. The equipment, materials and techniques of repair are discussed; three methods of repair being currently used in museums and specialist workshops — re-weaving, stitching on to a backing and the use of synthetic resins for impregnation and adhesion to a woven support. It is suggested in conclusion that the optimum method of repair in museums is stitching on to a backing. More research must be undertaken into the use of synthetic resins, and re-weaving usually alters the original appearance of the tapestry.

Finally, the need for specialised conservation staff in a museum with a tapestry collection is emphasised.     

Opposing verdicts in the Webb/Dotson rape case: Legal vs. news constructions

This essay compares legal and mainstream news discourses surrounding the Webb/Dotson rape recanting case, focusing on reasons why the two discourses derived opposing conclusions about Dotson's guilt. It argues that the tendency of mainstream news media to highlight emotional and personal elements helped construct a picture of Dotson as innocent and affable, while the tendency of legal discourse to emphasize mutually exclusive categories contributed strongly to a picture of Dotson as guilty regardless of Webb's recanted story.     

Some technical notes on Whistler's ‘Peacock Room’

Abstract

The small areas of white metallic pigment seen on the south wall of J. M. Whistler's ‘Peacock Room’ in the Freer Gallery of Art are platinum; this has been used, with a yellow-brown ground, to overpaint a preceding layer of silver which, in one place only, is over a preceding layer of gold. The yellow metallic pigment is confirmed as gold and the blue colour of the south wall and elsewhere is based on Prussian blue. On a separate wood panel a green was tentatively identified as copper resinate, and iron-oxide-based pigments appear to be present. In all areas investigated a white, used as a ground and in admixture, was essentially lead white and calcium carbonate. The significance of these results is discussed briefly.     

The Use of Polyethylene Glycols in the Field of Painting Restoration

Abstract

A stereocamera adapted to a binocular microscope is used to produce stereomicrograph colour transparencies. Such slides can be examined with a viewer or a stereoscope. They can also be projected on to a screen with a special projector and viewed through eyeglasses. Flash bulbs are used to eliminate vibration problems during exposure.     

Sanguine Paint: Production,Characterization, and Adhesion to the Glass Substrate

ABSTRACT

For centuries, the only painting materials used in stained-glass production were grisaille and yellow (silver) stain. At the end of the fifteenth century, stained-glass painters began to use a new material, sanguine. This paint is mainly produced with iron oxide particles, usually haematite, and allowed to obtain a colour that can vary from yellowish to brownish-red due to the nature and particle size of the iron oxide. A translucent sanguine was mostly applied as flesh and hair colour, with an opaque sanguine used for drapery, architectural motifs, and heraldry. The main goal of this study is to investigate the relationship between historic sources on the preparation and use of sanguine from the fifteenth to the nineteenth centuries and the evolution evidenced in the recipes regarding the production method. Representative recipes from several centuries (sixteenth to nineteenth centuries) were selected and reproduced for this study. These reconstructions were thoroughly characterized using X-ray powder diffraction, optical microscopy (OM), and fibre optic reflectance spectroscopy (FORS). The OM and FORS data were correlated with historic sanguine paints applied on historic stained-glass. The similarities and differences between historic and reconstructed paints are presented. The study of reconstructed sanguine’s adhesion to glass using cross-cut testing was also performed, revealing that the adhesion is strongly influenced, not only by the binder, but also by the composition and morphology of the sanguine paint.     

医学期刊中图片编辑加工的方法与原则——以《临床皮肤科杂志》为例

通过总结《临床皮肤科杂志》的图片编辑加工流程、办刊实践中图片选用及预处理的策略,分析图片编辑中各种常见问题及相应解决方法.高质量的图片编辑须基于科学的编排原则、标准化的编辑加工流程,严格的图片选用标准、预处理操作以及结合专业方向的图片调色技能,以保证图片的真实性及客观性,而这需要掌握娴熟的图像软件操作技能和专业的临床学科知识.     

Spread or Sacrifice: Dilemma for Lighting Policies

ABSTRACT

Light sensitive objects will fade on display. Collection managers and curators face the dilemma whether to spread fading over several similar objects or sacrifice one. This paper describes an experiment in which participants were asked how they would want to pass on a collection of seventeenth century hand-coloured maps to coming generations. Results show that while colour changes are hardly visible, both public and professionals do not perceive them as damage and prefer to spread fading. Once fading becomes clearly visible in all maps, the preference shifts to sacrificing one map. The tipping point lies around five just noticeable changes. This information can be used when selecting objects for exhibition. The outcome also implies it would be prudent to assess the degree of fading of much exhibited objects and consider whether and when to choose for a sacrifice strategy.     

Artificial paint or patina on the sandstone of the Ramos Gate at the Catedral Nueva in Salamanca,Spain

Abstract

Many buildings of historical importance in Salamanca are of sandstone. Over time, this sandstone becomes covered with a coat of natural patina which makes the whole building appear golden in colour. Apart from this patina, another artificial reddish patina or paint can be observed on some of the buildings, mainly on the ornamentation of portals in the flamboyant Gothic and Plateresque styles. The samples in this study come from the Ramos Gate of the Catedral Nueva in Salamanca, Spain. The inorganic and organic compounds were analyzed using the following techniques: scanning electron microscopy (SEM), energy-dispersive X-ray analysis (EDAX), Fourier transform infrared spectroscopy (FTIR) and gas chromatography/mass spectrometry (GC/MS). The results showed that the inorganic compounds are clays and iron oxides, while the organic materials are albumin, traces of collagen (serving as binding material) and small amounts of fat. For the sandstone, this coating proved to be an excellent protection against external weathering agents.     

Click and Be Counted: A New Standard for Reference Statistics

ABSTRACT

This article discusses the National Information Standards Organization's new standard, NISO Z39.7-2004, which includes the reporting of the usage of library-generated Web pages and e-mail, live chat, and instant messaging reference queries. The integration of statistics on these new methods of providing service with traditional library statistics provides a more accurate picture of library services and demonstrates how libraries have expanded types of patron contacts in the digital age. This article also discusses the statistical reporting of individual reference queries handled away from the reference desk (e.g., in individual librarians' offices).     

Hydrogen plasma reactions in a d.c. mode for the conservation of iron meteorites and antiquities

Abstract

Four iron meteorite fragments and 13 archaeological iron objects were exposed to a lowpressure hydrogen plasma for up to two weeks in a pilot apparatus. In the experiment the objects acted as cathodes in a 600–1600V d.c. electrical field. While the chlorine-containing β-FeOOH, akaganeite, was present in all objects before the test, no akaganeite and no chlorides were present afterwards. The objects, including one meteorite which had been exposed for more than 5000 years to seawater, were found to be stable after the glow discharge treatment. The major mineral after treatment was identified as magnetite, and the objects generally assumed an iron-grey surface colour. No sputtering and no reduction to free iron took place under the test conditions, operating at or below 120°C and at pressures of O·4–1mb hydrogen.