Blog

We will be blogging most sessions of the Turin Congress on this page - adding content from Tuesday 11 September onwards.

Current Blogs

With espresso coursing through the delegate’s veins from our extra-long coffee break to converse with the poster authors, it was time to hear Oscar Chiantore discuss the risk and prevention of VOCs within showcases and moving towards a more scientific approach of sampling and analysis through mass spectrometry to identify VOCs within the showcases.
As everyone knows, any contribution from these well-established experts can never be boring. With as much science as fun, there was a good mixture of diagrams and hand-made illustrations by the authors. I found Poul’s discussion of various durability rates quite interesting, involving cultural heritage objects, materials, host institutions, buildings, and air conditioning. All this was put into perspective, giving us an overview of where more efforts should be put and how we might structure these discussions in our own institutions.
Check out the Studies in Conservation 2018 resource page on the Taylor & Francis website. bddy.me/2CCp78y Here you can find free articles, open access articles, and supplemental material. These Studies in Conservation supplements, sponsored by the International Institute for Conservation of Historic and Artistic Works, will be of special interest to those attending inArt2018, ChemCH 2018, and related conferences.
As a sector, we produce a lot of documentation; echoing the sentiments from yesterday’s session on vibration, Helen Lindsay aptly pointed out if we record information, there needs to be an action plan. If we are going to continue to create large quantities of data, what are we going to do with it? 
Agnes Brokerhof opened the session discussing an experiment conducted by the Cultural Heritage Agency of the Netherlands and the University of Amsterdam, the results of which suggest that when people do not see the loss of colour though fading, there is a preference to spread the fading over the collection. Yet, when the colour difference is noticeable and there is a preference for sacrificing one artefact in order to save the collection. There is a tipping point when the fading becomes noticeable and perceived as bad.

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