I DRAW THE LINE AT STRINGING PEARLS

This paper contributes to developing understandings of strong commitments to particular forms of work and how they are sustained against bleak, unstable, exploitative and self-exploitative conditions. It approaches this duality between feeling and structure within the temporal and relational qualities of hope as they are experienced by women jewellery designer-makers in Birmingham Jewellery Quarter. The paper locates these hopes in the Craftswoman's Imperative, a symbolic good and material practice that is concerned with upholding objective values of the truth and beauty of artisanship. The paper details how the hopes of these designer-makers become aligned with those of policy-actors for a reinvigoration of British craftsmanship. It then explores how hope is upheld, and challenged, through sensory experiences of engaging with the material world. Finally, the paper explores these designer-makers’ optimistic practices for achieving the value of the Craftswoman's Imperative.     

Glocalized whiteness: Sustaining and reproducing whiteness through “skin toning” in post-colonial Ghana

This research explores the changing discourse surrounding skin lightening currently referred to as “skin toning” in sub-Saharan Africa. This study problematizes the “skin toning” discourse which deceitfully implies that dark-skinned individuals can “slightly lighten” their skin with fewer social and physical consequences. Through critical discourse analysis of an interview with a former Ghanaian beauty queen (Nasara) on YouTube, it became evident that she utilized specific neoliberal ideologies to discursively frame “skin bleaching.” The concurrent interpretations of skin toning speak to the spaces where gender, race, class, and social status intersect to create particular subjectivities and produce particular discourses at specific times.     

A new approach for conservation treatment of a silk textile in Islamic Art Museum, Cairo

The paper presents strategies for the conservation of historical textiles in Egypt that have been in uncontrolled storage and display. The silk textile is highly decorated, multicoloured and dates to the Ottoman period, and was exhibited in case # 12014. The textile has various types of deterioration. An examination and analysis of the textile was undertaken in order to develop a plan of conservation treatment. FTIR was used to identify the kinds of dyes and organic stains, and XR-D was used to identify mordants and dust. Light microscope and SEM were used to identify the kind of fibers, their condition and surface morphology. The effects of cleaning materials on the natural dyes were tested. The researcher designed a new metallic frame support system which has advantages over the wooden frames commonly used in Egypt. This presentation will review the conservation treatment step by step. Poultices were used to remove all the sticking cardboard and adhesive. Old conservation repairs were removed. Separated parts were supported. Cleaning included mechanical and wet cleaning. New silk fabrics dyed with natural dyes were used to complete the missing parts. The textile was supported on new linen fabric which was stretched on a metal frame. The method of exhibition will be discussed. Photographs are included to document the conservation process.     

Archaeometric and geological constraints for the provenance of carbonatic breccias used in monumental works along the Flaminia Consular Road (Umbria-Marche, Central Italy)

Along the Umbria-Marche stretch of the Flaminia Consular Road (220 B.C.) several archaeological finds of the most important monumental works, are well preserved. The stones, employed to build many bridges, substructions and sewerages, are represented by carbonatic breccias whose geological environment of formation and source areas had never been established. On the basis of mineralogical, petrographic and micropalaeontological analyses, two groups of these lithotypes employed in Roman age were distinguished: “monogenic carbonatic breccias” only constituted by clasts of the Maiolica Unit (Late Jurassic – Early Cretaceous) and “polygenic carbonatic breccias” made of fragments (in different proportions) of Calcare Massiccio (Early Jurassic), Corniola (Early Jurassic), Maiolica (Late Jurassic – Early Cretaceous) and Scaglia Rossa (Late Cretaceous – Early Paleogene) Units. The possible source areas of the breccias are compatible with stratified slope-waste to scarp-base deposits of periglacial origin belonging to the Upper Pleistocene. In particular, among the seven investigated areas, we pointed out the most probable provenances (Monte Faeto-Colle, Costacciaro, Scirca, Foci, Secchiano) along the flanks of the Apennine Mesozoic chain of the Umbria and Marche regions. Although the Romans could have exploited the whole thickness of some outcrops (now disappeared) of these carbonatic lithotypes at the deepest part of the valleys, we have constrained a local provenance of the breccias so commonly used in the monumental works of the Flaminia.     

Analysis of a varnish applied by Nicéphore Niépce to make a print used for photographic purpose transparent

Nicéphore Niépce carried out a lot of meticulous experiments that led him to the invention of photography. In particular, in the 1820s, he obtained heliographs by coating a substrate with a light-sensitive substance, which was then exposed to light under a paper print made translucent with the help of varnish. The objective of the work described here is to determine how Niépce made these paper prints transparent. Did he use his experimental knowledge on photosensitive resins, or did he apply commonly used recipes of his time to make paper transparent? To date, no studies have been carried out on the varnish used by Nicéphore Niépce and no previous research has undertaken analytical investigations on Nicéphore's prints, using Attenuated Total Reflection Fourier Transform Infrared Spectroscopy (ATR-FTIR) and Gas Chromatography/Mass Spectrometry (GC/MS). In this paper, we identify the varnishes used by Nicéphore Niépce on four transparent prints, now belonging to the Nicéphore Niépce museum in Chalon-sur-Saône, France. The varnish he used was based on a diterpenic Pinaceae sp. resin (most probably colophony). The finding is supported by historical knowledge about varnishes.     

The characterization of commercial artists’ alkyd paints

There is little information in the conservation literature with respect to artists’ alkyd paints; thus, artists and conservators are somewhat at a loss about how to use and treat alkyds. Recently, analytical methods have been developed to identify the components in these polymers (oil modified polyesters), rates of cross-linking and mechanical properties. Presented in this paper are some of the characterization results of artists’ alkyd paints using THM (thermally assisted hydrolysis and methylation) gas chromatography– mass spectrometry (THM–GC/MS) and Fourier transform infrared spectroscopy–attenuated total reflectance (FTIR–ATR). Four brands of artists’ alkyd paints containing alkyd resin have been analysed; one containing a phthalic anhydride and pentaerythritol based alkyd resin, two containing isophthalic acid and pentaerythritol based alkyd resins, and the final one containing both phthalic anhydride and isophthalic acid and pentaerythritol based resins among the colours studied.     

Ettringite and thaumasite: A chemical route for their removal from cementious artefacts

The present paper reports a new method for converting ettringite and thaumasite in non-expansible and insoluble phases, for its application in the restoration of concrete artefacts subjected to deterioration through sulphate attack. The salts were synthesized by different processes and, after characterization by means of XRD, FT-IR and optical microscopy, were treated with a series of chemicals in order to induce their decomposition. In particular, different solutions containing barium nitrate, barium hydroxide and ammonium oxalate were used to achieve the complete transformation of both phases in barite, witherite, scarbroite and whewellite. Barium hydroxide seemed to be the most appropriate reactant because the others could give rise to efflorescence within the pores of the mortars by leaving free nitrate or sulphate ions inside the materials. The experimental technique was also tested on two concrete samples collected from the bell-tower of St. Nicholas’ Cathedral in Nicosia (Sicily) with encouraging results.     

Integrity in UNESCO World Heritage Sites. A comparative study for rural landscapes

Since 2005, Outstanding Universal Value (OUV) is the standard by which United Nations Educational Scientific and Cultural Organization (UNESCO) evaluates world cultural heritage site suitability. The sites worthy of UNESCO preservation as well as the parameters used to demonstrate OUV are diverse. Our study focused on the uniquely distinguished rural landscape sites and the OUV parameter of integrity. Integrity however, is an elusive concept for which UNESCO provides no definitional protocol, and for which the scientific community objects to a static or pure historical interpretation. Given this, our work aims to analyse the concept of integrity and how it can be used to preserve the heritage of rural landscapes. After reviewing the UNESCO approach, we focused on the international scientific debate on the meaning and application of integrity. We designed and conducted a comparative study of UNESCO rural landscapes selected from the 2011 World Heritage List. Documents describing the historical, rural, and agro-ecological features of each of the fourteen rural sites were analysed. From this, several historical and ecological parameters were chosen as “values to have” and several socio-economic and management parameters were chosen as “values to maintain” to assess the integrity of each landscape. Our results found integrity to be a value of both cultural and natural landscapes and that it is key to site identity. We demonstrated that UNESCO assigns a high value to the following parameters: historical features, traditional crops and local products, land-use and agricultural practice permanence, and the presence of architecture related to agricultural activity. Finally, we found the relationship between culture and nature to characterize best the integrity of a rural landscape, rather than nature or culture alone.     

‘Partnership’ in Action: Contagious Abortion and the Governance of Livestock Disease in Britain, 1885–1921

Most histories of livestock disease in Britain treat the development of control policy as a government responsibility, to which farmers made little constructive contribution. Similarly, farmers rarely appear in accounts of disease research. This paper uses the example of contagious abortion (brucellosis) at the turn of the twentieth century to reveal that state-farming collaboration in research and policy did in fact occur, and that it operated in various ways, with often unexpected outcomes. The collaborative approach to contagious abortion is partly attributed to its clinical and epidemiological features, which made it an unsuitable candidate for the existing, state-led policy of stamping out disease. It is claimed that such collaboration has been overlooked by historians on account of their focus upon diseases that were amenable to stamping out. This focus needs to change if history is to inform present-day disease governance in Britain, which is founded on the concept of ‘partnership’ between farmers and the state.

The Supply of Arts Labour : Towards a Dynamic Approach

Earlier work on the supply of labour of artists has shown that, whenever workers derive satisfaction from the process of work, which is usually the case for artists, some traditional results are reversed. As their proponents make clear this analysis is essentially static, as it does not take into account the intertemporal dimension of the supply of labour. The paper argues that to provide such a dynamic analysis three routes are available: the human capital approach, the household production approach and the evolutionary approach. The paper, therefore, is aimed at discussing the adequacy of various theoretical approaches to the treatment of a specific question.     

Cultural entrepreneurship and the Banff Television Festival

Cultural entrepreneurship involves a conception, an initial launch, and a transition to an established event. Each stage generates wicked coordination and financial challenges. We explore this important process by examining the history of the Banff Television Festival, an annual event featuring a competition, workshops, and providing a forum for developing projects. The documentation indicates that the anticipated problems of nonprofit activities — inefficient administration, crude management systems, slow adaptation and little innovation — were not characteristic of the Banff experience. Well informed industry customers and patrons have established an environment which generally encouraged managerial competence and creativity. This benign result may not generalize to other cultural initiatives, in particular to those that serve the public directly and draw patronage from diverse sources.The paper was presented at the 9th international conference of the Association for Cultural Economics, held in Boston, May 8–11, 1996.     

How are we now? Real-time mood-monitoring as valuation

In a digital society, we are frequently invited to communicate our present affective state via interfaces. These include smart-phone apps which allow users to track their mood in ‘real-time’, plus touchpads in organisations and public spaces which seek rapid feedback on whether an experience is positive or negative. In contrast to the use of surveys as tools of valuation, these technologies seek to capture experience in ‘real-time’, which can then be viewed and evaluated critically at a later time. Based on study of a number of mood-monitoring technologies, this paper highlights some of the ways in which they challenge conventional accounts of (e)valuation. In particular, rather than inviting individuals to represent their feelings towards the past numerically, they invite them to make uncritical expressions of positive or negative mood in the present. The central question of value is no longer how much is something valued, but whether or not it is valued. Quantitative and calculated analysis of positive and negative emotions occurs subsequently.     

Pigments and binders in “Madonna col Bambino e S. Giovannino” by Botticelli investigated by micro-Raman and GC/MS

During the restoration plan of the famous painting “Madonna col Bambino e S. Giovannino” by Sandro Botticelli, located in the Museo Civico of Piacenza (Italy), a study on painting materials was carried out. The pigments, the binders and the materials used for the application of ground and priming layers were studied using micro-Raman spectroscopy, gas chromatography coupled with mass spectrometry (GC/MS), optical and electronic microscopies. Gypsum and anhydrite were found in the ground layer, while carbon black and lead white were used in the priming layers. The precious pigments of the artist's palette and the binders used (egg and animal glue) were determined.