Ms. Susan Barger from the FAIC. Susan please go ahead and begin whenever you're ready. Hi everyone. I just want to welcome you and say we're really happy to have you. We're really pleased that we could do this webinar on textiles because we haven't done very little on textiles. So I hope you enjoy it. Remember if you have any questions please put them into the box here on the left-hand side of the screen. If you need questions about collections care you can always go to the Connecting to Collections Care website and put questions in the community forum. You do need to be a registered member to do that and that just takes a few minutes and we don't we don't do anything with you. Our community website is connecting to collections.org. We're on Facebook. We're also on Twitter and you can also see we have over 80 past webinars that have been recorded since 2010 and those are also available on the website in the archives and they're also available for free and you can contact us anytime which means contact me. This is my email address and I'm happy to hear what you have to say. Good, bad, and different. And next week we're just having this webinar extravaganza. Next week we're having a webinar with Rebecca Elder on caring for artifacts found in archives collections and the following week we're having one on mannequins. So if you're interested in those please go ahead and sign up and we'll see you next week and the week after. Okay and now we're going to start today's webinar with Jane Hammett and Jane take it away. I'm going to unmute you. Okay, you can hear me? Yep, uh-huh. Oh perfect. Well I'm just happy to be here and I hope my presentation will be helpful for those of you working with small museums or historic house collections. I also think we should start with a special thank you to the foundation of to FAIC for funding this program and for the abundance of online support that they provide for small museums. I put together lots of slides and I'm going to speak from my notes hoping to offer a broad view of preventative conservation as it applies to the house museum as well as various considerations surrounding care of textiles within its walls. We'll have some time. Jane? Yes? Please speak up. All right let me try turning my volume up. Okay or get closer to the microphone and remember if you have any questions if you put them over into the box on the left hand side I'll grab them and I'll make sure that they get answered. Is this anymore? Is this an increase? Yes. Okay. I think it is. Okay, thank you. All right. So I am sorry folks this is the first webinar I've ever participated in so I am struggling with the technology here. Perfect. ICA or the Intermuseum Conservation Association as it was first known was founded in 1952 on the campus of Oberlin College by directors of six major museums as a conservation laboratory to treat their collections. In 2003 the ICA left Oberlin, Ohio and moved to the near west side of Cleveland and currently serves over a hundred individual and institutional members as well as private collectors, libraries, house museum and other non-member collecting institutions. We offer conservation services for paintings, textiles, objects and paper and our outreach educational services are available to anyone in need of information about our preservation at low or no cost. I'm fortunate to have been involved in the preservation and restoration efforts of a number of Ohio's historic houses over the last 20 years. Some of my projects have been large while funded full restoration endeavors and at one of my most recent involvements was a survey of textiles for a newly founded county historical society with only 16 members. House museums tell us about how people lived and what they accomplished and how they expressed themselves in their living spaces. All house museum collections are subject to the natural aging of their materials as well as to outside forces surrounding them. What conservators refer to as agents of deterioration. Often the integrity of house museums especially the small house is threatened by urban growth, increased pollution from traffic, security risks and loss of the historic neighborhood to commercial developments are man-made agents of deterioration. Some of these external conditions can have an impact on the interior environment as well. Disregarding these conditions can be disastrous. Without identifying and correcting structural breaches to the house external conditions will continue to undermine the internal environment of the house and its furnishings. UV radiation entering from windows can be filtered out with polyester-based films that adhere to the that reduce uh-oh. This is embarrassing but I just had my slides out of order. A routine interior exterior inspection might include examination of the roof looking for changes in the chimney flashing or water stains on soffit boards clogged or damaged gutters cracks and exterior walls and finishes can allow moisture to seep into the interior failing masonry can allow pests to enter the house. A visit from a local building inspector could be helpful in identifying structural problems and tailoring a checklist for your repairs. There is also the historic building assessment forum available as a PDF from the national park service website which is listed in the handouts for this program. I also want to present some of the risk textiles on open display are subjected to and how being exposed to uncontrolled environmental conditions can affect them. I've provided resources for self-study to help you put together both short and long term preservation plans for your textiles. Collections may include a variety of objects. You'll have interior furnishings, bedding, clothing, accessories, service and commemorative textiles, flags, toys, all sorts of personal items and most on open constant display. The combination of the manipulations of materials and textile objects is endless. Sown seams can weaken or rot under hot and humid conditions, linings of silk can shatter and fall away, hat brims can collapse exposing their wire frames, glazed and embossed fabric finishes, nap fabric such as velvet are all sensitive to moisture. Embroidery threads, metal hardware, antique plastic buttons are all especially sensitive to heat and humidity fluctuations. The role of preventative conservation is to diminish cumulative stresses to the object and to offset damages or loss of sensitive material. The goal of successful museum lighting is to reduce the length of time when objects exposed to light, reduce the intensity of that light and eliminate as much of the destructive portion of that spectrum as possible. Daylight is the most abundant source of light in a house museum with quantities of the light varying from time of day, geographic location and whatever the weather is on that given day. Incandescent bulbs are primarily the source of artificial light in houses as well as fluorescent lamps which are commonly used in display cases both are sources of UV radiation that's harmful to textile fibers and dyes. Ideally you want to present your interior settings as they were used and enjoyed by their occupants. It's a delicate balance to present a room in a realistic setting while preserving the collection and today's audience is demand a brighter view. Light is a significant cause of deterioration of textile collections. Its energy causes chemical reactions to dyes and fibers that lead to embrittlement and fading. UV radiation entering from windows can be filtered out with polyester based films that adhere to the glazing. These films don't reduce visible light unless they're tinted which may not be an acceptable look for a historic interior. Films are not permanent solutions because they have about a 10-year lifespan before they need to be replaced. In some cases UV filtering plastic sheets can be placed over existing glazing or hung by hooks from the window frame and used where films won't work. You should also consider updating your artificial light sources by replacing them with modern lamps that produce no heat or radiation. LED technology can offer us today better viewing experiences while drastically reducing heat and radiation output in cases. Many incandescent bulbs can be retrofitted to accept LED lights and the selection shown here is available at 1000bulbs.com but there are lots of antique shaped bulbs that are available online and through catalogs. Occupants of the old house knew light was harmful to their furnishings so they protected them with slip covers and drew drapes when the rooms weren't in use. The age old daily routine of cutting closing shoulders drawing the shades and protecting expensive upholstery with covers has been largely abandoned. Now rather than displaying historic interiors with light intentionally reduced the aesthetic has changed to interior rooms bathed in light and that brightness should flood into every space of the house. One solution to reducing light damage is to consider reintroducing some of these light controls that were used over 100 years ago or perhaps to interpret a bedroom or study in a nighttime setting creating the historic look of an evening at home. Textiles are most stable between 65 degrees and 75 degrees basically the temperatures at which we are most comfortable and those most easily maintained in the living spaces of the house. Elevated temperatures increase the rate of chemical reactions and fibers. It's been estimated that for every 9 degree drop in temperature the deterioration rate of a textile object is cut in half. Mold and mildew are terms used to describe a variety of fungi. There's four bearing microorganisms characterized by fuzzy growth and developed from microscopic pores carried in the air are already present on the textile itself. Before mold damage is visible in a textile there's often a musty odor present. For the spores to become active they have to have a food source in the right environment and most circumstances they appear in moist conditions where the relative humidity is 65 percent or higher and warm air absorbs more moisture. Textiles and leather are very susceptible to fungal attacks because there's such ready sources of nutrients. This paper humidity indicator is available from TALIS a conservation supply company which is listed in the resources portion of your handouts and the small inexpensive meter on the right is available at Home Depot for less than nine dollars. So these are affordable options for placing about the house and especially in areas where you can see visible presence and damages from moisture. The first look to any structural or plumbing plumbing problem that may be increasing moisture levels in rooms can give you all the solutions and directions you have to take. Bands and humidifiers can be added to move air and lower relative humidity in spaces. Curtains, shades, tended UV film can be added to windows to reduce heat caused by daylight in small areas including closets. Again there are numerous rent resources listed in your handouts for presenting and mitigating mold. Outdoor pollutants such as dust and pollen can easily circulate through the house through ventilation ducts or come in from open windows and doors. Dirt and dust can abrade fabric services when the fibers expand and contract with humidity. Dust can also hold moisture on the surface of an object leading to staining and speckling from mold or corrosion of metal threads and ornaments. Actually let me back up and just mention introduce the idea of a HEPA filtered vacuum which is important to have in the house. It's a device that will filter out most small even I think down to 0.3 microns of pollutants, mold, dust, bacteria. It's very effective at removing these pollutants from your objects but also not reintroducing them back into the house. Complete eradication of all past isn't very likely but you should inspect your furnished rooms, storage areas, and collection displays on a regular basis. Look for evidence of insect activity cast off parts, excrement from larva that appears as pottery clumps the same color as the textile. Also look for tiny black granular eggs on or below a textile and hairs extending from furs or pelt or evidence of shedding around the item. Wool, feathers, and leather at a higher risk for infestation. These items need to be inspected more frequently as a new generation of moss can appear as often as within a month. It's also another reason to carefully inspect and surface clean any new textile entering the collection. Food and drink spills, body fluids, all provide essential nutrients for insect larvae and they will chew through other inedible materials to get to a food source. Rodents tend to be nocturnal and secretive.  Their droppings and urine can permanently stain textiles.  As they can carry serious viral diseases, they should be dealt with quickly and cautiously. Again, good housekeeping and awareness of entry points should greatly reduce any risk. In addition to sites in your handbook, you may also want to contact centers for these disease control and provincial websites. For insects, setting out and closed sticky traps and pheromone traps is critical to monitoring rooms. They're your best indicators of the type and number of pests in the house. Place them at entry points and at various heights on floors, shelves and window sills to get an idea of where they're coming in. Trap should be inspected weekly or monthly and the captives identified. A good insect reference guide is a must-have for your library. There are links within your handout, pest identification, or you can contact your state college entomology department. In addition to the most obvious just mentioned insects of moths, beetles, crickets, silverfish and roaches also feed on textile collections if the right conditions of nutrients are available. The assessment of your collection is really the first step in determining what your needs are and how they are being affected by the exhibition or storage environment. An organized work area is essential to really having a safe and thorough examination of your textile collection. If you don't have a space large enough in your storage area you can set up something within a display room, setting up some folding banquet tables, a dining room table that's properly covered and padded, and having your boxes and articles brought in and carefully placed around the room. First you want to practice on perfecting, you want to practice not perfecting your preservation methods but rehearsing them. A baseline record is your best reminder of any changes during conditions. Photo documentation is very important keeping records of conditions as you find them. Damages, label instructions, any special marks that would identify the piece. These can also be handy references later to use instead of actually having to handle the collection itself. Also within the folder is an assessment form which you can adapt and edit to fit whatever your own collection needs are. And as you're examining your collection and taking notes, take time to make note of any surface dirt or pollutants that may be on the textile that you don't want to put away with the garment. On the left is a micro tool attachment which is available from a number of conservation supply catalogs but also you can get them at OfficeMax and RadioShack, some of the computer supply stores. And with that is a square of hardware cloth screening which and in the very back of this little section of nylon tool which can be fitted into drapery hoops to place over delicate surfaces to keep them from being pulled or dislodged by vacuum suction. This micro tool attachment also has a baffle at the very end that fits over the canister hose nozzle that you can use to reduce the air pressure even more. And on the right are a variety of dusting tools including microfiber towels, cosmetic sponges which have micro pores that easily pick up and hold a lot of embedded dirt from textile surfaces. You can get them at the drugstore, you want to make sure though that you get the kind that does not have any oils or lotions added to it, any vitamin E. Also a variety of brushes, cosmetic brushes, unused of course. And there are also polyethylene fiber swiffer type cloths that are available without additives and oils that can be used for cleaning surfaces. You have to be cautious in using swiffer on textile collections because of the fibers that can be left on the surface of textiles are not really very good products to use. There's so many ways to look at an artifact and good condition reporting can help you categorize easily overlooked damages. And as you do this, think about agents of deterioration that may be affecting them or sensitivities that need to be addressed. You can update your report form as you need adding new materials and notations as you encounter them. Again that form is attached to your handouts. And in the upper left you can see corrosion reactions that have been absorbed into the plastic outer blades of this early plastic fan. And on the right are sections of silk that are most likely weighted silk and have their own structural problems. But this piece has been damaged in part by having been moved unconsciously behind other barrier materials out of sight of the custodians. On the left you have very sensitive surface that is disintegrating due to light damage. And you'll often hear conservators talk about inherent vice which is an inherent flaw that is built into the material itself often having to do with the manufacture of the object. And the upper left are crazed and cracking glass beads from the 1920s. On the right is a section of woven tapestry from excuse me a 15th century tapestry where the silk wealth left is deteriorating because not of just its age but because of its manufacturing and die processing. On the left is loss of painted silk from a civil war flag where the iron based mordant and pigments used in the ground fabric have eroded and broken away from the flag body itself. All materials age and break down over time but some have started to deteriorate because of residual chemicals from the tanning process itself. I was looking for my storage, my slide information. Addict closets and crawl spaces are poor environments for storing textiles. The best really space that you can provide for textiles is the spaces in which you are comfortable living. Household closets, storage furniture that can be adapted, basements are far too humid and poorly outfitted for the storage of the conditions that fragile textiles that you would find in a house with sand would be. Also the outbuildings on properties, barns, garages, storage units often get called into service but again they should not be used under any circumstances unless they have some sort of humidity control built into them. As I said those within the main body of the house former living spaces are the best suited for collection of storages. Closets are more offer hanging solutions but with limited internal dimensions they often have to be adapted and buffered to accept clothing without causing problems. Linen and pantry drawers offer large open spaces but they too usually have to be adapted and if they are near kitchen areas or where food is stored they can be particularly at risk for attack by pests. So random closets throughout the house often get repurposed for makeshift storage with little thought to their contents or preservation they become catchalls. Crawl space all bedways and hallways also get appropriated but they're problematic because condensation issues because of cold external walls can attract mold, mildew, objects touching, boxes touching those walls are prone to condensation and absorption of moisture and they're also impossible to monitor thoroughly. Dresser drawers are usually made of wood but they're often very deep and encourage over stacking of items and they're also hard to monitor for insect activity and they're easily stained by contact with the wood surface unless they are somehow buffered. Some textiles, flat textiles in particular small ones are best stored flat in drawers or boxes, uncovered support or padded boards. Some objects like the GAR banner on the right are too fragile and too brittle to support their own weight and until they have proper conservation treatment or some sort of dedicated support they should also be stored flat which is obviously a space problem within the historic house but they certainly should not be rolled. Small leather items that have become brittle like this hanging pouch on the left are unsuitable now for suspended display because they can no longer support their weight. Padded hangers and special supports can be added to garments that need to be hung for garments that are heavily constructed or have lots of surface ornaments and heavy you may need to add or consider adding cotton tapes to the waistbands to offset additional weight on seams that may be weak. We need to make sure that the construction of the garment is capable of displaying its full weight. The garment on the right is hanging from wood hanger that has been wrapped in some cotton but it's inadequate and it's hanging from what was once a coat rack next to an entrance door. It's possible to enlist volunteers or yourself to make customized padded hangers within your handouts is a link to the National Park Services Conservatgrams which have handouts for padded hangers, dust covers, clothing and garment racks and they're also commercially made padded hangers available. This one on the right from Etsy which was manufactured handmade by Rita Marks. There's also on this website as Susan mentioned earlier archived programs for on care and handling and construction of costume mounts plus the upcoming program that's being offered on April 14th. When rolling is an option for your flat textile certainly not something that's dimensional or has a heavily embroidered surface rolling a textile may be a safe and space efficient option. You need to make sure your tube is wide and long enough to provide adequate support. The roll textile can be stored wrapped in a dust cover muslin or archival film and stored on little risers of cardstock to keep the weight of the textile from resting on one edge. Archival boxes are also available for storing rolled textiles in groups or individually and each roll textile should be secured on the tube with cotton tube with cotton twill tapes and protectively covered to prevent abrasion of surface embellishments. On your left is an early 20th century commemorative national flag wrapped around its standard and a very dirty plastic cover was removed in order to take this photograph. On the right the Civil War flag that's rolled without a support and twisted to fit its box took a week of treatment steps to unroll, humidify and restore to original shape. It's counterproductive to make the object that's the box even if the box is a museum box. Commercial hat box even the hat even the boxes hats come in are usually of inferior material. If the original hat box is spacious enough it can be adapted by buffering the interior and supporting the hat with tissue. There are numerous materials that you can employ as a barrier for acidic materials. Marvel seal which is an aluminized plastic film and even aluminum foil under acid free tissue or a sheet of muslin can prevent the migration of acidic materials or keep them from being in contact with your artifact. The object on the right was stored unsupported inside a tube and consequently slipped down and produced damages along the salvage edge and into the weave structure. Even if a roller is wide enough a rolled textile stored on its edge on a tube can still slip down undetected. This fan had its own custom box made simply by adapting the measurements to a larger surface and the textile itself had numerous problems with moth damage, drying and brittlement. The plastic is breaking. It's really too fragile to be handled so storage was adapted that would allow it to be viewed and examined without having to be lifted. There is a sheet of tissue under it which would allow it to be removed from the box without having to be touched. I think the tendency especially sometimes because of the cost of them is to try to maximize the storage space within an archived box. You really should designate boxes to outfits even in the case of a bodice and skirt it's safer practice to have a box for each. Certainly you don't want to stack your boxes so that any kind of moisture when boxes are stacked this way and against the wall it's hard to see what conditions are behind the boxes it also increases tipping and handling problems when trying to remove them from storage and in the bottom slide all the artifacts have been individually wrapped so each has its own internal protection with the box. Another way to protect your textiles from environmental fluctuations is within a frame. Mat packages can be used to protect humidity sensitive flat textiles and especially those that have been exposed to mold and in a mat package you would have a padded support board the textile attached to the mat or sandwiched into a padded sink mat spacers added around the outer edge acrylic glazing or UV filtered glazing placed over that that the object is sealed to moisture resistant or impermeable backing board so that humidity remains as a constant. You can also include within that blue wool strips and moisture sensitivity strips to to monitor the internal conditions decorative textiles and historic frames can be glazed with the filtering acrylic the rabbits buffered with barrier tape and a dust cover added to the back. This is two examples where historic framing is not providing protective protection to the textile. The first textile the sampler was exposed to decades of soot from a coal burning furnace because the glazing cracked and was removed but not replaced. The second sampler which is mounted in a modern frame is sewn to its support in a such a way that the linen ground fabric can't re is that the ground fabric of the sampler can't readjust to the seasonal swings and humidity so you also need to preserve sometimes historic framing elements while not compromising the textile itself. We're looking at a cut panel of plain weave linen that was laid over the reverse of a 19th century suffragette motto that was embroidered on perforated card. The piece had been exposed to a lot of dust and insect damage it was mold and foxing so it was prepared as a matte package but the original linen and wood backing were incorporated separately in the reframing as documents so look for changes in your mount material discoloration staining along the edges of the framing where support boards may be becoming acidic also evidence of water moisture entering the frame insect casings in the corner or on wool surfaces any changing in plastic elements such as fan in this case fan blades materials that can't breathe within a frame can off gas and initiate changes in other materials in your storage area it's going to take time to identify your needs and establish a preventative conservation plan and get the support you need to implement it as you set guidelines for your environmental conditions you can implement your pest management plan there's more available about that and your handouts there are lots of resources in your information list to detail that you can begin by identifying objects at risk begin to prioritize that objects that need to be retired or removed to a more stable environment need to consider how the setting can be adapted to reduce risk would a window shade help in the case of this 19th century doll would reproduction overlay over the dress provide an aesthetic alternative while protecting the garment itself certainly you need to address structural problems in the house immediately especially humidity that may be at risk put objects at risk you need to consider moving them away from the other areas moving them away to other areas of the house as soon as possible until the situation is resolved avoiding sources of heat it's important to move objects away from heating vents and radiators which can cause cracking of wood furniture splitting a fabric monitoring storage area as part of your regular housekeeping is an important practice you know good sight good sanitation is vital to pest prevention you can use a flashlight to scout out ventilation dust ducts window windowsills any place dust collects dark undisturbed areas are all prime spots for pet entries when activity is found say a carpet beetle on a wool rug the rug and surrounding area should be inspected for additional infestation and the rug itself and the floor beneath it should be thoroughly vacuumed ideally an infested item should be removed from the area isolated and watch for additional action this removal is not feasible then focus monitoring should be applied followed by increased safe vacuuming if the object can withstand it should signs and occurrence reappear practice safe and effective cleaning procedures in your areas um help have a filtered vacuum that can pick up small particulate matter without reintroducing it into the collection dusting cloths that won't snag or catch on objects or leave fibers within their structure certainly you wouldn't want to use them on surfaces of textures that are embroidered without some sort of barrier in storage areas you want to avoid storing your objects directly on the floor for obvious reasons of moisture and pest damage you want to be able to monitor what's under your your storage units they need to be at least four inches from the floor to protect them from moisture and you also need to check the upper corners of your closets windowsills in your closets be aware of where water pipes might run through your ceilings keep an eye on changes in the plaster any cockling or bubbling or any staying on wallpapers that might indicate that there is a concealed leak assess your storage containers you can use the measurements that you gather from your survey to determine what sort of storage boxes and containers you need to have on hand to accommodate sort of average container sizes you can buffer non archival boxes with barrier material such as aluminum foil mylar and other plastics until you can afford better and sometimes you're just forced budgetarily or architecturally to improve that which you have to live with in this case this is an inaugural gown or gown wall or into an inauguration that is displayed within a house closet that has been adapted as a showroom the collections care manager was able to adapt the space by placing protective cloths under the gown providing the the gown itself was actually stored on a padded hanger which was then inserted over a chair so inside that dress or behind that dress is a chair so the chair ended up being padded buffered with batting and a muslin cover and an interior support provided for the dress as well as padding for foes and there is a cloth underneath the hem of the dress to keep it from touching the wood floor many house museums are forced to store family textiles in the drawers in which they they lived while the family was there many of these doors are deep and encourage overpacking overfilling it's important to provide some sort of moisture and acidic barrier to keep resins from wood surfaces being absorbed into the textiles themselves in this case marvel seal has been used to line a drawer and a protective dust cover will be placed over when they're not open you need to protect furniture from visitors and furnishings considerable damages caused by humans don't let visitors sit on the furniture the low quality and aged materials and antique under upholstery is usually deteriorated and easily collapsed by weight the damage on the left was actually caused by a tired security guard who felt he needed to sit down after hours so signage or arm ropes can deter the urge to rest you need to make sure that porters door curtains and similar hanging textiles don't obstruct traffic and aren't being abraded by guests being forced to press against them while viewing a room or listening to a tour guide determining the maximum body count to safely fill a viewing area and make sure that your upper limit can be accommodated with a space within a space will certainly reduce some of these damages and also you want to make sure that items are placed more than an arms reach away and the visitors know not to touch objects especially textile items which can absorb their body oils and acids the effect of light heat and humidity have probably been damaging furnishings in your house museum since the first curtain was raised many house museums are fortunate to have historic photos that show how their interiors initially looked residents undoubtedly updated decor and replaced upholstery fabrics so interpretation of a room can be challenging there are numerous resources available certainly call other historic homes talk among your colleagues as to what sources for interior furnishings they reference when replanting or recreating a look for a house museum preparation for potential emergencies like fires floods and other disasters could be one of the most important plan you put together for your museum the american institute for conservation has a 24-hour volunteer program designed to help assist collecting institutions on an emergency basis this is also funded by the f a i c and conservators are available to provide advice by phone or email around the clock should you have an emergency situation also information about the national heritage responders the n h r is listed in your handouts and it's also and there's also a two part webinar archived on this site there's some things that are simply beyond the help of curators and preservation staff at historic homes there are many things you can do to take care of heirlooms in your collection sometimes it may be necessary to contact a professional conservator for advice or conservation treatment in some cases an object is going to require require a conservator's attention in this case there was you know sit back up in deposits from that unframed partially framed photograph when there is physical instability in this case a fire screen was which was attached to a wooden support was stored in front of a heating register and when drying and constricting times forced the fibers to contract they were nailed to the edge and shattered on the frame when treatment requires wet cleaning or altering physical damages you certainly would want to talk to an authority or a textile conservator about introducing water or applying any kind of cleaning techniques to your textile especially when even careful handling is possibly going to result in more damaging loss of fiber to a textile advice and choosing and finding a qualified conservator is available on the AIC website as well as search tools to help you find professional help near your area I think there are numerous resources for books books the google books resource has many conservation journals that you can view partially online and decide if you'd like to invest them or have them added to your collection thank you thank you so much for your time and attention in this rather awkward webinar which is as I mentioned my first experience I'm hoping that we can have a bit more relaxed and casual time now together to openly discuss any kind of questions or comments you may have at which point I'll turn this over to Susan who I think will moderate and present our questions to us as well as some topics that we may have time to talk about okay um I am going to start at the with the first question which is what is the best type of lighting to use to highlight a display without fading the objects well can you hear me now as a response yeah I think the trend now is certainly toward introduction of LED lights um within the handouts and within the resources listed in the handouts there are a number of organizations and professionals to contact for their feedback in terms of what sort of light sources are being introduced into their collections and institutions but of technology lighting technology that's available today I think LED sources offer the coolest and coolest temperature-wise and lowest destructive radiation emissions that are available and an and an historic house where appearance is important they actually offer more profiles of historic light bulbs than are available commercially often today you see the corkscrew lamps and incandescent bulbs and especially old fluorescent tubing used in display cases and often especially in the use of fluorescent light often those objects are quite damaged and faded so hopefully that answered your question okay um what is the best material for dust covers there was a discussion about um getting old sheets and also using muslin that you've washed um is there anything else I think probably the most direct and trustworthy source of unsized virgin fabrics that have no chemical finishes that are affordable would be to go to a company that provides grege fabrics which basically an altered on the halt or um archival fabric such as companies like test fabric and they are I believe listed in your resource sheet it's possible to there are instructions available for removing sizing and additives from fabric but it's really hard to know you really can't generalize as to what finish might be on a fabric I think muslin because it's fairly low grade if you will tends not to have the specialty finishes that some of the cotton other cotton unbleached cottons can have but I think it's easier just to go directly to an archival source for your muslin if you do have to wash there are instructions within the handout on how to proceed with that you want to use hot water and you want to dry the problem is in using detergents is that they are residual and they can be difficult to remove and so you may be actually wrapping removing one material to introduce another that you'll be then be wrapping around your textile we had a whole side discussion about orvis and where to get it well orvis I get locally in bulk from a dry cleaning supply company um it's manufactured by proctor and gamble and it was not developed for the conservation industry actually I believe was formulated for washing race horses quite sometimes that's right I I get it at a ranch supply house and somebody else suggested getting it at a farm supply it is very residual there's been a lot of research testing it's you know long-term retention and fabrics I do use it but I use it only when the textile can withstand considerable soakings or rinsing aha it so is there a way that you recommend to make sure that detergent or any residuals are out of a textile I'm sure that there are methods of testing well I shouldn't be sure I assume there are methods for testing detergent residues I am not aware of them nor do I practice them I I tend to follow protocols that I use the minimum amount of soap and only when it's necessary to remove something that water can't leach away I find that many byproducts of aging byproducts of deterioration from the fibers themselves are easily soaked out with oily residues orvis is not necessarily going to be effective in that I think again research before you began to wash something before you submerge something in orvis I encourage you to use some of the websites that are are attached to this program to research its benefits and risks I deliberately stayed away from recipes and treatments because there's so many variables and what is safe for one material is not necessarily safe for another especially with textiles which have so many components of dyes threads that hold them together various embellishments it's much more complex and just simply wetting and soaking and washing okay and so someone says we don't use orvis for the actual textiles just for the muslin sheets used to drape over artifacts and hanging textiles but let's go on we have a question what sort of commercially available vacuum cleaners do you recommend for maintaining clothing on dress forms well I think nilfisk is somewhat the industry conservation industry standard it's manufactured and sold primarily as to reduce irritants and allergens within household and sick room environments it does come equipped with a rheostat which can be very helpful in terms of reducing risk to fragile surfaces but now there are numerous HEPA filtered household models that are available and using they aren't equipped with rheostats but I find that some reduction of suction and control over air pool can be achieved by the use of the keyboard the little tubular computer keyboard cleaning kits that you can get a variety of sources and also brushing the surface of a textile into the nozzle of HEPA filtered vacuum I they've become quite affordable now and I have one that I take on site with me you have to be careful in terms of keeping its canister clean because it doesn't have the chamber volume that obviously the larger ones have and you have to be more diligent about changing the filters okay um we have a bunch of questions about how to get wrinkles out can you iron with a low iron is steaming better is some people say steaming can introduce too much humidity and risk issues such as mold you know are there any I'm just going to give you this whole list well so are there any yeah I just was interrupting to say if you could sort of curate the list for questions that really have to do with more more of the topic that you know the larger portion was about I I would like to stay clear of recipes for treatment because I don't think they can be safely addressed without more information about the piece and photos and seeing the piece and I'd be happy if the participant would like to email me or contact me outside of this I'd be happy to answer questions but I hesitate to generalize with answers and solutions that may not may not apply okay so that this whole group of questions about steaming ironing spreading things out to dry so they're flat you think it's best to avoid it unless you have some more information about the textile I I think that is the sort of question that could be directed specifically to a textile conservator okay so that information can be gathered about the materials in that object if there's embellishment if there are dye sensitive issues if there are materials that um I I'm assuming we're not talking about just washing bed sheets but the the complications and variations um in cleaning textiles really can't be generalized so if you know I'd be happy if you want to direct some questions to me I'd be happy to try to answer them specifically or perhaps um your your guests could consult you know the AIC directory for textile conservators in their area that would be willing to perhaps look at some photos some even cell phone shots okay to advise them more specifically about a textile I I really would like to stay away from generalizing about cleaning techniques okay there's one question here about steaming and mold and because that was brought up by several people is and mold mold yeah can steaming enhance mold or make it make a textile more vulnerable to mold I see um certainly if if if a textile is steamed and put into an environment where any moisture that is retained in that fiber can enhance an environment that would be attractive to mold I would say yes um I don't know if that would you know say the case of steaming a garment um in preparation for exhibition in a gallery that has conditions that would encourage mold growth after having taken it from a you know a dry more stable environment yes that could be damaging um okay I don't know if that's answering the question um I think it does um there was a question about is there a source for long shank hooks on hangers that you can make into padded hangers um standard hangers don't have enough clearance in the collar area between the hanger um that may be something that other um participants may be able to weigh into I know that it's possible to I have actually removed hangers from remove the metal shaft and hook from hangers that were drilled and could have another wire introduced into it it's a matter of flattening the tip and embedding that rough metal surface within the padding but there may be commercial models available I see what others say you know I think I've seen something like that at container store it'd be worth checking out um it says we have mannequins that are white cotton is there a problem with um when trying to dress slaves or is it okay to have brown cotton does it always need to be white um this might be a question for a mannequin uh well well I know that there is is there you have a program upcoming don't you on mannequins yeah that would certainly be something worth presenting to um that conservator I I guess in in lieu of a longer answer I would say that um I think it's quite acceptable and if not usual for the white for the exposed white areas to be somehow cosmetically covered either with gloves or perhaps a scarf or even an additional piece of fabric that is sewn over the exposed areas but I think it's more a matter of reaction and compromise that would encourage the use of stockinette or white fabric I'm assuming you mean white fabric yeah I think so the body okay so there's um there've been a bunch of questions about how you can determine whether you should store something flat or roll it and um and then also or fold it and then also in about how you get out wrinkles if if they've been folded and well let's let's address the um just the larger issue of the different storage types um certainly um well I'll tell you why don't you present them to me individually and I'll try to give you some quick answers okay let me go through I forgot how do you determine whether an item in good condition should be hung or boxed or does it matter um well certainly there there are garments that should not be hung that have bias cuts you know want to make sure that the weight and construction of the garment is not going to be adversely affected by suspended hanging often hanging is really more a matter of well I guess it's foolful it's a matter of convenience but they're especially some of the more elaborately constructed Victorian dresses it prevents compression of one's side because regardless of construction at the back side of a textile within a box is your weight bearing side so yeah um I think in many cases it's an issue just available space certainly to minimize this folding as much as you can and if if a garment has seams that or construction that seems to be jeopardized by the hanging weight of a guard a garment you would not want to use that um one person says I just wondered if it was strictly a space issue that we even hang garments at all as it's just that hanging garments take up less room or do they we have a combination of hanging and flat storage both are pretty jammed well I think with flat storage um you certainly well hanging storage is also at risk for damage but certainly textiles in boxes face the risk of distortion and compression transfer materials from you know the either the textile or above or below to once from one surface to another um even with careful interleaving this can occur I think um ideally if a garment can hang in the hang suspended in the shape in which it was intended to be worn um really preserves more of the appearance you know of the outfit it's possible to add sleeves and sections of colors to keep them you know to support weight that highs can be placed around highs can be standing collars to keep them upright sleeves can be I think it's easier to inspect and monitor textiles that are hanging but again especially within a house museum which was really the intended focus my presentation today most house don't have designated storage spaces for hanging closets they the smaller more modest home tends to have in-house closets accommodating or good um we had several questions and then a side discussion about the turn of the century hats that had taxiderm birds on them and there were some questions about what what you do to preserve the hats and the taxidermy and I said we did a thing on taxidermy last year but is is there something about the birds that people need to be cautious about yes well you know this is definitely a multimedia question but a red and alarming flag that is going up for me is especially in 19th century and even early 20th century skins and animal artifacts is the use of arsenic and right as a preservative so certainly I think most small museums are not equipped to have their to have the testing that's necessary to determine if that's a presence but I think anything that has you know taxidermy elements and even even certain dying techniques of fabric incorporated poisonous chemicals you know there's there's certain green dyes and applications to fabric flowers that include arsenic and I think they need to be approached cautiously certainly to avoid you should wear gloves when handling them if you can possibly afford to have them tested as a concern I would you want to have them you know isolated in boxes or some sort of protective cover just to not possibly contaminate poisonous powders or introduce that into the collection I you know I think you should contact a textile professional I think that's too complex a question really to sort of address casually here I but I certainly would attach a warning that any kind of specimen or taxidermy element on a garment or in a collection from the 19th century is at high risk of having poison threatening poisons within yeah no and just just so that everyone knows on the beginning in May we're going to have a webinar on dangerous materials in collections so it will include a discussion of this in fact there's a can showing poison green arsenic green Paris green on in the ad for it um there's a question are there any recommendations for packing a late 1940s satin acetate wedding dress that smells really strongly of vinegar oh well packing I think is I don't know if that's the right operative word if if it's smelling strongly of vinegar that's certainly an indication of what what we call inherent vice in the breakdown of chemical components within the piece itself and if a piece that is in the process of deteriorating structurally and chemically deteriorating is put into a box where those vapors can build up it actually exacerbates the problem and speeds up the deterioration I think you would want to consider isolating it from the collection or certainly other garments or materials of the same matter so as to not trigger that reaction in them there are products there are oxygen absorbers that could be added to zeolite is a product microchamber makes zeolite impregnated papers and products that could be added to the storage box to absorb and sort of mitigate those off-guessings but you definitely don't want to put that into a stored box so that vapors and off-guessing continues okay we have two questions one is what are your thoughts on the best storage method for letter jackets um that have wool and cotton body and leather at sleeves and the final one and we have four minutes is um what are the best textile care reference books that you recommend okay well I'll address the last one first um since this program was a was designed specifically for um um small house collections the the references that are listed in the handouts would not be as general I think as this person is is interested in if you'd like to contact me separately I'd be glad to answer that more in depth there are numerous complications that would be of use and interest and then perhaps they could be included yeah if you want to make a list and send it to me I'll make sure we'll do that and so about the leather jacket um I think you know caution has to be well the question was more about the lining then well no it's it's about how to store them um so you know it says jackets that have the leather sleeves and a woolen body and maybe a cotton lining well I think if the shoulder seams are strong enough to support the weight of the piece certainly a hung a padded hanger would be acceptable um want to make sure that the sleeves are well padded and and I'd be very cautious apply about applying any kind of leather dressing that can present long-term problems want to make sure that the surface is clean thoroughly make sure that you're paying attention to pass yes so it sounds like the sort of material or garment that you would want to have easily accessible for monitoring just to keep an eye on so I went to yeah I went time was doing a a cap out of place and a house museum and I said oh there's this room we never go into and we opened up the door and the curator said to me oh someone must have spilled um then a rice krispies no rice krispies all over the floor but what it was was piles of insect pupae not larvae they were all dead they had eaten the entire rug everything that was hanging it was horrifying so monitor um and make sure you don't get a problem like that well there I was going to also say that there are numerous books that are available for perusing on google books and I think it allows many people opportunities to look through conservation homes and books before investing and purchasing so there are a lot of resources available okay so everyone um thank you Jane and I hope we'll see many of you next week when we talk about um non-archival objects in archives collections and also for the one and two weeks on on mannequins and um I think that's it so we'll see you next week bye bye thanks everybody thanks Jane


We have a severe shortage of foster parents right now, and we really need the public to come forward to start fostering for us, both with kittens, cats, dogs, and puppies. The faster we get them out of here, the less likely they are to get sick, and the more social they become in a home setting. It's important because it gets them out of the shelter. We're an open municipal shelter, which means that anyone from the public in Richland County can bring their animals to us if they find a stray. And we, we're in the midst of kitten and puppy season, and in kitten season, we'll see hundreds of kittens come through our facility, and I need parents to send them to. They just need a small little area in their home, a bathroom, anything like that that can keep these kittens alive, because the more that we move them out, the more we can take in. They have to be at least 18 years old. They have to be able to commit at least a short amount of time from a couple of days to a few months, depending on the needs of the animal. We just ask that they open up their home. We give them everything that they need to start fostering for us. We give them, if they're looking for a dog, we'll give them crate, food, toys, leash, kittens, we'll give cat litter, food, everything that they would need, as well as basic medical care.  We try and make it as quick as possible so they can bring the fosters back and they can take new fosters. They can find all of the general information to sign up for fostering on our website at columbiasc.net. And they can also contact me directly at megan.tilitson at columbiasc.gov.


Let's discuss having elbow pain when you're trying to squat. So the people of you out there who are very able-bodied probably can't really comprehend this. This video might not be for you. It's okay not to watch. The principle here is when somebody's really stiff, especially in their upper body and their shoulders, they have trouble bringing their hands back like this, like in a high five position. They might have a lot of trouble trying to throw a baseball or a tennis ball, something like that, right? Because they don't have this motion backwards, we call this external rotation of the shoulder. And you need that motion when you're squatting as well. So if I grab a bar and I walk under it, I need to be able to bring my hands back so that I can set the bar on my traps, right? Especially if I want to do some sort of low bar squatting, I can really crank my elbows back that way. It puts a lot of stress on the shoulder. Maybe the low bar, high bar discussion is not for today. I've made a video on that already. Feel free to look it up. I'll try to leave it in the description below if I can remember. Basically the low bar cranking your shoulders, you might not need to be doing that. Why are you squatting? You might not need to low bar squat. Especially if you're having shoulder trouble, okay? So maybe avoid it. Big thing that we need to talk about next. I've talked about shoulder mobility for squatting, right? For your barbell back squats before. And again, I'm going to try to leave a link below, hopefully I come through. What's happening here is usually the upper back is too flat. The chest is too far up.  And so the thing that is then trying to bring my hands back so that I can hold on the bar is actually my spine. My spine is moving to give me the mobility that I'm looking for for my squat instead of my shoulder. But I'm still cranking on the shoulder. It's just limited based on its position. It's gone as far as it can go. So instead, if you need more mobility in your shoulder to not crank on your elbow so much, right? As I pull my hands back like this, if the shoulder doesn't keep rotating, then maybe the elbow can go to get me that mobility so my hand can grab the bar. Hopefully that makes sense to everyone. I'm going to go through it again, just turned to face this wall now. As I'm holding the bar and I bring my shoulder, I rotate my shoulder backwards, this external rotation, if it stops and I can't go far enough, I can keep the upper arm where it's at but I can get extra motion out of the elbow, okay? So if I have extra mobility in the elbow, that pressure can be very uncomfortable. It can cause different sorts of epicondylitis or locus or elbow pain, right? So the fix here generally, not all the time, is one, go see your physical therapist and get your stuff taken care of. But two, sometimes just a couple mobility drills can help out. You need to clear up the shoulder before you can blame the elbow for hurting, right? The elbow usually is hurting because the shoulder isn't cooperating. It's not helping out as much as it's supposed to be. And why is the shoulder not helping out? Well, it's not the shoulder's fault. It's that cue that you got to keep your chest up, okay? So keeping my chest up then limits my shoulder mobility so find a way instead to not overcrank yourself into this extended position, this flat back position. Keep something, maybe exhale a little bit. Maybe keep something with a little less end range, right? Maybe something a little bit more in the middle.  But that's okay.  We need to remove stability from this or rigidity, maybe is a better word, from this shoulder so that we can get into positions that are comfortable. Sometimes just moving your elbows out or your hands out too can take some of that stress off the shoulder and then you don't have to follow all my weird advice that I firmly believe in.   Those are just some thoughts. Shoulder mobility for elbow health when squatting.


It's a great pleasure to speak with this conference. And of course, I was also interested a lot by Maxim's results and ideas. And so I will speak about different versions of draft categories which are related to singularities and so on. And I will start, well, let's, for simplicity, fix a basic field to be complex numbers. And I recall that, yeah, and the schemes which we will consider will be of finite type, separated over k. And well, you may just assume it to be quite projective. Then I'll recall that we have the bounded draft category of coherent shifts, which I will just denote by db of x. And inside it, we have a category of perfect complexes, which by definition objects which locally have finite free resolutions. Well, if it's quite projective, you may, of course, consider global resolutions. Yeah, and it's basically known that this category of perfect complexes is, well, it's also a dg category. And it is smooth if and only if x is smooth. And it is proper if and only if x is proper. And I recall that if t is some dg category, then t is smooth if the diagonal by model is perfect. And t is proper if for any objects, the space of x from x to y is fine dimensional. Well, another way to say is that this diagonal by model should be sort of perfect. Yeah, this is classical. And also, a couple of years ago, I proved that for this category db of x, that then it is always quite nice. Namely, db of x is homotopically finely presented. Double the size? Well, yeah, I'll try. Homotopically finely presented. Well, I wouldn't like to define what it means in full generality. I'll just say that actually what I proved is that it can be represented as a quotient of some smooth and proper dg category by a subcategory generated by one object. So e is just some objects. And yeah, and this c is glued from draft categories of some smooth and proper varieties. And these are actually smooth centers which appear when you construct a resolution of a complication of x using blow ups with smooth centers. So well, maybe I should write that by Hiranaka, if you choose some complication of x, they could reduce parts. And then you have some sequence of blow ups such that xn is smooth. And each x i plus 1 is blow up of the previous one with some smooth centers. And these guys actually appear here, but maybe in different order and maybe with multiplicities. So this category in general has very nice properties. Now another general result, which is even more classical, is that for this category of perfect complexes, we have a localization theorem by Thomason, namely if z side x is closed, then we have a short exact sequence of triangulated categories. So perfect complexes supported on z. I mean, homology supported on z. Perfect complexes on x. And perfect complexes on x minus z. And well, yeah, this is exact sequence up to summons. And similarly, which is even easier, we have a similar sequence for draft categories of coefficients. And here it is just exact without even adding direct summons. So we have this localization, which in particular applies to key theory and to all kinds of homology, cyclic homology. And here we also have, it's known that periodic cyclic homology of category of perfect complexes is identified, well, up to parity just with the usual single homology of x with complex coefficients. Well, if instead of c, we have some field of characteristic 0, then here there will be crystalline homology. And so exact up to summons means? It means that the function from the quotient of this by this to here is fully faithful. And each object here is a direct summons of the image of something. Yeah, and here is just literally the image of something. Yeah, and so this is approved by Weibel. Well, for smooth axis, just an exercise. And for non-smooth, it requires some technique with this. Well, for a fine x, it was proved by Fagan and Sigan. And then there's some technique to globalize the result. And periodic cyclic homology of db of x is actually more homology of x, well, which is due to the homology with complex support. And this, I think it should be written by Preigl, maybe not yet published. So there's such a general computation. And these exact sequences are compatible with the usual exact sequence for homology, and more homology. OK, so yeah, another object which is also quite known and which appears naturally in mirror symmetry is the category of matrix factorizations. Namely, suppose that we have a regular function on x. First, assume that x is smooth. So xw is a Landau-Gisburg model, well, b part of Landau-Gisburg model, and then the associated category, the triangulate category associated to it is the category of matrix factorizations. And which is defined as follows. We take the objects are pairs of locally free shifts and maps from 0 to 1 and twice versa, such that both compositions are multiplication by our function, by w. And then if, yeah, so first, you have naive category, which obtained just as a homotopic category of such factorizations. And if x is not known and fine, you should take the quotient by convolutions of exact triples of factorizations. So here you have. So this factorization form also an abelian category, and we can take any exact, short exact sequence. Yeah, naive is just a homotopic category of such a case. And here, after quotient, you get the right category, which should be, actually. Yeah, it can be also defined in del bohr resolutions, basically, yeah. Well, yes, yes. But it's actually, yeah, it's like for perfect complex, you have different enhancements. Yeah, because it's quotient, and you have to calculate it. Actually, in every definition, it's maybe not so easy to calculate here. Yeah, you can calculate using del bohr or check enhancement. Yeah, it's as usual. Yeah, so we take quotient by convolutions of such exact triples, and so this is the right category of matrix factorizations. Yeah, and here there is a result of Orlov, which says that this category is equivalent to the quotient of, yeah, we take 0 fiber of our function, and this is the derived category of the 0 fiber quotient by perfect complexes. And well, yeah, here it's, let's assume that w is non-constant, otherwise, if w is 0, then you should just take dg fiber, it holds in this case. OK, and yeah, and just by definition for general scheme, why the category of singularities is defined to be this quotient? Yes, it's not correct. Yes, in general, it's not correctly closed. OK, and here we actually also have a notion, first we have a notion of support, which is maybe not so evident from the definition, but it's quite natural. Namely, if you have some object here, then support is just by definition smallest. It's smallest closed subset z in x such that f restricted to x minus z is a zero object in the category of maximizations of x minus z and w. And also one can show that there is a localization for such categories. So we have a short sequence of factorizations with support contained in z, all factorizations and factorizations on the complement. And here, of course, yeah, all these guys are not carbacomplete, but one can show that, well, it's actually a short exact, even without adding direct summons. So any factorization from here can be obtained as an image. OK, and yeah, and also for such categories, we have a computation that predicts that the homology is actually, well, under even Hilbert correspondence. Well, this is using Gessler-Gausmanian connection. You can make this guy into a local system on the form of punctured disk. And this will under even Hilbert correspondence will correspond to the homology of the shift of vanishing cycles, well, on x analytic with the usual monodrome, well, twisted by sine. Yeah, so yeah, and again, we have the same version with supports, and this short sequence is compatible with standard exact sequences in homology. OK, so now what I want to consider is to consider the case when x is singular itself. So we have not just a singular fiber over zero, but x is itself singular. This much more complicated situation. Before the assumption was that there is only one singular fiber. Well, not only one, but there are just finally many fibers, so you can consider them just separately. I'm sorry, can you spell out the form of the word before the human Hilbert affords again? It's under Riemann Hilbert, it's, well, it's, ah, yeah, it's here, yes, under Riemann Hilbert, it corresponds to, it should correspond to a vector space, well, the integrated vector space with an automorphism. And this is the integrated vector space and just even and odd parts of the homology of the perverse shift of vanishing cycles with the standard, with the usual monodrama on it. Well, twisted by sine, you just multiply by minus one for the odd part. It's just technical. Well, you always have a monodrama or automorphism. Yeah, OK, so now consider the case when x is, x has singularities. And then, let's consider, let's denote by the absolute of x and w, the category which is obtained by, well, category of coherent matrix iterations, which is obtained in the same way as for locally free. Then, again, this category is always actually nice. And in particular, to illustrate it, I also just mentioned my result that it's, well, this is, all these matrix iterations are, of course, Z2 graded DG categories. So both the matrix iterations defined above and this absolute derived category. That's because we consider a function. Of course, we could consider a section of line bundle, then shift by two will be twisting by this line bundle. Yeah, so statement is this category is also homotopically finely presented. And, well, again, we have an analogous result that it's a quotient of something smooth and proper, also Z2 graded. And this category, again, has a similar to the composition into categories of matrix iterations on some yi and wi. And here, you have additional assumptions that yi is smooth and the critical loss of wi in the fiber over zero are compact, well, proper. And this guarantees that this category is smooth and proper. So because of smoothness, I can replace this V absolute by... Yeah, yeah, yeah, you're right. I should mention it, yes. If X is smooth, then these categories are equivalent. And I don't need add importance to make this happen. You don't need add importance. You just take resolution by factorizations in abandoned categories and then take the convolution. Yeah. So how are the morphisms defined in Dx, Xw? How the morphisms are defined. Again, you take the homotopic category defined in the same way, and then you take the quotient by... Yeah, it's general. Yeah, so it turns out that this category is always nice. And also, again, you have... If this is closed, then you have short exact sections. This category is not necessarily closed, yeah? Again, yes, yes. And what does smooth and proper... Well, it doesn't matter. You always... Yeah, yeah, yeah, yeah. Yeah, so... It's some subgroup in K0, yeah. Yeah, it corresponds to some subgroup in K0, yeah. Yeah, and the quotient is related to K-1, as usual, of this... Well, I'll explain in a minute. Okay, so here we also have this localization short exact sequence. Well, here it's an analogous result, so our eyes are also smooth centers of the blow-ups in the Kharanaka process for the... But here you take relative complication over A1, and then... Yeah, okay, so this is short exact. And also, I'm not sure that someone has written this, but, however, this pre-cyclic homologer is, again, dual to the homologer with compact support. Well, again, under Riemann-Hilbert correspondence, it's dual to the homologer with compact support of the shift of vanishing cycles. Okay, and... So, yeah, and, of course, I should mention that if the potential is zero, if W is zero, then this absolute drive category is just two-periodic drive category of coherences. So you just consider two-periodic complexes. And metricizations are just two-periodic perfect complexes. And, yeah, and it's quite a natural question. What is the analog of perfect complexes for this situation? And the naive answer would be that this category defined in the same way for a singular X should be category of perfect complexes. But in terms of how this category is, in general, it can be completely horrible and doesn't satisfy the properties which you expect. Well, so let me still concentrate on, first on the coherent case. So here there's a generalization of theorem of Orlov, which is by Posicelsky, that this category of coherent metricizations is equivalent to the quotient of db of the fiber over zero by the subcategory generated by direct images of db of X, or by inverse images of objects in db of X. So here J is close to embedding of X zero into X. So this is a morphism of third-dimension one. So you have a well-defined direct inverse image on db. Yeah, and you have some subcategory which is generated by this inverse images, and it contains, of course, perfect complexes, because perfect complexes on X zero are generated by the restrictions of perfect complexes on X. So yeah, so this is kind of a relative version of the category of singularities. And I'd like to generalize this picture, namely, let... Sorry, in which sense is this a relative version? Relative, I'll explain in a minute. So suppose that instead of X zero, we have some morphisms from Y to X, morphism F, such that the third dimension of F is finite. In particular, the direct inverse image is well-defined. Then let's define the category... Well, I'll denote it db of Y over X. This will be... So this will be a full subcategory in db of Y, and it consists of objects F such that for any point of small y in Y, we have that... So you have algebra of jumps of functions in the neighborhood of Y, and you have a shift fiber, I mean, just localization of F, which is... So you have Fy, which is an object of db of this local ring, the requirement is that this Fy should be generated by inverse images of db of O of the local ring of F of Y. Well, maybe in this... Well, to simplify a bit the definition, let's consider the special case. Well, first I claim that in this special case, this subcategory is precisely described by this property. Well, the proof is quite technical, but not hard. It just requires some machinery with co-derived categories and so on. But just to clarify a little bit, let's consider the special cases. First, if X is smooth, then this db of Y over X is just the category of perfect complexes on Y. That's because restrictions of perfect complexes are just perfect complexes, and so the requirement is that in each point, the object is a perfect complex, but this is the same as to say that the object itself is a perfect complex on Y. And also if F is smooth, so if F is a smooth morphine, then db of Y over X is just db of Y. And in general, this is some intermediate category. And one can show that actually... Well, again, it's not too hard that actually this relative derived category of Y over X is actually generated by object of the form. So you take some perfect complex over Y and take its derived tensor product with inverse image of some object on db of X. So in particular, if it's just a closed embedding, then this is just the category generated by inverse image of db of X. And also, well, it turns out that, again, it's quite a reasonable class of categories, and one can show that, in particular, if Z inside Y is some closed subset, then you have a short exact sequence of categories. Also it's short exact, and it's quite natural to conjecture that its periodic cyclic homology can be described in the following way. I think it should be not hard, but actually I didn't prove it that periodic cyclic homology of this category db of Y over X should be homology of the inverse image of the dualizing complex on X. So, yeah, this is an object of constructible derived category and it should be just its homology. Yeah, again, it agrees with special cases when X is most or F is most. Okay, so this is the case of coherent factorizations, and now what we have for locally free matrix factorizations, well, maybe let's denote them in different way. Let's write the absolute locally free. Then also, Przestewski proved that, in this case, this category is equivalent to, in this case, you should take relatively perfect complexes. I'll explain in a second what it means. Of X0 over X and take the quotient by perfect complexes on X0, and again, by definition, well, in this case, definition is even simpler if F is a morphine that has finite torque dimension, then this category is just, it consists of objects in Db of Y such that, well, let's just write that F has finite torque dimension over X. So, again, this category is, in general, intermediate between perfect complexes and the category Db of Y, and again, if X is smooth, then this is just the category Db of Y, and if F is smooth, then this is just perfect complexes. Okay, so this different version of category of singularities. So, there's no inclusion from perfect of X over Y over X into Db? Yeah, that's right. And we'll see that there's actually some problem with understanding how they relate to this chest and what's the right version of this guy. Yeah, but still there's this equivalence, and of course, the natural expectation would be that, the natural expectation would be that the analogous results work in this case with perfect complexes. So, we can expect that there are short-exact sequences like this and so on, short-exact, and also that pericyclic homology of these locally-frictionizations should be just the homology of the shift of managing cycles. Just before continuing, we've almost all categories up to maybe the last six categories of the whole type. We have algebra, phonetics, and you can see the perfect object, and you can see the subcategories as perfect object. Well, in one case it's generated by something, in the other case it's conditioned that it's perfect over something, yes. The first, of course, makes it easier because it's easier to produce objects of this kind, but if it's given by some condition, then it's not easy to produce objects and I'll explain what the problem is. So, it's natural to expect that, again, we have the same answer for pericyclic homology as in the smooth case, but yeah, so this is quite natural to expect, but it turns out that this is completely wrong and I'll give a counter-example to this. Okay, so let's consider the following example. Let X be a three-dimensional quadratic column, so just given by a fine column, so just given by equation Z1, Z2 equals Z3, Z4 in the space C4, and let's consider the potential to be the first coordinate. Also, I want to give a counter-example to localization, so I should specify what's the closed subset and let's take the closed subset to be the divisor defined by Z3, so U will be X minus this divisor and then it's not a hard exercise to write down which categories we obtain. First, let's start with coherent factorizations. Then first, let's observe that the pair U, first U is, of course, smooth because we have other similarities, so U is smooth and this log-in model is equivalent just to A2 with coordinate X, Y times A1 minus 0 with function X, Y. This is an identification, just Z1, Z2, Z3, Z4 corresponds to Z1, Z2 over Z3, Z3. For this log-in model, just by non-represent periodicity, we see that the category of matrix factorizations, it doesn't matter because it's smooth, so it's the same as locally free factorizations. It is a superior derivative category of A1 minus 0. So just co-hearing shifts on one-dimensional and now what will be matrix factorizations on X? Well, first let's observe that, again, DW will be just the following. You take a pair of lines, Z1, Z2 equal to 0 and multiply by a fine line and, well, with coordinate T and the potential will be this coordinate and actually by Tom Sebastiani, it's easy to see that the absolute drive category of DW is just 0, but it applies that absolute drive category supported on D is also 0. So therefore we have that the absolute drive category of XW is the same as absolute drive category of UW and both of them are equivalent to this drive category of A1 minus 0, but now if you try to understand what is absolute drive category of locally free factorizations here, then the answer will be quite strange, namely this locally free factorizations on X will be compactly supported complexes to predict complexes on A1 minus 0, so with compact support. Compact means finite just in this case. So you will get complexes where homology are supported in a finite number of points and this is, of course, quite a horrible category which is not generated by one object. It's also a condition just it's kind of supported. It is joined for something and principle can ask you things. It can be bad categories like this. Yeah, but I get bad categories, but the question is how to make them reasonable? No, it's like 4k category of open variety. It's like the rough 4k which are good. Yeah, okay. But still it applies that in particular that this restriction factor is, of course, not a localization. So, right? So the restriction function from X to U is not localization. Yeah, and also it's easy to check that this predictor-sector homology is countable dimensional. Of course, so it's... Define it in the right way. Yeah, but considering this compact support on a finite variety. Yes. It's a super category. It's not more generic object. Yes, yes, yes. In this case, yeah. So if you literally just consider this predictor-sector homology, then dimension will be uncountable. So, yeah. So we get a question. Yeah, but still we have this equivalence, so it means that actually you also... This is counter-example for localization for these relative perfect complexes. Localization fails for both d absolute locally free and relative perfect complexes. Yeah, and so the question arises how to define the right category. Well, maybe, I mean, for some purposes, this category is just... It's the right way. Yeah, they appear, but I mean, there definitely should be some analog of perfect complexes which behaves... I mean, the categories of perfect complexes, they're not behaved like this. They are at least... Because you have this conditional support. Yeah, yeah, yeah. So I'll just formulate the question what is the right notion of perfect matrix vectorizations and also what is the right notion of relatively perfect complexes satisfying... So first, localization. Second, they should satisfy this equality. So that HP for locally free vectorization should correspond to vanishing homology and, again, in the same sense with Riemann-Hilbert correspondence. And also, the psychology of this relatively perfect complexes, this should be just a homology of the extraordinary inverse image of the structure shift on X. Again, this is an object of the constructible draft category. Structure shift. Not the structure shift, constant shift. Yeah, not the dualizing. Yeah, why? Well, for example, if X is a point, then this relative draft category is coherent shift, and this is a dualizing complex on Y. And similarly... So if the morphine is smooth, then this guy is up to shift, is a constant shift here. So this should be the answer for the right version. Well, the right version from the point of view that I explained. Yeah, but at the moment, I don't know the answer, and one more property is that if... Well, say, for matrix particularizations, if the morphism is a potential, is a proper morphism, locally free. Well, this may be considered as a definition in this case, but I don't know how to make it in general. I think it should be just set the perfect DG models over coherent particularizations and vice-versa, just for the usual varieties. Yeah, I'll recall what is set the perfect So by definition, set the perfect DG models over a DG category are just those models, say, right models, which take values in... values being complexes with fine-dimensional homology. So, well, when T is a DG algebra, the DG models with fine-dimensional homology. So for w equal to zero, well, just for usual varieties, this is satisfied, and presumably it should be also the picture for... Yeah, you see, in general, those issues, non-compactness and singularity. Yes, yes. So how one can develop kind of fake picture with conditions of support on some of the pictures, yeah, I suppose. And I don't think it should be people's realizable, because there are naturally, again, like, like, full category of non-compact varieties. Yeah. It has nature of chain classes, and nature of homology, not homology of variety. Oh, yeah. Yeah. And you cannot make... in the categories, not finitely, to be completely generated and technically... But I mean, it's possible that it's just sub-category of... I mean, there's some larger category. No, it's natural, there's no larger category in classes of homology. But I mean, naturally, with the usual definition, by Kenji or...? No, I can't imagine. You still should have objectized some way, finitely, maybe, right? There's nothing new. Nothing new? Yeah, there's nothing new. Oh. I think it's just questions of complex support, essentially, that are in our estimation. Okay, okay, yeah. Well, it's possible. Yeah, no, in general, you should really have to kind of imagine like compact variety and two-close subset and six-supported from one and just joined from another. Yeah, that's kind of a general class of good categories from which you declare HP, whatever it will be. Okay, so you mean that possibly there's no natural category, for example, giving this answer for psychochamology? Oh, I think, no, it's just it's not HP of the category, but you declare a homologer to be or to be followed for this intermediate definition. Oh. Well... Yeah. Yeah. The actual HP will connect to this your finite-dimensional concept. Yeah, I see. Okay, but how however this is the question, at least, what should be the right answer? Well, at least this means that the picture for magical positions is far from the picture. It's far from being similar to the picture of just varieties. And also another related subject which I want to explain is the critical points for maps between single varieties. Yeah, okay. Okay, so again, if x is smooth and if it's smooth and we have a regular function, then there are there are only finite-lemene so the set of constants such that the category of matrix for x and w minus constant is non-zero is finite. This is by Sarge-Lemma just the critical values for a finite set. And actually one can show that if x is singular and again maybe non-reduced, then the set of values such that coherent matrix positions are non-zero is also finite. Yeah, and to show that you just need to take a smooth stratification of x, so i is smooth and then consider critical values of restrictions of w to this strata and the critical values of w and x will be a subset of the union of these critical points. And I'd like to well first we can generalize this to a general smooth base, so this map to a fine line but let's consider a map to something smooth and here again I have some general conjecture well, again we have an analogue of Sarge-Lemma and and some I'd like to propose some general conjecture which should capture all this kind of critical points from f from something singular to something smooth. So if f from x to t is some morphism and suppose t is smooth then by definition point t in the basis of critical value if the relative derived category of let's for simplicity assume that it is just flat. So not just finite torque dimension but just flat. It's just for simplicity it can be generalized by considering dg fibers but in this case we take just the usual fiber over t and this relative derived category is smaller than db of the fiber and one can easily check that if x is smooth then this is just the usual the usual notion of critical points so it agrees and one can again show that there's an analog of third lemma that this the set of critical values inside t is a closed proper subset proper close subset so so this generalization of third lemma to singular varieties and again one can also define the notion of critical points in singular fibers just in the same way and here I'd like to propose some well it's some not very rigid some kind of conjecture that there should be there should exist a natural dg-algebra a over o t well we assume that t is just a fine so this dg-algebra over the algebra functions on t such that derived categories of the fibers of coherent sheets of the fibers are equivalent to perfect complexes of the fibers of this dg-algebra over t where a t is just derived tensor product a of a and structure shift of the point t over t and there should be actually an embedding of db of x into perfect complexes over a which induces the corresponding inclusions yes so if you take the fiber of db of x over t this will be a relative derived category of the fiber over x and and this inclusion should be induced by this fully faithful morphism fully faithful dg-functor similar question was asked to me by Dima Orlov for well for the case of a fine line and for the case of smooth x but of course the natural framework such a general picture and I mean is the point here not the word natural or which one there is exist a natural dg-algebra a over over t there are dg categories that have linear over over t such that such that such that there is there are such equivalences so if you take the fiber of a dg-algebra over t fiber in this sense then it's perfect complex it should be derived categories of coherent shifts on xt so if you take naively just algebra of generator of db of db of x what you will get under restriction to the fiber is the relative derived category but what we want to have is db of the fiber itself and this is not so easy to I don't have actually any general approach to this okay so I think I'll stop for example x subspace c2 you could see this as a complete section first defining equation for this x then you go to c2 to get the discriminant and then whole thing lifts around the discriminant so you have more monodromy than just running around one point yes so that's this where they explain the the differences the difference between this well it's well purposefully yes but well I mean it's just it's just an example it's just an example just an example because you don't take into account that this x is itself in a family yes yeah I see yeah and maybe yeah for this complete intersection I maybe I should mention that for if say suppose that the motion is quasi smooth x is quasi smooth then Gage-Gurion-Daring can define the notion of single support for for D.B. Koch and I mean I don't have much time to define what it is but the intermediate subcategories between perfect complexes and D.B. Koch can be described by means of this single support and this is actually what appears naturally well conjectured of course at the moment for geometrical length yeah and I mean maybe yeah in this pleasant case of quasi smoothness and well it means that it's locally complete intersection it's possible that there's a way to define everything by means of this by specifying a single support yeah yeah but in general it's clear but


I remember one time in Australia, and John Braycoy said to me, Joan, I want you to talk about family group conferencing, and I want you to say why it is feminist praxis. I loved it. For me, and I'm going to do a little bit biographical, for me, feminist justice really does change around culture. And I'm going to follow South's example of saying right up front what my main thesis is for this presentation is that integral to feminist justice is the inclusion of children in decision making over their lives. Restorative approaches are a means of achieving this, but not one necessarily that the adults will support. And so that's what we have to keep in mind. I told you I'd go a little biographical, but that's me. I was then called the Maritime School of Social Work getting my MSW. But also, in 1972, I was outside the deaf housing beauty pageant with my sign protesting the beauty pageant. And I wasn't on my bicycle doing that. So very lovely young woman going out, very intelligent, looking back at me. And we connected with our eyes. And she expressed uncertainty about taking part. And in those days, I did think, yeah, that was a good thing that she should express uncertainty. Today, I'd be much less likely to be protesting any young woman being in a beauty pageant. But I would be looking really closely on how that beauty pageant was set up. And so I would take that perspective. In terms of feminist justice, I love the evocative phrase, the personal is political, because you can take it in so many different directions. And for me, what I was doing back there with my sign and everything, identifying as women collectively disrupting dominant discourses about women's second place, really concerned.  And there, seeing older women looking at me and realizing how naive I was and helping bring me into the battered women's movement. And all of this is about liberating space for truly engaging in democracy, which is what I think restorative practices are about. And again, this is motherhood for me. Our three sons, they were always difficult to get in frame within a picture. And the middle son, you can only see his eyes. But what is more personal than children? Teaching me a whole lot about what it meant to be a feminist. And what it, it was really about understanding of praxis of the personal as political. So in terms of life, should children be included in decision-making over their lives? There's a wonderful book by Caligal and Benedetta, Fadi Durami, International Perspectives and Empirical Findings on Child Participation. And they bring up things such as human rights, building the decision competency of children. I always thought my kids are awfully good at that one. Reducing anxiety, making better decisions, affirming family connections both through the process, which is affirming, but also the outcomes, which are about keeping children connected to their family and their kin as very central. And Moana, I really appreciated your messages earlier today about that. It's just very central. I also want to say I am a strong proponent of restorative justice. I do not usually use the language, though, of victim and offender, because I'm thinking in terms of families and not trying to set it up in terms of victims and offenders. I would be looking at why are the adults hesitant to include children in decision-making. Last year, 2015, my senator at North Carolina State University did a survey that was instantly responded to by over 500 practitioners, looking at challenges and strategies on including children in the meetings. And up there is kind of a summary of the concerns that they were expressing. I know I don't have a lot of time, so I just let you take a look at it. Underlying the concerns was a variety of fear that the process would re-traumatize children who had already been traumatized. And you can see that in the work. These are quotations from participants in the survey. And in my state, there's a lot of language about trauma-informed care. And I think that is a practice framework where there's the effort to be very caring of children, but at the same time, it can be very confining as to what they can do, particularly in terms of participating in decision-making. So we also separately did a survey with foster youth who had been involved in meetings, family meetings, and when they were asking for one of them said, it made me feel important. Now, that was a lifer thing that they would check off, but that's what they all experienced. So you can see the contrast between what the adults' concerns were and what the young people were saying. And then if we now bring in the voices here of children and young people's, and I'm now thinking particularly about the child welfare system, but you could think youth justice schools and so on, what it does in terms of feminist justice is pushes us to continue to have a gender-based analysis that these folks so eloquently about right after lunch, but also about crossing generations, taking into account race and ethnicity, especially because so disproportionately, children and young people of color, indigenous children, children with disabilities are served by these different systems. Again, how we deliberate that space for democracy. And so the overarching concern, while I'm a very strong component of safety, especially when I'm thinking about my own children, I think it's the overarching and central component is the democracy, because that's the kind of world that we want. I'll give the last word to my children.


The deputy governor, Philip Scheibow, has been denied access to his old office at the government house in Benin, the state capital. Scheibow arrived at the government house on Monday morning, but met the gate leading to his office under luck and key. He said he has yet to receive a formal lecture from the governor's office and that, according to him, is a proper channel to transmit a directive pertaining to the relocation to a new office. The other state governor has not reacted to the development, but sources close to him say Scheibow has relocated his office to a new location outside of the government house and was not expected at the old office. The governor said it should not be that they are using the office for something else. I am not moved to anywhere. Nobody are giving me a letter to move to anywhere. I am, nobody has given me a letter. So he did not say I have moved. I am not moved. I am not moved. The governor did not give me a letter. Nobody has given me a letter to move. So I would like to move out of my office. I am not a baker. I am not! I don't know. I could not, the governor is not a baker, so you called the general you are not tweeting because you haven't received a letter to move. Why didn't a civil servant get a letter to move? I told I was called the office office HOS. You don't have to move out of this office. I didn't get a letter to move. So I am yet. I should come and come and and don't forget to hit the notification button so you get notified about fresh news updates.