1. The visitors should appear only in special areas. They are usually kept out from storage rooms, treatment rooms etc. Exposition and reading rooms are something different, but the most valuable objects could be provided with individual cases with climate control. On the other hand - use of copies, replicas etc. is a good idea for "mass events" when the clue is not the objects from the collections.

2. In normal library use the reading rooms provide rather stable conditions of temperature, RH and microbial presence. The reading rooms for special collections are usually less occupied. Should there be a significant difference in T&RH between storage and reading rooms, transition rooms for conditioning and stabilization of objects should be provided.

3. IV international scientific conference Lodz 2006, Poland. Microbial Biodegradation and Biodeterioration of Technical Materials:
Leskiewicz-Laudy A., Kotarska M.: Microbiological Investigation of Indoor air in Wilanow Museum-Palace as a crutial point of the preventive conservation strategies 

Generally (as a conservator) I think conservators should decide and accept almost everything in the project. The general guidelines are in the ISO11799:2003. Co-operation with climate specialists and environment engineers is essential. Think about this: If there is a disaster like fire extinguished with water or flood, the rescue action will be probably co-ordinated by conservator, so the building and rooms should offer easy access to collections and provide good work place for conservators. Other thing is the economy: see the National Library of Slovakia in Martin and imagine costs of keeping clean the  wall of main storage building with concrete elements on it.

https://www.kis3g.sk/building_snk/grsnk/budovy/DSC00552.JPG
https://www.kis3g.sk/building_snk/grsnk/budovy/DSC00517.JPG

:D 
 ana is my name ...from bucharest - romania. student in conservation - mural paintings ...at the national university of art.
i really like the magazine, mostly i love the pictures, the covers ...great job
it's nice to meet you all...it's great to see people who love their heritage, and heritage in general...it's great to meet future friends:D 

oh, and the spelling "thing" ..underlining the wrong words it's also great 

There may be no current simple solution to this problem due to the nature of the surface created in the corrosion process - subject to natural on-going changes creating a complex open, porous, and friable surface. Some various research projects are once again trying to address aspects of inherent vulnerability. I suggest that you try contacting Frank Preusser in the Conservation Science section of the Conservation Department at LACMA (Los Angeles County Museum of Art).

Nuclear decay of natural radioactive substances can occur via alpha, beta or gamma processes.  In the gamma process, a photon of some particular energy or wavelength is emitted.  Depending on the substance, there will be a particular distribution of energies because of allowed nuclear transition states (selection rules).  Gamma spectroscopy reveals the presence and amount of radionuclides this way.  You probably need some reference sources to make a statement about the sample you wish to examine.  But examination of dust is problematic because of ease of contamination.  What kind of dust is this?

Dear Rui and Daniel,

Thank you very much for your advice.
Indeed i took the interview, that was for the National Trust... it seemed to go well, untill this other person came who had practical experience at the houses of the Trust- i lacked on this. So it did not work. Nevertheless more interviews are coming, so ypu advices are very appriciated.

Thank you Again,
Aristotelis

Hello Aristotelis,

Did you already take the interview?
In addition to the sorts of questions Rui suggests and a portfolio, I think it is likely that you will be asked a series of hypothetical questions on a selection of objects... such as "what is wrong with the condition of this object" and "what treatment would you do to this..." and "why".... or "would you do....x, y, z" and "why/why not" Those sort of questions. They're not usually "trick questions" but tests to see how you think and how you are able to discuss your process with those interviewing you. The idea being these will not be treatment answers you will have been able to 'rehearse' as you would a portfolio.

I hope this isn't too late, either way, good luck,

Cheers, Dan

Hello Aristotelis!

Congratulations for the opportunity! Will the interview be made by telephone or in person? I remember that for my PhD interview, which also took place in the UK, I was asked in detail about my professional background, about the type of conservation course I undertook, why did I choose this specialisation, what exactly I was aiming to accomplish and my future plans. However, as a PhD interview, they only had to screen me and not select me from other potential candidates. I guess that to apply you had to prepare a portfolio with your work. If so, it is almost certain that they will go over it and ask details about each intervention and the options and decisions you took in each one of them. You should be able to defend and fully justify your decisions. You should be open to others opinions and to reassess your decisions. It is almost certain that you will work within an established team so good interpersonal skills are a must. Either by telephone or in person, you should have a good level of spoken English so I advise you to practice whenever and as much as you can.

Good luck!!!

Hello friends and collegues,

I prepaire to take an interview for object conservator in England. I have no clue though as to how to prepare for such a thing.

Can i ask from your experience what sort of questions should i expect?
How else can i be prepaired?

Your advice will be valuable,

Aristotelis

Abstract/Proposal Writing Workshop
Date and Time:   Wednesday 26 August 2009 12:00-1:00 PM EDT

•   If you’re eager to present a paper at an upcoming meeting but aren’t sure how to condense your ideas into a 250-500 word proposal. . .
•   If you’re familiar with bibliographic abstracts but aren’t sure how to convert that style into a dynamic and compelling response to a call for presentations . . .
•   If you want to use the abstract-writing process as a way to clarify your thoughts for future writing goals. . .

. . . this is a workshop for you.

In this 60-minute online meeting you will learn:

•   The four different goals for writing an abstract.
•   What you need—and don’t need—to include in a paper or presentation proposal.
•   How to write an abstract/proposal for a paper you haven’t yet written.
•   How to make your proposal engaging without sacrificing your authority.
•   Three simple tricks to match your abstract to a call for papers.

Writing a good abstract or proposal is a skill you can learn.

The workshop will be a text-based presentation and discussion in a “Group Meeting” or IM format.

Cost:        Workshop only: US $25.00                          Workshop + review* of one draft abstract/proposal: $35.00
       
American Institute for Conservation (AIC) Member Special: -- Workshop: $20. Workshop + review* of one draft proposal or abstract: $32.00--a 20% discount.

Click here for registration form. http://www.scribd.com/doc/18667070/Registration-ABSW09

To use a credit card or PayPal to register, see http://bit.ly/YuDPP

*We will review one draft abstract/proposal of up to 500 words, and provide basic editorial suggestions. Projected turn-around time is 36 hours. This offer is valid until 25 September 2009.

**Participants should note that the submission deadline for the AIC Annual Meeting is 1 September 2009 for all General and Specialty Group sessions. Please plan accordingly.


Sarah Lowengard
Research and Writing
researchandwriting.nyc@gmail.com