School of Historical and Philosophical Studies - Theses
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ItemBeyond the pale of the law : refugees and the myth of human rights(University of Melbourne, 2010)
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ItemCirculating confidence: why the blockchain is flawed and why we should introduce it to combat art fraud anyway( 2016)This thesis assesses whether blockchain technology has the potential to assist in the prevention of art fraud and the improvement of provenance trails. It explores the use of permissionless and permissioned blockchains within various sectors, as well as their application in both bitcoin-esque and more governed models to the art sector. This is done with the aim of ascertaining whether such applications exceed measures already in place to combat art fraud and improve provenance. The assessment of blockchain's potential in the art world will take into account unique concerns and requirements of the cultural framework within which the technology is being posited. The central tenet of this paper is that the value of an art-market blockchain extends to the broad concerns that the technology was originally designed to solve, including trust, censorship, fraud, and security, among others. These concerns will be analysed within a blockchain/art-trade framework; the key argument being that the prevention of art fraud and the consequent preservation of culture will benefit from the adoption of blockchain, notwithstanding that the technology may be more limited than commonly understood as a result of media hype. This thesis therefore disrupts the current inconsistent orthodoxy that blockchain is either a technological marvel or that it offers little in the way of iterative and novel features. It proposes the need for a broader understanding of the value of the technology - one that incorporates blockchain as a sophisticated marketing term capable of reducing often impenetrable concepts to something easily communicated and understood. I accordingly examine the epistemological role and moral implications of a potential blockchain deployment within the trade of art.
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ItemCase Study: Eastern World John Olsen & Tom Sanders( 2016)This thesis is based on a case study of Eastern World, an architectural ceramic tile mural located on the exterior wall of The Physics Buildings at The University of Melbourne. The mural was designed and created by two well-known Australian artists, the painter John Olsen and ceramicist Tom Sanders. This case study offers a brief history on the manufacture of tiles that leads into the specific materials and techniques utilised in the creation of Eastern World. This thesis draws on dual methodologies; social research and scientific research, with the aim to understand Eastern World in regards to the artists' intent and the materials and techniques of manufacture. Social research was gathered through semi-structured conversation interviews with the artists, John Olsen and the son of Tom Sanders, Christopher Sanders. Social research was also gathered through networking with personnel previously involved with the mural to discover information not found in literature. Scientific research provided comparative raw data that has confirmed and refuted the gathered information. Scientific research was achieved through in situ examination of Eastern World with the portable handheld Bruker Tracer III-V+ X-Ray Fluorescence (XRF) machine. Eastern World was constructed with a hazardous material and as a result conservation treatment has been limited. The cement sheeting that adhered the tiles to The Physics Building contains fibrous silicate, otherwise known as asbestos. The murals installation was completed in 1971 during a time in Australia where asbestos containing materials were at their height in popularity. This thesis addresses the risks posed by a hazardous material and the risks of hazardous working conditions that are problematic to conservation. This thesis offers two hypothetical conservation treatment proposals, minimal to highly interventive, both with the intent to restore Eastern World to its original condition. The resources gathered will assist in conservation treatment of the mural and the commissioning of new tiles to fill voids within the mural. The newly sourced information is a contribution to The University of Melbourne, the custodian of the mural; The Ian Potter Museum of Art, and the artists; John Olsen and Tom Sanders.
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ItemGelatin dry plates: developing a treatment proposal for the Tudor W. Collins glass plate negative collection at the Auckland War Memorial Museum( 2016)The Tudor W. Collins gelatin glass plate negative collection is a recent acquisition of the Auckland War Memorial Museum. This collection is unique in that it exhibits a broad spectrum of deteriorative conditions due to poor prior storage. Formulating a treatment proposal for the collection draws upon published information sources, technical and visual examination, and interviews with leading New Zealand photographic conservators resulting in a comprehensive review of the material, processes, deteriorations and treatments unique to the photographic material.
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ItemClarifying glass 'fogging' in showcases: an investigation at the Australian War Memorial, Canberra( 2016)Showcases provide microclimates, controlling environmental fluctuations, dust, and pollutants, and protect objects from inadvertent or intentional damage by the visiting public. Extensive use of glass is intended to provide visitors with unimpeded (visual) engagement with objects on display. However, internationally, for the last two decades, the formation of a visually disruptive film on the glass has been reported - called 'fogging' or 'hazing'. This research investigates this light scattering film as formed in the showcases of the Australian War Memorial (the case study). Its composition, source, and remedy are unknown, and the aim was to identify methods which could contribute to understanding these. The work uses triangulation, combining literature research, semi-structured interviews, instrumental, and experimental methods. The main causes identified in the literature are described and Fourier Transform Infra-Red (FTIR) microspectroscopy and Scanning Electron Microscopy (SEM-EDS) are used to look at the film's composition. A method is adapted from the glazing and automotive industries to interrogate the role of emissions from showcase materials, and it is proposed as a cheap, in-house means to make relative assessments of a material's potential to cause 'fogging'.
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ItemAn investigation of conservation treatment methodologies for the reduction of iron-based staining on ceramic components of composite artefacts( 2016)The reduction or removal of iron(III) oxide staining from ceramic objects is generally acknowledged to be a difficult conservation treatment. The process is further complicated if the ceramic is part of a composite material artefact that contains metal. There is little published in the conservation literature about treatment methodologies that address the issue of selectively treating iron staining on the ceramic components of multi-material objects. In order to address this research gap, this thesis considers the issues associated with removing iron staining from ceramic-metal composite artefacts, explores appropriate treatment options and provides in-depth observations and results drawn from testing on a case study object, a 19th century hopper closet toilet with a decorative ceramic bowl and various attached metal objects. Energy dispersive x-ray fluorescence (ED-XRF) analysis was used to confirm the presence of iron corrosion products on the ceramic. Ethylene diamine tetra-acetic acid (EDTA) and oxalic acid were identified as appropriate chemicals for treating iron staining and poulticing was used as a method to apply and remove the reagents from the ceramic. The appearance of the iron staining on the ceramic was reduced through this approach but some issues were raised regarding the treatment methodology. It was found that the use of a poultice did not afford the level of control prescribed by the literature, which may pose a risk to other components in a composite material artefact. Additionally, removing and rinsing the chemical reagent via poultice produced inconsistent results. While poultices remain a viable option for selectively treating iron staining on ceramic components of composite artefacts, the aforementioned results demonstrate the need for further investigation and testing of treatment methodologies in this area.
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ItemAn investigation of the effects current commercial copper polishes have on a metal substrate( 2016)When a copper metal surface needs to be polished, non-conservators tend to go to their local hardware store for a cheap and easy to access product instead of to a professional. With factors such as chemical composition and abrasiveness varying from product to product, these polishes could be causing unseen damage to the metal. This paper investigates how such polishes impact a copper-based substrate through the testing of a small selection of commercial polishes available at hardware stores and comparing the results with a lab-made control substance and a conservation grade polish. The polish which showed the most promising results was then applied to a case study object to examine the effect the polish would have on a more intricate surface. What effects do commercial copper polishes have on the metal and how do they compare to conservation standard methods?
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ItemThis is not a Kowangan: a case study in community collaboration as conservation of a world culture instrument( 2016)A prerequisite for the meaningful conservation of a world culture object is an understanding of what it is - a deceptively simple premise. This case study uses documentation as a conservation strategy following the loan of the Kowangan, a rare Javanese musical instrument from the Music Archive at Monash University (MAMU) to the Grimwade Centre for Cultural Materials Conservation for assessment and treatment. An ontology of performance is used to understand what the Kowangan is, not only through its material properties and functions, but also through its significance to its custodians and its stakeholders in the music community from which it originates. Multiple narratives, and the revelation that the object in MAMU's collection simultaneously is, and is not, a kowangan, highlight cross-cultural complexities and the crucial role of consultation in conservation practices. A web of knowledge is pieced together through fieldwork and collaboration with the source community, revealing the ontology of the Kowangan. By documenting its material and intangible properties, the archive and the repertoire of the Kowangan become conservation resources in sustaining continued musical practice in the source community, whilst providing an answer to the question: What is the Kowangan?
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ItemIndonesian wind instrument from Aceh Indonesia: investigation and replication( 2016)The subject matter for this minor thesis is an Indonesian reed instrument from Aceh in Sumatra. The original focus of this thesis was to create a replica quadruple reed element, which expert opinion suggested was missing. After initiating preliminary research, and after further visual investigation, evidence suggested that a much simpler idioglottal reed system was already present on the instrument. This prompted a re-evaluation of the focus of this thesis and it was decided to present it in two parts. The first part will develop an argument, proving the existence of an idioglottal reed system on the study object. The second part will focus on the manufacturing of an aesthetically accurate reproduction of the bell section of the instrument. In order for the public to fully appreciate the object, a request has been made to create a reproduction bell that will demonstrate how the instrument would have looked at the time of manufacture i.e. green in colour, which could be put on display either alongside the original instrument, or in place of the original instrument. This involved testing two material to assess their suitability for use in the aesthetic reproduction. Once the most appropriate material was found, the reproduction bell was made with the documentation presented in such a way that the experiment could be replicated if needed in the future.
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ItemThe presentation of Australian Indigenous bark paintings: a critical review of current practices( 2016)Bark painting is a rich and diverse cultural practice and a vibrant part of the contemporary art market. This project critically reviews the current practices in the mounting of Australian Indigenous bark paintings for display in order to update knowledge in the field and lay the groundwork for further innovation. Practitioners from public and commercial, metropolitan and regional institutions were asked to respond to a questionnaire regarding their current approaches to bark presentation. Their responses are presented in detailed diagrams illustrating the materials and methods used. Key criteria for the success of bark presentation methods - namely: physical compatibility with the bark support; practicality; and the 'unframed' aesthetic - are derived from a consolidated reading of the literature and participant motivations. These criteria are then applied to the presentation systems described. It is concluded that while most practitioners effectively engage with one or more of the key criteria, contextual factors such as the display environment, institutional workflow and curatorial influences, skew the relevance of each criterion. Thus, diversification of bark presentation practices and the augmentation of the role of conservation in developing these practices is recommended.