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            "abstractNote": "It is now common ground that Science (exact and natural sciences) is an important and indispensable support for Conservation. For example, any higher education degree of Conservation contains in its curriculum several courses on Chemistry, Physics, Materials and Biology, which help to understand the materiality of the works to be conserved, and Methods of Examination and Analysis that are fundamental for identification and characterisation of the materials that constitute the works of art. The importance that Science has for Conservation is also observed in many publications authored or co-authored by conservator-restorers where the knowledge of the exact and natural sciences is increasingly used and relied upon, as seen on several manuals [1-4]. However, as testified by any manual on methods of examination and analysis relevant for Conservation or dedicated to conservator-restorers, this relation between Science and Conservation has been developed within the wider context of the application of analytical methods to the resolution of problems in Archaeology, History and Art History and many of these studies have only indirect interest for Conservation (Table I). On this wider context, there are other research areas beyond Conservation Science such as Archaeological Chemistry, Archaeometry and Technical Art History, to cite some disciplines that have become important in the last years or decades. Obviously, all information about the object may be useful and important for its intervention since it is “impossible to treat what is not known” [5] but it should be borne in mind that there is not always a direct relationship between Science and Conservation.",
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            "abstractNote": "A conservation scientist explains how borrowing gadgets from Mars rovers helps preserve culture on Earth. Art conservation protects our cultural heritage by preventing loss. During the past 50 years, conservators have respected the material integrity of objects, adopting an approach of minimum intervention. Removing even small samples from works of art for scientific analysis is acceptable only when no other technique can provide the necessary information. Until recently, few analytical choices were available that did not necessitate sampling, but the development of non-invasive, portable instruments has greatly changed the art conservation landscape. Conservation scientists apply analytical procedures to important works of art and architecture to establish what an object is made of and how it was made (technical art history), as well as when and where it was created (dating and provenance). Research also reveals how materials change over time, and suggests ways to slow their deterioration. This information helps art historians, archaeologists and conservators to better understand the objects they are studying and preserving. Much is to be gained from bringing the analytical instrument from the laboratory to the work of art, rather than the reverse. It is inherently risky to move art objects: insurance companies charge high fees to cover damage during transportation, often prohibiting the movement of an object for study, and some items are simply not transportable. Portable instruments permit on-the-spot brainstorming among conservators, museum curators, art historians, site managers and others, allowing good solutions to be reached and such partnerships to be strengthened. Many items of analytical equipment are now produced in miniaturized portable versions. One example is an X-ray fluorescence spectrometer, used to determine the elemental composition of a material. X-ray fluorescence has limitations because it cannot tell you the absolute quantities of each element, does not distinguish between various layers beneath the surface or show how the elements are combined to form molecules and crystals. But in its non-invasive and portable form, the technique is revolutionizing the conservation field. Conservation science is too small a market to attract the analytical-instrument industry. Conservation scientists often rely on tools that have been developed for other fields, such as the medical, oil and automobile industries or homeland security, adapting the technologies to the needs of the art world. Recently, they have even looked to the instruments of space programmes and planetary exploration. For example, NASA has developed an innovative X-ray diffraction and fluorescence instrument that will be deployed on Mars in 2010 as part of the Mars Science Laboratory rover. This technology was redeveloped for applications on Earth by the California- based company inXitu, and the firm's chief technology officer Philippe Sarrazin has collaborated with the Getty Conservation Institute, a programme of the J. Paul Getty Trust in Los Angeles, to build an adapted portable instrument for art analysis. The instrument was redesigned to reflect X- rays off a surface — thus avoiding the need for sample collection — rather than using transmission mode, which would require the X-ray detector to be placed beneath the object surface. On location, the instrument is adjusted in front of the artwork using precise laser alignment guides and a high-resolution camera. A fine X-ray beam is directed at the surface and the radiation scattered back is collected by an energy-dispersive detector that allows the diffraction and fluorescence signatures to be measured simultaneously in minutes. The combined diffraction and fluorescence data can differentiate not only between some common salts but also between hydration states, which may pinpoint the causes of deterioration and lead to the design of a suitable conservation strategy for an art object. The new instrument will be extensively used to analyse the collection of antiquities, outdoor sculptures and manuscripts at the Getty Museum in Los Angeles. Later this year in the Roman ruins of Herculaneum, Italy, it will help examine excavated murals for pigments, salts and deterioration products. Other non-invasive portable instruments (such as Raman spectrometers and multi-spectral analysers) have been used to identify pigments and reveal inscriptions on the shroud of the Fayum mummy Herakleides, held at the Getty Museum. The additional shroud inscription 'son of Thermoutarion' was revealed only when light of a specific wavelength was used. Of course, all portable instruments come with limitations. Miniaturization and portability may compromise accuracy and sensitivity. The user-friendly nature of portable instruments may convince non-experts to try to operate them, perhaps leading to incorrect analyses. Certain studies (such as stratigraphic analysis) necessitate cross-sections and therefore still require samples to be taken. Nevertheless, the use of such instruments will solve many key problems, such as analysing precious manuscripts without taking samples, or heavy statues, marble works and outdoor murals that cannot be moved. To implement this technology skilfully, I foresee an increasing need for a new role in art conservation — the 'scientist–conservator'. Combining knowledge of artists' methods, the science of conservation and the technical instruments, these hybrid professionals will be able to ask the right questions to conserve our future.",
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            "note": "<p> From Duplicate 1 ( Protecting our cultural heritage - Update, Technology; Guide, Buyer; Calendar, Meeting ) From Duplicate 1 ( Protecting our cultural heritage - Update, Technology; Guide, Buyer; Calendar, Meeting ) From Duplicate 1 ( Protecting our cultural heritage - Update, Technology; Guide, Buyer; Calendar, Meeting ) From Duplicate 2 ( Protecting our cultural heritage - Update, Technology; Guide, Buyer; Calendar, Meeting ) From Duplicate 2 ( Protecting our cultural heritage - Update, Technology; Guide, Buyer; Calendar, Meeting ) From Duplicate 1 ( Protecting our cultural heritage - Update, Technology; Guide, Buyer; Calendar, Meeting ) From Duplicate 1 ( Protecting our cultural heritage - Update, Technology; Guide, Buyer; Calendar, Meeting ) From Duplicate 2 ( Protecting our cultural heritage - Update, Technology; Guide, Buyer; Calendar, Meeting ) From Duplicate 3 ( Protecting our cultural heritage - Mitchell, Ralph ) </p>",
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            "note": "<p> From Duplicate 1 ( Science and Heritage Report with Evidence - Mitchell, Lord; Paul, Lord; Winston, Lord ) From Duplicate 1 ( Science and Heritage Report with Evidence - Mitchell, Lord; Paul, Lord; Winston, Lord ) From Duplicate 2 ( Science and Heritage Report with Evidence - Mitchell, Lord; Paul, Lord; Winston, Lord ) From Duplicate 1 ( Science and Heritage Report with Evidence - Mitchell, Lord; Paul, Lord; Winston, Lord ) From Duplicate 1 ( Science and Heritage Report with Evidence - Mitchell, Lord; Paul, Lord; Winston, Lord ) From Duplicate 1 ( Science and Heritage Report with Evidence - Mitchell, Lord; Paul, Lord; Winston, Lord ) From Duplicate 2 ( Science and Heritage Report with Evidence - Mitchell, Lord; Paul, Lord; Winston, Lord ) From Duplicate 2 ( Science and Heritage Report with Evidence - Mitchell, Lord; Paul, Lord; Winston, Lord ) From Duplicate 2 ( Science and Heritage Report with Evidence - Mitchell, Lord; Paul, Lord; Winston, Lord ) From Duplicate 1 ( Science and Heritage Report with Evidence - Mitchell, Lord; Paul, Lord; Winston, Lord ) From Duplicate 1 ( Science and Heritage Report with Evidence - Mitchell, Lord; Paul, Lord; Winston, Lord ) From Duplicate 1 ( Science and Heritage Report with Evidence - Mitchell, Lord; Paul, Lord; Winston, Lord ) From Duplicate 2 ( Science and Heritage Report with Evidence - Mitchell, Lord; Paul, Lord; Winston, Lord ) From Duplicate 2 ( Science and Heritage Report with Evidence - Mitchell, Lord; Paul, Lord; Winston, Lord ) </p>",
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            "abstractNote": "By Giorgio Torraca A scientist in conservation may get involved in preserving material of historic or artistic value in various branches of the profession and at various levels—working directly with the material itself to doing basic research. A scientist can work in analysis for archaeometry (how was an object made? when? where? was it modified later?) or for conservation (is it deteriorating? why? how fast?). He can work in technology for the restoration of anything from small artifacts to large monuments (e.g., cleaning and consolidation processes, immediate and long-range effects) or in technology for protection (e.g., modification of the environment, protective layers, maintenance procedures). In the past, the choice of the scientist was mainly dictated by chance—a friend asking, \"Would you take a look at our problem?\" Then he might remain trapped for quite a long time in a maze of fascinating riddles. Today, however, a scientist usually enters the game by personal choice, during training, and aims to work in a particular branch. Conservation science is now an established profession, even if its core is not yet well established and its borders fuzzy. Other people involved in the conservation trade—conservators, historians, architects, engineers, amateurs, administrators, politicians, and journalists—seldom realize how specialized science for conservation is, or should be. They frequently consider the conservation scientist to be a jack-of-all-trades to whom they turn for the solution of any awkward problem they feel unable to solve (that means, of course, that the problem must be a most untreatable one, because people in conservation usually feel competent to solve anything). Unfortunately, most scientists, this writer included, are unable to say no—because the postulant is desperate, or there is an exhibition tomorrow, or the object is exposed to a most unfriendly environment and on the point of collapsing. Scientists feel obliged to answer the call, even if the material and the action required are out of their domain of competence. They normally pick up the gauntlet and take a gamble. It may pay off, but sometimes damage is done. Is Conservation Science Really \"Science\"? The fact that conservation scientists occasionally venture out of their field of competence and take risks that can potentially damage precious materials is not the only problem that affects conservation science as a whole. Unfortunately, scientists involved in conservation are gamblers even in their field of competence, because most of the time they offer interpretations and solutions despite insufficient knowledge. Consider an analyst studying a piece of an ancient monument. In the majority of cases, he lacks the information required for a reliable interpretation of the results. One reason for this is that the object probably has been modified or treated several times, and typically the scientist has incomplete information on its history. Many samples should be taken and compared to separate materials belonging to different phases, but frequently this is not possible, either because of cost constraints or because damage would be inflicted by sampling. The 1981 testing in the ICCROM laboratory of a grouting mixture, made of hydraulic lime combined with various admixtures, intended for consolidating surfaces of artistic or architectural importance. The grout is injected into a column of sand to test its injectability. Testing also includes an analysis of soluble salts, and the measurement of the flow of the injected grout and of the porosity of the hardened material after injection. Photo: J. Malliet. Furthermore, several analyses should be made on each sample in order to extract maximum information and to cross-reference the results. This makes the data more reliable, as ancient artistic or architectural materials are normally very complex mixtures that offer no clear-cut result in any single method of analysis. Unfortunately, the application of multiple analyses to the same sample is normally not possible, either because of cost or because of the dimension of the sample. In such conditions, interpretation will be based on insufficient data and be strongly influenced by the analyst's preconceived notion of what the result should be. Nonscientists often don't realize that in routine analysis, the scientist finds only what he seeks—i.e., what the scientist thinks is in the sample. The chance of unforeseen findings increases when the results of different analyses are compared. This explains, for instance, why calcium oxalates, found by Justus von Liebig on the Parthenon marbles in the 19th century, were not detected again on the surface of ancient stones for a long time, while today—after they were identified again in the 1960s by an intensive use of X ray diffraction—they seem to be almost ubiquitous. These photographs document the creation of a new conservation technique, illustrating how conservation science operates on the border of different domains—in this case, chemistry, mechanics, and the empirical knowledge of conservators. Testing the grout on a larger scale in 1982, at the Construction Science Laboratory of the University of Rome. Photo: Giorgio Torraca. Further testing at the University of Rome in 1982. An experimental wall, partially crushed under a press, is consolidated by grout injection. Photo: Giorgio Torraca. When the analyst writes a report interpreting data in terms of the history of the object or its state of conservation, he gambles, relying on general experience to extrapolate from the data a presentable hypothesis (which is necessary if the analysis is to be of any use to those paying for it). Another reason for gambling is that the analyst thinks it unlikely that anyone will read the report in detail; to further reduce that possibility, he uses the most abstruse technical jargon in writing it. The scientist dealing with conservation processes must also gamble. The data at the scientist's disposal for evaluating the cause and rate of deterioration of an object requiring treatment are normally insufficient. The same applies to the evaluation of the future service life of the materials that may be used to consolidate the object under treatment and delay its decay. Conservation today is a production line—the more so in architectural conservation. It no longer proceeds at the leisurely pace of the still-recent past, when conservation was such a quiet and pleasant profession. Problems must be solved within deadlines that do not allow sufficient time for experimentation and analysis. As a consequence, when a scientist proposes a conservation treatment and guarantees its reliability and durability, he is either consciously bluffing—in the best cases—or suffering from delusions because of lack of experience. Actually, all branches of science and technology involve some gambling in the creation of hypotheses or models that are not logically deducible from the available experience. However, science proceeds by experimenting in such a way that a hypothesis may be refuted or supported by the data thus obtained. \"Progress\" in science is achieved by modifying the models, according to the results of experiments, in order to bring them closer to reality; gambling becomes less important as science becomes more mature. In conservation science, however, the importance of gambling (explaining things by unsupported hypotheses) is much greater than in most domains of science. This may mean that conservation science remains in an early state of development, in which imagination still prevails over hard facts. But there are also reasons to suspect that conservation science may not—or may not yet—be a \"science,\" as defined by contemporary thinkers, even if it employs scientific equipment and scientific language. The main reason supporting such a statement is that it is difficult to falsify or support a hypothesis (or model) in conservation. If \"scientific\" research is directed toward understanding the history of an object, it is difficult to prove or disprove any hypothesis about an object's past on the basis of the \"scientific\" data alone. Help may come from other disciplines. There may, for instance, be the discovery of that rare document whose interpretation is univocal. But in the typically uncertain domain of history, positive proof is the exception rather than the rule. If we are dealing with conservation treatment technology instead, any hypothesis that is advanced can lead to the practical consequence of conservation treatment, and the result—for example, the object's decay rate after conservation—might be measured. In such a case, a model could be supported or disproved. However, it takes a great deal of time—probably decades or even centuries—to confirm that long-term conservation has been achieved. While falsification or support for a hypothesis is possible in principle, it can only occur after a lengthy period. Scientific progress is therefore bound to be very slow. Between Two Cultures Conservation scientists might be quite annoyed to be told that their discipline should not be considered \"real\" science. Still, the idea that its nature is to straddle the frontier between two different cultures has positive elements in it. In the first place, this middle position helps explain some facts about science applied to conservation that keep disturbing us. These facts would be viewed more leniently if they were considered to be normal consequences of conservation science's borderline status. An example of such disturbances is the frequent occurrence, in conservation, of inaccurate analyses and unreliable testing of materials. I remember that many years ago Tom Chase of the Smithsonian Institution led the ICOM committee for metals in an experiment of interlaboratory analysis using a homogeneous sample that he had made by grinding an ancient piece of bronze into a fine powder. The scattering of results he obtained from museum laborat",
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                    "firstName": "Scott",
                    "lastName": "Barry"
                },
                {
                    "creatorType": "author",
                    "firstName": "Alex E",
                    "lastName": "Cable"
                },
                {
                    "creatorType": "author",
                    "firstName": "Robert",
                    "lastName": "Huber"
                },
                {
                    "creatorType": "author",
                    "firstName": "James G",
                    "lastName": "Fujimoto"
                }
            ],
            "abstractNote": "Gold punchwork and underdrawing in Renaissance panel paintings are analyzed using both three-dimensional swept source Fourier domain optical coherence tomography (3D-OCT) and high resolution digital photography. 3D-OCT can generate en face images with micrometer-scale resolutions at arbitrary sectioning depths, rejecting out-of-plane light by coherence gating. Therefore 3D-OCT is well suited for analyzing artwork where a surface layer obscures details of interest. 3D-OCT also enables cross-sectional imaging and quantitative measurement of 3D features such as punch depth, which is beneficial for analyzing the tools and techniques used to create works of art. High volumetric imaging speeds are enabled by the use of a Fourier domain mode locked (FDML) laser as the 3D-OCT light source. High resolution infrared (IR) digital photography is shown to be particularly useful for the analysis of underdrawing, where the materials used for the underdrawing and paint layers have significantly different IR absrption properties. In general, 3D-OCT provides a more flexible and comprehensive analysis of artwork than high resolution photography, but also requires more complex instrumentation and data analysis.",
            "publicationTitle": "Optics Express",
            "publisher": "",
            "place": "",
            "date": "2007",
            "volume": "15",
            "issue": "24",
            "section": "",
            "partNumber": "",
            "partTitle": "",
            "pages": "15972–15986",
            "series": "",
            "seriesTitle": "",
            "seriesText": "",
            "journalAbbreviation": "",
            "DOI": "",
            "citationKey": "",
            "url": "http://www.ncbi.nlm.nih.gov/pubmed/19550884",
            "accessDate": "",
            "PMID": "",
            "PMCID": "",
            "ISSN": "",
            "archive": "",
            "archiveLocation": "",
            "shortTitle": "",
            "language": "",
            "libraryCatalog": "",
            "callNumber": "",
            "rights": "",
            "extra": "",
            "tags": [],
            "collections": [],
            "relations": {},
            "dateAdded": "2013-07-02T22:37:19Z",
            "dateModified": "2013-07-02T22:37:19Z"
        }
    }
]