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| bauerova-en [19.02.2023 13:35] – admin | bauerova-en [19.02.2023 13:39] – admin |
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| This established form of conservation-restoration has been enriched in recent decades by an interdisciplinary approach that allows for the involvement of other professions, or at least their work procedures. However, it still contingent on the historicity of the material nature of cultural objects. If elements such as the denial of material originality, material impermanence or even the absence of (at least classical) materials enter the processes of conservation, protection and interpretation of cultural objects thanks to the moving image, we have to admit that a change in some procedures is inevitable and the possibilities of the profession may be quite limited. | This established form of conservation-restoration has been enriched in recent decades by an interdisciplinary approach that allows for the involvement of other professions, or at least their work procedures. However, it still contingent on the historicity of the material nature of cultural objects. If elements such as the denial of material originality, material impermanence or even the absence of (at least classical) materials enter the processes of conservation, protection and interpretation of cultural objects thanks to the moving image, we have to admit that a change in some procedures is inevitable and the possibilities of the profession may be quite limited. |
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| Therefore, rather than introducing the new fields of conservation-restoration of new media in an academic environment, the future of professional care could be shaped by postgraduate or complementary (in the sense of specialised) studies to the master's degree in conservation-restoration (at art or engineering universities). This idea follows the practices of British conservator-restorers, who see the development of the discipline as more of an amalgamation of related conservator-restorer specialisations while maintaining a uniform basic professional education.[(Jonathan Ashley-Smith's article (note 7) recalls his colleague Jane Henderson's call in 2000: "we must realise that what unites us as conservators is far more significant than what divides us.")] | The future of professional care may therefore be shaped not by the introduction of new fields of conservation-restoration of new media in an academic environment, but by postgraduate or complementary (in the sense of specialised) studies to the Master's degree in conservation-restoration (at art or engineering colleges). This idea follows the practice of British conservator-restorers, who see the development of the discipline more as an amalgamation of related conservator-restorer specialisms, while maintaining a unified basic professional education.[(Jonathan Ashley-Smith's article (note 7) recalls his colleague Jane Henderson's call in 2000: "we must realise that what unites us as conservators is far more significant than what divides us.")] |
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| A major challenge for learning opportunities defined in this way is stimulating their ability to respond promptly to frequent changes (given the evolution of technology), as only then can we open the question of their integration into a specific cultural or academic institution, or of maintaining their institutional independence. | A major challenge for learning opportunities defined in this way is stimulating their ability to respond promptly to frequent changes (given the evolution of technology), as only then can we open the question of their integration into a specific cultural or academic institution, or of maintaining their institutional independence. |
