Memorandum by the Department for Culture,
Media and Sport
INTRODUCTION
This memorandum has been submitted by the Department
for Culture and Sport. It includes inputs from English Heritage,
the Museums, Libraries and Archives Council (MLA), the British
Library, the V&A, Tate, National Museums of Science and Industry,
the Natural History Museum, National Museums Liverpool, as well
as DCMS. It aims to provide the committee with general background
information to inform its inquiry into the role of Science, Engineering
and Technology in the conservation of the United Kingdom's Cultural
Heritage. The note also includes information on the specific points
highlighted by the committee on issues it wishes to address. Input
from the National Museums of Scotland has been submitted separately.
DEFINITIONS
The Government's Chief Scientific Adviser (CSA)
has recently set up a rolling programme of reviews to assess the
quality and use of science by government departments. The term
conservation science covers several distinct areas of work: the
technical examination of objects and works of art; testing the
materials used for display and storage; research into new methods
and materials for use in conservation; health and safety; and
conservation science in training centres. For the purposes of
this review, science is used in its broadest definition. This
memorandum will adhere to the Committee's definition of looking
at how science is used in monitoring the condition of buildings
and objects of cultural importance, at the application of scientific
and engineering techniques to conservation, and at the ways, science
and technology can enhance public understanding of, and access
to cultural objects.BACKGROUND
The Office of Science and Technology recently released
their report reviewing science within DCMS: the CSA's Programme:
Rolling Reviews of Departmental Science. The review identified
areas in which DCMS can continue to improve its use of science.
DCMS will in due course appoint a senior part-time Chief Scientific
Adviser. The post holder will be a scientist, whose role will
be to ensure that the science needs of DCMS (including considerations
of science and heritage) are strategically addressed and that
science and scientific advice form an effective part of the evidence
base for policy-making and delivery, dealing both with substance
and processes. The department, however, does not see itself having
a major direct role in the provision of advice on scientific matters
or as the home of scientific expertise. It believes it is more
efficient for decisions on what conservation or IT skills and
resources are required should be delegated to the experts in the
bodies it sponsors and the wider cultural sector.CONSERVATION
SCIENCE
How is conservation science, in the UK and internationally,
co-ordinated between museums, universities and other organisations?
1.1 Conservation science is carried out at many
different levels in a variety of institution types, including
conservation laboratories in museums, libraries, archives and
heritage agencies, as well as higher education teaching and research
institutions. There are very few establishments throughout the
world dedicated to conservation research, and the number of individuals
whose work is solely related to conservation science is relatively
small. In the UK, this activity is concentrated in the large national
collections and some university departments. In most cases, the
conservation scientists support the work of the conservation team
but their role varies depending on the type of institution and
the nature of the collections. Government tends to be involved
only at arms length from direct engagement in conservation science
research, for example through the museums and galleries that it
sponsors.
1.2 The main body co-ordinating collection management
issues for natural science collections is the Natural Sciences
Collections Association (NatSCA). This group meets annually and
represents natural scientists and natural science conservators.
There is also a small informal group of natural science conservators
that provides co-ordination, providing training and focus for
further development.
1.3 On an international level research and analytical
results in conservation science are disseminated through peer-reviewed
publications from two organisations: The International Institute
for Conservation of Historic and Artistic Works (IIC) and the
International Council of Museums Committee for Conservation (ICOM-CC).
At present there is no central co-ordinating body on a national
or international level although the Institute of Conservation
Science (ICS) is a recently formed professional group established
by practitioners to address the lack of overall co-ordination
in heritage science.
1.4 DCMS does not itself take part in these co-ordinating
bodies, but its sponsored bodies are active in them. For example,
one of Tate's Conservation Scientists is currently Chair of the
Institute of Conservation Science.
Is conservation research adequately funded, and
is it directed at the right areas? Does the UK possess the capacity
and skill base to maintain its cultural heritage for future generations?
2.1 It is difficult to identify the total amount
of funding that goes towards conservation science each year other
than through grants made by the research funding councils.
2.2 Core funding for many national museums provides
basic staff and facilities. A conservation scientist within a
museum can have an extremely broad remit, with a range of materials
and types of collection and responsibility for aspects of preventive
conservation. In a survey carried out by the Museums and Galleries
Commission (MGC) in 1998 (Museum Focus, (2) 1999, MGC)
there were 33 posts working in the field of conservation science
in museums, libraries, archives and related organisations in the
UK (Many of which were directly sponsored by DCMS, such as the
British Museum, English Heritage, Historic Royal Palaces Trust,
Royal Armouries, Tate Gallery, National Museums and Galleries
Merseyside, and National Gallery).
2.3 Undoubtedly there are those who think more
resources should be made available for conservation research,
and for promoting the skills of the next generation of conservators.
Training is available in science and conservation but there is
no specific course for conservation science. A minimum qualification
is a first degree in science and a post-graduate degree related
to a conservation project. Considerable resources are already
put into areas of fine and applied arts, and in aspects of archaeological
conservation, with more focus on the preservation of the built
heritage and the contents of historic houses and greater emphasis
on creating the right environment for the storage and display
of historic collections. However, there is also room for improvement.
There is also felt to be a need for more trained conservators
specialising in industrial, scientific and technological collections.
Specialist conservators are required to address the specific requirements
and needs of specialist areas such as conservation of photographic
collections. And looking to the future, electronic media conservation
is likely to be an increasingly important area of work. However,
the Department feels it is important that decisions about how
to deploy resources to conservation and other specialist areas
are best taken by those with expert knowledge running museums
and other institutions. It is therefore for those bodies sponsored
by DCMS to make the decisions about how best to spend the available
funding for conservation on areas of greatest need and priority.
How does the UK compare with other countries in
the application of cutting edge science and technology to monitor
the condition of our cultural heritage, and to assist in its conservation?
3.1 The UK has been a world leader in the field
of preventive conservation. There is no one national centre for
conservation research, funded by Government, unlike in some other
countries. However, several of the bodies sponsored directly by
Government are leaders in the field.
3.2 Victoria and Albert Museum (V&A),
through funding from the Frameworks initiatives of the EU, has
produced an innovative pollution dosimeter, and is presently using
a light dosimeter (marketed under the name of Lightcheck) to establish
techniques for the condition survey of paper-based collections.
Other projects being developed by the V&A include developing
ways to look at innovative techniques for assessing textile collection
conditions, and the development and implementation of radio-telemetric
systems for data collection.
3.3 Tate is currently investigating a plan
to further cutting-edge science and technology in the service
of our cultural heritage. The study of the materials and techniques
used in a work of art (technical art history) is an emerging field,
which impacts on both the preservation and interpretation of art
works. Tate is planning to build a centre for the study and conservation
of its collection (The Collections Centre). This could incorporate
at its heart an analytical facility to be shared by other museums/galleries/conservation
training programmes nationally and internationally. By grouping
advanced core instrumentation in one facility designed specifically
for conservation science it will be possible to carry out both
innovative research and routine analysis at the highest level,
contributing to the advancement of technical art history, conservation
treatments, and preservation innovations in the UK and worldwide.
3.4 National Museums Liverpool acts as a
regional resource centre for local museums, art galleries and
heritage sites.
Is there a satisfactory process to develop practical
applications of conservation research for the market?
4.1 Conservation is a relatively small field;
conservation research is even smaller. This small scale limits
the capacity for developing wider applications of conservation
research.
4.2 There are however a number of areas where
technologies have broader application: the use of the laser for
cleaning stone; new materials for consolidating artefacts; or
work on the environment that objects are displayed or stored in.
4.3 There are several mechanisms that have helped
bring techniques to wider use. Public Sector Research Establishment
(PSRE) grant has helped to fund the development of museum-based
technology (laser cleaning and scanning and replication) within
National Museums Liverpool (NML) sculpture conservation department.
This funding allowed the museums to develop the equipment for
use on the museums collection (improving best practise) but also
allowed the museums to use this technology outside the museum
(offering a museum quality service) and is now generating income
for the museum.
4.4 Other successful developments include the
EU funded research project to develop light dosimeters and the
development by the V&A and a commercial partner of a network-based
environmental monitoring system. The latter project inevitably
resulted in a product designed primarily for a large London museum,
which has been difficult to adapt elsewhere without comparable
staff resources.
4.5 Although some companies have tried to develop
and market materials and products for conservation, it is quite
rare for them to be profitable. Even working with industry, for
instance on developing adhesives for use in conservation, has
not necessarily proved successful for museums. It is usually easier
to adapt industrial methods and materials for the purpose.
Could better use be made of conservation science
to improve public engagement with and understanding of science
and technology and the part they play in our cultural heritage?
5.1 There is scope for enhancing public engagement
with science by educating them about conservation. The conservation
of historic artefacts can be used to practically illustrate the
changes that take place in materials, how this affects their appearance
and properties and what the attempts to slow down the change are.
This type of engagement has been used particularly successfully
in museums that deal with archaeology and art, but is also found
in science and technology museums.
5.2 The Conservation Centre at the National Museum
of Liverpool has been actively involved and successful in this
form of public engagement since it opened in 1997, for example,
through public lectures and tours of the conservation departments.
The sculpture conservation department and laser technology section
(Conservation Technologies) have been working on larger external
contracts such as public monuments. Public debate and publicity
generated (through local radio, papers and TV) has helped engage
a wider circle of the public than those that visit museums, promoting
the benefits of conservation to the population and environment
at large. The science of museum objects forms the basis of an
innovative new permanent exhibition ("Reveal")
at the Conservation Centre, due to open in Spring 2006. This exhibition
demonstrates how scientific techniques are used to find out about
and conserve our cultural heritage, and there will be a working
laboratory at the centre of the exhibition.
5.3 The V&A's conservation science team has
an active programme of engagement with the public. Typical examples
are continued participation in the Royal Society of Chemistry
initiative "Chemistry at Work" events (involving hundreds
of school children), V&A based gallery talks, summer school
activities and participation in the British Association science
activities. Each event brings positive feedback stating that the
public want more.
5.4 Tate's new Collections Centre with its analytical
research facility would engage fully with public access allowing
visitors to see the full range of scientific and technological
instrumentation being used to push the boundaries of our knowledge
about the works in our cultural collections.
5.5 The Darwin Centre at the Natural History
Museum aims to enhance the public's engagement with and understand
the natural sciences. The design of the building, interactive
exhibits, live presentations by science and conservation staff
have provided a unique experience for the public. The NHM work
in partnership with other museums and private companies developing
a range of scientific and conservation innovations, including
the British Library, Tate, the V&A, Imperial College London
and Cambridge Ultrasonics.
5.6 Finally, the National Railway Museum in York
have a viewing gallery, where visitors can see how vehicles are
returned to working order.USE
OF INFORMATION
TECHNOLOGY
In what ways can IT contribute to enhancing public
engagement with objects of cultural importance, without compromising
their conservation?
6.1 DCMS believes that IT can greatly enhance
access to and engagement with cultural materials. When the Minister
for Culture, David Lammy, launched a new Digitisation Action Plan
for Europe during the UK Presidency last year, he spoke of the
importance of cultural organisations, large and small, making
their collections available in a digital form for everyone to
see and re-use creatively.
6.2 UK cultural institutions have been at
the forefront of efforts to digitise their collections and make
them available online in innovative ways. As far back as the early
1990s, the National Gallery recognised the importance and effectiveness
of digitisation when it set up its online gallery. There, a visitor
touches a computer screen and has access to all the paintings
in the Gallery. This was pioneering work at the time and the concept
is now widely used. It is also strongly focussed on the needs
of the user.
6.3 Clearly this leads to greater public access
to material that is not usually on display or is too fragile to
put on display. Turning the Pages is a recent example.
This is an award-winning interactive program developed by the
British Library that gives members of the public access to precious
books while keeping the originals safely under glass. Turning
the Pages allows visitors virtually to "turn" the
pages of manuscripts in a realistic way, using digtal technology
and interactive animation. They can zoom in on the high-quality
digitised images and read or listen to notes explaining the significance
of each page. This is available at a touch-screen in the John
Ritblat Gallery.
6.4 The production of engaging IT resources by
cultural organisations requires an understanding of what users
want. The Department's £16 million Culture Online programme
was established in 2002 with this in mind. It commissions projects
that extend the reach of arts and culture to new audiences using
new technology; it specialises in engaging hard-to-reach audiences.
Culture Online has a world-class team of specialists drawn from
industry, and has a proven track-record in its field.
6.5 While the imaginative use of digital technology
can unlock resources held by the cultural organisations without
compromising their conservation, it is important to note that
the preservation of those digital resources can be problematic.
Digital content can be lost because of the rapid succession and
obsolescence of computer hardware and software, and the limited
lifetime of storage devices. A number of UK organisations and
groups are working in this area, particularly the British Library,
the Digital Preservation Coalition and the Digital Curation Centre.
6.6 High quality online cultural resources can
also help to extend the reach of new technologies into society,
build IT skills, boost the digital economy and close the digital
divide. Recent research shows that our museums, libraries and
archives already have a reputation for producing web-sites that
can be trusted by users [MORI: February 2005].
Is there scope for improving the use that UK galleries,
museums and others make of such technology?
7.1 It is quite clear that technology and user
expectations are changing rapidly and that there will always be
scope for improving the uses made of new technology. Cultural
organisations need to be aware of developments in related areas,
for example, education, computer games, and user-generated trends
like blogs.
7.2 By bringing together the creative, technical
and educational communities, the National Endowment for Science,
Technology and the Arts (NESTA) Futurelab is one organisation
helping to transform the way people learn. NESTA uses new and
emerging technologies to create rich learning resources that are
involving, interactive and imaginative (www.nestafuturelab.org).
NESTA has also produced a report entitled "Learning with
Digital Technologies in Museums, Science Centres and Galleries".
7.3 The NESTA report looks at the challenges
provided by the growth of digital technologies, asks what is distinctive
about learning in museums, science centres and galleries, and
questions how this might change through the increasing use of
digital technology. It asserts that museums' long-divorced twin
functions of scholarship and education are now being reunited
by a wide variety of digital technologies that both accelerate
learning and permit activities that would not otherwise be possible.
The report stresses that museums have an important role to play
in facilitating lifelong learning, with an emphasis on learning
from objects (rather than about objects) and on strategies for
discovering information (rather than the information itself).
It concludes that a new set of relationships is emerging between
objects, learners and digital technology, in which museums are,
above all, places of exploration and discovery.
7.4 It is important for our museums, archives
and libraries to achieve a greater critical mass of material online
for people to use. In the UK, the Museums, Libraries and Archives
Council (MLA) is chairing a public-sector wide group to unlock
public sector content, which includes DfES, Bringing Educational
Creativity to All (BECTA), British Library, BBC and many others.
Plans for the "Creative Archive", led by the BBC, Channel
4, BFI and the Open University, concentrating on moving image
material, are consistent with this approach.
7.5 Some of this work is taking place in a European
context. Our cultural organisations have limited resources for
digitising their collections and it is important that we co-ordinate
digitisation programmes and policies at a European level, and
devise good practice to deliver better value for money and more
effective services. Efforts to co-ordinate the digitisation of
the cultural heritage across Europe began in 2001, when experts
from a number of Member States met at Lund in Sweden and produced
an action plan. A National Representatives Group has been established,
and meets at least every six months. Activities carried out include
identifying and comparing digitisation practices, setting technical
standards across Europe and developing best practice guidelines.
The new Dynamic Action Plan for the EU co-ordination of digitisation
of cultural and scientific content, launched in November 2005,
is the latest outcome. The European Commission are also working
on plans for a European Digital Library.
7.6 The MLA has developed its "Knowledge
Web" which will provide new links between collections and
help to select the material that is most relevant to the needs
of a particular user—that fits their learning style, is
relevant to where they live, and builds upon their existing knowledge.
As the NESTA report highlights, digital technologies favour personalisation,
whereby the learner can use appropriate technologies to provide
a dedicated and personal mentor.
7.7 Beyond the world of galleries and museums,
efforts are being directed towards technology that describes performances
for visually impaired people. In particular, we are aware of a
proposal to establish local or regional hubs in which theatres
can share equipment, technicians and training facilities to enable
people with visual and auditory disabilities to enjoy productions.
What, in the UK and internationally, are the best
examples of the use of IT to improve access to and understanding
of cultural objects?
8.1 There are numerous examples of how the use
of IT improves access to and understanding of cultural objects
in the UK and abroad. Some examples are below:CULTURE
ONLINE
8.2 "Every Object Tells a Story" is
led by the V&A in partnership with Channel 4, Ultralab and
three regional museums, the project focuses on the art of storytelling.
The site uses the personal meanings and histories behind objects
to get people to look at them in new ways, inspiring them to create
their own stories and share their interpretations and objects
of personal significance with a growing online community. Video,
audio, text and pictures combine on the site to offer an accessible
route into the content.
8.3 "My Art Space" is an interactive
service that enables visitors to museums and galleries to "collect"
cultural artefacts with their mobile phones, create their own
online collections and share their interest, knowledge and enthusiasm
about the objects and art works they find. The service partners
include the D-Day Museum in Portsmouth, Urbis in Manchester and
the Study Gallery in Poole. The service, specifically designed
around museum education, illustrates how the digital world of
websites and mobile phone technologies can add value to the real
world of museums, galleries and exhibitions.
8.4 "The Portable Antiquities Scheme"
is the largest community archaeology project ever developed in
the UK, with a network of 37 finds liaison officers across England,
working with over 5,000 finders. The project website is used to
record information about the 50,000 objects reported to the Scheme
each year, many found by people who use metal detectors. The website
makes all this information available and reaches over 1,000 users
every week. To emphasise the personal nature of the site, it enables
people to trace objects that have been found near where they live.
8.5 "Luxonline" is a free comprehensive
online resource for people wishing to learn about and explore
British-based artists' film and video art. Considered to be an
exemplar of how the internet can be used to energise interest
in historic work, Luxonline has received funding from Arts Council
England and the New Opportunities Fund. It is an ongoing project,
with artists continuing to be added to its virtual archive.
8.6 The Poetry Library magazines archive is a
free access site to a full text digital library of 20th and 21st
century English poetry magazines from the Poetry Library Collection
housed in the South Bank Centre. The archive is part of an ongoing
digitisation project at the Library funded by Arts Council England.NATIONAL
AND REGIONAL
MUSEUMS
8.7 Our national and regional museums and galleries
are also using IT to improve access and understanding. Some examples
of recent work are below.
8.8 Tate Online is developed in partnership with
BT and attracted 5.5 million website visits in 2004-05. Independent
analysts consistently rate it the UK's most popular visual arts,
and museum website. All of the collection and archive material
is available online. Tate Online won the Hollis award for the
best on-going sponsorship and the site was short-listed for two
international "Webbys" awards, under the Arts and Cultural
Institutions sections.
8.9 The focus of the current Imperial War Museum
digitisation programme is the Second World War and post-war reconstruction.
The Collections Division will be digitising a broad range of Second
World War material that will contribute to the various elements
of the "Their Past Your Future" programme.
8.10 The National Portrait Gallery's website
contains a search facility with 64,720 portraits from the Gallery's
collections, 43,628 of which are illustrated. It is possible to
search the collection by groups, subjects and themes, to view
an illustrated timeline and hundreds of documents from the Heinz
Archive and Library.
8.11 The National Gallery's website provides
access to the entire National Gallery permanent collection and
long-term loans. The website received nearly 5.5 million hits
in 2004-05. The National Gallery's digital/multimedia facilities
have received considerable recognition over the past year. Other
innovative projects such as "Zooming Pictures", and
"Art Start" have won awards for excellence in the use
of technology.
8.12 The British Museum website contains details
of current exhibitions, access to the COMPASS online collection,
information for schools and young people and a series of sections
devoted to the various cultures of the ancient world. The number
of visitors to the Museum website has increased markedly in recent
years. There were 7,565,805 visitors to the site in 2004-05, as
compared with 4,491,000 in 2001-02.
8.13 The British Library set up the "Collect
Britain" website with New Opportunities Fund (NOF) funding
which contains over 90,000 images and sounds from the British
Library. It offers specially selected collections, themed tours
and virtual exhibitions: "Turning the Pages", the BL's
award-winning (eg Yahoo awards) and innovative digitised collection
of some of its treasures such as the Lindisfarne Gospels and the
original manuscript for Alice in Wonderland; International Dunhuang
Project, which brings together in digital form an internationally
important collection of rare Buddhist material from China held
in several national museums and libraries.REGIONAL
PROJECTS
8.14 In 2004, Tiverton Museum of Mid Devon Life
launched its online learning resource "Virtual Victorians".
The website uses artefacts, photographs and archive material from
the museum collection, and explores life in Victorian times through
the daily lives of the Poslett family. The Then and Now photographs
look back at Tiverton and the surrounding villages over the last
100 years. The website has won several awards and is being used
by schools across the country.
8.15 The 24 Hour Museum is a good example of
a collaborative project. Created in 1999, this is the UK's national
virtual museum, with stories including arts and museum news as
well as exhibition notices, reviews, features and trails. It aims
to encourage visitors to go to real attractions around the country
and show them activities all over the UK. The site promotes publicly-funded
UK museums, galleries, archives and heritage attractions and seeks
to get the message about Britain's culture to a broad online audience
nationally and worldwide.
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