Th. & O. Hofmeister and H. W. Muller

Abstract

The Photographic Collection of the Arts and Crafts Museum in Hamburg was initiated by Wilhelm Weimar at the turn of the century. He started by collecting daguerreotypes. ¹ This probably was the first time that photography became the subject of scientific research and part of a museum collection.²     

Killing for museums: European bison as a museum exhibit

The European bison is one of the last remnants of the megafauna that once roamed through Europe. By the early modern period, it had already disappeared from most of its former range and had become a coveted natural curiosity as well as been designated as royal game. In the 18th century, the last population of lowland European bison surviving in the Bia?owie?a Forest became an object of study for naturalists. When the forest became a part of the Russian Empire during the 19th and early 20th centuries, it was the Russian Imperial family's attention to the species that ensured its survival. In the same period, the European bison was of the utmost importance to the scientific community—as a research subject (on the taxonomic position of the species, its relation to extinct Bovidae, etc.) and as a museum exhibit (to attract audiences interested in seeing the largest European mammal). Obtaining such a specimen demanded the scientific community's adept maneuvering through diplomatic and bureaucratic channels and depended on the Russian monarch's goodwill. The tsar's permission was only a start, as naturalists themselves had to organize hunts, process the pelt and bones, and deliver them to museums. Despite the considerable organizational and logistical difficulties, by the late 19th and early 20th centuries, many museums were displaying the European bison, which succeeded in making the species well known to the wider public. In 1919, the last wild Bia?owie?a bison was killed, but the popularity of this species helped the reintroduction of the animal a decade later. Today, the historical specimens are a source of samples for both genetic and molecular research.     

The rise and fall of the Belgian Forestry Museum and Geographic Arboretum (1900–1980): A political origin and a winning opportunity for science?

This paper recounts the genesis and further developments of two devices that were created in Brussels and nearby around 1900: the Forestry Museum and the Geographic Arboretum in Tervuren. Both the Museum and the Arboretum were designed to serve botanical science, national industry, and agriculture, but also became instrumental in carrying philosophical and political messages and even in achieving down‐to‐earth political aims. The Museum, imposed upon the State Botanic Garden by a Catholic ministry, carried out messages for social pacification, while also taking to the battlefield in the fight between what were then called pure science and applied science. For its part, the Geographic Arboretum had long broken its ties with the State Botanic Garden and even with its own scientific claims by the time the Forestry Museum disappeared in the early 1980s. However, the Forestry Museum had increasingly lost its vocation as a research tool, eventually and solely becoming a tool of communication toward an ever‐widening public, following Belgian society's expanding democratization in the late 19th Century. The lives and fortunes of both devices reveal most of the tensions that rhythmed the history of museums and the political history of a European country.     

„Künstliche Tiere etc.”

During the 19th and early 20th century zoological gardens ranged among the most prominent places of popular natural history. While aristocratic owners of earlier menageries installed animal collections mostly to symbolize their power over nature as well as to display their extensive diplomatic relations, the zoological gardens founded from the 1830s onwards all over Europe by members of the local bourgeois elites were supposed to mediate their social and political values by “enjoyably educating” a broader public. The new zoos were introduced as places at the antipodes of the frenzy, noise and motion of modern urban life, as spaces of pure, authentic nature whose observation would teach people a reasonable and responsible way of life in a civilised bourgeois community. Taking the Berlin Zoo as an example this paper questions these programmatic imaginations by showing how popular Naturkunde (natural history) was informed by cultures of urban entertainment and spectacle. It discusses the numerous relations and productive tensions that evolved out of the establishment of a “realm of nature” in the middle of the ever growing modern metropolis and investigates the consequences the zoo’s rise as “the city’s most important attraction” around the turn of the century had for the public perception of natural history as well as for the institution’s scientific program.

“Artificial Animals etc.” Popular Natural History and Bourgeois Curiosity around 1900     

Development of combined methods of high-intensity surface treatment. II. Electric and electronic treatment

We investigated electrical and electronic methods of combined treatment of surfaces. Basic principles are formulated making it possible to control thermomechanical and electromagnetic effects, as well as concentrated energy fluxes when forming the properties of the surface layer of a workpiece. Polotsk State University, Novopolotsk; Belarusian Agrarian Technical University, Minsk; Institute of Reliability and Longevity of Machines, Academy of Sciences of Belarus, Minsk; St. Petersburg State Technical University, Russia. Translated from Inzhenerno-Fizicheskii Zhurnal, Vol. 69, No. 1, pp. 43–54, January–February, 1996.     

Taking Internal Advantage of External Events - Two Astronomical Examples From Nineteenth Century Portugal

Abstract.   A country's development is bound to be influenced by external occurrences. This article analyses two astronomical examples in which Portuguese nationals used high visibility events in the international scientific community to press their own scientific interests upon the government, whether these interests were, or were not, directly linked to the events themselves.
During the 1840s and 1850s the parallax, i.e. the distance, of Groombridge's star 1830 was hotly debated. The astronomer Hervé Faye's suggestion at the Académie des Sciences de Paris that observations be made in Lisbon due to its privileged location and the inadequacy of the Lisbon Navy Observatory to perform them rekindled the efforts to improve the Portuguese Navy observatory.
In the 1850s and 1860s other Portuguese higher education institutions also wanted to upgrade their facilities or build new ones. Following accepted traditions, scientific field trips were considered a useful part of the acquisition planning for larger instruments, and therefore an important part of regeneration and renewal projects. The Portuguese scientists were, however, limited in their travels by government imposed budget constraints. The total solar eclipse of 18 July 1860 provided an extra argument to send Portuguese scientists abroad. The government support of the eclipse expedition led to an opportunity to travel through other countries and view their observatories and equipment.
In the end, neither the Navy astronomers nor those from the Coimbra Astronomical observatory, the other significant site of Portuguese astronomical research, managed to fulfil their objectives, but the contacts initiated by some of the Portuguese travellers were important for the development of the Portuguese national Meteorological and Magnetic Observatories.     

Bennet Woodcroft – Patent information pioneer

Bennet Woodcroft was the first technical expert in the 19th century GB Patent Office and was also an engineer, patentee, patent agent, university professor, librarian, museum collector and historian of technology. 150 years ago in 1862 he secured 2 early steam engines, the Rocket and Puffing Billy, for what is now the Science Museum in London, UK. The same year were published the patent abridgement volumes that bear his name, a first in the use of patents as a source of technical information. On this anniversary it seems appropriate to reconsider the life of this remarkable man.     

The problems and state of measurements

  On April 21–25, 2008, the Bauman Moscow State Technical University hosted the 10th All-Russia Conference on “Problems and State of Measurements,” which was dedicated to the 140th anniversary of the Faculty of Machine Industry Technologies. It was attended by representatives of colleges: Lomonosov Moscow State University, Zhukovskii VVIA, MAI and Stankin Moscow State Technical Universities, Goryachkin MGAU, Ural (Ekaterinburg), Orel, Perm, Tula, and Penza State Universities, the Russian Academy for the State Service under the Russian Federation President, the Maimond Classical Academy, the Novomoskowsk Institute of the Mendeleev Russian Chemical Engineering University, Kharkov Electronics National University; and also research institutes in the RAS system: the Keldysh Institute of Applied Mechanics, the Lebedev Physics Institute of the Academy of Sciences, the Trapeznikov Institute of Control Problems, the Institute of Psychology, IMASh and the Blagonravov Nizhnii Novgorod branch of IMASh, and IPMASh (St. Petersburg); the Malaya Therapy Institute (Ukraine) and sectoral institutes: the Astrofizika Scientific and Production Association, Snegirev NITI, VNIIMS, NIIizmereniya, Moscow Institute of Expert Evaluation and Testing, LITMAShDETAL’, and the Omskenergoremont OAO PRP. In this number of the journal and the next one, we present a selection of articles from the conference. We also publish a survey article by the chairman of the organizing committee of the conference, Professor M. I. Kiselev. Translated from Izmeritel’naya Tekhnika, No. 10, pp. 3–5, October, 2008.     

High-pressure apparatuses in production of synthetic diamonds (Review)

Brief information is given about the development of high-pressure apparatuses starting in the thirties of the last century. The devices developed by the members of the Bakul Institute for Superhard Materials, National Academy of Sciences of Ukraine, in the second half of the 20th century are discussed in more detail.     

Application of the particle-in-cell method to calculate the parameters of molecular beams from gasdynamic sources

The particle-in-cell method is used to calculate the flow fields of gases formed by supersonic nozzles of different shapes under flow conditions typical of gasdynamic sources of molecular beams. The proposed calculation scheme is tested by comparing the calculated flow fields from an acoustic nozzle with the semiempirical calculations made by Ashkenas and Sherman. For a nozzle with a conical supersonic section the calculations are compared with the results of time-of-flight measurements made using the molecular beam generator at the St. Petersburg Institute of Nuclear Physics of the Russian Academy of Sciences. Prospects for the further use of these calculation methods to develop and optimize gasdynamic sources of molecular beams are discussed. Pis’ma Zh. Tekh. Fiz. 24, 66–72 (August 26, 1998)     

湖北省博物馆IP开发的问题和策略

目的 对湖北省博物馆IP开发的现有问题进行总结,并根据现有问题提出相应的开发策略。方法 通过文献法查阅资料,了解IP的学术概念、博物馆IP的基本特征、行业内的优秀经验以及博物馆IP的学术研究现状,利用实地考察法和深度访谈法对湖北省博物馆的IP开发现状进行调研,全方位了解湖北省博物馆进行IP开发的基本条件和计划,最后综合湖北省博物馆IP开发的问题,参照博物馆相关工作人员的意见,提出湖北省博物馆IP开发的具体策略。结论 博物馆IP开发可以采用“三步走”的策略：对外联合、对内计划和精准开发。对湖北省博物馆内可能拥有的IP类型的梳理,选择合适的IP进行开发。在了解可用于深度开发的IP后,根据IP开发中产品扩展、项目协同和众创3种模式,结合实际需要选择对应的模式,并在IP开发之前确立其成果的权利归属。     

萌系审美视阈下民俗博物馆数字文创设计研究

目的 针对数字化时代人们对民俗博物馆的数字文创设计新需求,以及目前民俗文化的传播问题,研究民俗博物馆数字文创的设计新融合与新思路。方法 分析萌系审美对民俗博物馆数字文创的意义和影响,借助文化的层次划分总结萌系审美在物质层、行为层和精神层的特征,基于皮尔斯的符号三元关系,深入探讨萌系审美、民俗文化与数字文创设计元素之间的联系以及设计方法,以佛山市祖庙博物馆为案例进行数字文创开发,并对设计结果进行效果验证。结果 根据验证数据,萌系审美的民俗博物馆数字文创设计模型指导下的佛山市祖庙博物馆数字文创能使用户获得较好的文化体验。结论 萌系审美的民俗博物馆数字文创设计模型能设计出被人们所接受和喜爱的数字文创,为民俗博物馆的数字文创设计提供了参考,能更好地传播民俗文化。     

The examination, analysis and conservation of a bronze Egyptian Horus statuette

The production techniques, corrosive deterioration, conservation and questions regarding authenticity of a small Egyptian bronze statuette of the Child Horus (in the collection of the Ditsong: National Museum of Cultural History in Pretoria) was scientifically examined and analysed. The statuette dates to Egypt's 12th Dynasty. When the statuette was damaged, it was considered the appropriate time to obtain valuable information about its history and background through scientific research. Neutron tomography (NT), a relatively new non-destructive technique (NDT) to the South African R&D community to study museum objects, was applied to perform this research. The results from NT were supported by additional tests done through XRF and XRD analyses of samples taken from the damaged statuette. Results revealed that the lost-wax method was used in the manufacturing process. The extent of the restoration and materials used can be verified and as a result the deterioration of the object can now be monitored. This paper describes in detail the analytical techniques used in the study and how it contributed to the conservation of the statuette and its authenticity.     

旅顺博物馆顾客体验价值因素探究

目的 探讨提升博物馆顾客体验价值的路径选择，丰富对博物馆顾客体验的理论思考，并为有关部门提高博物馆管理水平提供参考。方法 通过文献研究和现场问卷调查获取研究信息，在SPSS20.0支持下，利用IPA分析方法探索大连旅顺博物馆的游客满意度状况。结果 针对旅顺博物馆特点，在体验旅游视角下，构建由差异性体验、参与性体验、全过程性体验、精神性体验及智能性体验五大因子组成的，涵盖二十八个具体测量指标的博物馆体验旅游游客满意度评价模型，分析重要性—满意度的统计特征，阐述分析结果的IPA象限分布及其因素作用。结论 从体验旅游的设计要求看，博物馆应高度重视游客的智能性体验，最大限度提高全过程性体验水平，提供依据个性化差异的细节性服务，以及设法增加博物馆与游客及社会的互动参与。     

基于文化意象的江西省博物馆文化创意产品设计

目的以参观者的文化意象为切入点,探索江西省博物馆文化创意产品开发的设计流程,促进地域文化的传播和当地文博产业的发展。方法以内容分析法获取参观者对江西省博物馆的公共文化意象,利用层次分析法构建出江西省博物馆的文化资源库,最后通过集群构成的设计方法整合典型文化元素,完成设计。结论通过分析参观者对江西省博物馆文化意象的认知数据,归纳出海昏侯文化、景德镇文化、红色文化、佛教文化等公共文化意象;通过层次分析法构建出的江西省博物馆文化资源库,可以为设计师提供设计江西省博物馆文化创意产品的文化素材和灵感来源;运用集群构成的设计方法来整合相关文化重心,可以使文化创意产品的文化氛围更加强烈。     

Numerical investigation of the mechanism of drag reduction of a body with a leading separation zone

Analysis of the mechanism of drag reduction of bodies with leading separation zones is given by the example of numerical modeling of axisymmetric turbulent flow past a set of two disks.Academy of Civil Aviation, St. Petersburg. Translated from Inzhenerno-Fizicheskii Zhurnal, Vol. 68, No. 6, pp. 975–982, 1995.     

The Fox Talbot collection at the science museum

Abstract

The Fox Talbot Collection at the Science Museum, London, includes cameras and apparatus; approximately 6000 of the world's earliest photographs; plates, proofs, and glass positives relating to the photo glyphic engraving process; and an important selection of notes, letters, and documents. To deal adequately with a collection so extensive and significant is beyond the scope of this article, which must confine itself to an outline of how the collection was acquired, a consideration of the more important apparatus and its historical associations, and a discussion of the photographic images. The important documentary material can only be mentioned incidentally, and photo glyphic engravings cannot be dealt with at all. The title Fox Talbot Collection should be applied only to the material donated to the Science Museum by the Talbot family but since the end of the 19th century the museum has enjoyed continuous support from the Royal Photographic Society of Great Britain, which has generously lent material to the museum's photographic collection. This includes Talbot apparatus which is so intimately connected with the Fox Talbot collection that it seems unnecessarily pedantic to consider it separately.     

Trends in radiochemical research: A Finnish view

The main directions of radiochemical research in Finland are discussed. Published in Russian in Radiokhimiya, 2006, Vol. 48, No. 6, pp. 537–538. The text was submitted by the author in English. Reported at the 7th Russian-Finnish Symposium on Radio-chemistry (St. Petersburg, November 2005).     

How to spot a fake

Think back to the last time you visited an art gallery or museum. As you wandered through the halls and peered at the various paintings and artifacts, did you ever question the information provided on the labels or in the guidebook? Did you wonder whether that Titian really is a Titian and not a fake? Did you question whether that vase had been correctly attributed to the Ming dynasty?According to Richard Newman, head of scientific research at the Museum of Fine Arts, Boston, every museum contains artifacts that are not what they appear to be. “There are a lot of objects on display at the moment whose attributions are a little bit shaky,” he says. “There are some about which there are serious questions of authenticity and there are others we think are genuine but actually might be fakes.” Materials characterization techniques are central to identifying these fakes and to answering many other questions that the museum's curators may have about artifacts.