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Work in Progress Day School of Historical and Philosophical Studies Faculty of Arts, The University of Melbourne The Grimwade Centre for Cultural Materials Conservation Minor Thesis Program and Abstracts Sessions 1 & 2: 12-2pm; Session 3: 2-4pm

25-October-2021

Work in Progress Day │ 25-October-2021 Page 2 of 14

Programme

Date: 25 October 2021 Time: 12:00 pm – 4:00 pm

Venue: Online via Zoom

12:00 – 2:00 pm Session 1 Chair: Jonathan Kemp Link: https://unimelb.zoom.us/j/83487268653?pwd=N1A1T2RFTlBNNzFuVGhwandkMWZFdz09 Password: 986863

12:00 – 12:20 Jingwen Wang – How can conservators work with communities whose cultural beliefs and practices are outside their own experience and knowledge?

12:20 – 12:40 Meiling Ishiwata – Loss compensation of leather objects using Beva 371 textured fills and layered Japanese tissue

12:40 – 13:00 Eleanor Zeitz – “Saving the Nation’s Memory” and Artist’s Intent: an argument for crowd-sourced digitisation [working title]

13:00 – 13:20 Katherine Piggott – Using digitized records to develop conservation management plans and treatment priorities for the University’s Middle Eastern Manuscript Collection

13:20 – 13:40 Francis Lojkine – Assess and plan for the preservation of four tukutuku panels previously located in Christchurch Cathedral, Christchurch, New Zealand

12:00 – 2:00 pm Session 2 Chair: Robert Lazarus Link: https://unimelb.zoom.us/j/87699826622?pwd=aVFnS2E3dUdEV0xLZTRBVHFKN0tsdz09 Password: 782447

12:00 – 12:20 Rubie Bridie – Documenting Performance: The Conservation of Performance Art Archives

12:20 – 12:40 Manon Mikolaitis – Persistent Preservation Standards? Time-based media installations and the shifting paradigm of museum and conservation practices

12:40 – 13:00 Jayde Hollingworth – Intangible cultural heritage in Australian fashion

13:00 – 13:20 Cheralyn Lim – Getting Unstuck: Conserving Two Self-Adhesive Photographic Albums from the Kanamkek-Yile Ngala Museum

13:20 – 13:40 Michaella Gonzalez – Conservation of Paper-Based And Digital Archives of Southeast Asian Modern Artists in the Collection of National Gallery Singapore

2:00 – 4:00 pm Session 3 Chair: Nicole Tse Link: https://unimelb.zoom.us/j/87932922196?pwd=enYyZzY4R3hqUEk4MTBsMEpyU1QyUT09 Password: 331660

14:00 – 14:20 Israelex Velena – Piña as fibre source for leaf casting: identifying its potential scope

https://protect-au.mimecast.com/s/hdSkC0YZJpCGNwEWwHDGi35?domain=unimelb.zoom.us

https://protect-au.mimecast.com/s/HetICgZolKFAEZgWZH2Nrw_?domain=unimelb.zoom.us


14:20 – 14:40 Imogen Colton – Sustainable Material Choice for Conservation: examining the applicability of Life Cycle Assessment Methodologies in an Australian Context

14:40 – 15:00 Rory Hutchinson – Green chemicals in conservation and the effectiveness of cyrene, isopropyl myristate, cyclomethicone, and dibasic ester

15:00 – 15:20 Kirsten Woyzbun – Paper conservation in tropical climate zones: Lifetime modelling and sustainable solutions

15:20 – 15:40 Elizabeth Gralton – Getting a grip on Delaware solutions: a literature survey of chelators and gels for paper conservation treatments


Rubie BRIDIE

Documenting Performance: The Conservation of Performance Art Archives

ABSTRACT

Performance art is a medium that is, by nature, ephemeral – an interaction that occurs between an artist and their audience. To preserve performances, artists use video and photographic documentation. These documentation archives provide viewers, curators, and conservators with important information regarding the legacy and career of such artists. Focusing on the recent donation by Australian performance artist Stelarc to the Australian Centre for the Moving Image (ACMI), this thesis examines the role of artists, conservators, and institutions in the preservation of performance art. Three angles will be considered: first, what is the evolution process of a performance piece once it has been documented? Secondly, what is the artist’s role and motive in creating documentation archives? Finally, what is the role of conservators and screen-based institutions in the perseveration of performance art? Addressing these questions increases knowledge relating to what documentation is of value to artists, and how conservators can best preserve the legacy of artists working in ephemeral mediums.

BIOGRAPHY

Rubie Bridie is a student at the University of Melbourne, completing a Master of Cultural Materials Conservation. She previously completed a Bachelor degree in Fine Art (Photography) at the Victorian College of the Arts (University of Melbourne Southbank campus), where she was awarded the National Gallery of Victoria Women’s Association Award in 2014. Her experience in photographic practice has led to a primary focus in the conservation of photographic materials and paper. Rubie has further developed an interest in collections and collection management, working extensively in both libraries and galleries, and completing an internship with the Rowden White Library Archive in 2019. Her thesis considers documented performance art and the role of institutions in the conservation and care of performance artist’s archives.

Vanessa BRAY

Intangible An exploration of polyurethane based elastic aging treatments and storage ABSTRACT

An FTIR and condition survey was proposed for the Akira Isogawa Dance Collection made for the Sydney Dance Company (1999-2005) held at the Arts Centre Melbourne. Due to the pandemic the initial survey is on hold, but this thesis has adapted to study the degradation of elastic and elastane materials that feature throughout the Akira collection. The main component of Elastane was found to be Polyurethane, one of the most volatile plastics. Accelerated aging tests were undertaken with UV, Low and High RH, and oxygen deprived environments. The samples were analyzed at the Museum of Western Australia using FTIR and Colour Spectrometry. A literature


review summarized treatments and storage for polyurethane materials. Storage recommendations were made to prevent further degradation of the PU materials in the Akira Collection into the future.

BIOGRAPHY

Vanessa has spent her lifetime dedicated to textiles but has been working towards a career in Textile Conservation for the past 7 years. It has been a fascinating journey that has taken her to study textile conservation in Japan, and has enabled her to work on textiles as old at the 1700’s. She lives in the seaside city of Albany, Western Australia, with her husband, three kids, energetic dog and a small black cat.

Imogen COLTON

Sustainable Material Choice for Conservation: examining the applicability of Life Cycle Assessment Methodologies in an Australian Context

ABSTRACT

With developing awareness of the environmental impacts of conservation practice, there has been increasing interest in finding solutions to improve the environmental sustainability of preventive and treatment-focused conservation processes. Life cycle assessment (LCA) is an approach to quantifying the environmental impact of a material or process, usually from manufacture through use and disposal. LCA has been applied broadly in fields outside conservation since gaining traction in the mid- 2000s. This research explores the feasibility and applicability of LCA as a means of quantifying the environmental impact of conservation

processes to support decision- making by examining past applications and carrying out a case study in the context of rehousing materials.

BIOGRAPHY

Imogen Colton is an emerging conservator who brings her previous studies in history and international politics to her chosen specialisation of objects conservation. Imogen envisions a sustainable pathway for conservation that will not only safeguard culture against climate disaster but contribute to climate security. Throughout her career she hopes to find practice-based solutions to sustainably develop conservation and secure a robust and resilient future for the world’s cultural heritage. So far her treatment experience has focused on inorganics such as plaster and stone, as well as textiles, wood and gelatine.

Kerry ETHERINGTON DETAILS TBC


Jayde HOLLINGWORTH

Intangible cultural heritage in Australian fashion ABSTRACT

Australia is in the process of forming a unique cultural identity; an amalgamation of indigenous culture, immigrant history and processes implemented from colonisation. As a result, Australia has rich and diverse practises of ICH that reflect the Australian narrative, and this is increasingly communicated through Australian fashion. This paper explores global intangible heritage, the fashion industry, and Australian culture, and the outcomes of their intersection. The role of the conservator is discussed, exploring the expansion of practise to include the intangible, along with effective conservation methods which consider the constantly changing nature of ICH. Considerations associated with commercialisation and sustainability are discussed, as increasing conservation needs emerge within the private sector to document, record and preserve forms of ICH.

BIOGRAPHY

With a professional background in design and management, Jayde brings an interesting and diverse skill set into her career as an emerging conservator. Jayde graduated with a Bachelor of Creative Arts Industries from Victoria University in 2015, and has undertaken specialised studies in visual arts, fashion design and jewellery manufacturing. Jayde currently works with the textiles collection at the Kew Historical Society and the Musical Archive of Monash University. With a lifelong passion for cultural history and the creative arts, Jayde is looking forward to applying them both professionally as she embarks on the new and exciting career path within textiles conservation and collection management.

Elizabeth GRALTON

Getting a grip on Delaware solutions: a literature survey of chelators and gels for paper conservation treatments ABSTRACT

The increasing use of the ‘Delaware’ solutions in Australia for paper conservation treatments has raised many questions among conservators and students. How and in what circumstances do chelating agents work to reduce discolouration? Should conservators be concerned about what these chelators are removing from the paper and what they’re leaving behind? What exactly is the impact of conductivity on paper? And what are the implications of using agarose gel for applying and removing these solutions? This presentation will answer some of these questions, and raise many more.

BIOGRAPHY

Elizabeth Gralton is almost at the end of her Masters in Cultural Materials Conservation specialising in paper conservation and is striving to come to grips with the chemistry and literature on chelating agents and gels.


Micaella Angelica GONZALES

Conservation of Paper-Based And Digital Archives of Southeast Asian Modern Artists in the Collection of National Gallery Singapore ABSTRACT

National Gallery Singapore’s Archive houses one of the world’s most extensive trove of digital and physical archival resources on Southeast Asian modern art. The absence of a comprehensive strategy for collections care, particularly of the archive, became a key consideration of the objective of this research, which was to develop a conservation program that will ensure long-term preservation of the archive, and potentially serve as a benchmark for others in the cultural heritage profession. Through undertaking a preservation needs assessment of the archive and an interview with the host institution, followed by a survey of publicly available conservation and digital preservation policies and environmental standards that were developed by cultural heritage institutions and organisations, a conservation program especially designed for the archive’s type of materials, environmental conditions, and conservation practices, was produced as primary recommendation of this research.

BIOGRAPHY

Micaella has taken the role of Senior Manager of the Library & Archive at National Gallery Singapore since moving to Singapore in 2014. She has also been a pioneering Board Member of the Art Libraries and Archives Network Asia (ALANA) since 2019, and a member of IFLA’s Working Group on Prison Libraries which was responsible for UNESCO’s Policy Brief on Prison Libraries. As an advocate of conservation, archiving, and librarianship, she has been involved in several projects in Singapore and the Philippines, including establishing institutional digitisation and conservation laboratories, preserving Southeast Asian artists’ archives, providing trainings to local and international students and professionals, and building community libraries across the Philippines.

Rory HUTCHINSON

Green chemicals in conservation and the effectiveness of cyrene, isopropyl myristate, cyclomethicone, and dibasic ester ABSTRACT

Recent innovations in biotechnology and chemical synthesis have allowed for the production of chemicals that are entirely derived from renewable resources and are far safer for the user to handle. This phenomenon is known as ‘green chemistry’ and its purpose is to design reactions and production pathways that have the smallest environmental impact possible. Very little research has been conducted on these materials in a conservation context, and this paper aims to test the chemicals cyrene, isopropyl myristate, cyclomethicone, and dibasic ester against commonly used solvents. Testing is conducted to determine if they are an effective and a more sustainable option both neat and added to gel systems for the removal of a crosslinked adhesive layer from a collection of parquet flooring tiles.


Misuzu ISHIWATA

Loss compensation of leather objects using Beva 371 textured fills and layered Japanese tissue

ABSTRACT

The thesis explores a new strategy for the treatment of small losses in leather objects and compares the results with a traditional strategy with BEVA 371. The new method employs several layers of Japanese paper and a mould to transfer a texture from a leather object. Klucel G in ethanol were used as an adhesive to lay over paper layers. Various thicknesses of Japanese paper and various concentrations of Klucel G were tested to determine which produce the most accurate texture and flexibility. Paper leathers were then applied to two leather objects, one with a detailed texture and the other with a fine degraded surface, and compared to the filler leather made with BEVA 371. The thesis aims to provide an alternative strategy for loss compensation of leather objects, according to the global shortage of BEVA 371 and its environmental issues.

BIOGRAPHY

Meiling Ishiwata gained a degree of Bachelor of Arts from the School of Language and Culture Studies at Tokyo University of Foreign Studies, specialising Language and Area Studies, with the major in English. She went on to complete Master of Cultural Materials Conservation at the University of Melbourne. A change in interest was inspired by her background growing up in a country with constant natural disasters and recovery from them, a backyard tour at Te Papa Tongarewa when she was studying art history in Wellington, New Zealand, and a sentence ‘Cultural objects are something that people rely on when their culture is in danger’ from a book she accidentally met.

Cheralyn LIM

Getting Unstuck: Conserving Two Self-Adhesive Photographic Albums from the Kanamkek-Yile Ngala Museum

ABSTRACT

Ubiquitous in homes and community collections since the 1970s, self-adhesive albums are now deteriorating rapidly, causing panic among families and conservators alike. This study addresses two self-adhesive albums from the Kanamkek-Yile Ngala Museum in Wadeye, Northern Territory. Appearing deliberately arranged and containing photographs, prints and pressed plants, these albums present ethical and practical challenges to their preservation. Multiple bodies of knowledge have been consulted in this study. This includes community, industry and material science knowledge, gathered via interview, survey and ATR- FTIR analysis methods, respectively. Drawing


from these perspectives, a preservation strategy for these albums is presented with the aim of delivering community benefit through access.

BIOGRAPHY

Cheralyn is an emerging conservator with an interest in paper and photograph conservation. She has worked with Australian collections and studios including the Kanamkek-Yile Ngala Museum in Wadeye, Brook Andrew’s studio and the City of Melbourne Collection. She is currently an editorial assistant with the AICCM Bulletin. Prior to undertaking the Master of Cultural Materials Conservation, Cheralyn received a Bachelor of Fine Art (Painting) from the Victorian College of the Arts. For the last 10 years, Cheralyn has been employed at Footscray Community Arts Centre where she works with artists to facilitate creative outcomes that express activism through art.

Frances LOJKINE

Assess and plan for the preservation of four tukutuku panels previously located in Christchurch Cathedral, Christchurch, New Zealand

ABSTRACT

Tukutuku are lattice-work panels used to decorate the walls of Māori wharenui (meeting houses) in New Zealand. Since the late 20th century tukutuku have also been mounted as individual artworks in European buildings. In 1991 and 1992 the Dean and Chapter of Christchurch Cathedral in Christchurch, New Zealand initiated a congregation and community project to weave four tukutuku to be mounted in the Cathedral. In 2011 the Cathedral suffered significant damage from a major earthquake and the tukutuku were removed from the building and have been in storage for the last five years. The purpose of this project was to investigate the current condition of the tukutuku and the environmental conditions (temperature, relative humidity and light) in Christchurch’s Transitional Cathedral, to assess whether the tukutuku could be placed on display again.

BIOGRAPHY

Frances is a second year student in the Master of Cultural Materials Conservation programme at the Grimwade Centre, University of Melbourne. Currently based in New Zealand she is intending to specialise in conservation of painted surfaces, but was provided with the opportunity to contribute to the Cathedral’s management of the tukutuku panels through contacts she has with Cathedral staff. Frances was born and brought up in Christchurch and has clear memories of the tukutuku in the Cathedral prior to the earthquakes, and through her professional job is currently working with Ngāi Tahu (the local Māori tribe) and so has an appreciation for the Māori approach to artefacts and taonga (treasured objects).


Manon MIKOLAITIS

Persistent Preservation Standards? Time-based media installations and the shifting paradigm of museum and conservation practices ABSTRACT

The proliferation of time-based media installations entering museum collections has forced museums to move beyond the acquisition of the unique art object to acquiring works that are variable, elusive, and unwieldy by nature. As a result, the traditionally object-centric frameworks of museum collections and conservation practices have undergone a paradigm shift to accommodate this complex and variable artform whose materiality is not defined by the presence of a discrete object.

Using a comparative analysis of Gabriella Hirst’s dual-channel video installation Darling Darling and William Charles (W.C.) Piguenit’s 19th century oil painting The flood in the Darling 1890, this research seeks to identify the limitations of traditional museological and conservation practices in preserving time-based media installations through the lens of binaries: the unruly versus the docile, the discontinuous versus the continuous, and the reproducible versus the non-reproducible.

BIOGRAPHY

Manon Mikolaitis is an emerging conservator with an interest in the conservation of photographs and contemporary art. Prior to undertaking a Master of Cultural Materials Conservation at the University of Melbourne, Manon completed a Bachelor of Design (Honours) in Photography from The University of Technology, Sydney, where she was the recipient of the University Medal. Her thesis examines the limitations of traditional museological and conservation practices in preserving time-based media installations.

Katherine PIGOTT

Using digitized records to develop conservation management plans and treatment priorities for the University’s Middle Eastern Manuscript Collection

ABSTRACT

This thesis aims to prepare a clear conservation management plan for the protection of the Middle Eastern Manuscript collection located in the rare books Library in the Parkville campus. This plan is for the staff working in the library to consult, benefiting those who are instructed with its care. This plan helps to develop knowledge that will give guidance to staff who may be unfamiliar with conservation practices and/or do not have the knowledge of senior staff that have been working many years with the collection. By using a Preservation Needs Assessment framework and action research as methodology this thesis will outline a condition report on the overall collection, an overview of the policies in place at the library currently, a risk management profile, conservation priorities as well as recommendations for future care. The MEM collection has many potential research avenues, and some conservation efforts are needed to make sure that future generations can do so. One of the


major gaps in the research include cataloguing information and inaccuracies within documentation and retention of records, and some interventive conservation needs.

BIOGRAPHY

Katherine Pigott has a background in Fine Art, graduating from Monash with Honours. She is specialising in the area of paper conservation and will be finishing the course next semester. She is also a graphic artist and a painter who lives and works in Melbourne with her two bunnies.

Monique REVELL

Keep it separate, keep it safe: Exploring economical and accessible alternatives for malignant plastic adsorbents and methods of VOC capture

ABSTRACT

In the conservation and preservation of objects made from early plastics, the consensus tends to point to the fact that it’s not really if the material will irrevocably degrade but when. For institutions that house cultural objects made from these early plastics, collection surveys point to the chemical degradation of a small group of plastics that not only are detrimental to themselves but can seriously damage polymer and non-polymer based materials housed in their vicinity. Known as malignant plastics, materials that fall under this umbrella include, cellulose nitrate (CN); cellulose acetate (CA); polyvinyl chloride (PVC); polyurethane (PUR) and natural rubbers such as ebonite or vulcanite. These malignant plastics make up a large portion of early twentieth century polymer-based objects and with their degradation, there is a serious risk of losing important cultural heritage. Means to mitigate the damage caused by the autocatalytic deterioration of the plastic, is achieved mostly by controlling conditions within the object’s immediate environment. Common conservation methods used to aid in preservation include microenvironments containing adsorbents that help to reduce moisture and acidic compounds as well as specialised storage systems that regulate temperatures and light. These measures to preserve malignant plastics can often be costly, detrimental to the environment and inaccessible.

This research aims to further investigate rooibos tea waste as a possible cost-effective adsorbent for cellulose based malignant plastics which has shown potential in past conservation-based studies. Using accelerated aging, the tea was compared to commercially available adsorbents such as molecular sieves, activated charcoal and silica gel, and its ability to adsorb both moisture and off gassed compounds from activated cellulose based malignant plastics was measured. The second part of this study aims to explore methods to effectively capture, and measure acidic compounds released from malignant plastics in storage systems. Thermogravimetric analysis and gas chromatography-mass spectrometry (TGA-GC-MS) was used to analyse exposed adsorbent material samples as a means to explore the possibility of long-distance testing for collections where analysis equipment is inaccessible.


BIOGRAPHY

Monique Revell is currently working towards completing her Masters of Cultural Material Conservation with a specialisation in objects conservation at the University of Melbourne. With a Bachelor of Fine Arts, majoring in painting (2018) from the Victorian College of Fine Arts, Monique has a background in sculptural ceramics and figurative painting.

Lydia WOOD DETAILS TBC

Jingwen WANG

How can conservators work with communities whose cultural beliefs and practices are outside their own experience and knowledge?

ABSTRACT

The cross-cultural conservation practices contribute to preserving the cultural materials of the community through cooperation between conservators and communities with different cultural backgrounds. The difficulty of cross-cultural cooperation lies in how to balance the values and needs of multicultural groups in the cooperation, to achieve satisfactory cooperation results from multiple parties. According to the previous experience, the attitudes of conservators are suggested as positively sharing knowledge, listening in an open way, accept as many people's voices from different cultures as possible.

Even if we already know what working principles should be upheld, this does not mean that the process of cooperation will be smooth sailing. The points that need to be overcome in cooperation may include language barriers, differences in the values of cultural heritage preservation between groups from different cultural backgrounds, whether cultural materials could be placed in an environment separated from the source community, and so on. Bi-directional training between ‘experts' and ‘local people' is one of the important measures to improve the professional knowledge of the two parties and promote active cooperation between the two parties. Then, the cooperation with historic Maymand village in Iran and Islamic Museum are taken as two cases to discuss the roles of conservator and community members in the conservation practice. Based on the interviews with Sophie Lewincamp and Farzin Izadpanah, critical suggestions are made on how to implement cross-cultural conservation practices. Sophie Lewincamp proposed that the success of cross- cultural cooperation is not determined by conservators. However, cross-cultural cooperation without community members must fail. Especially when it comes to decision-making, community members have absolute decision-making power. The responsibility of the experts is only to provide professional advice to local instants. Regardless of whether the decision of the community is in line with professional knowledge, we must respect it. The people in the community know better than us what kind of decisions are conducive to the sustainable development of the community's culture. But this does not mean that the role of conservators in the practice of cross-cultural protection is dispensable. Farzin Izadpanah believes that although it is difficult for conservators to provide professional protection technical advice to groups from different cultures, conservators have the responsibility and


obligation to remind local people of their valuable cultural heritage. We have to be clear that cross-cultural cooperation practice is a long-term affair, and it is necessary to include the descendants of the cooperative community into the cross-cultural cooperation program.

Israelex VELEÑA

Piña as fibre source for leaf casting: identifying its potential scope ABSTRACT

This study aims to discover a new and sustainable locally-produced raw material for leaf casting damaged paper-based materials. This mechanical technique uses pulp in replacing losses in paper, whereby raw materials for the pulp are dominantly non-wood plant fibres. In the Philippines, sourcing these conventional fibres for leaf casting poses a challenge because of their scarcity or unavailability in the local market. Considering the abundance and favourable properties of piña fibre, it was identified as a viable alternative and sustainable raw material. Through undertaking interviews with conservators based in the Philippines and literature review to understand the leaf casting process, followed by experimentations on pulping and leaf casting, testing, and evaluation of the performance of piña fibre and cotton fibre in casting five sample paper-based materials of different properties, it was determined that piña fibre is a viable leaf casting material.

BIOGRAPHY

Israelex Veleña is currently affiliated with the House of Representatives, Congress of the Philippines, as Supervising Legislative Staff Officer III of the Legislative Library. Since joining the cultural heritage profession in 2006, he has been involved in collections development and management, conservation of paper-based materials, archives administration, and conducting workshops and seminars for custodians and professionals involved in cultural institutions across the Philippines for the preservation of paper-based collections and disaster preparedness.

Kirsten WOYZBUN Paper conservation in tropical climate zones: Lifetime modelling and sustainable solutions ABSTRACT

This thesis seeks to explore alternative and sustainable approaches to preventive paper materials conservation in the tropics. It questions whether the current recommended standards for optimum environmental conditions are too narrow and too reliant on energy-inefficient technologies to achieve the ‘ideal’ environment proposed under European and North American guidelines. The research will attempt to expand the current evidence base available for understanding the lifetime of paper materials in tropical environments in the hope of outlining new parameters for storage and display.


BIOGRAPHY

Kirsten Woyzbun is in her final year of the Masters of Cultural Materials Conservation at the University of Melbourne, having previously completed a Graduate Certificate in Art Authentication (also from Melbourne) and a Master of Arts in Curatorship and Museum Studies from the University of Adelaide. Kirsten’s research interests include paper conservation and the chemistry of pigments.

Eleanor ZEITZ

“Saving the Nation’s Memory” and Artist’s Intent: an argument for crowd sourced digitisation [working title] ABSTRACT

With the ongoing funding crisis facing the Australian archive sector, it is becoming more important than ever to explore new methods for preserving and disseminating Australia’s heritage. One of the emerging methods is digitisation, with fast internet speeds and computer memory becoming cheaper. This minor thesis argues that digitisation through crowd-sourced means can mitigate some of the damage which may be caused by the ongoing funding crisis, until such a day where funding is stabilised. By merging new technologies and the digital literacy of the populace, it is possible to both mitigate the funding crisis and engage the public in their heritage. While digitisation as a practice faces many criticisms, through analysis based around the conservation disciple it will be shown that these criticisms are unnecessary or avoidable.

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