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Yellow ochre commercial oil paint used in art and restoration was submitted to accelerated aging at 378 K between 5–720 h. SEM-EDS analysis shows particles with size in the range of 1.4–2.5 μm with high iron concentration in the paint aged from 360 h. EPR spectra showed a variation of g values between 2.2256 and 2.1719 (Fe3+) for samples aged 5–720 h, respectively, attributed to changes in the goethite chemical environment. Infrared analysis showed the presence of carboxylate groups in the aged material as the result of the molecular interaction between the product of linseed oil hydrolysis (palmitate) and the goethite surface through hydrogen bonding (R–C–OO⋯H–O–FeO). Such data is also supported by the Zeta potential of the pigment surface, which decreased as a function of aging time. The results show the change in the chemical environment of goethite is proportional to the increase in oil oxidation/hydrolysis products. The EPR and Zeta potential proved to be promising for the study of the molecular interactions in oil painting aging and can be used for new pigment/media formulations and for proposing new materials aimed at inhibiting the hydrolytic/oxidative processes of oil paints. [ABSTRACT FROM AUTHOR]

Byzantium, throughout its thousand-year reign, left a significant legacy that continues to be rediscovered within the framework of modern academic studies. The Byzantine Empire embodied the heritage of Hellenic culture and tradition alongside the continuity of the Roman Empire. However, its most distinct characteristic, besides the two aforementioned, was Christianity in its specific form known as the Eastern Orthodox tradition. A pivotal moment for the modern study of philosophy within Byzantium arrived in the mid-20th century. This specifically refers to the publication of Byzantine Philosophy by Vasilios Tatakis in Emil Bréhier's History of Philosophy series (1949). In the introductory remarks of this work, Tatakis emphasizes that while increased interest in Byzantium emerged in the 18th century, philosophy often seemed to be an afterthought within this growing focus. John of Damascus (8th century) did not live within the borders of the Byzantine Empire, but rather in Damascus, which was then part of the Umayyad Caliphate. Nevertheless, his significant influence can be traced primarily within Byzantine philosophy and literature, particularly through his work Dialectica. Additionally, his contribution to culture is evident in the preservation of visual art and the veneration of icons within Byzantium, thanks to his theoretical considerations and persistent rhetorical and polemical writings. Furthermore, his rich literary output encompasses both poetry and prose works. [ABSTRACT FROM AUTHOR]

This work aims discussing the contribution of environmental and technological factors in rock art painting preservation, based on a 3-year experimental program and two archaeological cases from Patagonia (South America). Concerning technological factors, microscopic information of experimental and archaeological contexts indicate that fine-grained pigments have a better preservation potential than coarse-grained ones, likely related to the high binder adsorption capacity of silty and clay size particles, resulting in a strong pigment agglutination and substrate adherence. Mechanical entrapment/translocation of such small particles into the substrate further contributes to preservation. The experiment also evidences that blood-bearing paints present preservation advantages over fat/water-based ones, probably due to clotting and drying processes which agglutinate pigments and seal rock voids, avoiding binder migration. In contrast, experimental gypsum- and, to a lesser extent, charcoal-based paints show a rapid and significant deterioration, particularly in the temperate and humid context. The low archaeological expectancy derived from these results is supported by the scarce and/or ambiguous regional representation of these black pigments in ancient Patagonian paintings. Among natural factors, water-related processes (i.e., rainfall, snow, freezing and water infiltration) play a decisive role in the physicochemical paint degradation, also favoring bioactivity. Raman spectroscopy of neoformed white crystals in experimental paints may evidence, in a short term, a first stage of the profuse biomineralizations archaeologically observed, associated with lichens, fungus, and endolithic organisms. Finally, sheep rubbing and wind abrasion are proposed as the main agents affecting vertical frequencies and integrity of archaeological motifs at the cave and open-air contexts, respectively, whereas differences related to cardinal insolation likely impact in frequencies, motif color and weathering stages at the open-air site too. [ABSTRACT FROM AUTHOR]

After May 2, 2022, heritage conservation briefly became a hot topic in the world of celebrity gossip. That evening, Kim Kardashian, a reality TV star and entrepreneur, wore a 60-year-old dress that had belonged to Marilyn Monroe to the Metropolitan Museum of Art's annual Costume Institute Gala. In wearing Monroe's dress, Kardashian sought to channel the glamor and celebrity of the mid-century star. She also summoned the ire of museum professionals, who considered her choice to wear a fragile historical garment a flagrant violation of conservation ethics. Yet increasingly, the discipline of conservation has come to recognize that an object's 'integrity' does not rest solely in its physical materials – and the emerging discourse of performance conservation, informed by research into the conservation of contemporary art as well as intangible cultural heritage, emphasizes the active lives of what I call 'performative objects' over their physical form and static appearance. Here, I posit that Kardashian's wearing of Monroe's dress may be understood as a form of conservation – perhaps not of the dress itself, but of the performance of which that dress was an integral part, and without which, I argue, the dress has little significance. To make this argument, I will also draw on innovative approaches to the conservation of Indigenous heritage that recognize the preservation value of reanimating objects from the past. Establishing Monroe's dress as a 'performative object,' an item inextricably linked to the body in motion, I endeavor to show how performance itself preserves the past. [ABSTRACT FROM AUTHOR]

The arts and historic preservation are well-established as strategies that can underpin urban planning and development. Although there is documented alignment between the arts and preservation, they are not typically formally integrated in city planning and existing research tends to address one or other, but not their integration. We fill this gap through an exploration of the intersection of the arts and historic preservation. We focus on who employs these strategies and why, the synergies and tensions between these practices, and how the arts and preservation relate to contemporary urban development in terms of gentrification, community control, and placemaking. [ABSTRACT FROM AUTHOR]

• 3D shape analysis for refitting archeological artefacts. • Minoan art. • The origins of Zeus iconography. • Palaeokastro Kouros. • Digital twins for conservation and restoration of works of art and ancient statues. A unique anthropomorphic statue, representing a young man standing tall ca. 50 cm. and primarily made of ivory and with gold decorative elements, was discovered heavily fragmented and burnt during the extensive excavations at the Bronze Age site of Palaikastro in Crete, Greece in 1987, 1988 and 1990. Through a painstaking restoration process of nearly a decade long, the statue was brought back to its original shape from ca. 200 recovered fragments and it is now exhibited in the Siteia Archaeological Museum in East Crete. The statue and the remaining fragments that the conservators were not able to refit on the statue were recently 3D documented by means of a high-precision optical scanner, resulting in the virtual re-positioning of many remaining fragments, correction of the statue's right foot orientation and its overall posture, and a better understanding of its assembly technique. This article presents these results and the digital processes that lead to them. [ABSTRACT FROM AUTHOR]

This study utilizes Neutrosophic Cognitive Maps (NCMs) to investigate cultural interactions in Tigua, an indigenous village in Ecuador known for its rich artistic heritage. The approach evaluates five crucial factors: ancestral traditions (A), external influences (B), cultural synthesis (C), artistic creativity (D), and education and cultural transmission (E). The activation of cultural synthesis (node C) is crucial for merging traditions with new influences, leading to the development of cultural and artistic breakthroughs. By integrating MultiAlism notions into the discourse, the comprehension of Tigua artworks is heightened since it establishes a correlation between indigenous and postcolonial art. This synthesis not only alters and strengthens historic traditions but also improves educational programs and fosters the incorporation of external influences. The findings highlight the importance of education in protecting and promoting culture, highlighting that making changes to customs in a creative way is essential for maintaining cultural vitality in a global society. In the end, this strategy offers a distinct and comprehensive blueprint for other towns that want to protect their cultural heritage during a changing and developing environment. [ABSTRACT FROM AUTHOR]

Historical aerial images constitute an invaluable heritage that requires meticulous recovery and preservation. Interest in this task has been shown at the international level, where several congresses have been held to analyse orthophotographs production techniques, as well as the state of the art of preservation and dissemination of historical material. Innovative image orthorectification models, such as Structure for Motion and Multi-View Stereo, derived from classical photogrammetric methods such as collinearity equations, Direct Linear Transformation and Rational Function Model, have shown excellent results in the creation of 3D models from images captured by mobile devices and unmanned aerial vehicles (UAVs). These advances open up a new line of research for its application in historical flights, characterised by unsuitable flight and conservation conditions, with geometries away from the conventional geometric model and the absence of orientation parameters. On the basis of the papers presented at the EuroSDR congresses in 2019 and 2022, and using SfM and MVS algorithmic programmes, research on the processes of orthorectification of historical images has been deepened, particularly in the processing of large volumes of data. The methodology was applied to what is potentially the largest block of data to date, comprising over 4,000 images covering an area of over 40,000 square kilometres corresponding to the A-series flight, carried out by the US Army Map Service between 1945 and 1946. This technical process represents a significant step towards the accurate correction of valuable historical aerial imagery, contributing to architectural study, urban planning, property organisation, and historical heritage conservation. [ABSTRACT FROM AUTHOR]

Light absorbed by sensitive artwork may cause irreversible damage. Optimising the spectral power distribution of light sources to minimise absorbed light can reduce damage while maintaining the colour appearance of the artwork. Previous absorption-minimisation studies used optimisation methods without comparing their performance. Here, three-channel LED-augmented reality projector spectra were optimised for 24 colour samples using a brute-force (BF) and multi-objective genetic algorithm (MOGA). The BF search and MOGA performed similarly in achieving optimal results, reducing both light absorption and energy consumption by almost half. However, MOGA was 2.5 times faster than BF in finding optimal solutions. The results indicate that an LED RGB projector can be used to illuminate museum artefacts to reduce light absorption and energy consumption, with the caveat of perceptible colour shifts in some of the colour samples. Future research will investigate observers' subjective evaluations of artwork under optimised lighting. [ABSTRACT FROM AUTHOR]

The research focused on analyzing Javanese arts conservation by employing inheritance strategies of Wayang Wong Bocah. The research method comprised the following steps: data collection, data validation, and data analysis. The data were collected by observation, interview, and documentation. Moreover, the data were validated by source triangulation technique and analyzed by techniques as follows: data description, data screening, data interpretation, and evaluation. The data analysis relied on Hardsley's theory regarding individual strategies in overcoming challenges and adapting to patterns of cultural changes. The results discovered that the conservation process of Wayang Wong Bocah performed by Tjipta Boedaja dance studio is regarded as: (1) an effort to preserve the culture by maintaining, protecting, conserving, and preventing it from damage and extinction; (2) an inheritance strategy by conducting routine training session to the children. In particular, the main findings of this study elaborate that the conservation and inheritance of Wayang Wong Bocah as the local wisdom potential require the passionate and willing individuals to conserve the art by ensuring the involvement of young generations as future art performers, the community as the support system of art conservation, and the government as the policymaker. [ABSTRACT FROM AUTHOR]

Infrared microscopy has become a significant analytical technique with a transformative impact on various scientific disciplines. This review examines its applications in biomedical research, materials science, environmental monitoring, and art conservation. The non-invasive and label-free technique has revolutionized disease diagnostics, drug discovery, and tissue engineering by providing comprehensive molecular and cellular insights. In materials science, it has significantly advanced understanding of microstructure and material properties, facilitating the development of novel materials. In environmental monitoring, infrared microscopy plays a crucial role in assessing microplastics and atmospheric pollutants, supporting environmental protection efforts. In art preservation, the technique offers valuable insights into the composition and deterioration of historical artworks. Recent advancements in sensor technology, particularly InGaAs and graphene-based detectors, coupled with artificial intelligence and machine learning, have greatly enhanced image analysis capabilities. The review identifies key challenges such as surpassing the diffraction limit and interpreting complex data. Ethical concerns, including data privacy and equitable access to technology, are also emphasized. Infrared microscopy remains a vital tool for advancing scientific knowledge and practical applications. Its impact is poised to expand with future technological developments, contingent upon addressing both technological challenges and ethical considerations. [ABSTRACT FROM AUTHOR]

Contemporary murals and street art play a critical role in urban culture, serving as platforms for social activism and reflecting the vibrancy of city life. This study within the SuperStaAr project framework examines the challenge of graffiti removal while safeguarding the original synthetic paint layers. Through a detailed investigation using Q-Switch and Long Q-Switch lasers (Nd:YAG), we evaluate the effectiveness and safety of laser cleaning techniques on both unaged and artificially aged mural mock-ups. The initial findings highlight the Q-Switch and Long Q-Switch lasers as promising for removing graffiti without compromising the paint integrity. Our assessment criteria—encompassing residue presence, surface roughness, color changes, cleaning effectiveness, and pigment pickup—were validated through empirical evaluation and supported by colorimetric, micro–ATR–FTIR, and Py–GC/MS analyses. Notably, the incorporation of a passive sampling system for Py–GC/MS analysis facilitates a deeper understanding of the ablated materials without direct sampling from the artwork. This research contributes a foundational framework for the evaluation of laser cleaning in mural conservation, emphasizing the importance of tailored strategies to enhance the sustainability of urban art conservation efforts. [ABSTRACT FROM AUTHOR]

• A multi-analytical approach for the characterization of colored modern paints was developed. • The method allowed to indentify pigments, binding media and additives for the organic and inorganic characterization of reference samples. • Chronological data about modern paint components was obtained by correlating the chemical information with data compiled from books, articles and patents. • Analytical results and chronological information were compiled into integrated charts to estimate the manufacturing period. • The developed methodology was successfully applied to corroborate the estimated date of an artwork presumably produced in 1946. Throughout the twentieth century, the paint industry developed a multitude of new binding media, pigments and additives that improved the appearance, ease of application, and performance of modern industrial paints. Depending on when and where they were first manufactured, and when they were introduced into paint formulations, some of these new paint components could conceivably be chronological markers useful in assigning attribution to specific artists or in the study of forgeries. The aim of this study was to develop a systematic methodology for characterizing organic and inorganic materials in modern paints, and search for potential chronological markers. Colored reference paints manufactured by local companies in Argentina from the 1940s and 1950s were studied with a multi-analytical approach that included Fourier-transform infrared spectroscopy, gas chromatography coupled with mass spectrometry, Raman spectroscopy, X-ray diffraction, X-ray fluorescence and scanning electron microscopy with energy dispersive X-ray analysis. A wide range of compounds was identified due to the complementarity use of the analytical techniques. Historical references, patents, books, and scientific publications about the materials used in that time period provided invaluable information in establishing tentative timelines for modern paint components. This investigation was part of a broader interdisciplinary investigation of Concrete Art, an international art movement of the beginning of the twentieth century, which took place in Argentina and other nearby countries during the 1940s and 1950s. To prove the concept, a micro-sample from "Obra N° 171" by Raúl Lozza was analyzed. Organic and inorganic fractions were studied and the information collected was correlated with developed timelines to support the authentication process. Ultimately, the information from this study may also have a direct impact on the key areas of material characterization, aging behavior, and conservation of works of art made from these products. [Display omitted] [ABSTRACT FROM AUTHOR]

The integration of digital technology, particularly virtual reality, is proving to be a pivotal tool in preserving and sharing the rich cultural heritage found within Cave art sites. This article deliberates on the use and application of digital technology in the field of cave painting conservation that provides an authentic and effective method of Cave art preservation for the future. Employing advanced techniques of photogrammetry, terrestrial laser scanning, structured light scanning, and high-resolution photography can digitally preserve the intricate details of Cave art, while the utilization of humidity, temperature, and CO2 sensors may provide a comprehensive digital monitoring system to track the condition of Cave art over time. This paper deals with the evolving landscape of technologies and their application to safeguard Cave art from environmental degradation and anthropogenic factors. The digitization of cave art has the potential to accurately conserve a site if used in an effective manner while also allowing visitors to experience this art form in ways never before feasible. The application of advanced digital technology in cave art conservation is not merely a choice but a necessity, considering the impermanent nature of these paintings in their natural environment. This paper underscores the urgency and significance of leveraging digital tools to ensure the enduring legacy of Cave art, an example of how digital technologies, as they evolve, will play an increasingly essential role in the conservation and dissemination of our world's extraordinary cultural heritage. [ABSTRACT FROM AUTHOR]

This study is focussed on the conservation and restoration of the stone intricate art and craftsmanship of Chaukhandi Tombs in Sindh, Pakistan which is the blend of Islamic and traditional Sindhi style of architecture (almost vanished now). This hidden treasure in the form of assemblage of monumental structures with heavy stone decoration portrays the glorious funeral architecture of 15th and 18th century. The multidisciplinary methodology was adopted comprising of literature mapping, field and visual surveys, condition assessment for documenting the heritage site. This study highlights the importance of conserving and preservation of such traditional assets since it distinguishes their importance in considerate our collective human history and heritage inheritance. The results clearly shown the rapid deterioration mainly due to neglect, inaccessibility and harsh climatic conditions. The Chaukhandi Tombs needs a serious attention with restoration plan with the involvement of the community for sustainable tourism. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Urban Research is the property of Journal of Urban Research and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Using the example of graffiti created by famous artists on the walls of buildings and structures damaged during hostilities in Kyiv and its suburbs, the article analyzes and summarizes the factors influencing the lifespan of street artworks. Special conditions for dismantling graffiti and changing the exposure are considered. Examples of measures taken to preserve art objects are given. The study provides recommendations for additional protection of building structures, which are the basis of murals, taking into account their condition and degree of destruction. The authors provide photographic materials and results from some of the most common objects. Also provided are constructive schemes for strengthening the building elements or their fragments and options for technological solutions for protection, preservation and further dismantling. The article also includes materials from already implemented projects: applications of street art, which were saved using these other methods and techniques. [ABSTRACT FROM AUTHOR]

Gamma radiation is an effective technique for the conservation of art collections, reducing microbial loads and can be obtained by the emission of a radioactive isotope, such as Cesium 137. A Portinari's artwork (National Museum, Brazil) was analysed, and the fungi contained therein were isolated and treated with gamma radiation for decontamination. Radiation doses used were 16, 19 and 22kGy. Results indicated 11 genera and 17 species of fungi isolated. Penicillium and Cladosporium were isolated from air, the artwork, and its support. The genera Penicillium, Cladosporium, Nigrospora and Curvularia showed high resistance to radiation (16kGy) being the most resistant species Cladosporium, with no growth just under 22kGy. The results outlined indicate that the rates of DNA damage and repair were critical, depending on chronic or acute doses. The biochemical mechanism acting on fungal cells under irradiation was basically the inactivation of specific enzymes and, probably, DNA damage, particularly stimulating double-strand breaks. [ABSTRACT FROM AUTHOR]

The scientific identification of organic additives in plaster and mortars has become an appropriate principle in the preparation of compatible repair material. Besides the need to characterise inorganic components, the conservation of mural art is facilitated by the unabridged documentation of organic components particularly mixed in ancient decorative mud/lime plasters support. The review addresses the influence of organic additives in the historic artworks and analytical methods used for their investigation. The paper has considered, the various plant-based organic additives recommended by ancient Indian texts like the Vishnudharmottara purana, Samaranga sutradhara, Silparatna etc., which have been documented and reported. With regard to the mentioned historical texts, plant-based products such as fermented juice, gum, fibres, straw, husk, resin etc., were used as organic additives for the preparation of wall plaster which provides disparate attributes to the plaster thus making it crack free, durable, antioxidant, antibacterial and insect-resistant. Furthermore, the recently reported destructive and non-destructive characterisation techniques based on chromatography, spectroscopy, ionization, and microscopy have also been described here. The mentioned techniques contribute as a fundamental tool to identify proteins, polysaccharides, fatty acids, resinous materials, starch, plant product etc., extracted from the mud/lime plasters and mortars. [ABSTRACT FROM AUTHOR]

Artistic image completion assumes a significant role in the preservation and restoration of invaluable art paintings, marking notable advancements through the adoption of deep learning methodologies. Despite progress, challenges persist, particularly in achieving optimal results for high-resolution paintings. The intricacies of complex structures and textures in art paintings pose difficulties for sophisticated approaches like Generative Adversarial Networks (GANs), leading to issues such as small-scale texture synthesis and the inference of missing information, resulting in distortions in lines and unnatural colors. Simultaneously, patch-based image synthesis, augmented with global optimization on the image pyramid, has evolved to enhance structural coherence and details. However, gradient-based synthesis methods face obstacles related to directionality, inconsistency, and the computational burdens associated with solving the Poisson equation in non-integrable gradient fields. This paper introduces a pioneering approach, integrating Weighted Similarity-Confidence Laplacian Synthesis to comprehensively address these challenges and advance the field of artistic image completion. Experimental results affirm the effectiveness of our approach, offering promising outcomes for the preservation and restoration of art paintings with intricate details and irregular missing regions. The integration of weighted Laplacian synthesis and patch-based completion across multi-regions ensures precise and targeted completion, outperforming existing methods. A comparative analysis underscores our method's superiority in artifact reduction and minimizing blurriness, particularly addressing challenges related to color discrepancies in texture areas. Additionally, the incorporation of pyramid blending proves advantageous, ensuring smoother transitions and preventing noticeable seams or artifacts in blended results. Based on empirical results, our method consistently outperforms previous methods across both high and low resolutions. Responding to these insights, our approach emerges as an invaluable guide for both curators and artists. The algorithm's performance yields insights that underscore the central role of thoughtful decision making in the creation of art paintings. This guidance extends to informing choices related to color selection, brushstrokes, and various other elements integral to the artistic process. During the creation phase, employing these insights enables artists and curators to optimize not only the digitization but also the subsequent restoration process. This proves especially vital when dealing with the intricacies involved in physically restoring damaged original art paintings. Importantly, our approach not only streamlines the restoration process but also contributes significantly to the preservation and enhancement of the digital representations of these distinctive and often intricate works of art. [ABSTRACT FROM AUTHOR]

[Display omitted] The development of gels capable to adapt and act at the interface of rough surfaces is a central topic in modern science for Cultural Heritage preservation. To overcome the limitations of solvents or polymer solutions, commonly used in the restoration practice, poly(vinyl alcohol) (PVA) "twin–chain" polymer networks (TC-PNs) have been recently proposed. The properties of this new class of gels, that are the most performing gels available for Cultural Heritage preservation, are mostly unexplored. This paper investigates how chemical modifications affect gels' structure and their rheological behavior, producing new gelled systems with enhanced and tunable properties for challenging applications, not restricted to Cultural Heritage preservation. In this study, the PVA-TC-PNs structural and functional properties were changed by functionalization with sebacic acid into a new class of TC-PNs. Functionalization affects the porosity and nanostructure of the network, changing its uptake/release of fluids and favoring the uptake of organic solvents with various polarity, a crucial feature to boost the versatility of TC-PNs in practical applications. The functionalized gels exhibited unprecedented performances during the cleaning of contemporary paintings from the Peggy Gugghenheim collection (Venice), whose restoration with traditional solvents and swabs would be difficult to avoid possible disfigurements to the painted layers. These results candidate the functionalized TC-PNs as a new, highly promising class of gels in art preservation. [ABSTRACT FROM AUTHOR]

Varnish layers are optical coatings that act as physico‐chemical barrier between the historical paint layers and the environment. Understanding how varnish materials protect historical paintings over time and in the presence of humidity or organic vapors is of central importance for art preservation. However, probing the behavior of varnish after aging in real conditions remains a challenge. Here the question is addressed by "reshaping" the varnish material from the masterpiece of G. Bellini, the "Transfiguration", into an optical layer; coupling in situ Ultraviolet‐Visible (UV–vis) and Infrared (IR) ellipsometries, the chemical state is correlated, optical properties and swelling of the varnish in presence of water and organic vapors. It shows that the varnish material aged since the 1950s still exhibits effective water repellence. The methodology may be applied to other relevant historical systems beyond paintings and may help in establishing more efficient preservation strategies for historical artworks. [ABSTRACT FROM AUTHOR]

Significant ethnic and racial disparities exist in the utilization and outcomes of assisted reproductive technology (ART) in the United States. The popularity of fertility preservation (FP) procedures, a specific application of ART for those desiring to delay childbearing, has increased; however, many minority populations have seen a less rapid uptake of these services. Minority patients pursuing ART are more likely to have poorer in vitro fertilization (IVF) and pregnancy outcomes. These outcomes are used to predict success after FP and may lessen the appeal of such procedures in these populations. Suboptimal outcomes are further compounded by challenges with receiving referrals to, accessing, and paying for FP services. Resolving these disparities in minority populations will require culturally appropriate education surrounding the benefits of ART and FP, the demonstration of favorable outcomes in ART and FP through continued research engaging minority participants, and continued advocacy for expanded access to care for patients. [ABSTRACT FROM AUTHOR]

Objectives Mitochondrial mutations in HIV-exposed uninfected (HEU) infants after cessation of ART are rarely studied. We analysed a group of HEU newborns born to mothers with late HIV diagnosis who received three doses of ART immediately after birth. We observed mitochondrial DNA (mtDNA) mutations at different times of withdrawal. Methods The study was based on a clinical trial conducted from 2015 to 2020. Newborns of the intervention group who met the criteria for this study received triple antiretroviral drugs, zidovudine + lamivudine + nevirapine, within 2 h after the birth, as post-partum prophylaxis, and at 14 days were switched to zidovudine + lamivudine + lopinavir/ritonavir, which was continued until 6 weeks of age. From August to November 2019, blood samples from HEU infants were also collected after ceasing 12 months of ART, and analysed for mtDNA. Results Our study found that mtDNA mutations remained prevalent in HEU infants a few years after three ARTs were stopped immediately after birth. Among them, D-loop, ND1 and CYTB are the first three mutated regions during different withdrawal periods. This pattern of mutations is similar to, but not exactly consistent with, HIV-infected children receiving standard ART. Conclusions Further studies are needed to determine the effects of these mutations on the development of HEU infants and whether stopping ART leads to the restoration of mitochondrial function. [ABSTRACT FROM AUTHOR]

This article explores the significance of incorporating sensory experiences and physicality when studying the Renaissance arts. The authors argue that interdisciplinary collaboration among scholars can uncover gaps in historical understanding and offer fresh perspectives. The articles in this special issue focus on the concept of im/materiality in Renaissance arts, redefining the immaterial in positive terms and emphasizing the importance of materials. The authors also stress the need for historians to embrace uncertainty and change in their narratives, as well as consider their own encounters with the past. They advocate for a more sensory and experiential approach to research, highlighting the importance of sound, sight, touch, smell, and taste in comprehending historical art and music. The text introduces various contributions that explore these ideas within the context of Renaissance art and music. [Extracted from the article]

The study explores the application of natural biocides (oregano essential oil and eugenol, directly applied in solutions or encapsulated within silica nanocapsules) for safeguarding stone cultural heritage from biodeterioration, using green algae (Chlorococcum sp.) and cyanobacteria (Leptolyngbya sp.) as common pioneer biodeteriogens. Core-shell nanocontainers were built for a controlled release of microbicidal agents, a safe application of chemicals and a prolonged efficacy. The qualitative and quantitative evaluations of biocide efficiency at different doses were periodically performed in vitro, after six scheduled intervals of time (until 100 days). The release kinetics of composite biocide-embedding silica nanocapsules were characterized by the UV-Vis spectroscopy technique. Data showed both promising potential and some limitations. The comparative tests of different biocidal systems shed light on their variable efficacy against microorganisms, highlighting how encapsulation influences the release dynamics and the overall effectiveness. Both the essential oils showed a potential efficacy in protective antifouling coatings for stone artifacts. Ensuring compatibility with materials, understanding their differences in biocidal activity and their release rates becomes essential in tailoring gel, microemulsion or coating products for direct on-site application. [ABSTRACT FROM AUTHOR]

Copyright of Journal of the American Institute for Conservation is the property of Taylor & Francis Ltd and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

After the fire at Notre-Dame de Paris in April 2019, conservation scientists and art historians joined forces with the chief architect and the monument curators to facilitate the management of emergency operations on the stained-glass windows. Information and methodologies were provided for the swift removal of twenty-five 19th and 20th-century windows following the disaster. Restoration and lead decontamination protocols were studied in laboratories and inside the building in order to determine the duration and cost of the upcoming restorations. Thanks to the careful handling of the fire by the firefighters, the stained-glass windows of Notre-Dame were mostly preserved and very little thermal stress breakage was observed on the panels. However, the necessity to use all the teams available inside the building to deal with the generalized lead contamination caused by the roof fire considerably slowed down all the restoration operations. Given the limited time remaining before the building would be reopened, the teams decided to follow two different protocols: a decontamination protocol of the stained glass that remained in the building, and the complete off-site decontamination then restoration of the panels that had been removed. The presence of scaffolding inside the cathedral also provided the opportunity to draw up new restoration charts for the medieval stained glass in the rose windows. This new document would update the previous chart published in 1959, which was based on binocular observations from the ground. The disaster in Notre-Dame de Paris has reminded everyone that a building can quickly be destroyed by a fire, even today. One of the immediate consequences has been the revision of many cathedral security procedures in case of fire, and we can now reflect on improving the management of stained-glass windows after such a catastrophe. [ABSTRACT FROM AUTHOR]

The Hui-style architecture exhibits distinct regional characteristics, with the quintessence of its carved ornamentation deriving from traditional carving techniques and material selection. The carved ornamentations of Hui-style architecture amalgamate influences from a multitude of artistic domains, including various schools of painting and the integration of Chinese ethnic artistry. This research endeavors to comprehensively examine and discern the artistic forms of carved ornamentation within Hui-style architecture. This objective is pursued through a combined approach of on-site investigations of historic Hui-style architectural sites and a synthesis of relevant literature. By analyzing the regional characteristics, production techniques, and material application pertaining to Hui-style carved ornamentation, the intention is to deepen the understanding of the intricate artistry behind these ancient architectural embellishments. Finally, based on the actual challenges of Hui-style architecture in the field of regional art, this study provides preservation guidelines for carved ornamentation of Hui-style architecture with regard to the three aspects of physical preservation, managerial oversight and inheritance strategies in order to maintain the preservation of the art of carved ornamentation of Hui-style architecture and to promote its flourishing development. [ABSTRACT FROM AUTHOR]

Facial semantic guidance (including facial landmarks, facial heatmaps, and facial parsing maps) and facial generative adversarial networks (GAN) prior have been widely used in blind face restoration (BFR) in recent years. Although existing BFR methods have achieved good performance in ordinary cases, these solutions have limited resilience when applied to face images with serious degradation and pose-varied (e.g., looking right, looking left, laughing, etc.) in real-world scenarios. In this work, we propose a well-designed blind face restoration network with generative facial prior. The proposed network is mainly comprised of an asymmetric codec and a StyleGAN2 prior network. In the asymmetric codec, we adopt a mixed multi-path residual block (MMRB) to gradually extract weak texture features of input images, which can better preserve the original facial features and avoid excessive fantasy. The MMRB can also be plug-and-play in other networks. Furthermore, thanks to the affluent and diverse facial priors of the StyleGAN2 model, we adopt it as the primary generator network in our proposed method and specially design a novel self-supervised training strategy to fit the distribution closer to the target and flexibly restore natural and realistic facial details. Extensive experiments on synthetic and real-world datasets demonstrate that our model performs superior to the prior art for face restoration and face super-resolution tasks. [ABSTRACT FROM AUTHOR]

Copyright of Alif: Journal of Comparative Poetics is the property of Alif: Journal of Comparative Poetics, AUC and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The courts and legal frameworks across the globe have not been unanimous as to whether the right against destruction should be a moral right or not for artists in general and for architects in particular. Both common law and civil law countries have been non-committal and lack uniformity in their approach in this regard. The right against destruction has been distinguished from other rights on the premise that there is no loss/detriment caused to the artist by the destruction of the creation. Despite its beneficent presence in the Copyright Act, 1957 the recent denial of moral rights against destruction to architects in the buildings envisioned and realised by them by the Delhi High Court needs a sound diagnosis and correction as it could have a cascading effect. In this, it deviates from a former ruling of the same (Delhi high court) court without making a substantial reference to it. It raises the issue of whether the basis for anti-destructive sentiment can be placed on the plank of public interest in the preservation of artistic works rather than on personality rights upon which the right to integrity is anchored. An assessment of these contexts will be useful to identify the limits on the right to destroy property particularly intellectual property in architecture. [ABSTRACT FROM AUTHOR]

Copyright of Artnodes is the property of Universitat Oberta de Catalunya and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

"Dwell Time" by Rosa Lowinger is a memoir that combines the author's personal experiences and professional expertise in conservation. The book explores Lowinger's life and career, including her family's experiences fleeing the Holocaust and the Cuban Revolution. It also delves into her overlapping cultural identities as a Jewish-Cuban-American woman and includes reflections on her successful businesses in cultural heritage conservation. The memoir offers a unique perspective in the field and discusses the changing nature of art and cultural heritage conservation. Lowinger challenges the idea of conservators as neutral and invisible, emphasizing their role in decision-making. The book touches on topics such as professional licensing, climate change, and contemporary practices in outdoor sculpture and the preservation of human remains. [Extracted from the article]

The emergence of new technologies has dynamized the way in which cultural heritage is documented, preserved, and passed on to new generations; something that determines a paradigm shift in terms of research in this field. Most operations now also have access to the virtual component. In this context, the current study aimed to make accessible through virtual and augmented reality one of the most interesting objectives belonging to the Jewish cultural heritage built in Art Nouveau style in the municipality of Oradea (Romania), which currently functions as a La Belle Epoque Museum. In the study, the techniques of terrestrial, aerial photogrammetry, and terrestrial laser scanning were used to remodel, in a three-dimensional format, as faithful as possible and usable in different applications, the special architecture of the exterior of the monument. This information was doubled by making the interior of the monument accessible through a complete and complex series of panoramic images interconnected within a virtual tour that will be made available to tourists interested in discovering the Darvas-La Roche House. The virtual tour, which includes both graphic, textual, and audio information, represents an innovative approach for the buildings built in Art Nouveau style in the municipality of Oradea, representing a virtual bridge for better promotion of the tourist destination and for the awareness of the local people regarding the importance of preserving and appreciating the local cultural heritage. This is all the more important as this is the first initiative to make the Art Nouveau buildings in Oradea Municipality accessible to the general public in an innovative way. [ABSTRACT FROM AUTHOR]

This paper presents scientific investigations into the materiality and aging behavior of a copy of Dieter Roth's multiple POEMETRIE (1968), mainly made of p-PVC components and minced meat, with the aim of informing conservation-restoration strategies. The main issues were represented by plasticizer migration, fat diffusion, and leakage, which led to the formation of a sticky surface layer. Replicas of p-PVC without minced meat were prepared and artificially thermally aged, while several techniques were used to investigate both the artwork and the replicas in terms of materials and degradation state. These include UV/Vis imaging, pH measurements, FTIR-ATR, and Py-GC/MS. In addition to showing that p-PVC-based materials composed of slightly different plasticizers were affected by similar degradation pathways (i.e., plasticizer migration, yellowing, etc.), this study reports that fat components were also shown to be unstable, resulting in migration/leakage in different directions, where their degradation amplified that of the p-PVC bags. This work represents a first study of plasticizer migration and fat diffusion in the art and conservation context. Also, an ammine-wax type of lubricant was identified in the most recent p-PVC formulations as the replicas selected for this study, thus providing an important source of information in different polymer-based research areas. [ABSTRACT FROM AUTHOR]

Sense of place is a fundamental aspect of cultural heritage conservation and management, as it plays an important role in understanding the connection between individuals and the places they inhabit. This study aims to provide heritage managers and scholars with upto-date insights into the importance of a sense of place in maintaining cultural heritage. The main objectives of this research are to explore whether a sense of place's role in cultural heritage research has been adequately investigated and to assess the sense of place potential in cultural heritage conservation. We conducted a systematic literature review of 42 articles to achieve these goals. Through thematic analysis, this study reveals a sense of place's impact on various aspects of cultural heritage conservation. From the results, six prominent themes emerged, highlighting that a sense of place is a key determinant in the effectiveness of cultural heritage management initiatives. Based on these findings, authors advocate for enhanced collaboration between the government and local communities, acknowledging the importance of heritage tourism and reinforcing policies for cultural heritage conservation to bolster the sense of place. In future research, examining a sense of place can expand to interdisciplinary intersections, quantitative studies, cross national comparative research, and the exploration of the role of technology in augmenting both the sense of place and cultural heritage conservation. [ABSTRACT FROM AUTHOR]

Street Art is an artistic expression in constant development, whose interest has grown in recent years among society, public administrations, conservators, and heritage scientists. This growing awareness has given rise to a series of debates between professionals with the intent to expand the knowledge relating to conservation practices and possible protection solutions. Additionally, the paint materials used by contemporary artists are in constant development; therefore, difficulty has emerged in the identification of their degradation processes when exposed to environmental conditions and in the consequent selection of a specific protection system. This review presents an overview of the recent literature and experiences in the field of knowledge and preservation of Street Art, focusing on the type and nature of paint formulations, the main deterioration processes of painted artworks in outdoor conditions, and the most recent advances in materials and methods for the conservation and protection of Street Art. This review aims to emphasise how the approach to the challenge of preservation of Street Art is complex, aspiring to the need for optimised diagnostic protocols for the development of innovative and effective protective coatings. This paper is a starting point to provide suggestions and indications for the development of further research projects within the framework of preservation and protection of contemporary muralism. [ABSTRACT FROM AUTHOR]

A framework was developed to evaluate and compare cleaning systems and cleaning system delivery methods, collectively referred to as varnish removal methods, within art conservation practice. This framework was applied to two water-based cleaning systems, optimised for the removal of dammar varnish from an artificially aged brown earth oil paint, including the surfactant-containing microemulsion, Polar Coating B (from the Nanorestore Cleaning series) delivered via the chemical gel, Higher Water Retention (HWR) (from the Nanorestore Gel Dry series), and a surfactant-free microemulsion delivered via the microfiber cloth, Evolon. In addition, two water-based systems and one organic solvent were used to remove dammar varnish from an artificially aged lead white oil paint sample, including a xanthan gum-stabilised emulsion delivered via a synthetic brush, a surfactant-free microemulsion delivered via cotton swab rolling, and 2-propanol solvent delivered via cotton swab rolling. The evaluation framework was thus applied to two different oil paints, with different sensitivities to cleaning. Through this work, the comparative advantages and disadvantages of the varnish removal methods were demonstrated. Notably, cleaning system compatibility with multiple delivery methods afforded greater versatility, including for reducing unwanted interactions between the cleaning system and oil paint. In addition, a surfactant-free microemulsion proved to be a promising, clearance-free, inexpensive, and modifiable option within current offerings for largely water-based methods for varnish removal. [ABSTRACT FROM AUTHOR]

• Multiple in situ analytical techniques were combined to non-destructively identify, locate and unmix the signatures of the different artistic materials entering in the composition of pastels. • A contactless spectroscopic continuum going from the visible to the mid-infrared region 25,000 to 400 cm-1 was developed. • This research offers a unique insight into the choice of materials and artistic techniques developed by the renown pastellist, and sheds new light on an artistic technique poorly studied until now. The material study of fragile graphic artworks requires adapted analytical methodologies to extract representative information without resorting to sampling. In this paper, a multimodal approach combining non-invasive techniques was developed to specifically characterize the artistic materials used (paper, pigment/filler and binder) in 3 pastel portraits by the famous French pastellist, Maurice Quentin de La Tour (1704–1788). The combination of elemental analyses using X-ray fluorescence and reflectance spectroscopies covering the entire energy range from 25,000 to 400 cm−1, has provided new insights into the nature and state of conservation of the paper support, as well as the composition and application of the pastel materials. Bridging technical art history, conservation science and analytical chemistry, this research offers a unique perspective on the choice of materials of the renown pastellist, and sheds new light on an artistic technique understudied until now. [Display omitted] [ABSTRACT FROM AUTHOR]

Featured Application: This work presents a potential application in art conservation, specifically in the 'picture cleaning' process. It focuses on experimentally determining room temperature azeotropic solvent blends, which are created by combining two or more solvents in precise concentrations, to maintain a consistent solvent composition during evaporation under ambient conditions. Cleaning painted surfaces of their grime, aged varnishes, and discolored overpaint is one of the most common interventive treatments for art conservators. Carefully concocted solvent mixtures navigate the solubility differences between the material removed and the original paint underneath. However, these solutions may be altered by differential evaporation rates of the component solvents (zeotropic behavior), potentially leading to ineffectively weak cleaning or conversely overly strong residual liquid capable of damaging the underlying paint. Azeotropic solvent blends, which maintain a constant composition during evaporation, offer a promising solution. These blends consist of two or more solvents combined at precise concentrations to function as a single solvent. Additionally, pressure-maximum azeotropes feature higher vapor pressure compared to other mixtures, further minimizing contact time and sorption of the solvents into artworks. This study examines azeotropes of isopropanol with n-hexane and 2-butanone in cyclohexane, which have been used previously in art conservation. The evaporation behavior at room temperature of these boiling point azeotropes was assessed using vapor pressure measurements, refractive index determinations, gravimetric analysis, and gas chromatography. Results showed changes in composition during evaporation and found that the actual room temperature azeotropic composition can vary between 1 and 10% v/v in concentration with those commonly reported at their boiling points. Art conservators should be cautious when using azeotropic blends reported at boiling points significantly higher than room temperature. To ensure the safety and efficacy of these mixtures, it is recommended to determine individual azeotropic cleaning blends experimentally before their use. [ABSTRACT FROM AUTHOR]