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The herbarium digitization process is an essential first step in transforming the vast amount of data associated with a physical specimen into flexible digital data formats. In this framework, the Herbarium of the University of Pisa (international code PI), at the end of 2018 started a process of digitization focusing on one of its most relevant collections: the Herbarium of Michele Guadagno (1878-1930). This scholar studied flora and vegetation of different areas of southern Italy, building a large herbarium including specimens collected by himself, plus many specimens obtained through exchanges with Italian and foreign botanists. The Herbarium is composed by 547 packages of vascular plants. Metadata were entered into the online database Virtual Herbaria JACQ and mirrored into a personalized virtual Herbarium of the Botanic Museum. After the completion of the digitization process, the number of sheets preserved in the Herbarium amounts to 44,345. Besides Guadagno, who collected 42% of his specimens, a further 1,102 collectors are represented. Most specimens were collected in Europe (91%), but all the continents are represented. As expected, Italy is the most represented country (59%), followed by France, Spain, Germany, and Greece. The specimens cover a time span of 99 years, from 1830 to 1929, whereas the specimens collected by Guadagno range between 1889 and 1928. Furthermore, we traced 134 herbarium sheets associated with documents, among which 75 drawings handmade by Guadagno, 34 letters from various corresponding authors, 16 copies of publications, and 14 copies of published iconographies., Competing Interests: The authors have declared that no competing interests exist., (Francesco Roma-Marzio, Simonetta Maccioni, David Dolci, Giovanni Astuti, Nicoletta Magrini, Federica Pierotti, Roberta Vangelisti, Lucia Amadei, Lorenzo Peruzzi.)

Culture and Museology use information and communication technologies as mediating communication tools, enhancing the conservation and "socialisation" of museum collections, promoting access to cultural information, through the interdisciplinarity required between the museologist and other professionals who, together, organize and disseminate the collections. In the age of digital transformation, we live in, this reality is even more evident. The museum transforms objects into perceptible information as it is a repository of information. The common link between Museology and Information Science involves valuing the human action of creating, interpreting, using, selecting and distributing knowledge products and records, thus creating a connection with the concept of information. Information is central to the process of cultural development. This communication clarifies the relationship between Information Science, Heritage and Museology, presenting the information professional as a partner of Museology, working the object as a document with communicative properties, as a message intended for a specific audience and as information that impacts that audience., Competing Interests: The authors declare that they have no known competing financial interests or personal relationships that could have appeared to influence the work reported in this paper., (© 2023 Published by Elsevier Ltd.)

This paper discusses the state of advancement in the development of spectroscopic methods based on the use of mid (proper) infrared radiation in the context of applications in various fields of science and technology. The authors drew attention to the most important solutions specific to both spectroscopy itself (ATR technique) and chemometric data processing tools (PCA and PLS models). The objective of the current paper is to collect and consistently present information on various aspects of FT-IR spectroscopy, which is not only a well-known and well-established method but is also continuously developing. The innovative aspect of the current review is to show FT-IR's great versatility that allows its applications to solve and explain issues from both the scientific domain (e.g., hydrogen bonds) and practical ones (e.g., technological processes, medicine, environmental protection, and food analysis). Particular attention was paid to the issue of hydrogen bonds as key non-covalent interactions, conditioning the existence of living matter and determining the number of physicochemical properties of various materials. Since the role of FT-IR spectroscopy in the field of hydrogen bond research has great significance, a historical outline of the most important qualitative and quantitative hydrogen bond theories is provided. In addition, research on selected unconventional spectral effects resulting from the substitution of protons with deuterons in hydrogen bridges is presented. The state-of-the-art and originality of the current review are that it presents a combination of uses of FT-IR spectroscopy to explain the way molecules vibrate and the effects of those vibrations on macroscopic properties, hence practical applications of given substances.

Background: The care of historical collections in anatomical museums is a highly specialized subject requiring advanced knowledge. When searching for practical information on this subject, the authors were not able to find appropriate literature based on scientific research. The absence of this literature is probably due to the specialized nature of the subject and the poorly defined classification of this type of museum. The purpose of this study is to conduct a systematic literature review to identify (i) the current state of knowledge of anatomical museology and (ii) the nature and determinants of ongoing research on anatomical museum objects., Materials and Methods: A systematic search of the main electronic databases (PubMed, Google Scholar, Scopus) was conducted to identify relevant studies. The records retrieved were categorized according to thematic similarity and scientific content. Based on these groupings, statistics were created based on the number of eligible papers in each particular group., Results: 61 % of the papers retrieved addressed the history, social issues, or related aspects of contemporary museology; 8 % were technical papers; and 31 % research papers, of which only 8 % were focused on the museum object as the topic of the research. The paper retrieved showed a predominance of works in cultural studies, with surprisingly few applicable to museum practice. Furthermore, there was a lack of consensus in the literature regarding the classification of anatomical museums., Conclusions: Anatomical museology is a poorly defined concept in the scientific literature and it is a rare topic in contemporary work by anatomical practitioners. The literature review revealed that the debate about the fate of anatomical museums encompasses a broad spectrum of diverse, often disparate scientific fields as well as economic factors that influence the present status and future of these institutions. For these reasons, museum object research is problematic in design, may not be considered worthwhile, or is unattractive from an institutional perspective. The literature survey showed that there is a paucity of work in the available modern literature that provides significant support for museum anatomists., (Copyright © 2022 Elsevier GmbH. All rights reserved.)

The rarely collected North American endemic genus Proctorus (Coleoptera, Curculionidae, Ellescini) has hitherto contained two described species, P.armatus LeConte, 1876 and P.decipiens (LeConte, 1876). Here, Proctorus is revised and two new species, namely P.emarginatus sp. nov. and P.truncatus sp. nov. , are described. Lectotypes for P.armatus and P.decipiens are designated from known syntypes. All four species in the genus are associated with Salicaceae, but, in addition to differences in external and genital morphology, there is also evidence of differing host plant usage between the species. A photographic key to the four species is provided to facilitate identification.

This paper is part of Forum COVID-19: Perspectives in the Humanities and Social Sciences. The figure of the plague doctor with the beak mask has become the symbol of the plague par excellence. It's little wonder that the plague mask in the collection of the German Museum of the History of Medicine in Ingolstadt (Bavaria) is one of the museum's most popular objects and motifs. This forum paper investigates the figure of the plague doctor on several levels: first, it analyses contemporary textual and image sources in regard to protective clothing used in times of plague and the respective role of the beak-like part of the mask. Then it takes a close look at the Ingolstadt specimen. By examining the mask's materiality and fabrication, questions of its authenticity and practicability are raised. Finally, the Ingolstadt mask is compared with the specimen at the German Historical Museum in Berlin.The conclusion: the beak mask is not mentioned before the mid-seventeenth century, and then only in Italy and Southern France. There is no proof at all of its use during plague outbreaks in Middle Europe. And the specimens in Ingolstadt and Berlin? Both masks present details which suggest that they were not used as protective clothing at all. We do not know, however, if they were produced as replicas for historic reasons or as fakes for the modern art market.

Appreciation of exhibits in a museum can be equated to a virtual experience of lives in the contexts originally surrounding the exhibits. Here we focus on the importance of weight information, and hence tested whether experiencing a weight during museum exhibit appreciation affects the beholders' satisfaction and recognition memory for the exhibits. An experiment was performed at a museum exhibiting skeletal preparations of animals. We used nine preparations and prepared four weight stimuli as weight cues in accordance with the actual weight of four of the preparations: Remaining five preparations was displayed without weight stimuli. In the cued condition, participants were asked to lift up the weight stimuli during their observation of the four exhibits. In the uncued condition, participants observed the exhibits without touching the weight stimuli. After observation of the exhibits, the participants responded to a questionnaire that measured their impressions of the exhibits and the museum, and performed a recognition test on the exhibits. Results showed that memory performance was better and viewing duration was longer with weight lifting instruction than without instruction. A factor analysis on the questionnaires revealed four factors (likeability, contentment, value, and quality). A path analysis showed indirect effects of viewing duration on memory performance and willingness-to-pay (WTP) for the museum appreciation through the impression factors. Our findings provide insight into a new interactive exhibition that enables long appreciation producing positive effects on visitors' impression, memory, and value estimation for exhibits.

Drawing on recent visual and spatial turns in history writing, this paper considers AIDS posters from the perspective of their museum 'afterlife' as collected material objects. Museum spaces serve changing political and epistemological projects, and the visual objects they house are not immune from them. A recent globally themed exhibition of AIDS posters at an arts and crafts museum in Hamburg is cited in illustration. The exhibition also serves to draw attention to institutional continuities in collecting agendas. Revealed, contrary to postmodernist expectations, is how today's application of aesthetic display for the purpose of making 'global connections' does not radically break with the virtues and morals attached to the visual at the end of the nineteenth century. The historicisation of such objects needs to take into account this complicated mix of change and continuity in aesthetic concepts and political inscriptions. Otherwise, historians fall prey to seductive aesthetics without being aware of the politics of them. This article submits that aesthetics is politics.