School of Historical and Philosophical Studies - Research Publications
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ItemArtistic practices of the Bohol School of Painting: An analytical and archival study of nineteenth-century panel paintings in the Philippines(Archetype Publishing, 2005)In the center of the Philippines on the island of Bohol, a unique panel painting practice evolved linking western artistic methods introduced by the Spanish with Filipino knowledge of materials and techniques. The scientific analysis of five nineteenth century panel paintings belonging to the Baclayon Parish was undertaken and combined with an archival investigation of the Parish Archives to develop a better understanding of their provenance. Results illustrate the western construction methods used in the panel paintings with an oil medium as well as the utilization of local materials such as Kedondong wood for the panel support, cotton and bast fiber paper for a gap filler between the wood panels, and a transparent brown hydrocarbon for the ground layer. Some of the pigments identified correlate with the geological deposits from the region and others correspond with the archival church records. Other identified pigments were not referenced in the archives or found locally. The latter indicate the importation of high quality pigments, not of Filipino origin. Further, the good condition of the panels highlight their sound preparation and an environment suited for these particular works.
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ItemNo Preview AvailableSoutheast Asian oil paintings: supports and preparatory layers(Archetype Books, 2008)
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ItemOur chemical cultural heritage: Hartung (1893-1979)(Royal Australian Chemical Institute, 2010)The history and evolution of the chemical cultural heritage of Australia is discussed. The dream of Ernst Johannes Hartung for the establishment of a new purpose-built building for chemistry at the University of Melbourne was finally realized.
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ItemNo Preview AvailableOur Chemical cultural heritage: Masson and Rivett (1885-1961)(Royal Australian Chemical Institute, 2010)A new phase for chemistry at the University of Melbourne began in 1886, featuring David Masson and Albert Rivett, who also had instrumental roles in the birth of CSIRO.
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ItemOur chemical cultural heritage: Macadam and Kirkland (1862-85)(Royal Australian Chemical Institute, 2009)In the November edition (p. 20), I provided an overview of the Chemistry Collection at the University of Melbourne, its significance and various projects I have been involved with that aim to make the collection available to the public. I hinted at how many of the items in the collection are associated with key figures in the history of chemistry and science not only at the University of Melbourne but also on national and international levels. These early teachers of chemistry are featured in an inaugural exhibition in the foyer of the Chemistry Building. Here I will focus on the early days, when chemistry was taught through the Medical School and the two main chemistry lecturers of this time: Macadam and Kirkland.
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ItemOur chemical cultural heritage: The University of Melbourne Chemistry Collection(Royal Australian Chemical Institute, 2009)The key issues covered and a description of The University of Melbourne Chemistry Collection is discussed. The collection is being temporarily housed at the university, until it is returned to its original home, The School of Chemistry.
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ItemNo Preview AvailableEditorial(Informa UK Limited, 2015-06-01)
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ItemNo Preview AvailableSpeckle and Conservation(International Seminars, 2008)The aim of this research is to demonstrate the usefulness of speckle, a trait of an expanded laser beam, for the non-destructive testing of artwork in both the imaging of subsurface structure and the quantitative detection of physical movement of canvas. Laser Speckle Contrast Method (LSCI) is a useful method for the viewing of subsurface layers and movement. By investigating the statistical properties of dynamic speckle it is possible to reveal drawings that are hidden beneath scattering layers such as the primary layer of paint or adhered paper. This is achieved by taking a series of speckle images captured in a short time frame and applying one of a number of post processing algorithms. We explore the limitations of this method when applied to various paper samples that have a sketch executed in various media beneath the top layer. The ability to resolve gray scale images was examined as well as looking at the dependence of the contrast of the revealed drawings to the temperature of the surface. Current work is being done on using LSCI to reveal indentations in artwork caused by the application process. The successful use of Electronic Speckle Pattern Interferometry (ESPI) both in the laboratory and in-situ for the detection of in-plane movement of painted canvas due to humidity fluctuations and the out-of-plane movement of paint as it dries has also been demonstrated. Canvas paintings can be very susceptible to movement due to changes of the environment. ESPI is a non-destructive technique yielding sensitive results that can detect displacement on a surface of less than the wavelength of the illuminating coherent light source. While ESPI has been successfully applied to the in-situ study of painted frescoes, previous studies have employed tensile testers as a support for painted canvas. We have shown a portable version of ESPI to be of use in tropical environment in the Philippines, Malaysia and Singapore with original artworks where variations in humidity occur and the samples have not undergone special preparation before analysis, revealing significant directional movements. Furthermore, a simple variation in the direction of beams paths permits the characterisation of out-of-plane movement, specifically as the height of paint shrinks due to the drying process. We have used ESPI to view the drying process of alkyd resin paints over the time period of 24 hours.
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ItemKnowing what would happen: The epistemic strategies in Galileo's thought experiments(ELSEVIER SCI LTD, 2015-12)While philosophers have subjected Galileo's classic thought experiments to critical analysis, they have tended to largely ignored the historical and intellectual context in which they were deployed, and the specific role they played in Galileo's overall vision of science. In this paper I investigate Galileo's use of thought experiments, by focusing on the epistemic and rhetorical strategies that he employed in attempting to answer the question of how one can know what would happen in an imaginary scenario. Here I argue we can find three different answers to this question in Galileo later dialogues, which reflect the changing meanings of 'experience' and 'knowledge' (scientia) in the early modern period. Once we recognise that Galileo's thought experiments sometimes drew on the power of memory and the explicit appeal to 'common experience', while at other times, they took the form of demonstrative arguments intended to have the status of necessary truths; and on still other occasions, they were extrapolations, or probable guesses, drawn from a carefully planned series of controlled experiments, it becomes evident that no single account of the epistemological relationship between thought experiment, experience and experiment can adequately capture the epistemic variety we find Galileo's use of imaginary scenarios. To this extent, we cannot neatly classify Galileo's use of thought experiments as either 'medieval' or 'early modern', but we should see them as indicative of the complex epistemological transformations of the early seventeenth century.