NPS 3rd/4th Year Graduate Internship

INTERNSHIP FOR 3rd/4th YEAR GRADUATE STUDENTS IN OBJECTS CONSERVATION AT COLLECTIONS CONSERVATION BRANCH, NATIONAL PARK SERVICE, LOWELL, MA
The Collections Conservation Branch of the Historic Architecture, Conservation, and Engineering Center (HACE) located in Lowell, MA is pleased to offer a full-time internship in objects conservation for the academic year 2015/16. Beginning and end dates are flexible.
The internship is designed for students currently enrolled in graduate level conservation programs. The CCB is responsible for the conservation and preservation of collections in the Nation’s national parks and historic homes in the Northeast Region from Maine to Virginia.
The intern would work closely with CCB conservators receiving hands-on conservation training and gaining experience with a wide variety of materials. Some of the planned 2015/16 projects include: treatment and research of large wooden archaeological hoisting apparatus once used to build the bunker Hill Monument, cleaning and stabilization of large Tonagan Tapa cloth from Rockefeller Mansion at Marshbillings NHS, treatment of phonographs from Thomas Edison National Historic Site (NHS), cleaning and re-waxing of Minute Man bronze sculpture at Minute Man National Historic Park (NHP), stabilization and cleaning of large scale plaster reliefs from Weir Farm National Historic Site (NHS), treatment of civil war composite objects from Richmond National Battlefield (NHB) and a Collection Condition Survey at Vanderbilt Mansion National Historic Site (NHS).
Internship benefits include:

  • Living Allowance: $260/wk
  • Housing stipend: $1000/mo
  • Travel Grant: $650
  • AmeriCorps Education Award: $2,822
  • Health Insurance: Provided free of cost to intern

Application Process:
This internship position is supported through a partnership between the National Parks Service (NPS) and Student Conservation Association (SCA).  Consequently, applicants will be required to complete an SCA Conservation Internship application.  To obtain an application, please send an email to Kerri Weeks,Conservation Program Coordinator- Northeast Student Conservation Association (SCA), at kweeks@thesca.org letting her know that you are interested in applying for the Collections Conservation Internship with the NPS in Lowell, MA and referencing internship position PO-00651275 (9/1/14-2/29/16) in your email.

How we restored Harvard’s Rothko murals – without touching them

Senior conservation scientist Narayan Khandekar demonstrates how a perfectly aligned compensation image is projected onto Rothko’s faded murals to restore them to their original colors. Artwork: © 2014 Kate Rothko Prizel and Christopher Rothko / Artists Rights Society (ARS), New York. Peter Vanderwarker, © President and Fellows of Harvard College

This headline certainly grabbed my attention.  Read the account of Narayan Khandekar, Senior Conservation Scientist at Harvard University, who worked on the restoration of Harvard’s Rothko murals using lighting to recreate the original appearance.  His description of the project in The Conversation, December 16, 2014  seems like it could be part of a future wave of non-invasive “treatment”.   But does it count as treatment?
Learn more from the WGBH TV segment that covered the project:
http://www.wgbh.org/programs/Open-Studio-With-Jared-Bowen-2162/episodes/A-Conversation-with-Keith-Lockhart-57976
 

Look for the Heritage Health Index survey in your inbox

Heritage Health IndexThe Heritage Health Information 2014; A National Collections Care Survey (HHI 2014) is the only comprehensive survey to collect data on the condition and preservation needs of our nation’s collections. Heritage Preservation, in partnership with the Institute of Museum and Library Services and the National Endowment for the Humanities, is pleased to announce this new study as follow up to the success of the Heritage Health Index 2004.
You can help us with this key endeavor by responding to the call to participate. Selected institutions will receive an email to participate beginning the week of October 20th. We encourage you to participate in this important survey. Look for the email OPPORTUNITY KNOCKS – The HHI 2014 National Collections Care Survey is here! and help us to ensure the preservation of our nation’s treasured cultural heritage in archives, historical societies, libraries, museums, scientific research collections, and archaeological repositories.
With your help and support, the HHI 2014 will once again prove to be a fundamental tool in the effort to preserve our shared heritage.

Heritage Without Borders volunteers land in Kosovo

Heritage Without Borders volunteers are delivering an object conservation course as part of Cultural Heritage Without Borders’ 20th Annual Restoration Camp in Mitrovica, Kosovo. They are updating us on their experiences in their own words.  Read about cake, making a mess, insect poo and DJ-ing competitions in their blog, on the Heritage Without Borders website.Heritage Without Borders

Textile Conservator Position at the Israel Museum

The Israel Museum Conservation Department is looking for a trained textile conservator, for a full-time position.
Israel Museum textileResponsibilities include:

  • Treatment of a wide variety of textile artifacts from all departments of the museum, with an emphasis on ethnography and Judaica collections;
  • Management and organization of laboratory work;
  • Cooperative work with other conservation departments, within the museum and elsewhere.

Requirements:

  • Proven experience in a recognized textile conservation laboratory of at least 6 years;
  • Expertise in treatment and identification of structure & techniques of production of textiles (from ancient to contemporary);
  • Knowledge of cleaning, repair, and reinforcement techniques for treatment of a wide variety of materials (carpets, religious objects, clothing, objects of daily use, decorative objects, etc.);
  • Experience with dyeing of fabrics and fibers;
  • Knowledge of preventive conservation techniques;
  • Knowledge of and experience with display, storage, and transportation solutions;
  • Experience with digital documentation, including photography;
  • Knowledge of, and adherence to, international ethical standards;
  • Good command of Hebrew and English.

Preference will be given to graduates of recognized textile conservation programs. Please send CV, two references, and a digital sample from portfolio to: Dvora Feinstein, Director of Human Resources, Israel Museum, Jerusalem, Israel  dvorafe@imj.org.il

Lighting Art and the Art of Lighting

On Wednesday, May 28, 2014 from 8:30 am to Noon, Scott Rosenfeld will be leading a seminar on museum lighting at The Sacramento Municipal Utility District (SMUD).  There is no cost to attend, please see the link below to register.   Sacramento is a 90 minutes by car from San Francisco ( if anyone is showing up early for AIC).
Lighting Art and the Art of Lighting
lighting_ledsNew energy efficient lighting sources are flooding the marketplace providing incredible new lighting tools along with new challenges.  Museums have become an important test bed for these lighting technologies because museums demand the highest quality and employ full time professional lighting staff that maintain quality over time. LED lighting sources, in particular, present museums with a fantastic opportunity to reduce energy consumption, improve the reliability of their lighting systems, and reconsider ideas about how light can improve the visitor’s experience while minimizing the damaging effects of light.   This talk provide an in depth discussion of museum lighting and show how these techniques can be used in a wide range of applications from retail to residential.
At the core of lighting design are the five fundamental controllable properties of light (intensity, angle, distribution, color and movement).  The presentation will include extensive visual examples showing how to manipulate each of these properties and then make lighting choices for exhibitions so they are better seen, understood and experienced.    Special attention will be given to developing criteria so lighting products can better match users specific needs.
Additional topics covered will include: a survey of LED lighting sources, how LEDs compare to legacy incandescent sources, how to access the color of light using mockups, how to access the color of light using metrics like CRI and CQS, how to utilize track lighting to its fullest potential and a review of lighting standards for light sensitive materials.
The presentation will use information gleaned from the Smithsonian American Art’s collaboration with the Department of Energy (DOE).  The goal of the project with DOE was to match the quality of incandescent (and halogen) lighting fixtures using 100% LED technology.  The museum succeeded in reducing energy costs by 70% while preserving a very similar lighting quality as the legacy incandescent lighting.  The payback period, for the comparatively expensive LED lamps, was 16 months.  The collaboration with DOE also identified areas where LEDs need more development.  For example, unstable color and flicker in many of the MR-16 sources.  The session will also include the research derived from collaborations with The Getty Conservation Institute, The Illuminating Engineering Society (IESNA), The National Institute of Standards and Technology (NIST),  and various units of the Smithsonian Institution.
Bio
Scott Rosenfeld has 22 years of service as a museum professional, since 1997 as the Lighting Designer at the  Smithsonian American Art Museum and Renwick Gallery.  Mr. Rosenfeld  is the chair of the Museum Committee for the Illuminating Engineering Society of North America and has lectured on museum lighting to many groups including PACCIN (Getty Museum with James Druzik), the Washington Conservation Guild (with Steven Weintraub), The U.S.DOE (CA & WA), The University of Florida, LightFair International (NY & NV).  Scott  is accredited as Lighting Certified (LC) with the NCQLP.
Scott Rosenfeld is Lighting Designer at the Smithsonian American Art Museum and Renwick Gallery.  Mr. Rosenfeld  is the chair of  IESNA’s Museum Standards Committee and has lectured on museum lighting to groups including PACCIN (Getty Museum with James Druzik), the Washington Conservation Guild (with Steven Weintraub), The US D.O.E. (CA & WA), The University of Florida, AIA (DC). and  LightFair  (NY & NV).  Scott  is accredited as Lighting Certified (LC) with the NCQLP.
Scott Rosenfeld is the lighting designer at the Smithsonian American Art Museum and Renwick Gallery.   Scott main interest is lighting museum collections so they can be better seen, experienced and preserved.  The advent of energy efficient LED lighting has led Scott to research how to measure and manipulate spectrum  to enhance vision and slow the degradation of light sensitive materials.  Other lighting projects include: The Hirshhorn Museum, The National Postal Museum, The Freer and Sackler Galleries, The Walters Art Museum and The Phillips Collection.  Scott is chair of the IESNA Museum and Art Gallery Committee.
Scott Rosenfeld, Lighting Designer, Smithsonian American Art Museum

Early Bird Registration for Poles, Posts and Canoes Closes Soon

The early bird registration period for the “Poles, Posts and Canoes: the preservation,conservation and continuation of Native American monumental wood carving” conference ends on May 30th, so now is the time to register! SymposiumPage01
The conference takes place in Tulalip, Washington (about 45 minutes north of Seattle), July 21st-22nd, 2014, with a late afternoon opening event at the Hibulb Cultural Center, July 20th. Registration includes breakfast and lunch both days, and a ticket to the opening feast on the 20th.  Visit the symposium website for a provisional list of speakers,  and look for a link on the left side column of the page. We have had a terrific international response to this event and have presentations and attendees from New Zealand, various parts of Europe, Canada and the USA.
Topics include current and past conservation practices, the importance of these objects to both native and non-native museums and collections, methods of documentation, insights into the collaborative process between contemporary native carvers and conservators, and much more. We also are honoured to have as a keynote evening event, a presentation by Maori artist George Nuku and conservator Charles Stable on their work together renewing a Maori Waka from the collections of National Museums Scotland.
And don’t forget you also have a chance to attend the “Caring for Totem Poles Workshop” July 23rd-25th, 2014, which immediately follows the conference and is also hosted by the Hibulb Cultural Center. This workshop is being lead by Mike Harrington, Andrew Todd and Felix Solomon (Lummi) – the same folks responsible for similar workshops held in Canada in recent years. Details and registration forms can be found at http://www.hibulbculturalcenter.org/Events/Symposium/
J. Claire Dean Co-organizer, Senior Conservator Hibulb Cultural Center

Interested in Storage Solutions? Attend the STASH Flash session at AIC's Annual Meeting

STASH_logoSafe storage for collections is one of the primary goals of preventive care for collecting institutions, and individuals charged with collections care and cultural institutions often face challenges in designing storage and support systems for individual items or collections. Collecting institutions report damage from handling and improper storage or enclosures as significant preservation problems, supported by the Heritage Health Index finding that only 11% of all institutions had adequate storage facilities. There are few established venues for sharing information about the fabrication of supports, containers or systems that provide options for storage and support solutions.
A successful storage solution is the result of numerous choices regarding materials, techniques, time and skill. STASH (Storage Techniques for Art, Science and History collections), a new web based resource housed on Cool, sponsored by FAIC and funded by the Samuel H. Kress Foundation is based on the understanding that the best ideas for safe and sustainable storage and support come from collaborative solutions. This project was precipitated by the need to find a new way to disseminate the older but highly valuable text, Storage of Natural History Collections: Ideas and Practical Solutions, originally published by the Society for the Preservation of Natural History Collections (SPNHC), and is designed to gather, organize and solicit new storage ideas. The 42nd annual AIC Meeting on sustainable choices in collections care provides a forum for continued discussion about these topics.
The session will utilize a lightening round or “Tips” session format as well as guided, audience participatory discussion. Carefully selected short presentations will be given in a format that closely aligns with web site entries. These will be followed by small group discussions where individuals from different specialties have the opportunity to talk about the presentations, modifications, materials choice as well as creative ways to carry out these projects. The objective is to help make these solutions more sustainable by evaluating project organization, materials and construction. Members of AIC have experience with a wide range of collections, collectors and institutions, and combining short presentations with shared discussion about storage solution projects within the context of the STASH website will provide the attendees with the opportunity to truly engage in the kind of interdisciplinary conversation that often results in sustainable and conscientious choices.
READ ON for abstracts of the selected presentations:
Solutions for Individual Items
Simple Box Construction
T. Ashley McGrew, Independent Consultant/PACCIN Publications Chair
In this presentation, a custom lidded storage box will be fabricated from heritage board in less than four minutes. This simple and efficient method for mass production of storage trays and lidded boxes was utilized recently during the re-housing of a medium sized archeological collection and is made possible with the use of a “homemade” creaser that can be constructed inexpensively with materials found in any home improvement center by someone with an intermediate level of proficiency in wood and metal working in just a couple hours time.
The Elephantine in the Stacks; Housing an Oversize Serial
Jamie Roberts, Conservation Technician, Library of Congress
The project describes custom housing for an elephantine newspaper (approx. 36” by 51” inches, closed) that allows for both safe storage and quick display. This relatively simple housing is easy to fabricate and the elements of the storage portfolio can be rearranged to provide an easel to show the newspaper.
If the Shoe Doesn’t Fit
Laura Mina and Lisa Stockebrand, Costume and Textiles Conservation, Philadelphia Museum of Art
Shoes with unusual materials and designs require custom mounts to provide appropriate support during storage and transportation. This presentation will detail two case studies from the Philadelphia Museum of Art where new materials and custom solutions support the idiosyncratic needs of diverse collections.
 
Solutions for Groups of Items
From Heel to Toe: The Costume Institute Shoe Rehousing Project
Rebecca Bacheller and Lauren Helliwell, Research Assistants for Collections, Costume Institute, Metropolitan Museum of Art
This presentation details the Costume Institute’s efforts to create internal and external storage supports for a large, varied shoe collection, with examples from the sixteenth century through the present. The basic model involves creating Ethafoam heel and toe supports to pressure-fit the shoe to an archival cardboard handling tray. Without ties or tissue covering, the support system allows for greater visual and tactile accessibility to the object with minimal handling. This technique uses common archival materials but adaptations to the basic storage model have been developed to address conservation, material, and structural concerns which arise in such a varied collection.
A Vertical Storage System for Flat Plaque Baskets
Crista Pack, Kress Post-Graduate Fellow
Dr. Nancy Odegaard, Conservator and Head of the Preservation Division
The Arizona State Museum (ASM) recently developed a storage solution for 200 flat plaque baskets to address the needs for efficient space usage, cost effectiveness, preservation, and facilitated access. The plaque baskets are round, flat, rigid and mostly coil and wicker weave. ASM conservators determined that many could be safely stored vertically if sufficiently padded and supported. A tray with dividers, foam, and pillows which can house up to 25 plaque baskets upright was devised for these purposes. Four trays (approximately 100 baskets) can be placed on a rolling wire shelf unit. This solution not only saves space, but allows researchers to easily find, view, and access individual baskets. This presentation covers the design, construction, advantages and disadvantages of these storage trays.
Ziplock Bag File Box
Angela Yvarra McGrew, Contract Conservator, Cantor Arts Center, Stanford University,
This presentation describes the design and construction of a box designed to hold small artifacts stored in polyethylene “Ziplock” bags upright to maximize space. The boxes can be customized to allow for wider spacing needed for objects that are more 3-dimensional. The container box has a ledge so that more of the bag is visible once the lid is off.
A Housing for the Horizontal Storage of Cracked Phonograph Discs
Rayan Ghazal, Preservation Officer and Brandon Burke, Archivist for Recorded Sound Collections, Hoover Institution Library and Archives, Stanford University
There is little if any debate that the preferred storage orientation for phonograph discs is in the vertical attitude. However discs in poor condition, particularly cracked glass-based discs, and discs of any substrate exhibiting advanced delamination, cannot be stored vertically without exacerbating damage. This presentation demonstrates the functionality of a housing that was custom-designed by conservators and archivists at the Hoover Institution Library and Archives for the horizontal storage of cracked, broken, and/or delaminating phonograph discs.
LBJ’s White House Photograhs;Roll-Film Negative Storage Problems and Solutions
Margaret Harman, Audiovisual Archives Specialist, Lyndon B. Johnson Library & Museum
For decades the original negatives (ca. 30,000 film rolls) in the LBJ Library’s White House Photo Collection remained in 1960s era acidic paper “wallet” enclosures stored inside rusty metal file cabinets. After 50 years of active use, many of the wallets showed considerable wear and negatives needed rehousing to prevent damage. Finding ready-made negative enclosures that meet institutional requirements has been difficult in this increasingly digital age. Hopefully sharing our experiences and exchanging ideas will result in potential solutions.
Discussion Points
The safe and effective storage for negatives is a problem that faces many collections care individuals in an array of institutions. We have heard several presentations where effective solutions were proposed for the storage of multiple like items. Based on these, and past experience, what solutions might your group consider for the problems presented by storage of negative films?
 
Sustainable Solutions
Compactor Storage
Cathleen Zaret, Mellon Fellow in Textile Conservation and Emily Kaplan, Conservator, Smithsonian Institution – National Museum of the American Indian
This presentation highlights some examples of a variety of storage solutions that were developed at the National Museum of the American Indian, Smithsonian Institution by collections management staff in collaboration with conservators during and after a five year project to move and re-house 800,000 ethnographic and archaeological objects. Challenges included protection of collections from lateral and vertical movement as they were housed in nine foot high electronic compactor storage units and shelved with mechanical warehouse lifts, while maintaining accessibility and visibility of the objects and taking future handling into consideration.
Evaluating Shipping Containers as Storage
Geneva J. Griswold, 3rd year students in the UCLA/Getty Program on the Conservation of Archaeological and Ethnographic Objects, Walters Art Museum, Division of Conservation & Technical Research
Ayesha Fuentes, 3rd year students in the UCLA/Getty Program on the Conservation of Archaeological and Ethnographic Objects,
Metal shipping containers are often used for short and long-term storage of cultural materials and archives in post-disaster remediation, as well as in areas with limited permanent storage solutions. While shipping containers are widely available and inexpensive, their lack of climate control may catalyze deterioration unless modified. Research is currently underway to develop guidelines for the preparation, installation, and maintenance of metal shipping containers to be used as storage facilities. Feedback and suggestions for further study are sought from the AIC community at large.
Defending the Use of (Recycled) Materials
Christian Hernandez, Contributing writer, Plinth Magazine
Materials used in the long-term storage of museum objects usually are not made from recycled materials since these are traditionally considered of a lesser quality. This presentation relates research to find sustainable museum quality materials by comparing conventionally used materials to sustainable alternatives that have the same working qualities. Tests of several foams and boards demonstrate there are materials made from recycled material that can pass an Oddy Test, which is the most commonly used benchmark of all museum-quality materials.
 
Discussion Points
In most institutions, housings are designed to fit the pre-determined needs of the space, staff or available equipment and cost. As collections care professionals become more cognizant of and concerned about sustainable choices, the range of acceptable choices can become broader. What materials, solutions and choices would / could you suggest that would highlight sustainability as a goal in creating an effective storage solution?

Objects Conservation Professional (Technician/Conservator) Position Available

CACC_logo_tag_2012_print_small_color
Cascadia Art Conservation Center, LLC (CACC) is a private conservation lab in Portland, Oregon. CACC works with a variety of clients from private to institutional both locally and nationally. Currently CACC’s main focus is the conservation of objects. Cascadia specializes in working with private and public institutional clients. Services range from preventative conservation work to hands on conservation treatments. CACC works with a wide range of objects including ancient artifacts, contemporary artwork, decorative objects, family heirlooms, Native American artifacts, wood, glass, and monumental sculpture.
CACC has been in business since February of 2009. CACC is focused on meeting the needs of clients, and often provide services that are not generally available within the region. These include the preventative conservation treatments (maintenance), Oddy testing of materials, and artist consultation to name a few. CACC’s current lab is not large, however it is the only fully climate controlled conservation lab in Oregon.
QUALIFICATIONS: Minimum of a Bachelor’s degree and prior experience in a museum or other conservation related work. Excellent color vision, hand skills/craft ability are required. The ideal candidate will have working knowledge of the AIC Code of Ethics, AIC Guidelines for Practice and commentaries to the guidelines. Excellent communication and writing skills are also required. Knowledge of DSLR camera use, Photoshop, word are also desired.
The work requires someone who is comfortable with heights and working on elevated surfaces such as scaffold and mechanical lifts. The ideal candidate will have a willingness to work outdoors (mostly during nice weather) and enjoy occasional interactions with the curious public. A valid driver’s license, good driving record and a reliable vehicle is required.
JOB DESCRIPTION: The successful candidate will focus on conservation treatments in the lab and will spend much of the summer on outdoor treatments and maintenance. Exact duties will be dependent on skill level. If the successful applicant is at a technician’s level, the job will be to assist in the conservation, and be mostly independent on maintenance tasks. If a conservator attains the position, then they will have much more conservation appropriate focus, working more independently as a conservator.
APPLICATION DEADLINE: March 20th, 2014
Please send resume or curriculum vitae, 3 references and examples of previous work in a PDF format to rkrueger@cascadiaartconservation.com.
EMPLOYMENT DATE: April, 2014
ANNUAL SALARY: $40,000 with benefits

POLES, POSTS AND CANOES: THE PRESERVATION, CONSERVATION AND CONTINUATION OF NATIVE AMERICAN MONUMENTAL WOOD CARVING.

CALL FOR PAPERS
JULY 21ST – 22ND, 2014, HIBULB CULTURAL CENTER AND NATURAL HISTORY PRESERVE, TULALIP, WASHINGTON
The call for papers for Poles, Posts and Canoes: the Preservation, Conservation and Continuation of Native American Monumental Wood Carving (July 21st – 22nd, 2014, Tulalip, Washington)  has been extended to February 28th, 2014.  We still have a few spaces for presentations, especially those angled towards general collections management, display and use of these objects in native and non-native managed museums, and the use in a museum setting of traditional means of maintenance.
This two day symposium (preceded by an opening ceremony and meal on the evening of July 20th) will gather Native and non-Native museum professionals, tribal members, and contemporary Native carvers to discuss the challenges of preserving and exhibiting historic monumental wood carvings from both a Native and Non-Native view point. It will also serve to connect Native carvers and the museum community in the hope that the resulting dialogue will help support the continued development of this traditional art form. The format of this gathering is aimed at encouraging discussion, so presentations will be relaxed and brief, and an equal amount of time will be scheduled for general discussion of the topics addressed.
Registration will open January 21st, 2014, and a provisional program will be available at that time.
Further information and details about the conference will be posted at www.hibulbculturalcenter.org/Events/Symposium/
SymposiumPage01Call for papers:
The meeting is heavily focused on inclusive discussions amongst participants, therefore we are seeking short presentations (10 – 15 minutes maximum) that encourage constructive dialog. While technical papers are welcome, we ask that presenters keep in mind the broad background of the expected attendees. The event will be recorded and the proceedings published.
Proposals for presentations on the following topics are invited:

  • The history behind the past care of poles, posts, canoes and similar large Native carvings held in conventional museum settings.
  • The care of these objects in Native museums and communities from the Native perspective.
  • What types of large artifact conservation treatments and care work best in Native and non-Native museums?
  • The importance and relevance of these objects for the personal visions of the Native carver.
  • The potential use of traditional methods and materials in the preservation of existing objects in collections.
  • How can conservators, custodians and Native carvers bridge the communication gap and support each other’s work?
  • How can a balance be struck between technical and non-technical methodologies?
  • How can we define a range of “best practices” in Native museum collections regarding treatments, storage, moving and mounting techniques for this material?

Information to be included in your proposal:

  • Presentation proposal should be not more than 250 words.
  • Please include a 100 word summary that will be included on the conference website, should your paper be accepted.
  • Provide your name, occupation/institution and contact information, including e-mail address.
  • Indicate the format of your presentation – PowerPoint, presentation from written notes, etc.

Deadline for submission: February 28th, 2014.
Please submit proposals to: J. Claire Dean at info@hibulbculturalcenter.org (include “PPC paper proposal” in the subject line). You will be notified by e-mail whether or not your paper has been accepted by March 24th, 2014.
For full details of proposal requirements, as well as registration information for both the symposium and the totem pole maintenance workshop that follows on July 23rd – 25th July, please visit http://www.hibulbculturalcenter.org/Events/Symposium/