Artwork object

In order to s)mthesise a sound using the Praat physical model one needs to indicate (a) the speaker and (b) a list of actions. In Praat parlance, the speaker is referred to as the Speaker object and the list of actions is referred to as the Artwork object. In practice, a script contains instructions for an Artwork object and a call for a Speaker object that should be defined beforehand in a separate file. For the sake of simplicity, the following examples will employ PraaPs default adult female speaker model and we will refrain from changing its physical characteristics. 

Besides the well-established chromatographic/mass spectrometric or spectroscopic methods there is always a need for complementary methods for the study of organic materials from art objects. The application of laser desorption/ionisation mass spectrometry (LDI-MS) methods to such materials has been reported only sporadically [12, 45 48] however, it is apparently increasing in importance. After GALDI-MS had been applied to triterpenoid resins, as described in Section 5.2, this relatively simple method was evaluated for a wider range of binders and other organic substances used for the production or conservation of artwork. Reference substances as well as original samples from works of art were analysed. 

Entrapment in certain archaeological environments can enhance lipid preservation. For example, decomposition is slowed down by dry conditions such as arid or cold climates. In charred residues, the activity of micro-organisms present in organic tissues stops and the outer surfaces are fused, providing a barrier against microbial attack. This means that lipids are often encountered in many different environments associated with artworks and archaeological objects. They appear as constituents, decoration materials or residues of the materials originally contained in a vessel. 

Synthetic polymers are very important in conservation science because they are commonly used for the conservation and restoration of artworks. Consequently, their chemical characterization must be precise enough to well define their innocuousness for art objects and their long term stability. An example is given in the ToF-SIMS analysis of polymers... 

Organic substances can be identified both as the main constituents of an artwork or a cultural heritage object, and as secondary components, mixed with inorganic compounds. Organic materials can be found in the finish or decoration of the surfaces, or as residues of commodities, such as in ceramic or glass vessels. Moreover, the majority of restoration products applied as consolidants, adhesives, restoration paints and varnishes are of an organic nature. 

Because decontamination occurs after buildings have been evacuated and first responders have treated any casualties, it allows for some time lapse before decontamination begins. With some planning, damage can be minimized and the efficacy of the decontamination process can be maximized. For example, sensitive equipment, electronics, valuable artwork, and personal objects will require chemicals that are less harsh than those used to clean air ducts and walls. The lack of time sensitivity also allows the choice of a decontaminant that may have a longer reaction time, but that is more suitable for the surface or the ambient conditions suoh as humidity and temperature. Thus, it is best to obtain a suite of deoontamination methods. 

Two basic requirements must be met for the instrumental technique when it is applied in art conservation research sensitivity, for obtaining relevant data from small samples on the nano, micro or mill (-gram, -meter) scale and specificity, for unambiguously identifying compounds and quantifying the analytes from the complex mixtures of substances that form the materials present in the monument or artwork. Other requirements are also desirable for an analytical method when it is applied to objects of artistic, historic, and archaeological nature according to Lahanier et al. [2], these are ... 

Nonobjective art is highly subjective. This type of art does not satisfy an object-oriented person. A viewer does not necessarily perceive the intent of the artist. However, this is not necessary. What is important is that the artwork speaks to the viewer in a new and unique way. 

What are some similarities between the construction of a ceramic artwork and the growth of a crystalline solid or the forging of a glass object ... 

The artworks of Claude Monet reflect the impressionist s focus on light and its effect on color. His objects are independent of form. He gives an impression of a scene. Nothing is painted exactly as it appears. He uses short brush strokes and layers his paints to let light define the hue. 

There are natural materials in museums and private collections throughout the world, from traditional collections of plants and animals to components in artwork, historical objects, and anthropological specimens. These materials come from animals, plants, and from the Earth. Some of them have been used in their original state, while others have been processed and may not now resemble the original material. 

As science is the product of rational brain activity, a scientific work, an analysis of a piece of reality, has essentially the same message for all who are blessed with the necessary prerequisite knowledge. In contrast to science, it is not the objective of fine art, literature, or music to describe or analyze objectively existing reality. On the contrary, real art deals with a nonexistent world that is indefinable in any material sense, with a universe created in the human cortex. The message of an artwork is therefore ambiguous, its effect is in essence emotionally based. Everyone enters in his own special way into the spirit of an artwork. This is also true for the Holy Scriptures, art products of the human brain that played the most important role in the spiritual organization of life in the rising phase of human society and served the maintenance and development of that society. 

Museums and other cultural institutions aim to conserve plastics for future generations and to preserve information about outdated materials and technologies. In addition to conserving the plastic material itself, preserving the design, concept or intention reflected by the object is often important. Private collectors wish to preserve the artistic, historical and financial values of their objects and artworks. With the dramatic increase in monetary value of modern art since 2000, art insurance companies are also concerned with the short useful lifetime of plastics. 

Scalarone, D. and O. Chiantore, The use of pyrolysis-GC/MS for the identification of polymeric constituents in artworks, museum and collectible design objects, in Plastics in Art (History, Technology, Preservation), T. van Oosten, Y. Shashoua, and F. Waentig, Eds., Siegl, Munich (2000), pp. 90-104. 

Applicable to intractable solids, artwork, forensic science objects... 

Siano S, Sahmbeni R (2010) Advances in laser cleaning of artwork and objects of historictil interest the optimized pulse duration approach. Acc Chem Res 43(6) 739-750. doi 10.1021/... 

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