School of Historical and Philosophical Studies - Theses
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ItemNo Preview AvailableThe propagation of radio waves through the atmosphere(University of Melbourne, 1931)
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ItemAn investigation into the effects of dry cleaning sponge treatments on textile fibres( 2008)This thesis investigates the possibility of using dry cleaning sponges to remove soiling from textile artefacts. A literature review outlines the ethics of cleaning, current textile cleaning techniques, dry cleaning techniques from other conservation disciplines and the uses and composition of dry cleaning sponge. The experimentation is documented and the results of the SEM and EDS analysis discussed. It is concluded that dry cleaning sponge is a viable technique for cleaning textile fibres.
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ItemComparative study of the properties of jun funori and funori as consolidants for use in conservation( 2008)Funori, a form of red algae, is generally recognised as a good consolidant for matte paint, with a long history of use in Japan and China. In this study, the purified form, JunFunori, is compared to funori prepared in the traditional manner to determine if its lower level of impurities has an effect on ageing properties. Two additional materials are also tested: isinglass, and a mixture of isinglass and JunFunori. JunFunori is known to produce a weak bond, and mixing it with isinglass, which has been shown in the conservation literature to be another useful consolidant for matte paint, is said to increase bond strength and improve penetration. Previous studies have concentrated on the change in appearance of consolidants applied to unbound pigment samples, or cast as films and then aged. However, the interaction of the consolidant and the support is also of interest. In order to study ageing properties under more realistic conditions, the test solutions are applied in thin layers by brush to two common supports: a modern 100% cotton print paper and a naturally aged paper of unknown composition. The samples are then subjected to accelerated ageing at 100 C for 21 days. Analysis techniques employed include SEM-EDS for determination of presence of impurities such as salts, and optical microscopy for close examination of the surfaces of the samples before and after ageing. Chromaticity and colour difference in CIE L*a*b* coordinates and change in pH are also recorded at various points throughout the experiment. Additionally, FTIR-ATR is employed to detect signs of deterioration of the paper/consolidant system. Results of this preliminary study show that JunFunori does not have a clear advantage over funori in all circumstances. The level of impurities and colour of traditional funori do not appear to be of great importance in the thin films studied in this experiment.
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ItemAn investigation into the production, storage and packing of bark paintings in art centres in Arnhem Land, northern Australia.( 2008)Australian Aboriginal bark paintings on sheets of stringybark (eucalyptus tetradonta) provide an important basis for both a form of continued cultural expression and an acclaimed contemporary art form. In recent years, the deterioration of bark paintings has been found to be influenced by a combination of factors, including: the physical characteristics inherent in the materials; the external processing techniques applied to the materials; and the subsequent handling, storage and treatment of the paintings. However, while the increased susceptibility of bark to damage in uncontrolled environments has been well reported, the relationship between these issues and the often remote art centre locations in which bark paintings are produced has not previously been the subject of detailed consideration.This paper, based on a two week case study at Injalak Arts and Crafts Association in Oenpelli (Gunbalanya), and a survey of other established art centres in Arnhem Land and public institutions throughout Australia, provides an account of contemporary practice in the preparation of bark paintings within Arnhem Land, and the conditions of storage and transport of bark paintings within both the remotely located art centres and the public institutions in which many of these paintings are subsequently housed. It draws a number of conclusions about the practices of art centres and public institutions, details concerns specific to each, and identifies that the art centre has a potentially significant role in relation to the conditioning of bark paintings in the art centre environment. The paper provides recommendations for further research in this area in order to understand the unique role played by art centres and the impact of the art centre environment on the future conservation needs of bark paintings.
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ItemAn approach to the conservation of Kanak cultural heritage( 2005)Conservation has evolved within western museums from a fine arts perspective and collections made of non-western objects have been treated considering predominantly their tangible aspects with an emphasis on aesthetic reintegration. This attitude has been challenged in the last 25 years by countries where indigenous people have gained a political voice such as Australia, New Zealand, Canada and USA. Numerous ethical issues have been raised and the importance of respecting the intangible value of non-western artefacts has been acknowledged by conservators and museum professionals worldwide, through professional guidelines and policy documents. As the relationship with objects in Kanak culture from New Caledonia is characterised by restrictions and obligations, as signs of respect, this research seeks to determine how the varied aspects of conservation work can be respectful to Kanak artefacts in a contemporary postcolonial museum context. This thesis composes professional guidelines for Kanak objects based on research and discussion with Kanak community members and stakeholders. The guidelines established will, in the future, be proposed for approval by the Customary Senate of New Caledonia and then presented worldwide to people working with Kanak objects in museums and conservators in particular.
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ItemAustralian television news: public and private histories( 2006)Given the pervasiveness of television as an entertainment and news source over the past fifty years it is appropriate that due consideration be given to the preservation of this media for future reference and enjoyment. There is currently a large disparity in legislation and funding for audiovisual media in comparison with traditional print media. It is the aim of this research to analyse current practice against future needs and international standards in order to propose a framework for the preservation of this integral part of our cultural history.
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ItemMelbourne's post-WWII processional Chinese dragons( 2007)Very little research into dragons, dragon performance and the performance context in Melbourne has been completed. Chinese dragon performances currently take place twice yearly in Melbourne, for Chinese New Year and on Labour Day for Moomba, as part of larger processions. Three dragons are housed in the Museum of Chinese Australian History, Melbourne. Evidence amassed during the research shows four processional dragons owned by Melbourne organisations being performed in Melbourne in the latter half of the twentieth century. This study seeks to contextualise Melbourne's post-WWII dragons, by exploring their commissioning, design, making, naming, ceremonies, performance, and meaning. During the research, the dragons housed at the Museum of Chinese Australian History were extensively examined. Resultant findings on structure, surface, materials and manufacture in extant dragons, and continuity and change in these features are presented. As it is clearly insufficient to describe performing objects solely in their static state, performative effects arising from the dragons' materiality, interaction with movement of performers, the performance environment and the audience are discussed. Issues in the conservation, preservation, and display of dragons deriving from information obtained during interviews, the observation of ceremonies and the examination of dragons are presented, and recommendations made.
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ItemThe potential use of alkali substances to prevent the development of Byne's efflorescence in bird egg collections( 2006)Byne's Efflorescence is a deterioration problem faced by bird egg and mollusca collections. The deterioration is initiated by the presence of acetic acid vapours which react with calcium carbonate in these collection items resulting in the formation of a white powder film on their surfaces. The current research is designed to evaluate the potential of using alkaline compounds in eggshell storage cabinets to neutralise acetic acid vapours. The intended aim of this research is to determine whether alkaline substances can be used to develop cost effective methods of slowing and/or preventing this deterioration in Museum collections.
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ItemWestern wedding traditions based on Queen Victoria's choice of a white bridal gown and orange blossom, created inherently fragile gowns which often require heat activated adhesive lining treatments in order to be displayable. The Phillips wedding gown treatment offers an alternative vapour activated adhesive lining treatment, potentially beneficial as it does not involve the use of damaging heat and moisture.( 2006)The commonly held image of a wedding in Western society today is a radiant bride, wearing a white flowing full-skirted gown with a tailored bodice, veil and shoes. She is accompanied by her black tuxedo attired husband and surrounded by happy guests bearing wedding favours. It is the picture perfect, albeit highly romanticised, view of weddings stemming from a long history of tradition and superstition. While tradition, or more formally, etiquette drives many weddings today, it was not until the mid-nineteenth century that the modern wedding was formalised into a solid, almost unwavering tradition. While many believe the white wedding originated in Ancient Rome with its links to the 'Vestial Virgin', there was no common wedding dress at all in Ancient Rome (Monsarrat, 1973:2). It was not until Queen Victoria's wedding to Prince Albert in London, in February 1840, that the basis for the true white wedding was conceived (Monsarrat, 1973:158). That is not to argue white was never worn to weddings before this date, as history shows it was, but it was not until Queen Victoria's time that white was considered the wedding colour, leading to the firmly entrenched tradition today (Clark, 1987:48). With the white wedding gowns popularity rising, so too did the fashion to have a purpose made wedding gown of delicate fabrics. These gowns were usually worn once, on the wedding day, then stored and cherished. As these wedding gowns were considered such precious items, they were handed down in families and revered because of the happiness and history they represented. While many are in acceptable condition to be acquired by museums and displayed, they are inherently fragile. This is mostly due not only to their age and their natural degradation, but to the various chemicals and additives which were applied to them during their construction such as starch, animal glue, tin, lead and other stiffeners, bleaching and weighting agents which were popular in the eighteenth and nineteenth centuries. Some items are in a degraded condition even though they may have been diligently cared for in their life. Many of these wedding gowns reside in collections today and create a unique problem for textile conservation.
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ItemKeris: symbol of power and identity( 2006)The keris is a dagger indigenous to the Indon-Malay archipelago, valued as a cultural icon and attributed with talismanic powers. The technologies employed in its manufacture and stylistic conventions followed are largely local in origin. The tradition of staining the blade with arsenic and citric acid to heighten the contrast of the pattern welded surface is unique; it serves to improve the physical condition and aesthetic integrity of the blade, as well as demonstrate continued spiritual connection between owner and keris. Some keris are considered sacred in their original context, and it is possible that certain keris in public collections may too be considered special even once extracted from their context. Museums and museum professionals have an increasing responsibility to ensure potentially sacred objects in their care are treated in a way which respects the beliefs of original owners / makers. Museums also have a responsibility to the health and safety of their staff, and to identifying potentially hazardous substances within their collections. Testing undertaken on nine keris in the Museum Victoria collection indicate arsenic residues may be present on keris blades long after acquisition. Guidelines are therefore offered which provide suggestions for culturally sensitive care of keris in public collections, as well as highlighting OHS concerns for staff. Major conservation concerns of keris in public collections are examined, with corrosion of metal parts found to be the most pervasive. A case for restoration of keris in museums is made, using traditional techniques and involving community members and experts. Not only would this improve the condition of many degraded daggers, it would reinvest the objects with meaning, forge new links between objects and communities, and educate conservators about traditional practices.