MY DETAILS

NAME & SURNAME:

NOMFUNDO BUTHELEZI
STUDENT NUMBER:
48880310
MODULE CODE:
ARM1504
UNIQUE NUMBER:
843487
TABLE OF CONTENTS

Page Tittle Page Number

Cover Page 1

Table of contents 2

Question 1 3

Question 2 3&4

Question 3 4

Question 4 5

Question 5 6&7

References 7

Declaration Statement 8
Question 1
Rule on restoration: It is well understood that by maintaining and promoting native intact forest ecosystems
we will continue to reap the benefits of ecological services provided by our forests. Ecological services include
clean air, clean water, carbon sequestration, and even climate change mitigation. All of life and our human
economies ultimately depend on healthy ecological functions and the services they provide. How far
reconstruction may be undertaken without losing or diminishing the integrity of the item or document. No
process may be used in restoration which would remove, diminish, falsify (by subtraction, alteration or
addition) or obscure in any way the document’s value as evidence. This applies not only to the written text of
the document but also to its physical structure, when that itself has evidential value.

Compatibility of problem and solution: The chosen treatment to be applied should not be greater or weaker
than the problem. It may be best to do nothing at all if no acceptable treatment solution is compatible to the
problem. As far as possible missing material should be replaced by material of the same kind, or with
compatible, similar materials. The nature and extent of any repair should be left unmistakably evident.
However, this does not mean that the repair should not be aesthetically like the original.

Rule of reversibility: No procedure or treatment should be undertaken that cannot later be undone. Nothing
should be done which cannot be undone without damage to the document. However, this does not mean that
certain treatments, e.g. cleaning and deacidification, which would never be reversed in practice, should not be
used when they are appropriate. A balance has to be stuck between the possible effects of any treatment and
the durability of the document if it is left untreated and this may justify in appropriate instances the use of
irreversible process.

Documentation: Maintaining a complete and accurate record of all treatments. Narrative description,
checklist of work done, photographic record before, during, and after. It follows that a proper record should
be kept of all restoration treatment. This should include, as a minimum: Information identifying the document;
The dates of the treatment. The state of the document before treatment, including information about its
components (e.g. number of sheets); Information on any disassembly which is necessary before treatment can
start; The sequence of treatment process and techniques used (during treatment this should serve as a
security control to ensure that documents are not lost); The materials used, including any adhesives, sizes, etc.
and the extent to which original materials have been reused; The identity of the conservator who has
undertaken the work

Question 2
Although preservation challenges are known throughout the world, many experts in the field have gradually
began to realise that there are specific problems faced by conservators in different parts of the world.
Teygeler et al. (2001) have noted that the problems encountered by conservationists in many developing
countries are “often more complex than those in developed countries. There is therefore need to undertake
studies that relate to specific areas and suggest solutions that address these issues. A preservation strategy
involves three aspects; assessment, planning and action. A preservation assessment is usually undertaken to
determine the preservation requirements for the collection and to evaluate the strengths and weaknesses of
the building, policies and guidelines, storage environment, archives’ holdings (collection media), holdings
maintenance and disaster management. Audiovisual materials are usually described as “non-print”
documents, in the sense that they convey their information in some way other than text on a printed page.
They have also been called non-book or special formats and sometimes require equipment to use. It is for this
reason that audiovisual materials are sometimes classified into two groups projected materials and non-
projected materials. Audiovisual materials include sound recordings, film and video, graphic materials,
electronic resources, three-dimensional objects, maps, and microforms. Some audiovisual formats, like film
loops, have become obsolete, while others such as gramophone records are in the process of becoming
obsolete. Yet, others are new and are still being tried in the market place to see if they will receive wide
acceptance.

Edmondson (2004) proposes a wider definition of audiovisual heritage which he suggests ought to include:

(a) Recorded sound, radio, film, television, video or other productions comprising moving images andor
recorded sounds, whether or not primarily intended for distribution to the public,
(b) Objects, materials, works and intangibles relating to audiovisual documents, whether seen from a
technical, industrial, cultural, historical or other viewpoint, this shall include material relating to the film,
broadcasting and recording industries, such as literature, scripts, stills, posters, advertising materials,
manuscripts, and artefacts such as technical equipment or costumes,
(c) Concepts such as the perpetuation of obsolescent skills and environments associated with the reproduction

and presentation of this media,

(d) Non-literary or graphical material such as photographs, maps, manuscripts, slides, and other visual works
selected in their own right.

Question 3
If you prevent an Event, you have the opportunity to choose maintenance downtime. As a maintenance
engineer I had to wrestle with operations to get preventive maintenance scheduled. There was never any
good time for a short outage of any operational equipment. If you don't make time, eventually the breakdown
will occur. It will not only be at a good time, it will be at the worst time. For example, air, conditioners fail on
the hottest time of day on the hottest day of the year, always.

Additionally, all maintenance personnel will be up to the waist doing something else critical, probably working
on something else which had maintenance deferred or delayed. Then there is the risk of collateral damage.
Consider a tire blowout at 70 mph on a busy interstate. When it fails, the driver may lose control and careen
into other things such as vehicles, mountains, and people. So now not only, do you have to replace a tire, but
also repair or replace everything damaged. If someone is killed in the process, you cannot fix that. By
maintaining adequate records, the maintenance team can actually provide more operational time by knowing
when and what to maintain.

There is another important aspect of the recording process. It allows one to track all costs, bothered
equipment, supplies and personnel time. So now you know not only when to do things, you know when and
what supplies you need, how much manpower is needed (It's nice to have the right person available at the
right time.), but also can make intelligent decisions as to repair verses replace.
Question 4
i. Surface cleaning: is a restoration process that involves no organic solvents, vacuuming or dusting,
eraser, powdered synthetic rubber, damp sponge, fine sandpaper Surface cleaning reduces and/or
completely undo any damage caused to paper by foreign substances that cause high acidity or
moisture content and reduce the quality of paper. An archivist can apply it him/herself. Surface dirt is
also removed for aesthetic reasons, for example when the image or information is obscured.

ii. Bleaching: Bleaching is to remove stains, marks and discolorations which often cannot be removed in
the ordinary washing process. Bleaching treats foxing. Chemicals used are: chlorine dioxide, hydrogen
peroxide, halazone. Clarity of the documents can be restored. Stains or marks are not necessarily
removed. Bleaching is complex It is one of the potentially most harmful chemical treatments used in
paper conservation. Bleaching can influence the overall treatment plan.

iii. Washing paper: Washing paper is the use of water, often in combination with other solvents, enzymes
and substances that are useful for their cleaning, wetting, as they make it possible to clean documents,
to treat paper. Washing paper reduce soluble products, such as acidic, adhesives discoloured
components and impurities that causes deterioration. Tap water, distilled water and deionised water
can be used in the in the washing process. Washing is an irreversible treatment. Certain types of paper
must be resized after being washed.

iv. Deacidification: Deacidification is the removal of acid from or the reduction of acidity in a material
such as paper. The paper is treated with a mild alkali which initially neutralizes any acid present and is
then converted into a compound that remains in the fibres of the paper to act as a buffer to neutralize
any further acidity which may develop. Deacidification effectively neutralizes existing acid. The
document immersed, brushed or sprayed in an aqueous solution of lime water (calcium hydroxide) or
barium hydroxide, magnesium hydrogen carbonate after testing the inks and pigments present. The
paper which is slightly alkaline is immune to acidity only for as long as the free alkalis are present, but
soon as these are neutralized, the paper is vulnerable again. To prevent this, the amount of alkali
remaining in the paper must be equivalent to 3% calcium carbonate by weight of the paper

v. Lining: Lining or backing involves attaching a complete secondary structural support to the primary
support of a document or book. Lining repair a badly torn document. It can strengthen a paper object
which is so brittle or has deteriorated. During the lining process, the media can undergo changes. For
example, they may crack or flake because of the expansion or contraction of the wet support or
pressure during the drying process.

vi. Mending: Mending in paper conservation means joining splits and tears or reinforcing cracks in a paper
support. Mending restores the aesthetic unity of a document or page and to preserve its physical
integrity. Adhesives sometimes do not have flexibility, strength, non-contractility, non-darkening, good
ageing over the long term and reversibility.

vii. Leaf casting: Leaf casting is a method of repairing archival papers by mechanical means rather than
manually. Prepared paper pulp in suspension form can also be used to create pulp fills manually where
losses have occurred in a document. The new fibres settle only in the areas of loss. The principle of the
method is like that of papermaking itself.
Question 5
Any digital object can be considered in scope for digital preservation: born digital or digitised, corporate or
personal, innovative or routine. Digital preservation can encompass texts and images, databases and
spreadsheets, vectors or rasters, programs and applications, desktop files and enterprise systems, email and
social media, games, movies, music and sound, entire web domains and individual tweets. Digital collections
can derive from laptops or desktops or smart phones; from tablets, souped-up servers or hulking great
mainframes. They can be snapped at the end of a selfie stick or beamed from sensors deep in space; they can
be generated by tills and cash machines, by satellites and scanners, by tiny sensitive chips and massive arrays.
They can be stored in repositories or data centres or USB sticks. There is no digital object or system that is not
provisionally within scope for digital preservation.

Pervasive, changing and ubiquitous, digital technologies are a defining feature of our age. Digital materials are
a core commodity for industry, commerce and government. They are fundamental for research, the law and
medicine. The creative industries, cultural heritage and the media depend on reliable access to digital
materials while families and friends extend and sustain their relationships through digital interactions.
But digital materials - and the opportunities they create - are fragile even if they also have the capacity to be
durable through replication. Digital platforms change and the long chains of interdependence on which they
depend are complicated and fluid. Their longevity and utility is threatened where contents or contexts are
lost: engagement and exploitation are enabled when digital materials endure. The greater the importance of
digital materials, the greater the need for their preservation: digital preservation protects investment,
captures potential and transmits opportunities to future generations and our own.

The ability to preserve digital materials depends upon a wide range of stakeholders. Principal among these are
the creators of digital content, whose involvement in their preservation might involve, for example,
consideration of standards in terms of format and media, and ensuring enough contextual information is
available to enable their management by others. Creators may often be unaware of their pivotal role. This
could be for all kinds of reasons, but a vital part of any digital preservation effort is the effective dialogue with
creators of digital materials to inform and advocate the value of their engagement to them and others. If the
creators of digital materials have a responsibility to enable long term access, then this responsibility is borne
even more fully by those who provide the infrastructure and environments in which they are created. In some
cases this may be a corporate function, with the provision of corporate tools and services which are
preservation ready. In other cases responsibility will be borne by external service providers who host digital
infrastructure for clients.

The ability to preserve digital materials depends upon a wide range of stakeholders. Principal among these are
the creators of digital content, whose involvement in their preservation might involve, for example,
consideration of standards in terms of format and media, and ensuring enough contextual information is
available to enable their management by others. Creators may often be unaware of their pivotal role. This
could be for all kinds of reasons, but a vital part of any digital preservation effort is the effective dialogue with
creators of digital materials to inform and advocate the value of their engagement (to them and others).
If the creators of digital materials have a responsibility to enable long term access, then this responsibility is
borne even more fully by those who provide the infrastructure and environments in which they are created. In
some cases this may be a corporate function, with the provision of corporate tools and services which are
preservation ready
In some cases, institutions will manage their own digital legacy: large institutions that create digital materials
may most sensibly be the ones to manage them in the long term, thus maximising return on their initial
investment. But in other contexts co-operative models for long-term preservation have emerged involving a
number of organisations. Both subject specialist and expert centres have emerged offering specific
preservation solutions for specific types of digital material. For some organisations, it may prove more cost-
effective to contract all or part of their digital preservation activities to a third party. Whilst it may be
advantageous to outsource, it is important to remember responsibility remains with the organisation. Staff will
need to be sufficiently aware of digital preservation issues, particularly as they relate to legal, organisational
and contractual problems, to manage these third party contracts effectively. Any institution which places value
on digital resources in general needs to ensure the long-term preservation of digital materials. A significant
number of institutions have not only taken that role on for themselves but have offered wider leadership in
addressing the practical implications of digital preservation.
Ultimately however, digital preservation cannot be perceived as solely a concern for archives, libraries,
museums and other memory institutions: it is a challenge for all who have an interest in creating, using, acquiring
and making accessible, digital materials.

References:

All URLs were valid as of July 10, 2002.

Institute of Electrical and Electronics Engineers, Inc. (IEEE). June 2001. Transactions on Computers—Special Issue on
Dynamic Optimization.
International Standards Organization (ISO). 2002. Open Archival Information System—Reference Model. The draft
international standard is available at http://ssdoo.gsfc.nasa.gov/nost/isoas/overview.html.
InterPARES Project Preservation Task Force. 2001. How to Preserve Electronic Records. Available at
www.interpares.org.
InterPARES Project Preservation Task Force. In press. Report of the Preservation Task Force. A preliminary version of
the report is available at www.interpares.org.
Douwe Drijfhout. 2006. Challenges in terms of Digital Preservation. LIASA Conference 2006.
www.nlsa.ac.za/...preservation.../Drijfhout.Challenges%20in%20terms  %20of%20Digital%20P    reservation.pdf
Christine W. Kanyengo. 2006. Managing Digital Information Resources in Africa: Preserving the Integrity of Scholarship
www.ascleiden.nl/pdf/elecpublconfkanyengo.pdf

Websites noted in my assignment:

Extensible Business Reporting Language (XBRL). Available at http://www.xbrl.org/.

Typed Object Model (TOM). Available at http://tom.cs.cmu.edu/intro.html.
Victorian Electronic Records Strategy (VERS). Available at http://www.prov.vic.gov.au/vers/.
Declaration Statement:

I declare that this is my own, original work prepared specifically for the ARM1504 module and that all the
sources I have used or quoted have been indicated and acknowledged by means of complete references

(Signature) : N. Buthelezi

(Name) : Nomfundo Buthelezi

(Date) : 26/July/2020