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This paper discusses the conservation of murals in Riachos, Portugal. Created in 2012 and 2016 by amateur painters in the context of a religious and ethnographic festival called “Benção do Gado”, a cattle-blessing event. The condition of these murals has deteriorated due to their outdoor location, poor choice of materials used and lack of maintenance. Those murals give meaning to the village, a sense of identity and uniqueness to the local community. These are the reasons why the community should be considered in the process of preservation. This study was conducted using mixed methods, with data gathered from a community survey, interviews with stakeholders and documentation of the current state of the murals. This research argues for a close relationship between conservators and the murals’ authors and the local population. The preservation project should create a balance between current ethical and scientific conservation practices and the voices of the community from whom those cultural manifestations belong, using them as part of the conservation process.

Elliptical bifaces are prevalent at Mississipian sites throughout the American Southeast. Those from Millsap Cache and Jowell Farm comprise two of the largest samples of this ill-understood stone tool from the ancestral Caddo area. Bifaces from Millsap Cache were reportedly produced using Kay County flint, while those from Jowell Farm were manufactured using Edwards chert, providing for an empirical test of morphological differences as a function of raw material. The sample of elliptical bifaces was divided into two size classes; one conceptually reflective of production (large), and the other with local reduction practices (small). Size classes were used to assess whether modifications by Caddo knappers may have yielded similar---convergent---biface shape in the small class. Size classes were also used to test the hypothesis that greater morphological variation would be apparent in the small class due to idiosyncratic responses related to local retouch practices. Results demonstrate that elliptical biface shape does not differ by raw material, but size does, suggesting that a shared and morphologically-consistent mental template was maintained independent of biface size. The subsequent analysis of elliptical biface morphology by size class demonstrated that size does not differ by raw material in the large class, but in the small class, it does. This finding supports the argument that elliptical biface morphology diverges through local reduction practices. As expected, greater shape diversity occurs in the small class, where Jowell Farm bifaces were found to be more morphologically diverse than those from Millsap Cache. Distinct local reduction practices are advanced as the driver of extant morphological differences found in elliptical bifaces.

The retouching and altering of portrait photographs used to require extreme professionalism from the artists, thus it was a privilege of photographers. However, due to the modern image editing techniques, the process has become completely automated, to the point where it is no longer uncommon to find artificial intelligence-based software to perform portrait editing.The present research uses a self-report questionnaire to investigate the functioning of an image editing software that uses artificial intelligence to anatomically transform portrait photos beautiful at one push of a button. Participants are asked to give their opinions on pairs of photographs, one of which is an original, unedited picture, meanwhile the other is its idealised version created by the artificial intelligence-based software.The results of the research showed that the viewer's perception of the automatic image retouching was not influenced by the gender or age of the model, nor by the age of the recipients. However, the participants’ first judgement of the models’ beauty influenced their attitude towards both the model and the photograph. In most cases, the photo version that participants considered more beautiful was the one they would have preferred to see both in their own social media news feed and on the cover of a magazine, furthermore, more people would have preferred to meet the model based on the photo they thought to be beautiful. The research also reveals that viewers tend to associate negative emotions with image manipulation.Although the enhancement of photographs is a phenomenon that media users regularly encounter, not much research have been conducted on the ideal of beauty in relation to AI-technology. The current study aims to contribute to the filling of the aforementioned research gap., Eskiden portre fotoğraflarının rötuşlanması ve değiştirilmesi sanatçıların son derece profesyonel olmasını gerektirdiğinden fotoğrafçıların bir ayrıcalığıydı. Ancak modern görüntü düzenleme teknikleri sayesinde bu süreç tamamen otomatik hale geldi; öyle ki artık portre düzenlemesi yapmak için yapay zeka tabanlı yazılımlar bulmak hiç de nadir değil.Bu araştırma, tek bir düğmeye basarak portre fotoğraflarını anatomik olarak güzelleştirmek için yapay zeka kullanan bir görüntü düzenleme yazılımının işleyişini araştırmak için bir öz bildirim anketi kullanmaktadır. Katılımcılardan, biri orijinal, düzenlenmemiş bir resim, diğeri ise yapay zeka tabanlı yazılım tarafından oluşturulan idealize edilmiş versiyonu olan fotoğraf çiftleri hakkında görüşlerini bildirmeleri istenmiştir.Araştırmanın sonuçları, izleyicinin otomatik görüntü rötuşuna ilişkin algısının ne modelin cinsiyetinden ya da yaşından ne de alıcıların yaşından etkilendiğini göstermiştir. Ancak, katılımcıların modellerin güzelliğine ilişkin ilk yargıları hem modele hem de fotoğrafa yönelik tutumlarını etkilemiştir. Çoğu durumda, katılımcıların daha güzel olduğunu düşündükleri fotoğraf versiyonu, hem kendi sosyal medya haber akışlarında hem de bir derginin kapağında görmeyi tercih edecekleri fotoğraf versiyonuydu; ayrıca, daha fazla insan güzel olduğunu düşündükleri fotoğrafa dayanarak modelle tanışmayı tercih ederdi. Araştırma ayrıca izleyicilerin olumsuz duyguları görüntü manipülasyonu ile ilişkilendirme eğiliminde olduğunu ortaya koyuyor.Fotoğrafların iyileştirilmesi medya kullanıcılarının düzenli olarak karşılaştığı bir olgu olmasına rağmen, yapay zeka teknolojisiyle ilişkili olarak güzellik ideali üzerine çok fazla araştırma yapılmamıştır. Bu çalışma, yukarıda bahsedilen araştırma boşluğunun doldurulmasına katkıda bulunmayı amaçlamaktadır.

Background: A vast amount of literature suggests a co-evolutionary relationship between Palaeolithic stone toolmaking, and cognition and specifically language. However, empirical data remain limited to indirect findings of neurophysiological studies. Furthermore, most Oldowan studies have used chert and have not investigated retouch, even though quartz and lava were predominant raw materials during periods of chert unavailability, and even though chert was disproportionately more frequently used for retouch compared to other raw materials during periods of chert availability, at least in the Olduvai Gorge. Methods: The study recruited 13 young adults with no prior experience in knapping. Subjects were taught by an experienced knapper to produce quartz choppers and chert sidescrapers in either a verbal or gestural condition. Two raters rated on a 5-point scale the subjects’ performances on specific steps of the two stone toolmaking tasks. In a post-experimental interview, subjects stated which aspects of the tasks they preferred or disfavored. Subjects also performed on a neuropsychological battery encompassing visuospatial, executive functioning, and linguistic tasks. Results: Given the small sample size, the results should be regarded as exploratory and preliminary. Our results are further limited to the early acquisition phase and may not reflect processes in modern experienced knappers. Descriptive data suggested better performance across all stone toolmaking variables in the verbal compared to gestural condition, but only flake quality on the sidescraper task was significantly different between groups. Analyses of the stone toolmaking variables suggested subjects perceived quartz and chert flaking very differently. Correlational and other analyses suggested that quartz chopper manufacture was not associated with cognitive performance. Conversely, chert flaking and retouch were strongly associated with visuospatial working memory, showing that subjects with a higher memory span produced better chert flakes and retouch. Retouch only was moderately associated with executive functioning measures, showing subjects who made fewer errors on the tasks were better on retouch. Specific aspects of chert flaking were also associated with verbal fluency performance, showing, among others, moderate and strong positive associations with the productivity and rate of production of syntactically transitive verbs on action fluency. Discussion: Evolutionary implications can be drawn from our research only if we controversially assume similar results would have been obtained had we tested early hominins and not modern humans. Following this axiom, our results suggest that Oldowan hominins relied on modern-like visuospatial working memory during chert flaking and retouch, and, to a lesser degree, modern-like executive functioning during chert retouch. This is contrary to previous Oldowan studies suggesting no involvement of executive functioning during Oldowan-like flaking. Results from the linguistic tasks controversially suggest that some of the prerequisites for aspects of action language and syntactic transitivity (verb-object phrases) in modern humans were to some degree present in Oldowan hominin populations. Because Olduvai Gorge hominins readily incorporated chert for stone toolmaking in periods of chert availability, our results suggest that these cognitive capacities were phylogenetically not related to chert knapping. Finally, we propose that the quality of performance on Oldowan flaking and retouch may not reflect the full level of cognitive capacities of Oldowan populations. Contributions: We provide the first direct evidence for an association between Palaeolithic stone toolmaking and cognitive performance in modern humans, while previous studies have inferred cognitive processes from neuroimaging data. We also provide the first direct evidence for an association between Palaeolithic stone toolmaking, and action language and simple syntactic transitivity in modern humans.

[ES] Este proyecto pone de manifiesto un interés personal, desarrollando la parte práctica de un editorial de moda nupcial. Enmarcado por la fotografía de moda contemporánea, se explica el proceso de creación de un encargo real por parte de un atelier de novias. Es un tema de aplicación útil y concreta con fines comerciales, es decir, que tiene una salida real en el mundo laboral., [EN] This project shows a personal interest, developing the practical part of a bridal fashion editorial. Framed by contemporary fashion photography, it explains the process of creating a real assignment for a bridal atelier. It is a subject of useful and concrete application for commercial purposes, that is to say, it has a real outlet in the working world.

De har en gemensam slutdestination men olika stopp på vägen. Så kanprojekt med samarbete mellan beställare, fotograf och retuschör beskrivas.I projekt med flera parter är det inte svårt att förstå att förlängdadeadlines, överskridande av budget, bristande kommunikation och friktionmellan parterna kan förekomma. I detta arbete har arbetsprocesser inomframställningen av reklamkampanjer bestående av fotografiska bilderanalyserats för att definiera styrkor och svagheter. Målet var att ta framriktlinjer för de olika parterna att använda sig av vid framtida arbete.Efter intervjuer med sex personer aktiva i branschen, som syftade till attkartlägga respektive parts arbetsprocess, samt deras syn på samarbetetdem emellan, kunde välgrundade resultat nås.I de riktlinjer som studien resulterat i kan det bland annat utläsas att entydlig brief samt användandet av mallar och checklistor är centrala delar ien välfungerande arbetsprocess. Vilket bidrar till ett slutresultat av högkvalitet och leverans inom givna tidsramar.Detta arbete har utförts i samarbete med Linjepunkt Repro som arbetarmed avancerad bildretusch och grafisk produktion. Samarbetet bidrog tillen tydligare inblick i branschen och värdefulla kontakter inom de olikaområdena som undersökts och ligger till grund för arbetet. Resultatet avstudien skulle kunna gynna företaget i fråga samt deras samarbetspartnersmen kan även appliceras på andra liknande arbetsprocesser. Projects involving clients, photographers and retouchers has a common goal but each part have different stops along the way.Extended deadlines, budget overruns, lack of communication and friction between the parties. These are all things that can occur in projects involving multiple parties. In this study, work processes in the production of advertising images has been analyzed in order to define strengths and weaknesses. The aim for this work was to develop guidelines for the parties to use in the future.In order to survey each party’s work process and their different views on the collaboration between them, six interviews were conducted. Since the interviewees’ consisted of people currently in the industry, the results were well-founded.The results from the study shows that some of the central parts of a well-functioning work process are a clear brief and the use of templates or checklists. These aspects contribute to high-quality results and delivery within deadlines.This study has been conducted in collaboration with Linjepunkt Repro, a company working with advanced image retouching and graphic production. The collaboration contributed to a clearer insight into the industry and valuable contacts. The result of the study could benefit the company and its partners, but it can also be applied to other similar work processes.

Статья посвящена предварительным данным исследования стоянки Вавилино 1 в Западном Казахстане. Памятник был впервые открыт Н.М. Маловым в 1986 году, повторно им же проведены подъемные сборы артефактов в 1988 году. В 1991 году Н.Л. Моргунова проводила раскопки на стоянке, которые показали важность изучения данного памятника для понимания неолита Волго-Уральского междуречья. Памятник расположен на правобережье реки Деркул, и в настоящее время относится к категории аварийных. В 2018 году сотрудниками Института археологии им. А.Х. Маргулана в рамках изучения каменного века в Западном Казахстане были начаты работы на памятниках Ешкитау, Деркул 1 и Вавилино 1. На стоянке Вавилино 1 был заложен небольшой раскоп площадью 16 м², получено более тысячи каменных артефактов, плохо диагностируемых фрагментов керамики и костных останков животных. Раскопки показали наличие культурного слоя мощностью 15-20 см, относящегося к неолитическому времени. Верхний слой памятника мощностью до 30 см разрушен антропогенной деятельностью в прошлом столетии. Материал с культурного слоя немногочисленный, типологически выделяются концевые скребки, фрагменты пластин с ретушью, геометрические микролиты, призматический нуклеус для пластин и др., The paper is devoted to preliminary data from a study of the Vavilino 1 site in Western Kazakhstan. The monument was first opened by N.M. Malov in 1986, later he picked artifacts from the surface in 1988. In 1991 N.L. Morgunova carried out excavations on the site, which showed the importance of this monument study to understand the Neolithic Volga-Ural interfluve. The monument is located on the right bank of the Derkul River and is currently classified as an emergency. In 2018, employees of the Institute of Archeology named after A.Kh. Margulan in the framework of the Stone Age study in Western Kazakhstan started to work on the monuments of Yeshkitau, Derkul 1 and Vavilino 1. At the Vavilino 1 site a small excavation area 16 square meters was made, more than a thousand stone artifacts were received; fragments of ceramics and bone remains of animals were poorly diagnosed. Excavations have shown the presence of a 15-20 cm thick cultural layer belonging to the Neolithic time. The upper layer of the monument with a capacity of up to 30 cm was destroyed by anthropogenic activities in the past century. The material from the cultural layer is not numerous; tip scrapers, fragments of plates with retouching, geometrical microliths, prismatic nucleus for plates, etc. are typologically distinguished.

To the colour unification, at the reconstruction of decorative layer, various types of coloured film-forming products are used. They should be characterizing by excellent colour stability and good adhesion to the substrate. Colour stability of the coating depends on the chemical nature of the binder, of pigment or organic dye. Pigments or dyes must be soluble or should be compatible with the binder. Dimensions of the filler particles must be smaller than the wavelength of visible radiation (380–780 nm), so they don’t be scatter the light. In that case, even in small amounts, may give coloured coating with partial transparency. Pigments also may act as shielding materials for the deeper layer of macromolecular coating. This is a result of UV absorption only in the near-surface layer of the coating and barrier effect. Commercial, decorative paints, useful at conservation and restoration, based on natural resin e.g. mastic or on synthetic resins – acrylic, alkyd, ketone . This work shows the selected results obtained from laboratory tests of film-forming products made on the basis of various macromolecular binders. Do wykonania unifikacji kolorystycznej w imitatorskim uzupełnianiu dekoracji emalierskiej stosowane są barwne wyroby powłokotwórcze, które powinny cechować się znakomitą stabilnością barwy i dobrą adhezją do podłoża. Stabilność barwnej powłoki uzależniona jest od chemicznej natury spoiwa, ale także pigmentu lub barwnika. Środki barwiące powinny być albo związkami rozpuszczalnymi w spoiwie, albo ze sobą kompatybilnymi, albo być tak rozdrobnione, ażeby nie rozpraszać światła. Wymiary drobin napełniaczy mniejsze niż długości fali (380–780 nm) nawet w niewielkich ilościach nadają barwę spoiwom, zachowując przy tym częściową ich transparentność. Pigmenty mogą także pełnić funkcję substancji ekranujących, chroniących spoiwo wielkocząsteczkowe przed szkodliwym działaniem światła z zakresu ultrafioletu. Jest to wynik pochłaniania promieniowania w warstwie przypowierzchniowej powłoki oraz tzw. efektu barierowego. Dostępne na rynku preparaty handlowe stosowane w konserwaji bazują na spoiwach pochodzenia naturalnego, takich jak mastyks, bądź na syntetycznych polimerach: akrylowych, alkidowych, ketonowych. W pracy przedstawiono wybrane wyniki badań laboratoryjnych preparatów powłokotwórczych sporządzonych na bazie różnych spoiw wielkocząsteczkowych.

「洛中洛外図屏風歴博甲本」の復元複製は画像加工ソフトを用いて図柄を修正する、デジタル復元作業が中心となって行われたが、復元作業のすべてをパソコン上で行ったわけではなく、部分的に「手描き」の作業による復元工程も含まれている。復元作業は単なる想像画では妥当性が無いので、参考作例を当り絵画の時代性なども考慮して復元図案を制作しており、本稿ではその過程を追いながら復元根拠となった見解や作例を示し、特に復元によって全体の印象が大きく変わった金泥調子の復元についてその根拠を述べていく。手描きによる復元工程は、料紙欠損部における復元下図の制作や、デジタル作業によって修正された画像に加筆する作業、さらには絵具を補彩する作業など部分によって異なるため、各項目に分けて復元の工程を示しながら、絵画の復元根拠を検証する。金泥調子の復元については原本現状において金泥の後補、紙地の色、金泥の調子や塗布範囲などさまざまな課題があり、復元にあたりその色調や霞の形はその都度下図を作ってデジタル復元の基資料としている。「歴博甲本」の金表現は、他の多くの洛中洛外図に見られる輪郭のはっきりとした金箔の「雲形」ではなく金泥による「霞」であり、このような作例は他の洛中洛外図ではあまり確認できない。金泥表現は大和絵風の装飾的な雲型に比べてより空気感の伝わる表現をなし得ており、水墨画の空間把握に近いものに見える。「歴博甲本」復元で再現された、金霞の間から広く洛中の美しい町並みを望み、遠景には雲烟に溶け込む名所が垣間見える水墨画のような空間表現は、金箔ではなく金泥で賦彩されてこその表現であろう。, The Folding Screens of Rekihaku A Version of Scenes In and Around Kyoto (Rakuchu-Rakugai-Zu) was restored mainly with digital image manipulation software. However, the restoration work was not fully performed on the computer but partially by hand painting. Because painting an imaginary picture is not appropriate as a restoration work, the restoration design was drawn by referring to proper examples and taking into account the characteristics of the period of the painting. Following this process, the present article shows the views and examples on which the restoration work was based. The article especially focuses on grounds for the touch of gold paint that affected the impression of the painting as a whole.The process of hand-painted restoration is different in each step such as drafting restoration designs for damaged areas, retouching digitally-restored images, and replacing missing paint. Therefore, this article investigates each of these steps to verify the grounds for restoration.With regard to the restoration of gold paint, the condition of the painting at the time of restoration had various problems such as replacement of gold paint, color of paper, and a touch and painting areas of gold. Therefore, at the latest restoration effort, draft designs were used as basic materials for digital processing of respective restorations of gold paint to determine their touch of paint and shape of mist. The expression of gold in Rekihaku A Version is rarely seen in other works of Scenes In and Around Kyoto. Rekihaku A Version has mist of gold paint whereas most of other works have clouds of gold leaf. Compared to decorative clouds that are often seen in Yamato-e paintings, the expression of gold paint can deliver a more aerial feeling, which seems to be similar to the notions of space India ink painters have. It is not gold leaf but gold paint that can create the India-ink-paintinglike expression of space as reproduced by the restoration of Rekihaku A Version that has a wide view of beautiful streetscapes of Kyoto through gold mist and a distant view of noted places through gold haze.

Pendant des années, la Teoria del Restauro de Cesare Brandi a exercé la plus grande influence sur la théorie de la conservation-restauration dans le sud de l'Europe comme en Amérique Latine. Cependant, certains défauts apparaissent directement aux lecteurs. En premier lieu, le texte est extrêmement obscur; et secondement, il comporte des assertions contradictoires. Ceci rend le statut cultuel qu'il a atteint, extrêmement fascinant. Une explication pourrait être que l'ouvrage est vu comme un fétiche, un texte quasi biblique, et comme tel, sa capacité à inspirer est devenue plus importante que sa justesse. For many years, Cesare Brandi’s Teoria del restauro has been one of the most influential works on heritage conservation theory in Southern Europe and in Latin America. However, it has shortcomings that are immediately apparent to the reader: firstly, it is extremely obscure; and secondly, it makes contradictory assertions. This makes the near-cult status that it has achieved all the more fascinating. One explanation for this status might be because the work is seen as a “fetish” or an “almost-biblical” text, and as such, its ability to inspire has become more important than its intellectual soundness.

Tema disertacije je izrada opšteprimenljivog sistema za obradu artefakata od okresanog kamena po kome se mogu obrađivati nalazi koji imaju istu, ili drugačiju tehnolušku tradiciju i hronološku pripadnost. Sa ujednačenim načinom obrade daje se osnova za uspešno poređenje sadržaja nalaza sa većeg broja lokaliteta, kako onih koji pripadaju istoj kulturnoj grupi, tako i onih koji potiču iz različitih kultura. Istim pristupom obradi dobija se bolja osnova za sagledavanje tehnoloških uticaja arheoloških kultura koje istovremeno traju, ili onih koje neposredno slede u prelaznim periodima. Primenom ovoga sistema može se izgraditi arhiv podataka za lokalitete iz jednog regiona, što daje široke mogućnosti za praćenje sadržaja na većem broju istraživačkih nivoa. Za obradu nalaza različitih tehnoloških tradicija neophodno je uneti veliki broj atributa. Ali, brojnost atributa sama po sebi ne bi mogla izgraditi opšteprimenljiv sistem. Osnovni uslov za to je razvrstavanje atributa po grupama sa jasno određenim sadržajem. Upravo je mešanje atributa, što je čest slučaj u poznatim klasifikacijama, ono što onemugućava izgradnju opšteprimenljivog sistema obrade. Ako su atributi jasno razdvojeni po grupama, uspešnije je poređenje pojedinačne vrste atributa za nalaze iz većeg broja skupina sa lokaliteta iste ili različite kulturne grupe. Raznovrsnost i brojnost atributa omogućava da se detaljnije prikaže operativni lanac izrade alatki. Prikupljanje podataka je organizovano u pet nivoa. Prvi nivo je kontekst nalaza koji pored stratigrafske i prostorne pozicije artefakta obuhvata i podatke o očuvanosti stratigrafskih slojeva, arheološkim celinama i o orijentaciji artefakata. Drigi nivo se odnosi na tehnološke, morfološke, metričke podatke odbitaka i svojstva sirovine za neretuširane i retuširane artefakte. Unešene su 22 grupe atributa koje su dalje podeljene na uže celine. Treći nivo su podaci o atributima retuša svrstani u 10 grupa atributa. Četvrti nivo je obrada morfološke tipologije retuširanih artefakata koja se sastoji iz 15 grupa atributa. Pored tipova unešeni su i podtipovi i varijacije atributa, jer alatke koje pripadaju istom tipu nisu istovetne, već se razlikuju po prisutnim varijacijama. Ove razlike mogu biti odraz tehnološke tradicije, ali i u vezi sa primenjenom ekonomijom, kao i individualnog pristupa u izradi. U okviru tipoloških grupa unešen je 171 tip alatki. Peti nivo obuhvata obradu jezgara i sačinjen je od 15 grupa atributa koje se odnose na svojstva sirovine, tehnologiju izrade, dimenzione vrednosti i njihovu tipologiju. Kod nekih grupa atributa data je podela na drugačiji način nego što je uobičajeni pristup (npr. kod vrste odbitaka, retuša,tipova alatki i dr.), a što je proizašlo iz nastojanja da se atributi razvrstaju po svom sadržaju u odgovarajuće grupe. Prikazana tipologija je takođe dobrim delom drugačija od uobičajene. Nastojalo se da se, koliko je to moguće, podela zasniva na istim odrednicama za raznovrsne tipološke grupe, a to je prvenstveno položaj retuša u odnosu na ivice odbitka. Dalja razrada tipova urađena je prema razlikama u grupama atributa koji sačinjavaju tip alatke. Naporedo sa organizacijom podataka i izradom tipologije, radilo se i na izgradnji terminologije na srpskom jeziku. Pojedini termini na srpskom jeziku odstupaju od onih koji se uglavnom koriste. Kod predloženih naziva se težilo da odražavaju glavno svojstvo atributa. Kako bi se pronašlo odgovarajuće rešenje, praćena je terminologija na nekoliko jezika. U tekstu su naporedo sa srpskim nazivima navedeni i nazivi na engleskom, u nekim slučajevima na francuskom i nemačkom. Za svaki nivo obrade navedene su najčešće korišćene klasifikacije različitih istraživača sa prednostima i nedostacima njihovih sistema. Potom je predstavljen sistem koji autor ovog rada predlaže, sa obrazloženjem iznešenog pristupa. U uvodnom delu su navedeni ciljevi izgradnje ovakvog sistema i kakvi se rezultati očekuju njegovom primenom. Prikaz istorijata otkrića i izučavanja kamenih alatki dat je u drugom poglavlju. Tehnike odbijanja, mehanizam odbijanja i tehnološke tradicije, kao i atributi odbitaka su sadržaj trećeg poglavlja. U četvrtom su opisani načini obrade koji se odnose na redukciju jezgara i retuširanih odbitaka i na analizu tipologije i funkcije. Peto poglavlje obuhvata organizaciju podataka po sistemu iznešenom u ovome radu. U šestom poglavlju je prikazana primena sistema obrade na nalazima iz različitih perioda: ranog neolita, mezolita i musterijena. Takođe je izvedena uporedna analiza iz dva perioda koja uzastopno slede na istoj teritoriji (mezolit-rani neolit). U prilogu 1 je predstavljen kodirani klasifikacioni sistem atributa koji obuhvataju pet grupa podataka: kontekst nalaza, tehno-morfološki podaci, atributi retuša, morfološka tipologija i podaci o jezgrima. Sistem je otvoren za svaku grupu atributa, te je moguće unošenje novih. U prilogu 2 su dati kodni listovi za unošenje podataka. Tekst prati 85 ilustracija, 39 tabela, 5 grafikona i 6 kodnih listova za unošenje podataka Metoda istraživanja zasnovana je prvenstveno na rezultatima rada autora do kojih se došlo tokom višegodišnje obrade većeg broja skupina nalaza različite kulturne pripadnosti. Sa druge strane, izučavani su klasifikacioni sistemi koje istraživači koriste za obradu kamenih arefakata. Analizom poznatih sistema i rezultata svog rada, autor je izgradio sistem koji omogućava obradu okresanog kamena od najranijegvremena postojanja ove industrije do njenog kraja, a to je preko dva i po miliona godina. Očekuje se da će primena predloženog sistema obrade nalaza od okresanog kamena dati dobru osnovu za razne vrste analaza, a pre svega, za uprednu obradu nalaza sa većeg broja lokaliteta. Time će se omogućiti da se uspešnije sagledaju tehnološke sličnosti i razlike preistrijskih zajednica kroz prostor i vreme. Dissertation subject is creation of generally applicable system for the analysis of chipped stone artifacts that could be used to study finds, which have identical or different technological tradition and chronological attribution. Standardized method of the analysis provides the basis for successful comparison of assemblages from many sites, as well as those belonging to the identical cultural group and those originating from different cultures. Identical approach to the analysis offers better basis for comprehension of technological influences of archaeological cultures, which are concurrent or those immediately following in the transition periods. By using this system it is possible to make the data archive for the sites within distinct region, thus offering wide possibilities for observing the contents at larger number of investigation levels. For studying the finds of diverse technological tradition it is necessary to enter large number of attributes. Nevertheless, quantity by itself could not provide generally applicable system. Main condition for that is classification of attributes within groups with clearly determined contents. Actually, mixing of attributes as is the frequent case in known classifications is the element, which makes creation of generally applicable system of analysis impossible. If the attributes are clearly distinguished in groups, comparison of one type of attribute for the finds from larger number of assemblages from sites of identical or different cultural group is more successful. Diversity and quantity of attributes make possible detail presentation of the operational chain of tool production. The data gathering is organized at five levels. First level is the finding context, which includes besides stratigraphic and spatial position of the artifact also information about preservation of stratigraphic layers, archaeological entities and orientation of the artifact. Second level relates to technological, morphological, metric facts of flakes and characteristics of the raw material for unretouched and retouched artifacts. Twenty-two attribute groups further divided into smaller groups have been entered. Third level includes information about retouch attributes classified into 10 attribute groups. Forth level is the analysis of morphological typology of retouched artifacts that includes 15 groups of attributes. In addition to the types also sub-types and variations of attributes are entered because the tools identified as one type are not identical but differ according certain variations. These diversities could be the result of technological tradition but also related to the applied economy and also individual approach to manufacture. There are 171 types of tools included into typological groups. Fifth level includes analysis of cores and consists of 15 groups of attributes regarding raw material characteristics, production technology, dimensions and their typology. Within certain groups of attributes the division is suggested in a different way than it is common (e.g. types of flakes, retouch, types of tools etc) and it is the result of an attempt to classify attributes into corresponding groups according to its contents. Presented typology also differs to a great extent from the usual one. We tried as much as it was possible to base the classification on the same characteristics for diverse typological groups and that is primarily the position of retouch in relation to the flake's edges. Further distinction of types was made according to differences in the groups of attributes composing the tool type. Along with the organization of data and making of typology we also worked on creation of terminology in Serbian. Certain terms in Serbian deviate from the commonly used terms. When suggesting the terms we tried to illustrate main characteristic of the attribute. In order to find best solution we consulted terminology in few languages. So, in the text terms in English are quoted parallely with Serbian terms and in some cases also terms in French and German. For every level of analysis we quoted mostly used classifications by various authors with advantages and shortages of their systems. Then we presented the system proposed by this author with explanation of suggested elements. In the introductory part are quoted goals in creation of such system and what results are expected by its use. Second chapter includes history of investigation and study of stone tools. Techniques of knapping, flaking mechanism and technological traditions as well as the attributes of flakes are included in the third chapter. In the forth chapter are explained working methods concerning reduction of cores and retouched flakes and the analysis of typology and function. Fifth chapter includes data organization according to the system presented in this work. Application of the system of analysis on the finds from different periods (Early Neolithic, Mesolithic and Mousterian) is presented in the sixth chapter. There is also presented comparative analysis for two successive periods on the one territory (Mesolithic-Early Neolithic). In the appendix 1 is presented coding classification system of attributes including five groups of data: finding context, techno-morphological data, retouch attributes, morphological typology and data about cores. System is open for each group of attributes so it is possible to add new attributes. In appendix 2 are presented code sheets for data entering. Text is accompanied by85 illustrations, 39 tables, 5 graphs and 6 code sheets for data entering. Investigation method is based mostly on working results of the author that were obtained during many years of studying large number of assemblages of diverse cultural provenance. On the other hand we studied classification systems used by explorers for analysis of stone artifacts. By analyzing well-known systems and using the results of her work author created system, which makes possible studying chipped stone from the earliest times of existence of that industry to its very end and it is over two and a half million years. We expect that application of proposed system of analysis of chipped stone finds would provide good basis for various kinds of analyses and first of all for comparative analysis of finds from large number of sites. That would make possible better comprehension of technological similarities and differences of prehistoric communities through space and time.ADissertation subject is creation of generally applicable system for the analysis of chipped stone artifacts that could be used to study finds, which have identical or different technological tradition and chronological attribution. Standardized method of the analysis provides the basis for successful comparison of assemblages from many sites, as well as those belonging to the identical cultural group and those originating from different cultures. Identical approach to the analysis offers better basis for comprehension of technological influences of archaeological cultures, which are concurrent or those immediately following in the transition periods. By using this system it is possible to make the data archive for the sites within distinct region, thus offering wide possibilities for observing the contents at larger number of investigation levels. For studying the finds of diverse technological tradition it is necessary to enter large number of attributes. Nevertheless, quantity by itself could not provide generally applicable system. Main condition for that is classification of attributes within groups with clearly determined contents. Actually, mixing of attributes as is the frequent case in known classifications is the element, which makes creation of generally applicable system of analysis impossible. If the attributes are clearly distinguished in groups, comparison of one type of attribute for the finds from larger number of assemblages from sites of identical or different cultural group is more successful. Diversity and quantity of attributes make possible detail presentation of the operational chain of tool production. The data gathering is organized at five levels. First level is the finding context, which includes besides stratigraphic and spatial position of the artifact also information about preservation of stratigraphic layers, archaeological entities and orientation of the artifact. Second level relates to technological, morphological, metric facts of flakes and characteristics of the raw material for unretouched and retouched artifacts. Twenty-two attribute groups further divided into smaller groups have been entered. Third level includes information about retouch attributes classified into 10 attribute groups. Forth level is the analysis of morphological typology of retouched artifacts that includes 15 groups of attributes. In addition to the types also sub-types and variations of attributes are entered because the tools identified as one type are not identical but differ according certain variations. These diversities could be the result of technological tradition but also related to the applied economy and also individual approach to manufacture. There are 171 types of tools included into typological groups. Fifth level includes analysis of cores and consists of 15 groups of attributes regarding raw material characteristics, production technology, dimensions and their typology. Within certain groups of attributes the division is suggested in a different way than it is common (e.g. types of flakes, retouch, types of tools etc) and it is the result of an attempt to classify attributes into corresponding groups according to its contents. Presented typology also differs to a great extent from the usual one. We tried as much as it was possible to base the classification on the same characteristics for diverse typological groups and that is primarily the position of retouch in relation to the flake's edges. Further distinction of types was made according to differences in the groups of attributes composing the tool type. Along with the organization of data and making of typology we also worked on creation of terminology in Serbian. Certain terms in Serbian deviate from the commonly used terms. When suggesting the terms we tried to illustrate main characteristic of the attribute. In order to find best solution we consulted terminology in few languages. So, in the text terms in English are quoted parallely with Serbian terms and in some cases also terms in French and German. For every level of analysis we quoted mostly used classifications by various authors with advantages and shortages of their systems. Then we presented the system proposed by this author with explanation of suggested elements. In the introductory part are quoted goals in creation of such system and what results are expected by its use. Second chapter includes history of investigation and study of stone tools. Techniques of knapping, flaking mechanism and technological traditions as well as the attributes of flakes are included in the third chapter. In the forth chapter are explained working methods concerning reduction of cores and retouched flakes and the analysis of typology and function. Fifth chapter includes data organization according to the system presented in this work. Application of the system of analysis on the finds from different periods (Early Neolithic, Mesolithic and Mousterian) is presented in the sixth chapter. There is also presented comparative analysis for two successive periods on the one territory (Mesolithic-Early Neolithic). In the appendix 1 is presented coding classification system of attributes including five groups of data: finding context, techno-morphological data, retouch attributes, morphological typology and data about cores. System is open for each group of attributes so it is possible to add new attributes. In appendix 2 are presented code sheets for data entering. Text is accompanied by85 illustrations, 39 tables, 5 graphs and 6 code sheets for data entering. Investigation method is based mostly on working results of the author that were obtained during many years of studying large number of assemblages of diverse cultural provenance. On the other hand we studied classification systems used by explorers for analysis of stone artifacts. By analyzing well-known systems and using the results of her work author created system, which makes possible studying chipped stone from the earliest times of existence of that industry to its very end and it is over two and a half million years. We expect that application of proposed system of analysis of chipped stone finds would provide good basis for various kinds of analyses and first of all for comparative analysis of finds from large number of sites. That would make possible better comprehension of technological similarities and differences of prehistoric communities through space and time.Dissertation subject is creation of generally applicable system for the analysis of chipped stone artifacts that could be used to study finds, which have identical or different technological tradition and chronological attribution. Standardized method of the analysis provides the basis for successful comparison of assemblages from many sites, as well as those belonging to the identical cultural group and those originating from different cultures. Identical approach to the analysis offers better basis for comprehension of technological influences of archaeological cultures, which are concurrent or those immediately following in the transition periods. By using this system it is possible to make the data archive for the sites within distinct region, thus offering wide possibilities for observing the contents at larger number of investigation levels. For studying the finds of diverse technological tradition it is necessary to enter large number of attributes. Nevertheless, quantity by itself could not provide generally applicable system. Main condition for that is classification of attributes within groups with clearly determined contents. Actually, mixing of attributes as is the frequent case in known classifications is the element, which makes creation of generally applicable system of analysis impossible. If the attributes are clearly distinguished in groups, comparison of one type of attribute for the finds from larger number of assemblages from sites of identical or different cultural group is more successful. Diversity and quantity of attributes make possible detail presentation of the operational chain of tool production. The data gathering is organized at five levels. First level is the finding context, which includes besides stratigraphic and spatial position of the artifact also information about preservation of stratigraphic layers, archaeological entities and orientation of the artifact. Second level relates to technological, morphological, metric facts of flakes and characteristics of the raw material for unretouched and retouched artifacts. Twenty-two attribute groups further divided into smaller groups have been entered. Third level includes information about retouch attributes classified into 10 attribute groups. Forth level is the analysis of morphological typology of retouched artifacts that includes 15 groups of attributes. In addition to the types also sub-types and variations of attributes are entered because the tools identified as one type are not identical but differ according certain variations. These diversities could be the result of technological tradition but also related to the applied economy and also individual approach to manufacture. There are 171 types of tools included into typological groups. Fifth level includes analysis of cores and consists of 15 groups of attributes regarding raw material characteristics, production technology, dimensions and their typology. Within certain groups of attributes the division is suggested in a different way than it is common (e.g. types of flakes, retouch, types of tools etc) and it is the result of an attempt to classify attributes into corresponding groups according to its contents. Presented typology also differs to a great extent from the usual one. We tried as much as it was possible to base the classification on the same characteristics for diverse typological groups and that is primarily the position of retouch in relation to the flake's edges. Further distinction of types was made according to differences in the groups of attributes composing the tool type. Along with the organization of data and making of typology we also worked on creation of terminology in Serbian. Certain terms in Serbian deviate from the commonly used terms. When suggesting the terms we tried to illustrate main characteristic of the attribute. In order to find best solution we consulted terminology in few languages. So, in the text terms in English are quoted parallely with Serbian terms and in some cases also terms in French and German. For every level of analysis we quoted mostly used classifications by various authors with advantages and shortages of their systems. Then we presented the system proposed by this author with explanation of suggested elements. In the introductory part are quoted goals in creation of such system and what results are expected by its use. Second chapter includes history of investigation and study of stone tools. Techniques of knapping, flaking mechanism and technological traditions as well as the attributes of flakes are included in the third chapter. In the forth chapter are explained working methods concerning reduction of cores and retouched flakes and the analysis of typology and function. Fifth chapter includes data organization according to the system presented in this work. Application of the system of analysis on the finds from different periods (Early Neolithic, Mesolithic and Mousterian) is presented in the sixth chapter. There is also presented comparative analysis for two successive periods on the one territory (Mesolithic-Early Neolithic). In the appendix 1 is presented coding classification system of attributes including five groups of data: finding context, techno-morphological data, retouch attributes, morphological typology and data about cores. System is open for each group of attributes so it is possible to add new attributes. In appendix 2 are presented code sheets for data entering. Text is accompanied by85 illustrations, 39 tables, 5 graphs and 6 code sheets for data entering. Investigation method is based mostly on working results of the author that were obtained during many years of studying large number of assemblages of diverse cultural provenance. On the other hand we studied classification systems used by explorers for analysis of stone artifacts. By analyzing well-known systems and using the results of her work author created system, which makes possible studying chipped stone from the earliest times of existence of that industry to its very end and it is over two and a half million years. We expect that application of proposed system of analysis of chipped stone finds would provide good basis for various kinds of analyses and first of all for comparative analysis of finds from large number of sites. That would make possible better comprehension of technological similarities and differences of prehistoric communities through space and time.

La controverse sur l'attribution de « La Chute d'Icare » des Musées Royaux des Beaux-Arts de Bruxelles a été alimentée a plusieurs reprises, notamment par une datation au radiocarbone de la première toile dont il ressort que P. Bruegel l'Ancien ne peut pas en être l'auteur ; et plus récemment par la publication d'un livre de D. Allart et C. Currie, ainsi que d'un article de ces mêmes auteures publié dans ces pages. Il me semble que la désattribution de cette œuvre n'est pas compatible avec certains résultats d'examen de laboratoire publiés dans la littérature. Dès lors, je propose de passer en revue les différentes études qui ont été menées sur cette œuvre et de dégager une conclusion qui se base sur leur ensemble. Prenant en compte l'analyse d'un échantillon de la peinture, je donnerai en particulier une interprétation des réflectogrammes du dessin sous-jacent qui tient compte d'une probable transposition. Je montrerai enfin comment les différents examens convergent vers la conclusion que « La Chute d'Icare » des Musées Royaux des Beaux-Arts est vraisemblablement un panneau authentique de P. Bruegel, père ou fils, qui a été fortement dénaturé par la transposition sur toile. The controversy about the attribution of « The Fall of Icarus» at the Brussels Museum of Fine Arts has been heightened many times, namely by a radiocarbon dating of the first canvas, from which it is concluded that P. Bruegel the Elder cannot have painted this canvas ; and more recently by the publication of a book by D. Allart and C. Curri, as well as a paper from these authors published in this Journal. It seems to me that the desattribution of this painting is not compatible with some results of scientific examination that were previously published in the literature. Therefore, I propose to review the different studies about this painting in order to draw a conclusion that takes all of them into account. In particular, taking into account the analysis of a paint sample, I will provide an interpretation of the reflectograms of the underlying drawing that takes into account a probable transposition. I will finally demonstrate how different analyses lead to the conclusion that ``The Fall of Icarus´´ at the Royal Museum of Fine Arts is probably an authentic pannel by P. Bruegel, Father or Son, that has been heavily altered by a transposition on canvas.

Le doute est une vertu en conservation-restauration. L'auteur, au travers d'exemples empruntés à la pratique, démontre ses liens avec le principe de réversibilité, l'évolution, le progrès des techniques ainsi que la recherche. The doubt is a virtue in preservation-restoration. The author, through examples borrowed from the practice, demonstrates his links with the principle of reversibility, the evolution, the progress and the research.

Decision-making regarding the aesthetic treatment of wall paintings can be a difficult and complex process due to the multifaceted issues that influence the choices. In addition, local views and national value assignations make it difficult to apply general guidelines for retouching. This paper describes general theoretical concerns presented on the backdrop of specific examples, illustrating a wide range of aesthetic solutions for wall paintings. La prise de décision concernant le traitement esthétique des peintures murales peut être un processus difficile et complexe en raison des multiples facettes des questions qui influencent les choix. En outre, les attributions d'opinions locales et de valeurs nationales rendent difficile l'application de lignes directrices générales pour les retouches. Cet article décrit des préoccupations théoriques générales à la lumière d'exemples spécifiques, illustrant un large éventail de solutions esthétiques pour les peintures murales.

En matière d'expertise et de conservation, il n'y a qu'une seule obédience valable, à savoir celle des œuvres. Tout simplement parce que ce sont en dernier lieu les œuvres qui ont raison. Roger Marijnissen Quelques jalons biographiques Roger Marijnissen est né en 1923, à Gand. Enfant ouvert et curieux, il sera dès son enfance en butte à un handicap de taille. Il perdra, à la suite d'un mauvais ulcère, la vue de l'œil droit. Mais regarder et voir sont des choses bien différentes, écrira Oscar ...

Depuis toujours, la restauration en France cherche son identité et sa fonction dans les institutions. Quelle est donc la place du restaurateur ? Son profil ? Ses compétences ? Ses enjeux ? Son rôle dans la conservation du Patrimoine et l’avenir professionnel qui se dessine? La sensibilité artistique et l’intérêt pour la matière relient les restaurateurs aux peintres du passé, qui furent d’ailleurs les premiers à restaurer leurs maîtres. Une compétence artistique, qui serait dénuée de toute velléité d’expression résume cependant le restaurateur idéal d’aujourd’hui. De l’apprentissage aux formations scientifiques, des ateliers aux instituts, il aura toujours été essentiel de mettre en pratique la théorie, pour rendre celle-ci efficace en évitant les malentendus. Historically in France, conservation-restoration has sought its identity and function in institutions. What therefore is the place of conservator-restorers? What are their profiles, skills and challenges and what is their role in the preservation of culture heritage and the emerging professional future? By their artistic sensitivity and interest in materials they resemble the painters of the past, who were also the first to restore the works of their masters. Today however, the ideal restorer must have artistic skills devoid of any hint of self-expression. From apprenticeship to scientific training, from workshops to institutes, it has always been essential to put theory into practice to make it effective and avoid misunderstandings. conservation, restauration, formation, science, esthétique, atelier

Le polyptyque de l’Agneau Mystique a survécu une histoire violente et divers traitements dans le passé ont laissé leurs traces. L’approche interdisciplinaire du traitement de 1950-51 est encore aujourd’hui exemplaire pour le traitement entamé en 2012 par l’équipe de l’IRPA. Roger Marijnissen a participé à la recherche, et a suivi de près les deux traitements. The Ghent altarpiece has survived a traumatic history and succesive treatments in the past have left their traces. The interdisciplinary approach to the treatment in 1950-51, is still exemplary for the present campaign, started by a team of IRPA in 2012. Roger Marijnissen participated in the research and followed closely both treatments.

Throughout his life Marijnissen has often advocated the significance art education as an important aspect of a museum’s mission. He even provided some valid suggestions as to how the public can be enticed to engage more closely with a museum. In this article we get an insight into Marijnissen’s views on museum education and his answers to the question: how to safeguard the museum collection in the minds of humanity? Marijnissen a souvent préconisé l'éducation à l'art comme un des aspects les plus importanst de la mission d'un musée. Il a même fourni quelques suggestions sur la façon dont le public peut être appelé à s'engager plus étroitement avec celui-ci. Dans cet article, nous donnons un éclairage quant aux opinions de Marijnissen sur l'éducation au musée et évoquons quelques unes de ses réponses à la question fondamentale: comment maintenir et sauvegarder les collections de musées parmi les goûts et aspirations de l'humanité?

L’Antiphonaire d’Oosteeklo, conservé à la bibliothèque du Musée des Beaux-Arts de Gand, a peu retenu l’attention des historiens d’art, en dépit de son importance pour l’histoire de l’enluminure flamande. Un remarquable colophon révèle l’identité de sa commanditaire, Quentine de Mastaing, abbesse des cisterciennes d’Oosteeklo ; il donne le nom de deux copistes et l’année de réalisation du manuscrit (1498). Ses scènes historiées aussi peuvent être rattachées à une enlumineresse documentée : la fameuse Cornelia van Wulfschkercke, carmélite de Sion à Bruges, à qui un œuvre assez important a pu être donné. Cette nouvelle attribution est l’occasion de présenter deux autres manuscrits peints par la même main et d’examiner la validité d’une identification qui reste, à ce stade des recherches, une hypothèse de travail. Despite its importance for the history of Flemish book painting, the Oosteeklo Antiphonal, kept at the library of the Ghent Museum of Fine Arts, has been largely neglected by art historians. A remarkable colophon discloses the identity of its patroness, Quentine de Mastaing, abbess of the Cistercian convent of Oosteeklo. It also mentions the name of the two scribes and the year of completion of the manuscript (1498). Moreover, the historiated initials can be related to a documented artist: the celebrated Cornelia van Wulfschkercke, Carmelite of the Sion convent in Bruges, to whom an important body of works has been attributed. Two other manuscripts by the same hand are presented, an ideal opportunity to assess the validity of an identification that remains, at this stage of research, a working hypothesis.

There is only one valid authority when it comes to expertise and conservation, namely that of the works. Quite simply because in the end it is the works that are right. Roger Marijnissen I would like to thank Joyce Stoner for valuable comments and for editing this English translation. A few biographical milestones Roger Marijnissen was born in Ghent in 1923. He was an open-minded and curious child, but suffered from a major disability from childhood, losing the sight in his right eye followin...

Cet extrait présente les réflexions préliminaires à l'ouvrage Dégradation, conservation, restauration de l'œuvre d'art, Bruxelles, Arcades, 1967. This extract presents the preliminary reflections to the book Degradation, preservation, restoration of the work of art, Brussels, Arcades, 1967.

Ce chapitre récent de l'histoire de la conservation-restauration peut illustrer le progrès de la conservation du patrimoine bâti en Allemagne durant les années 70. Celui-ci se caractérise par un changement de paradigme, une amélioration qualitative en termes de théorie et de méthodologie, en raison d'une meilleure situation légale et de l'extension du concept de monument historique, en ce compris compris des exemples aussi modestes que des habitations domestiques et des fermes. This recent chapter of conservation history can illustrate the improvement in the preservation of built heritage in Germany in the 70s. It was characterized by a paradigm change, with a remarkable increase of quality in theory and methodology, due to a better legal situation and to a broader concept of historical monument, including also modest examples of dwellings and farmhouses.

During the current conservation of the Ghent Altarpiece, carried out by a team of KIK-IRPA, a large amount of old overpaint has been discovered. These are studied with a number of innovative analytical techniques. It is argued here that the introduction of these techniques allows for a re-evaluation of the conservation theoretical and ethical dimensions of coping with such phenomena. Pendant la conservation-restauration actuelle du Retable du Gand, effectuée par une équipe de l'IRPA, on a découvert un grand nombre de surpeints anciens. Ceux-ci sont étudiés par le biais d'un certain nombre de techniques analytiques novatrices. Il est discuté ici que l'introduction de ces techniques réclame une re-évaluation des dimensions théoriques et éthiques de la conservation-restauration pour faire face à de tels phénomènes.

The Foundation of the American Institute for Conservation oral history archive, which began in 1975, contains almost 300 interviews with pioneer conservators, conservation scientists, and art historians. Technical examination and technical art history, as exemplified by Roger H. Marijnissen’s publications, has undergone many changes since the 1950s; this article briefly surveys the field, focusing on the examination of easel paintings, with the aid of voices and personal observations from the interviews available in the international oral history archive of the Foundation of the American Institute for Conservation. La Fondation de l'Institut américain de Conservation pour les archives de la tradition orale (Foundation of American Institute for Conservation - oral history archive), qui a débuté ses travaux en 1975, rassemble près de 300 entretiens avec des conservateurs pionniers, des scientifiques de la conservation et des historiens de l'art. Examens techniques et histoire de l'art technique, comme donnés en exemple par Roger H. Marijnissen dans ses publications, ont subi beaucoup de changements depuis les années 1950; cet article examine brièvement ce champ, se concentrant sur l'examen de peintures de chevalet, par le biais des observations personnelles et des entretiens disponibles dans les Archives de Tradition orale internationales de la Fondation de l'Institut américain pour la Conservation.

L'auteur examine l'usage contemporain du terme "valeur" en rapport avec le patrimoine, et revient sur l'emploi théorique et pratique qu'en fait Aloïs Riegl. The author examines the contemporary use of the term "value", in touch with the heritage, and returns on the theoretical and practical employment by Aloïs Riegl.

This paper describes a retouched bone shaft found in a Late Mousterian layer at Fumane Cave, northern Italy. The interpretation of the anthropic nature of the retouch is based on the identification of specific morpho-technological markers through experimentation. An integrated taphonomic and technological analysis was applied to the archaeological artifact. The evidence suggests that the bone shaft modifications involved the use of direct percussion through a transfer of technical knowledge from flint knapping. However, this does not necessarily imply that this technique was used in the absence of a more effective one. Similar cases of the use of bone as raw material for tool manufacturing are documented in the Lower Palaeolithic, and might have been related to the lack of appropriate lithic raw material, although this is not the case for Fumane cave.

Šiame diplominiame darbe autorė apžvelgia buvusius ir dabartyje taikomus molbertinės tapybos dubliavimo metodus bei naudojamas medžiagas. Aprašomi žinomi paveikslų dubliavimo būdai Europoje.Nagrinėjami molbertinės tapybos paveikslų dubliavimo metodai LDM Prano Gudymo restauraimo centre, taikyti nuo įsikūrimo iki šių dienų. Lyginami įvairūs, skirtingų kūrinių konservavimo, dubliavimo atvejai. Detaliai aprašomas paveikslo "Biblijinė scena" konservavimo, dubliavimo procesas. Šiame darbe senieji žinomi molbertinės tapybos dubliavimo būdai bei panaudotos medžiagos lyginami su dabarties praktika ir metodais. Tyrimas atskleidė, jog kiekvienam darbui reikalingas kūrybiškas, metodiškas, mokslinis paveikslų konservavimo, dubliavimo metodas bei taikomos medžiagos. Author of this Master’s Thesis reviews former and present methods and techniques of the lining of canvas paintings. Furthermore, all known European lining methods are described. Lining methods of the canv-as painting applied in Pranas Gudynas Center for Restoration since its foundation until present days are reviewed. Author reviews various cases of conservation and lining of the canvas paintings in Lithuania. Thesis describes in details conservation and lining process of the painting “Biblical Scene”. Old canvas paintings methods of lining, including the material used for lining, are compared in this Master’s Thesis. Research made reveals the fact that each piece of art needs creative, methodological, scientific approach to the conservation and lining methods and the materials used.

Föreliggande studie har syftat till att, genom semistrukturerade djupintervjuer med professionella retuschörer aktiva i branschen, undersöka om gemensamma steg kunde urskiljas genom respondenternas beskrivningar av arbetsprocessen.Genom studien framkom det att respondenterna beskrev likartade processer samt att samarbete med medarbetare var en viktig faktor för ett utvecklande arbete. Beskrivningarna av arbetsprocessen tydde på att samtliga respondenter hade ett personligt intresse för arbetet och branschen.Respondenterna ansåg även att retuschörens tidigare erfarenhet var betydande och till stor del påverkar tidsåtgången för arbeten. De menade också att tidsåtgången även påverkas av hur utförlig arbetsordern är vid uppstart av projektet. Det framkom även att respondenterna själva inte genomför någon utförlig uppföljning och granskning av hur det slutliga materialet används. The present study aimed to, through semi-structured in-depth interviews with professional retouchers active in the industry, examine if common steps could be identified by the respondents’ descriptions of the work process.The study revealed that respondents described similar processes, and collaboration with colleagues was an important factor for a developing work. The descriptions of the work indicated that all respondents had a personal interest in the work and in the industry.Respondents also felt that the retouchers previous experience was significant and largely affects the duration of the work. They also pointed out that the duration also is affected by the amount of details specified in the work order at the startup of the project. It also emerged that the respondents themselves did not make any detailed follow-up and review of how the final material was used.

This thesis is focused on the photographic manipulation issue in a complex way. At first both production and postproduction tools are introduced, the tools used in many ways for manipulation with photographs such as photomontage, retouching and techniques creating specific illusions at the very moment the photography is taken. The impressions which can be evoked in the eyes of the observer will also be reviewed. Then the attention is concentrated on specific examples of the manipulated photographs throughout 20th and 21st century which caused public acceptance in analog as well as digital era of photography. Finally, some post-production editing options are demonstrated on several examples.

Through semi-structured interviews with 8 school photographers and 10 parents,this study attempted to clarify what photographers and parents of children(aged 1–5) in preschool think of photography business in the current situationprovides retouching children’s school photographs and what they considers tobe acceptable. The result shows that companies do not offer photo retouchingfrequent, but performs this service at the direct request of the customer. Themajority of parents agreed that dirt and food was accepted to be removed fromthe photograph, and that this does not affect the child's self image. The photographersbelieve that one should be very careful when it comes to children andretouching, and that the debate is important. Genom semistrukturerade intervjuer med 8 skolfotografer och 10 föräldrar hardenna studie försökt klarlägga vad fotografer och föräldrar till barn (1–5 år) påförskolan anser om att fotoföretag i dagsläget använder retuschering på barnensskolfotografier samt vad de anser vara acceptabelt. I resultatet framgår att fotoföretaginte erbjuder retuschering frekvent, utan utför denna tjänst på direktbegäran av kunden och att majoriteten av föräldrarna accepterade att smuts ochmat avlägsnades från fotografiet samt att detta inte påverkar barnets självbild.Fotograferna anser att man bör vara väldigt försiktig när det kommer till barnoch retuschering samt att debatten är viktig.

Tidigare studier som gjorts inom området visade att kvinnor anser att kvinnors skönhet inte är värderad enligt rimliga normer i vårt samhälle. Hård retuschering motarbetas på många håll, bland annat genom att organisationer som ASA (Advertising Standards Authority) och politiska partier som Liberaldemokraterna i Storbritannien arbetar för att missledande retuschering ska försvinna. En studie har visat att det, för att öka annonsers attraktionskraft, är viktigt att den ökade skönheten hos en modell är relevant för produktens användningsområde, då betraktaren anstränger sig intellektuellt vid betraktandet av bilden. Det finns dock inga tidigare studier som bevisar om en retuscherad modell faktiskt ökar målgruppens köplust av skönhetsprodukter vid rådande samhällsattityder och skönhetsideal. Två enkätundersökningar gjordes därför med sammanlagt 1480 deltagare. Produkten i studien var en fiktiv hudkräm. Genom att i den ena undersökningen låta betraktaren möta modellbilden i en situation som efterliknade verkligheten, på så sätt att de inte fick veta om den var retuscherad, kunde studien svara på om retuschering ökade köplusten. Bilder med bortretuscherade skönhetsfläckar och utväxt prefererades. Att retuschera bort flyghår ökade inte köplusten. I den andra jämförande undersökningen kunde betraktaren jämföra den retuscherade med den oretuscherade modellbilden. Resultaten visade att skönhetsfläckar och flyghår tillåts och prefereras borttagna, men inte utväxt. I intervjuer med fem kvinnor hördes målgruppens attityder om vad som ansågs var tillåtet att retuschera. Svaren tydde på att en relevant och försiktig retuschering prefererades. Att lämna några födelsemärken ökade trovärdigheten. This study aims to answer whether retouching of models in beauty ads increases the desire to buy in the target group and the attitudes held about what is allowed to retouch. Two surveys with 1,408 participants was made. In one the participant was shown a beauty ad in a situation imitating the reality where the participant did not know if the picture was retouched. The study showed that the participant preferred that the model's beauty spots and outgrowth were removed. To remove stray hair did not increase the desire to buy. A second study in which participants could compare the retouched picture to the unretouched showed that blemishes and stray hair was preferred and allowed to be removed. Removing outgrowth did not increase the desire to buy the skin cream. Interviews with five women revealed that a prudent and relevant retouching, such as removing blemishes, but to leave some birthmarks, increased the reliability in the ad.

Through semi-structured interviews with 8 school photographers and 10 parents,this study attempted to clarify what photographers and parents of children(aged 1–5) in preschool think of photography business in the current situationprovides retouching children’s school photographs and what they considers tobe acceptable. The result shows that companies do not offer photo retouchingfrequent, but performs this service at the direct request of the customer. Themajority of parents agreed that dirt and food was accepted to be removed fromthe photograph, and that this does not affect the child's self image. The photographersbelieve that one should be very careful when it comes to children andretouching, and that the debate is important. Genom semistrukturerade intervjuer med 8 skolfotografer och 10 föräldrar hardenna studie försökt klarlägga vad fotografer och föräldrar till barn (1–5 år) påförskolan anser om att fotoföretag i dagsläget använder retuschering på barnensskolfotografier samt vad de anser vara acceptabelt. I resultatet framgår att fotoföretaginte erbjuder retuschering frekvent, utan utför denna tjänst på direktbegäran av kunden och att majoriteten av föräldrarna accepterade att smuts ochmat avlägsnades från fotografiet samt att detta inte påverkar barnets självbild.Fotograferna anser att man bör vara väldigt försiktig när det kommer till barnoch retuschering samt att debatten är viktig.

Tidigare studier som gjorts inom området visade att kvinnor anser att kvinnors skönhet inte är värderad enligt rimliga normer i vårt samhälle. Hård retuschering motarbetas på många håll, bland annat genom att organisationer som ASA (Advertising Standards Authority) och politiska partier som Liberaldemokraterna i Storbritannien arbetar för att missledande retuschering ska försvinna. En studie har visat att det, för att öka annonsers attraktionskraft, är viktigt att den ökade skönheten hos en modell är relevant för produktens användningsområde, då betraktaren anstränger sig intellektuellt vid betraktandet av bilden. Det finns dock inga tidigare studier som bevisar om en retuscherad modell faktiskt ökar målgruppens köplust av skönhetsprodukter vid rådande samhällsattityder och skönhetsideal. Två enkätundersökningar gjordes därför med sammanlagt 1480 deltagare. Produkten i studien var en fiktiv hudkräm. Genom att i den ena undersökningen låta betraktaren möta modellbilden i en situation som efterliknade verkligheten, på så sätt att de inte fick veta om den var retuscherad, kunde studien svara på om retuschering ökade köplusten. Bilder med bortretuscherade skönhetsfläckar och utväxt prefererades. Att retuschera bort flyghår ökade inte köplusten. I den andra jämförande undersökningen kunde betraktaren jämföra den retuscherade med den oretuscherade modellbilden. Resultaten visade att skönhetsfläckar och flyghår tillåts och prefereras borttagna, men inte utväxt. I intervjuer med fem kvinnor hördes målgruppens attityder om vad som ansågs var tillåtet att retuschera. Svaren tydde på att en relevant och försiktig retuschering prefererades. Att lämna några födelsemärken ökade trovärdigheten. This study aims to answer whether retouching of models in beauty ads increases the desire to buy in the target group and the attitudes held about what is allowed to retouch. Two surveys with 1,408 participants was made. In one the participant was shown a beauty ad in a situation imitating the reality where the participant did not know if the picture was retouched. The study showed that the participant preferred that the model's beauty spots and outgrowth were removed. To remove stray hair did not increase the desire to buy. A second study in which participants could compare the retouched picture to the unretouched showed that blemishes and stray hair was preferred and allowed to be removed. Removing outgrowth did not increase the desire to buy the skin cream. Interviews with five women revealed that a prudent and relevant retouching, such as removing blemishes, but to leave some birthmarks, increased the reliability in the ad.

During the 7th and 6th millenniums BC, major changes occurred over a widespread area in the lithic industries of the late Mesolithic. We focused our research on notched blades and bladelets knapped by pressure or indirect percussion. We managed to define this technical process by showing that these notches result from voluntary retouch, with variability in retouch modes and in uses (different operating processes and worked materials). It is a simple technical concept, connected to the recurring mode of operation, but with varied functional purposes that comes out as a result of this survey carried out in France, Belgium, Spain, Morocco and Tunisia.

Disertacija „Fotografija kao dokaz“ zadire u skepticizme i relativizme koje uvode teorije medija po pitanju statusa dokazivosti digitalne fotografije, dokazujući; kako je isti ili sličan materijal, a koji nije imao kapacitet dokazivosti, postojao i prethodno, u analognoj fotografiji, te kako stoga nije došlo do supstancijalne ili revolucionarne promjene. Ona analizira sklopove misli nazvane diskursima realizma, locirajući tri dominantna realistička sustava u koja se pojavljuju simultano izumu fotografije; pragmatičkog, pozitivističkog, te povijesnog realizma. Svi oni redom definiraju i/ili koriste fotografiju u svrhe dokaza. Te teorije dislociraju diskusiju o fotografiji u različita područja misli; prirodnih znanosti, humanističkih pa i društvenih disciplina. One tvrde kako: (1) fotografija može donijeti znanje ili mu barem služiti kao dodatno sredstvo (na način „filozofskog stroja“), nadalje kako je (2) fotografski referent nužno, a ne moguće postojeći (ili; ako nešto postoji to se mora moći fotografirati), te naposljetku kako (3) fotografija jedino može govoriti o nestalom vremenu. Ipak, dok svaki od pristupa afirmira sebi bliske, on redovno isključuje iz definicije druge primjene fotografije (vrlo često to su apstraktne, no i znanstvene fotografije…). Očigledno, obzirom polaze od sebi najbliže definicije takozvane. Vernakularne (lokalne, obične) fotografije, odnosno „normalnih“ ili „prosječnih“ fotografija, većina pristupa ima problema s nepotpunošću nabrajanja ili indukcije. Uvodi se, stoga, nova definicija koja radije deducira moguću fotografiju iz kapaciteta samoga medija, odnosno njenih tehnoloških pretpostavki. Obraćajući pažnju na sam početak fotografskog procesa, banalne parametre poput posebnih tehničkih odlika specijalizirane i komercijalne fotografske opreme, te odabira i namjera koje odlučuju o njihovim primjenama, disertacija otvara nove mogućnosti interpretacije, a time i širenja područja istraživanja o fotografiji. Naime, redefiniranjem se otvara pristup etici fotografske slike, odnosno šire; filozofiji politike, pregledajući motive predstavljanja fotografije u svrhe dokaza. Pod temom moralne odgovornosti, koja postaje osnova definicije fotografije kao dokaza; namjesto teze kako fotografski referent nužno postoji, zaključuje se na često previđenu činjenicu kako je - fotograf bio „tamo,“ bitnu za kritike represivne (vojne, političke) primjene fotografije, koje uglavnom i rabe fotografiju u svrhe dokaza. The dissertation Photography as the Evidence deals with scepticism and relativism introduced by media theories regarding evidentiary status of digital photography. It proves that similar or even the same type of material, having no capacity of being an evidence, existed previously, in the era of analogue photography, so no substantial or revolutionary change occurred with new, digital, technologies. This analysis is undertaken inside discourses of three realisms that emerged simultaneously with the invention of photography. These discourses are; pragmatism, positivism and historical realism. All of them are defining photography in terms of its evidence. These discourses allocate discussion on photography in different domains as; science, philosophy and political theory or political history. They claim that: (1) the photography can bring the knowledge or can at least serve as its tool (in terms of philosophical machine), (2) that photographic referent is necessary, not only possibly existing (thus; if something exists can be photographed), and that (3) the photograph can only serve to illustrate the vanished time. Still, each of these perspectives is partial, as excluding some other practical usage of photography as the medium. Obviously, as all of them are starting with the nearest definition of vernacular photography, or what is depicted as “normal” or “average” photography, they are producing a fallacy of incomplete induction. A new definition deriving possible photographs from the capacity of its medium, is introduced. Returning to the very start of the photographic process, to seemingly banal parameters as technological specificities, as well as to photographer’s choices made upon it, the dissertation is introducing new domains of interpretation. Introduction of the photographic agent into the discourse, namely, allows proceeding to the domain of photographic ethics, or even into wider domain of philosophy of politics, giving an overview of critical issues when photography is presented as evidence, in moral sense. Primary author is distinguished from the secondary one in regard to rules given in commission, bringing up notions of responsibility, as the only fact being provable, and that is – the photographer „has been there,“ which is coming important for repressive (political, military..) exploitations of photography, predominantly using photography as the evidence.

In 2004 David Clark wrote of the concentrations of arrowheads found at a number of sand dune sites in Scotland that 'at present we have no narratives that seek to explain, or even acknowledge this situation.' This paper seeks, through an exploration of the manufacturing processes involved in producing a particular arrowhead from Luce Sands, Wigtownshire, to provide some of the detail to allow the construction of a wider narrative. While heat treatment cannot be proven to have been an integral part of the manufacturing process of fine quality flint artefacts it is undeniably true that : the process is relatively simple and does not require much expenditure of effort; it would seem probable that it would have been discovered accidentally; and it is extremely effective. Furthermore there is, at present, no alternative explanation for the method by which obdurate pebble flint was rendered compliant enough to produce the many fine arrowheads that have been recovered from the sands. If heat treatments were being used, the flint users of Luce Sands would have had access to a source of attractive and highly workable material from which to produce highly accomplished examples of the knapper's craft.

The papers presents the latest results from the technological and typological analysis of chipped stone assemblages from Ilipinar, Pendik, Fikir tepe, and Mentese in NW Turkey. The stone industry of Ilipinar shows parallels with the chipped stone material from Fikir tepe. At Ilipinar the period of technological and raw material changes in Bulgarian Thrace correspond to the end of phase V-A and to the whole V-B, but the technological and typological features are completely different.

Case study of couple of photomontages made during the war-time in 90's analyses the relationship of the narrative voice.

Known as a prehistoric site since the end of the last century, Combe-Capelle is situated in the middle reaches of the Couze valley, a southern tributary of the Dordogne. Several loci have been the object of archaeological research. One of these, Combe-Capelle Bas, is situated at the base of the slope below the Roc de Combe-Capelle (famous for the skeleton that was found there). It was in this locus that intensive excavations were carried out by H.-M. Ami during the 1920's, which revealed a stratigraphie sequence thought to be composed of five archaeological units. This sequence has been completely revised based on new work carried out recently by a joint french-american team. One of the major foci of this work, presented briefly here but discussed in more detail in the monograph, was to clarify the complex stratigraphic sequence and processes of formation of the site. The principal goal of this article is to present the lithic assemblages by level and by excavated sector. It is demonstrated that the assemblages recovered during the earlier excavations were severely distorted through excavator bias and that many of the characteristics of the Combe-Capelle Bas industries are a direct reflection of the site having been situated on a source of raw material., Connu depuis la fin du siècle dernier, Combe-Capelle se situe dans la moyenne vallée de la Couze, affluent de la rive gauche de la Dordogne. Plusieurs locus y ont fait l'objet de fouilles anciennes. Parmi eux, Combe-Capelle Bas, placé dans le talus sous-jacent à l'abri du Roc de Combe-Capelle, célèbre pour avoir livré une sépulture, a donné lieu à des fouilles intensives conduites sous forme d'une grande tranchée ouverte par H.-M. Ami dans les années vingt. Les résultats des fouilles anciennes qui révélèrent une importante séquence stratigraphique de cinq ensembles archéologiques ont été révisés sur la base de nouvelles fouilles entreprises par une équipe franco-américaine. Ces travaux ont clairement montré la complexité stratigraphique des dépôts dont les modalités de mise en place font l'objet d'interprétations diverses. L'argumentation de ces interprétations a été développée dans la monographie en anglais consacrée à ce gisement et leurs conclusions sont brièvement rappelées en introduction du présent article qui a pour but principal de présenter par couches les industries lithiques des différents secteurs de la fouille. Il est clairement apparu que les ensembles recueillis au cours des fouilles anciennes ont fait l'objet de tris sélectifs et que les industries de Combe-Capelle ont des caractéristiques directement liées à l'implantation du gisement sur un gîte de matière première., Dibble Harold Lewis, Lenoir Michel. Données nouvelles sur le gisement de Combe-Capelle à Saint-Avit-Sénieur (Dordogne). In: Gallia préhistoire, tome 39, 1997. pp. 31-83.

L’article traite du problème de retouche dans la conservation- restauration du papier, concernant en particulier la retouche tratteggio et ses derivatifs que peuvent être la solution de la réintegration de l’image, non si populaire parmi les restaurateurs du papier. C’était la partie du projet de Maîtrise de l’auteur d’examiner la possibilité de l’usage de retouches comme tratteggio dans la restauration de l’affiche de cinéma polonaise de Stefan Norblin, imprimée en lithographie en couleurs.The article describes issues concerning retouch in paper conservation- restoration with particular consideration of tratteggio retouch and its derivatives as an image reintegration solution, not very popular among paper conservators. It was a part of author’s MA project to examine the possibility of using tratteggio- like retouches during the restoration of 20th century Polish film poster by Stefan Norblin, printed in colour litograph.