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  • [Solved] Nike’s DTC Distribution Strategy

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    In-depth study guidance and analytical solution covering Nike’s DTC Distribution Strategy.

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    Full assignment prompt and step-by-step guidance are included in the downloadable solution file.

  • [Solved] Mid

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    like elements of Maslow and the Hawthorne Studies, – ## Mind-Term.docx **## Mind-Term.docx** For your mid-term paper, **you will create your own theory/philosophy for motivation.** Remember, a theory is well-substantiated on empirical evidence and a philosophy is a broader examination knowledge and …

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    like elements of Maslow and the Hawthorne Studies,

    – ## Mind-Term.docx

    **## Mind-Term.docx**

    For your mid-term paper,
    **you will create your own theory/philosophy for motivation.**   Remember, a theory is well-substantiated on empirical evidence and a philosophy is a broader examination knowledge and reality.   In organizations, it is belief or act that guides behavior.

    **In developing your paper, you will include the following:**

    **1) Introduction**

    **2) Literature review or research** on that will support your philosophy.  For example, you may like elements of Maslow and the Hawthorne Studies, so you would discuss these theories, provide current relevance, in essence setting the stage for the remainder of your paper.

    **3) Develop and share your philosophy.**  When creating your philosophy, some thoughts to ponder that will help inspire your philosophy include:

    · What do you value in life and work?

    · What motivates you?

    · What are you hoping to achieve and create with your philosophy (besides a good grade 😊)

    · Remember failure is an opportunity for learning and growth.

    · How do you maintain a positive outlook.

    · What inspires you, creates that spark to stay motivate.

    Now write 😊

    **4) Apply your philosophy** either using an actual or fictitious example.

    **5) Summary and Conclusion** where you evaluate your philosophy, the strong and weak points, and any guidance for using.

    **Additional Assignment Guidance:**

    · Your paper should be a minimum of 8 pages in APA format (excluding title page and references) but encouraged use the number of pages needed to complete your assignment and address each of the elements effectively. NO ABSTRACT IS REQUIRED

    · You need to use a minimum of 8 sources. Remember, for every source, you will have at least one citation. You cite information that is 1) not common knowledge, 2) paraphrased, and 3) directly quoted.

    · Submit your work as an MS WORD ATTACHMENT in either a .doc, .docx, or .rtf format.

    · You are encouraged to use subheadings. A subheading reflects the content that follows. Subheadings provide a point of reference for the reader as well as guide the reader through your paper.   If you do not have a clear thesis or your introduction is a bit complicated, the reader spends time guessing and is unclear as to what they are reading and why.

    **Some Additional Writing tips:**

    · When making a point, one of the most common mistakes is not to offer enough details. A paragraph without much detail will seem vague and incomplete. A paper is always strengthened when your claims are as specific as possible, the more detailed evidence you offer, and the more reference points your reader will have. Remember that you are communicating your understanding to a reader who has only your description to go by.

    · Third person is preferred in academic writing. Use first-person perspective where applicable and appropriate, i.e., describing your own role, distinguishing from your point of view and others, referring to your actions, or writing is reflective or contains personal elements, otherwise use 3rd person.

    · A flat statement of your intentions in the composition is called an announcement, which weakens the introduction. Try introducing the subject more temptingly, piquing the reader's interest.

    · Avoid anthropomorphisms (attributing human characteristics to nonhuman or inanimate objects). Consider that no report can "address."  When writing an introduction, some approaches are best avoided. Avoid starting sentences with “The purpose of this essay is . . .” or “In this essay I will . . .” or any similar flat announcement of your intention or topic.

    **Here is some guidance in formatting your citations:**

    · Author mentioned in text: Smith (2007), otherwise use (Smith, 2007).

    · Include a page or paragraph number with all direct quotations = (Smith, 2007, p. 32).

    · Place the period at the end of a sentence after the citation.

    · When using a cite within your source it is as follows: (Smith 2007, as cited by Smythe, 2016, p. 32).

    · Eliminate URL addresses with in-text citations.

    · Direct quotations greater than 40 words must be blocked and indented. Block quotations do not have quotation marks (except those already included in the source material).

    · Direct quotes should support your work and not replace it. You should use direct quotes ONLY:

    · to show that an authority supports your point

    · to present a position or argument to critique or comment on

    · to include especially moving or historically significant language

    · to present a particularly well-stated passage whose meaning would be lost or changed if paraphrased or summarized.

    **## Mind-Term.docx**

    For your mid-term paper,
    **you will create your own theory/philosophy for motivation.**   Remember, a theory is well-substantiated on empirical evidence and a philosophy is a broader examination knowledge and reality.   In organizations, it is belief or act that guides behavior.

    **In developing your paper, you will include the following:**

    **1) Introduction**

    **2) Literature review or research** on that will support your philosophy.  For example, you may like elements of Maslow and the Hawthorne Studies, so you would discuss these theories, provide current relevance, in essence setting the stage for the remainder of your paper.

    **3) Develop and share your philosophy.**  When creating your philosophy, some thoughts to ponder that will help inspire your philosophy include:

    · What do you value in life and work?

    · What motivates you?

    · What are you hoping to achieve and create with your philosophy (besides a good grade 😊)

    · Remember failure is an opportunity for learning and growth.

    · How do you maintain a positive outlook.

    · What inspires you, creates that spark to stay motivate.

    Now write 😊

    **4) Apply your philosophy** either using an actual or fictitious example.

    **5) Summary and Conclusion** where you evaluate your philosophy, the strong and weak points, and any guidance for using.

    **Additional Assignment Guidance:**

    · Your paper should be a minimum of 8 pages in APA format (excluding title page and references) but encouraged use the number of pages needed to complete your assignment and address each of the elements effectively. NO ABSTRACT IS REQUIRED

    · You need to use a minimum of 8 sources. Remember, for every source, you will have at least one citation. You cite information that is 1) not common knowledge, 2) paraphrased, and 3) directly quoted.

    · Submit your work as an MS WORD ATTACHMENT in either a .doc, .docx, or .rtf format.

    · You are encouraged to use subheadings. A subheading reflects the content that follows. Subheadings provide a point of reference for the reader as well as guide the reader through your paper.   If you do not have a clear thesis or your introduction is a bit complicated, the reader spends time guessing and is unclear as to what they are reading and why.

    **Some Additional Writing tips:**

    · When making a point, one of the most common mistakes is not to offer enough details. A paragraph without much detail will seem vague and incomplete. A paper is always strengthened when your claims are as specific as possible, the more detailed evidence you offer, and the more reference points your reader will have. Remember that you are communicating your understanding to a reader who has only your description to go by.

    · Third person is preferred in academic writing. Use first-person perspective where applicable and appropriate, i.e., describing your own role, distinguishing from your point of view and others, referring to your actions, or writing is reflective or contains personal elements, otherwise use 3rd person.

    · A flat statement of your intentions in the composition is called an announcement, which weakens the introduction. Try introducing the subject more temptingly, piquing the reader's interest.

    · Avoid anthropomorphisms (attributing human characteristics to nonhuman or inanimate objects). Consider that no report can "address."  When writing an introduction, some approaches are best avoided. Avoid starting sentences with “The purpose of this essay is . . .” or “In this essay I will . . .” or any similar flat announcement of your intention or topic.

    **Here is some guidance in formatting your citations:**

    · Author mentioned in text: Smith (2007), otherwise use (Smith, 2007).

    · Include a page or paragraph number with all direct quotations = (Smith, 2007, p. 32).

    · Place the period at the end of a sentence after the citation.

    · When using a cite within your source it is as follows: (Smith 2007, as cited by Smythe, 2016, p. 32).

    · Eliminate URL addresses with in-text citations.

    · Direct quotations greater than 40 words must be blocked and indented. Block quotations do not have quotation marks (except those already included in the source material).

    · Direct quotes should support your work and not replace it. You should use direct quotes ONLY:

    · to show that an authority supports your point

    · to present a position or argument to critique or comment on

    · to include especially moving or historically significant language

    · to present a particularly well-stated passage whose meaning would be lost or changed if paraphrased or summarized.

  • [Solved] 3-5 PAGES APA STYLE AI & PLAGARISM FREE

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    Executive Solution Overview

    _**Policy Memo #2: Bail Reform Proposal**_ **(Module 5)** This assignment requires students to critically examine constitutional principles, legal precedents, and empirical research on pretrial detention, focusing on the balance between public safety, individual rights, and judicial discretion. **Me…

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    Assignment Prompt & Instructions

    _**Policy Memo #2:  Bail Reform Proposal**_ **(Module 5)**
    This assignment requires students to  critically examine constitutional principles, legal precedents, and  empirical research on pretrial detention, focusing on the balance  between public safety, individual rights, and judicial discretion.
    **Memo Requirements & Structure**
    **Background and Legal Context**
    Identify a state or federal rule of criminal procedure that governs pretrial detention and bail practices.
    Explain the legal framework and procedural  requirements of the selected rule, including any discretionary  authority granted to judges.
    Summarize the key issues in United States  v. Salerno (1987), demonstrating an understanding of the constitutional  parameters surrounding pretrial detention, including due process (Fifth  Amendment) and excessive bail protections (Eighth Amendment).
    **Analysis of Current Issues**
    Provide a critical analysis of pretrial detention policies, addressing:
    – The effectiveness and fairness of cash bail systems.
    – The role of risk assessment tools in determining pretrial release conditions.
    – Disparities in pretrial detention outcomes based on race, socioeconomic status, and legal representation.
    – Assess the impact of risk assessment algorithms, evaluating their effectiveness, biases, and ethical considerations.
    – Integrate empirical research by  incorporating findings from at least three (3) peer-reviewed sources  that examine the outcomes of pretrial detention policies and bail reform  efforts.
    **Policy Recommendations**
    Propose specific, evidence-based reforms  to address issues in pretrial detention and bail practices.  Recommendations may include:
    – Eliminating or reducing reliance on cash bail to minimize socioeconomic disparities.
    – Implementing judicial guidelines for risk assessments to prevent bias and ensure fairness.
    **Concept Map**
    Incorporate a visual representation of a concept map or logic model  to clarify your policy’s structure, actors, and outcomes.  Your visual  representation may be in text or included in an appendix.
    \
    Dobbie.docx](https://www.sweetstudy.com/files/dobbie-docx "Dobbie.docx")
    \
    Module4.docx](https://www.sweetstudy.com/files/module4-docx-10395955 "Module4.docx")
    \
    Sarleno.docx](https://www.sweetstudy.com/files/sarleno-docx-10395957 "Sarleno.docx")
    \
    TheEver-ShiftingGroundofPretrialDetentionReform.pdf](https://www.sweetstudy.com/files/theever-shiftinggroundofpretrialdetentionreform-pdf-10395959 "TheEver-ShiftingGroundofPretrialDetentionReform.pdf")
    \
    Effectsofpretrialriskassessmentsonreleasedecisionsandmisconductoutcomesrelativetopracticeasusual.docx](https://www.sweetstudy.com/files/effectsofpretrialriskassessmentsonreleasedecisionsandmisconductoutcomesrelativetopracticeasusual-docx "Effectsofpretrialriskassessmentsonreleasedecisionsandmisconductoutcomesrelativetopracticeasusual.docx")

  • [Solved] Criminal Justice

    ✓ Verified Academic Solution Available

    Executive Solution Overview

    – ## discussioninstructions.docx – ## Missingterroristtelevise.docx **## discussioninstructions.docx** Discussion instructions Each discussion must be 250 words. Each discussion question must have two references. Outside references are all scholarly (peer reviewed journal article, law review) in APA…

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    Assignment Prompt & Instructions

    – ## discussioninstructions.docx

    – ## Missingterroristtelevise.docx

    **## discussioninstructions.docx**

    Discussion instructions

    Each discussion must be 250 words.

    Each discussion question must have two references.

    Outside references are all scholarly (peer reviewed journal article, law review) in APA format.

    **## Missingterroristtelevise.docx**

    **Question 1**

    **Read the passage on White Women Syndrome. Do you think the media treats missing white women differently than women of color? Do you think missing men are treated differently than missing women?**

    **Missing White Woman Syndrome**

    Gabby Petito’s disappearance has fascinated American and international audiences alike, with her case dominating news
    [headlines](https://www.bloomberg.com/news/articles/2021-09-26/gabby-petito-funeral-home-viewing-expected-to-draw-crowds) across the world. As interest in the case spiked both in the news industry and on social media, commentators began to wonder aloud why Petito’s case, and not the
    [hundreds of thousands](https://www.fbi.gov/file-repository/2020-ncic-missing-person-and-unidentified-person-statistics.pdf/view) of other missing persons cases that occur each year in the U.S., garnered so much media coverage.

    Some have speculated that the interest in Petito’s case is the result of what journalist Gwen Ifill first termed “Missing White Woman Syndrome,” or the idea that young White women and girls who go missing—especially stereotypically attractive blonde women and girls who come from privileged backgrounds—are more likely to be covered in the news than missing persons of other demographics.

    Thus, the idea goes, it was not the unique case characteristics that led to the enormous interest in Petito’s case, but rather who she was and what she looked like.

    That idea is not wholly unfounded. In a
    [2016 study](https://scholarlycommons.law.northwestern.edu/jclc/vol106/iss2/4/), I conducted a two-step statistical analysis to test whether Missing White Woman Syndrome is supported by underlying data. I examined every story about missing persons produced by four major online news outlets during one calendar year and compared the results with the overall population of missing persons as tabulated by the FBI.

    I found disparities at two stages. First, the group of missing persons that received news coverage consisted of disproportionately fewer Blacks and men and boys when compared to the rates at which those groups actually go missing.

    Second, when looking at that subset of missing persons who appeared in the news, the disparities grew even more pronounced when I examined the amount of coverage that each of those individuals received. White women and girls were the focus of almost half of all of the news articles, despite only accounting for approximately one-third of the missing persons in the news.

    In other words, the coverage intensity was significantly higher for missing persons cases involving White women and girls. The two findings are consistent with Missing White Woman Syndrome and suggest that the race and gender disparities predicted by the idea are, in fact, a reality.

    These findings were eye-opening to me. Although I hypothesized that race and gender disparities would exist, the extent of the overrepresentation of White women and girls surprised me.

    Like much of my criminological research, the findings were yet another reminder of the challenges that underrepresented demographic groups still face in our country—and yet another lesson in the importance of feeling heard. I try to remember that lesson in all aspects of my life, including in my professional life as a social scientist and an attorney.

    In my legal practice, I actively remind myself that every participant in our legal system brings her own perspective and experiences, and that the best litigation strategy always requires me to understand my counterparties and their motivations on a very human level. And in general, by staying vigilant and increasing awareness of the issues like Missing White Woman Syndrome, I hope to do my part to chip away at the types of disparities seen in my analysis.

    **How Do We Combat This Syndrome?**

    On a broader scale, what collective steps can we take as a culture to combat Missing White Woman Syndrome?

    First, as referenced above, we can continue to raise awareness of these disparities and to engage in meaningful dialogue about their existence and implications. Additional empirical research in the area would fortify those discussions and strengthen the statistical basis for Missing White Woman Syndrome.

    Second, increased awareness is especially paramount within news organizations, which are largely responsible for determining a story’s newsworthiness. Media companies must be deliberate in their editorial choices about missing persons stories to ensure that the victims presented are an accurate reflection of the overall demographics of such cases.

    Achieving that goal is likely made easier when newsrooms themselves are diverse places filled with individuals with different backgrounds and experiences. A multitude of perspectives is more likely to lead to a variety of cases being highlighted and discussed in production meetings.

    But the onus does not lie solely on news corporations. News consumers, too, can have an impact by lending their clicks and views to news stories and social media posts about missing persons from underrepresented groups. If news agencies’ metrics revealed increased interest in those stories, additional similar stories would follow.

    Third, law enforcement also plays a role in determinations of newsworthiness. Public relations arms of police departments often serve as filtration points for crime news—departments may tip off reporters to specific cases or ask news agencies to run specific stories to help break open unsolved crimes. By striving to highlight a representative sample of missing persons cases, law enforcement could help ensure that more cases involving missing people of color come across the news desk.

    To be clear, Petito’s case is a tragedy that no family should have to endure. Her story is worthy of the news coverage it has received, which may have helped with the police investigation into her disappearance. But other missing persons who do not look like Petito should also benefit from the same type of spotlight.

    The families of those other missing persons are just as deserving of answers as Petito’s. After all, it is not just White women and girls who go missing.

    Question 2

    (Terrorist): Is it ethical to call domestic and international terrorist enemy combatants rather than criminals? What are some of the issues that may arise?

    Question 3

    (Televise): Should we televise the US Supreme Court oral arguments? Why or why not?

    **## Missingterroristtelevise.docx**

    **Question 1**

    **Read the passage on White Women Syndrome. Do you think the media treats missing white women differently than women of color? Do you think missing men are treated differently than missing women?**

    **Missing White Woman Syndrome**

    Gabby Petito’s disappearance has fascinated American and international audiences alike, with her case dominating news
    [headlines](https://www.bloomberg.com/news/articles/2021-09-26/gabby-petito-funeral-home-viewing-expected-to-draw-crowds) across the world. As interest in the case spiked both in the news industry and on social media, commentators began to wonder aloud why Petito’s case, and not the
    [hundreds of thousands](https://www.fbi.gov/file-repository/2020-ncic-missing-person-and-unidentified-person-statistics.pdf/view) of other missing persons cases that occur each year in the U.S., garnered so much media coverage.

    Some have speculated that the interest in Petito’s case is the result of what journalist Gwen Ifill first termed “Missing White Woman Syndrome,” or the idea that young White women and girls who go missing—especially stereotypically attractive blonde women and girls who come from privileged backgrounds—are more likely to be covered in the news than missing persons of other demographics.

    Thus, the idea goes, it was not the unique case characteristics that led to the enormous interest in Petito’s case, but rather who she was and what she looked like.

    That idea is not wholly unfounded. In a
    [2016 study](https://scholarlycommons.law.northwestern.edu/jclc/vol106/iss2/4/), I conducted a two-step statistical analysis to test whether Missing White Woman Syndrome is supported by underlying data. I examined every story about missing persons produced by four major online news outlets during one calendar year and compared the results with the overall population of missing persons as tabulated by the FBI.

    I found disparities at two stages. First, the group of missing persons that received news coverage consisted of disproportionately fewer Blacks and men and boys when compared to the rates at which those groups actually go missing.

    Second, when looking at that subset of missing persons who appeared in the news, the disparities grew even more pronounced when I examined the amount of coverage that each of those individuals received. White women and girls were the focus of almost half of all of the news articles, despite only accounting for approximately one-third of the missing persons in the news.

    In other words, the coverage intensity was significantly higher for missing persons cases involving White women and girls. The two findings are consistent with Missing White Woman Syndrome and suggest that the race and gender disparities predicted by the idea are, in fact, a reality.

    These findings were eye-opening to me. Although I hypothesized that race and gender disparities would exist, the extent of the overrepresentation of White women and girls surprised me.

    Like much of my criminological research, the findings were yet another reminder of the challenges that underrepresented demographic groups still face in our country—and yet another lesson in the importance of feeling heard. I try to remember that lesson in all aspects of my life, including in my professional life as a social scientist and an attorney.

    In my legal practice, I actively remind myself that every participant in our legal system brings her own perspective and experiences, and that the best litigation strategy always requires me to understand my counterparties and their motivations on a very human level. And in general, by staying vigilant and increasing awareness of the issues like Missing White Woman Syndrome, I hope to do my part to chip away at the types of disparities seen in my analysis.

    **How Do We Combat This Syndrome?**

    On a broader scale, what collective steps can we take as a culture to combat Missing White Woman Syndrome?

    First, as referenced above, we can continue to raise awareness of these disparities and to engage in meaningful dialogue about their existence and implications. Additional empirical research in the area would fortify those discussions and strengthen the statistical basis for Missing White Woman Syndrome.

    Second, increased awareness is especially paramount within news organizations, which are largely responsible for determining a story’s newsworthiness. Media companies must be deliberate in their editorial choices about missing persons stories to ensure that the victims presented are an accurate reflection of the overall demographics of such cases.

    Achieving that goal is likely made easier when newsrooms themselves are diverse places filled with individuals with different backgrounds and experiences. A multitude of perspectives is more likely to lead to a variety of cases being highlighted and discussed in production meetings.

    But the onus does not lie solely on news corporations. News consumers, too, can have an impact by lending their clicks and views to news stories and social media posts about missing persons from underrepresented groups. If news agencies’ metrics revealed increased interest in those stories, additional similar stories would follow.

    Third, law enforcement also plays a role in determinations of newsworthiness. Public relations arms of police departments often serve as filtration points for crime news—departments may tip off reporters to specific cases or ask news agencies to run specific stories to help break open unsolved crimes. By striving to highlight a representative sample of missing persons cases, law enforcement could help ensure that more cases involving missing people of color come across the news desk.

    To be clear, Petito’s case is a tragedy that no family should have to endure. Her story is worthy of the news coverage it has received, which may have helped with the police investigation into her disappearance. But other missing persons who do not look like Petito should also benefit from the same type of spotlight.

    The families of those other missing persons are just as deserving of answers as Petito’s. After all, it is not just White women and girls who go missing.

    Question 2

    (Terrorist): Is it ethical to call domestic and international terrorist enemy combatants rather than criminals? What are some of the issues that may arise?

    Question 3

    (Televise): Should we televise the US Supreme Court oral arguments? Why or why not?

    **## discussioninstructions.docx**

    Discussion instructions

    Each discussion must be 250 words.

    Each discussion question must have two references.

    Outside references are all scholarly (peer reviewed journal article, law review) in APA format.

    **## Missingterroristtelevise.docx**

    **Question 1**

    **Read the passage on White Women Syndrome. Do you think the media treats missing white women differently than women of color? Do you think missing men are treated differently than missing women?**

    **Missing White Woman Syndrome**

    Gabby Petito’s disappearance has fascinated American and international audiences alike, with her case dominating news
    [headlines](https://www.bloomberg.com/news/articles/2021-09-26/gabby-petito-funeral-home-viewing-expected-to-draw-crowds) across the world. As interest in the case spiked both in the news industry and on social media, commentators began to wonder aloud why Petito’s case, and not the
    [hundreds of thousands](https://www.fbi.gov/file-repository/2020-ncic-missing-person-and-unidentified-person-statistics.pdf/view) of other missing persons cases that occur each year in the U.S., garnered so much media coverage.

    Some have speculated that the interest in Petito’s case is the result of what journalist Gwen Ifill first termed “Missing White Woman Syndrome,” or the idea that young White women and girls who go missing—especially stereotypically attractive blonde women and girls who come from privileged backgrounds—are more likely to be covered in the news than missing persons of other demographics.

    Thus, the idea goes, it was not the unique case characteristics that led to the enormous interest in Petito’s case, but rather who she was and what she looked like.

    That idea is not wholly unfounded. In a
    [2016 study](https://scholarlycommons.law.northwestern.edu/jclc/vol106/iss2/4/), I conducted a two-step statistical analysis to test whether Missing White Woman Syndrome is supported by underlying data. I examined every story about missing persons produced by four major online news outlets during one calendar year and compared the results with the overall population of missing persons as tabulated by the FBI.

    I found disparities at two stages. First, the group of missing persons that received news coverage consisted of disproportionately fewer Blacks and men and boys when compared to the rates at which those groups actually go missing.

    Second, when looking at that subset of missing persons who appeared in the news, the disparities grew even more pronounced when I examined the amount of coverage that each of those individuals received. White women and girls were the focus of almost half of all of the news articles, despite only accounting for approximately one-third of the missing persons in the news.

    In other words, the coverage intensity was significantly higher for missing persons cases involving White women and girls. The two findings are consistent with Missing White Woman Syndrome and suggest that the race and gender disparities predicted by the idea are, in fact, a reality.

    These findings were eye-opening to me. Although I hypothesized that race and gender disparities would exist, the extent of the overrepresentation of White women and girls surprised me.

    Like much of my criminological research, the findings were yet another reminder of the challenges that underrepresented demographic groups still face in our country—and yet another lesson in the importance of feeling heard. I try to remember that lesson in all aspects of my life, including in my professional life as a social scientist and an attorney.

    In my legal practice, I actively remind myself that every participant in our legal system brings her own perspective and experiences, and that the best litigation strategy always requires me to understand my counterparties and their motivations on a very human level. And in general, by staying vigilant and increasing awareness of the issues like Missing White Woman Syndrome, I hope to do my part to chip away at the types of disparities seen in my analysis.

    **How Do We Combat This Syndrome?**

    On a broader scale, what collective steps can we take as a culture to combat Missing White Woman Syndrome?

    First, as referenced above, we can continue to raise awareness of these disparities and to engage in meaningful dialogue about their existence and implications. Additional empirical research in the area would fortify those discussions and strengthen the statistical basis for Missing White Woman Syndrome.

    Second, increased awareness is especially paramount within news organizations, which are largely responsible for determining a story’s newsworthiness. Media companies must be deliberate in their editorial choices about missing persons stories to ensure that the victims presented are an accurate reflection of the overall demographics of such cases.

    Achieving that goal is likely made easier when newsrooms themselves are diverse places filled with individuals with different backgrounds and experiences. A multitude of perspectives is more likely to lead to a variety of cases being highlighted and discussed in production meetings.

    But the onus does not lie solely on news corporations. News consumers, too, can have an impact by lending their clicks and views to news stories and social media posts about missing persons from underrepresented groups. If news agencies’ metrics revealed increased interest in those stories, additional similar stories would follow.

    Third, law enforcement also plays a role in determinations of newsworthiness. Public relations arms of police departments often serve as filtration points for crime news—departments may tip off reporters to specific cases or ask news agencies to run specific stories to help break open unsolved crimes. By striving to highlight a representative sample of missing persons cases, law enforcement could help ensure that more cases involving missing people of color come across the news desk.

    To be clear, Petito’s case is a tragedy that no family should have to endure. Her story is worthy of the news coverage it has received, which may have helped with the police investigation into her disappearance. But other missing persons who do not look like Petito should also benefit from the same type of spotlight.

    The families of those other missing persons are just as deserving of answers as Petito’s. After all, it is not just White women and girls who go missing.

    Question 2

    (Terrorist): Is it ethical to call domestic and international terrorist enemy combatants rather than criminals? What are some of the issues that may arise?

    Question 3

    (Televise): Should we televise the US Supreme Court oral arguments? Why or why not?

    **## discussioninstructions.docx**

    Discussion instructions

    Each discussion must be 250 words.

    Each discussion question must have two references.

    Outside references are all scholarly (peer reviewed journal article, law review) in APA format.

    **## Missingterroristtelevise.docx**

    **Question 1**

    **Read the passage on White Women Syndrome. Do you think the media treats missing white women differently than women of color? Do you think missing men are treated differently than missing women?**

    **Missing White Woman Syndrome**

    Gabby Petito’s disappearance has fascinated American and international audiences alike, with her case dominating news
    [headlines](https://www.bloomberg.com/news/articles/2021-09-26/gabby-petito-funeral-home-viewing-expected-to-draw-crowds) across the world. As interest in the case spiked both in the news industry and on social media, commentators began to wonder aloud why Petito’s case, and not the
    [hundreds of thousands](https://www.fbi.gov/file-repository/2020-ncic-missing-person-and-unidentified-person-statistics.pdf/view) of other missing persons cases that occur each year in the U.S., garnered so much media coverage.

    Some have speculated that the interest in Petito’s case is the result of what journalist Gwen Ifill first termed “Missing White Woman Syndrome,” or the idea that young White women and girls who go missing—especially stereotypically attractive blonde women and girls who come from privileged backgrounds—are more likely to be covered in the news than missing persons of other demographics.

    Thus, the idea goes, it was not the unique case characteristics that led to the enormous interest in Petito’s case, but rather who she was and what she looked like.

    That idea is not wholly unfounded. In a
    [2016 study](https://scholarlycommons.law.northwestern.edu/jclc/vol106/iss2/4/), I conducted a two-step statistical analysis to test whether Missing White Woman Syndrome is supported by underlying data. I examined every story about missing persons produced by four major online news outlets during one calendar year and compared the results with the overall population of missing persons as tabulated by the FBI.

    I found disparities at two stages. First, the group of missing persons that received news coverage consisted of disproportionately fewer Blacks and men and boys when compared to the rates at which those groups actually go missing.

    Second, when looking at that subset of missing persons who appeared in the news, the disparities grew even more pronounced when I examined the amount of coverage that each of those individuals received. White women and girls were the focus of almost half of all of the news articles, despite only accounting for approximately one-third of the missing persons in the news.

    In other words, the coverage intensity was significantly higher for missing persons cases involving White women and girls. The two findings are consistent with Missing White Woman Syndrome and suggest that the race and gender disparities predicted by the idea are, in fact, a reality.

    These findings were eye-opening to me. Although I hypothesized that race and gender disparities would exist, the extent of the overrepresentation of White women and girls surprised me.

    Like much of my criminological research, the findings were yet another reminder of the challenges that underrepresented demographic groups still face in our country—and yet another lesson in the importance of feeling heard. I try to remember that lesson in all aspects of my life, including in my professional life as a social scientist and an attorney.

    In my legal practice, I actively remind myself that every participant in our legal system brings her own perspective and experiences, and that the best litigation strategy always requires me to understand my counterparties and their motivations on a very human level. And in general, by staying vigilant and increasing awareness of the issues like Missing White Woman Syndrome, I hope to do my part to chip away at the types of disparities seen in my analysis.

    **How Do We Combat This Syndrome?**

    On a broader scale, what collective steps can we take as a culture to combat Missing White Woman Syndrome?

    First, as referenced above, we can continue to raise awareness of these disparities and to engage in meaningful dialogue about their existence and implications. Additional empirical research in the area would fortify those discussions and strengthen the statistical basis for Missing White Woman Syndrome.

    Second, increased awareness is especially paramount within news organizations, which are largely responsible for determining a story’s newsworthiness. Media companies must be deliberate in their editorial choices about missing persons stories to ensure that the victims presented are an accurate reflection of the overall demographics of such cases.

    Achieving that goal is likely made easier when newsrooms themselves are diverse places filled with individuals with different backgrounds and experiences. A multitude of perspectives is more likely to lead to a variety of cases being highlighted and discussed in production meetings.

    But the onus does not lie solely on news corporations. News consumers, too, can have an impact by lending their clicks and views to news stories and social media posts about missing persons from underrepresented groups. If news agencies’ metrics revealed increased interest in those stories, additional similar stories would follow.

    Third, law enforcement also plays a role in determinations of newsworthiness. Public relations arms of police departments often serve as filtration points for crime news—departments may tip off reporters to specific cases or ask news agencies to run specific stories to help break open unsolved crimes. By striving to highlight a representative sample of missing persons cases, law enforcement could help ensure that more cases involving missing people of color come across the news desk.

    To be clear, Petito’s case is a tragedy that no family should have to endure. Her story is worthy of the news coverage it has received, which may have helped with the police investigation into her disappearance. But other missing persons who do not look like Petito should also benefit from the same type of spotlight.

    The families of those other missing persons are just as deserving of answers as Petito’s. After all, it is not just White women and girls who go missing.

    Question 2

    (Terrorist): Is it ethical to call domestic and international terrorist enemy combatants rather than criminals? What are some of the issues that may arise?

    Question 3

    (Televise): Should we televise the US Supreme Court oral arguments? Why or why not?

    – 1
    – 2

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    – ## 3_1Theregistrarincollectionmanagement_Riskmanagement_2.pdf **## 3_1Theregistrarincollectionmanagement_Riskmanagement_2.pdf** Blog del Museu Nacional d'Art de Catalunya » The registrar in collection management: Risk management 11–14 minutes Sílvia Tena Art collections and, in general, any …

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    – ## 3_1Theregistrarincollectionmanagement_Riskmanagement_2.pdf

    **## 3_1Theregistrarincollectionmanagement_Riskmanagement_2.pdf**

    Blog del Museu Nacional d'Art de
    Catalunya » The registrar in
    collection management: Risk
    management

    11–14 minutes

    Sílvia Tena

    Art collections and, in general, any kind of heritage require
    great care and protection to ensure their safety with respect
    to losses or external damage. Works of art experience
    periods of extreme vulnerability (movement, transfer,
    intervention, restoration work, temporary exhibitions and so
    on). One of the aims of good collection management is to
    create a secure environment for objects through the
    implementation of a series of measures, which require the
    experience of many museum professionals (conservators-
    restorers, curators, registrars, specialists in security, in
    preventive conservations, among others). These measures
    can be divided into two main thematic groups: collection
    management proper and risk management, which can be
    seen as part of the former.

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    [https://blog.museunacional.cat/wp-content/uploads/3233-005.jpg](https://blog.museunacional.cat/wp-content/uploads/3233-005.jpg)

    Handling of exhibition showcase materials

    On one hand, collection management deals with
    administrative and legal responsibilities associated with
    collections, the most central and strategic of which revolves
    round the creation and maintenance of a scrupulous
    inventory, as well as exhaustive documentation that places
    each and every one of the objects looked after by the
    institution historically, legally, artistically and physically. The
    professionals most closely associated with collection
    management are collection managers, registrars and
    researchers. More details in the first part of this article, The
    registrar in collection management: an emerging
    profession /1.

    But, on the other hand, a good collection management policy
    must above all envisage good risk management, in the

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    [https://blog.museunacional.cat/wp-content/uploads/3233-005.jpg](https://blog.museunacional.cat/wp-content/uploads/3233-005.jpg)

    [https://blog.museunacional.cat/en/the-registrar-in-collections-management-an-emerging-profession-1/](https://blog.museunacional.cat/en/the-registrar-in-collections-management-an-emerging-profession-1/)

    [https://blog.museunacional.cat/en/the-registrar-in-collections-management-an-emerging-profession-1/](https://blog.museunacional.cat/en/the-registrar-in-collections-management-an-emerging-profession-1/)

    [https://blog.museunacional.cat/en/the-registrar-in-collections-management-an-emerging-profession-1/](https://blog.museunacional.cat/en/the-registrar-in-collections-management-an-emerging-profession-1/)

    [https://blog.museunacional.cat/en/the-registrar-in-collections-management-an-emerging-profession-1/](https://blog.museunacional.cat/en/the-registrar-in-collections-management-an-emerging-profession-1/)

    [https://blog.museunacional.cat/en/the-registrar-in-collections-management-an-emerging-profession-1/](https://blog.museunacional.cat/en/the-registrar-in-collections-management-an-emerging-profession-1/)

    [https://blog.museunacional.cat/en/the-registrar-in-collections-management-an-emerging-profession-1/](https://blog.museunacional.cat/en/the-registrar-in-collections-management-an-emerging-profession-1/)

    [https://blog.museunacional.cat/en/the-registrar-in-collections-management-an-emerging-profession-1/](https://blog.museunacional.cat/en/the-registrar-in-collections-management-an-emerging-profession-1/)

    [https://blog.museunacional.cat/en/the-registrar-in-collections-management-an-emerging-profession-1/](https://blog.museunacional.cat/en/the-registrar-in-collections-management-an-emerging-profession-1/)

    [https://blog.museunacional.cat/en/the-registrar-in-collections-management-an-emerging-profession-1/](https://blog.museunacional.cat/en/the-registrar-in-collections-management-an-emerging-profession-1/)

    sense that the latter is closely related to care of the
    collections from the point of view of their physical
    preservation, and different museum departments collaborate
    in this.

    The use of gloves is a preventive measure when handling
    artworks

    Risk management

    Care of the collections can be defined as the different
    preventive care steps taken to prevent damage or to delay
    the natural deterioration of objects. These practices are
    focused very especially on the prevention of risk and are
    addressed to achieving “zero risk”, by minimizing the
    potential damage caused by external sources.

    The ICOM Committee for Conservation defines ten risks:

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    [https://blog.museunacional.cat/wp-content/uploads/3265-016.jpg](https://blog.museunacional.cat/wp-content/uploads/3265-016.jpg)

    [http://www.icom-cc.org/15/about/#.WngKTq1DlBy](http://www.icom-cc.org/15/about/#.WngKTq1DlBy)

    [http://www.icom-cc.org/15/about/#.WngKTq1DlBy](http://www.icom-cc.org/15/about/#.WngKTq1DlBy)

    • physical forces (like earthquakes, bad handling, …)

    • fire

    • water

    • acts of vandalism

    • pests

    • pollutants

    • excessive exposure to light and radiation

    • the wrong temperature (or brusque changes of it)

    • the wrong relative humidity (or brusque changes of it)

    • negligent care

    • dissociation

    Good collection maintenance involves seeking advice from
    different specialists that carefully ensures the objects’
    preventive conservation needs, and this ranges from asking
    conservators-restorers for technical reports on the suitability
    of supports and materials, to adequate methods of storage,
    packaging, framing, cleaning and the correct handling of
    objects, as well as the prevention and integral management
    of pests and deterioration in frames, works of art and their
    supports.

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    Control of locations of artworks in the Museu Nacional’s
    reserves

    Loans and temporary deposits

    Museums and institutions that look after collections often
    temporarily transfer objects as part of a loan or through
    temporary care agreements. This practice, which
    undoubtedly contributes to the dissemination and
    internationalization of collections and works, is nowadays
    clearly and gradually on the increase. Nevertheless, it
    constitutes a potential risk for collections that are loaned out.

    Risk management is a multidisciplinary management policy
    whose mission is focused on detecting, controlling,
    minimizing and managing the different risks run by art
    objects. It is essential to learn about the characteristics of
    the objects, the technique with which they are made, the
    year, the workshop or the artist who made them. One also
    has to know the route taken to transport it, the entrances or

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    the design of the most suitable packaging for each object.

    A carefully thought out and considered loans policy is
    therefore vitally important, aimed at minimizing risk,
    weighing up the reasons for requesting, approving or
    refusing a loan, observing officially approved international
    regulations. As a general rule, museums have
    interdisciplinary loan committees which discuss different
    requirements prior to approving or refusing the loaning of
    objects, which establish the fees associated with the loan,
    where appropriate, and set the conditions – loan
    specifications or loan agreement – that the borrower is
    obliged to comply with.

    Control of packaging when unloading artworks of a truck

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    Aside from the scientific interest of the project for which the
    loaning of works is requested, the collection manager must
    on one hand gather information about the borrower to help
    him/her consider any possible risks to the object before it
    leaves the museum and on the other, a series of technical
    information that the registrar requests from different museum
    professionals, like:

    • the preventive conservation specialist is asked for a
    technical assessment report of a document called the
    facilities report, which will previously have been requested
    from the person asking for the loan.

    • another technical assessment report is requested from the
    person in charge of security to assess the aspects of the
    premises’ security.

    • a conservator-restorer draws up a detailed report on the
    object’s current condition (condition report). This report is
    essential when making a decision about the feasibility of a
    loan, and the factors included in this kind of report must be
    taken into account above any and all others.

    With all this information gathered, the collection registrar
    produces general loan conditions whose purpose is to
    foresee any possible risks for the work. Thus, the general
    terms and conditions of the loan regulate and stipulate
    conditions to be complied with such as the length of the loan
    period, conservation and care obligations, instructions for

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    the handling, packaging and transportation of the object,
    whether or not a police escort and a courier are obligatory
    (where appropriate), a line of credit for the catalogue,
    conditions for insuring the work, the notification of incidents.
    These documents also regulate a series of rights that the
    loaning museum reserves such as the right to inspection and
    retrieval. In short, each object in the collection receives
    personalized attention, in accordance with its specific nature.

    Storage and atmospheric conditions

    Anchor control of artworks

    When objects are looked after in museums, whether in the
    storeroom or in the galleries, the collection manager’s chief
    concern must be the continual safety of the objects. For this,
    the collection registrar and, very especially, the conservator-

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    restorer must take into account the suitability of storage
    spaces, the containers for the works, and the necessary
    atmospheric conditions to avoid damage to them. The
    registrar asks conservators-restorers for advice when
    drafting technical specifications and contracts that involve
    the supply of materials. Among other things these include:

    • Advice on the suitability of supports, vitrines, frames and
    rigid packaging adapted to the works. This includes bearing
    in mind the interior filling and the support of the objects to
    avoid damage caused by bumps and scratches.

    • The vitrines must be stable and watertight.

    • Technical advice about the adhesives to be used, papers,
    passe-partouts and foams; they must be materials that do
    not cause any chemical reactions, abrasions or marks due to
    contact with the work.

    Apart from the materials wrapping the object, strict control of
    the atmospheric conditions is important, given that
    excessive humidity or brusque changes in relative
    humidity and temperature can cause problems such as
    corrosion, the proliferation of fungi colonies, cracks,
    warping or fragility. In the Museu Nacional this task is
    overseen by Preventive Conservation, and the registrar
    notes down the parameters advised by the conservator-
    restorer if the object is travelling on loan or its place is being
    changed.

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    Thus, good collection management will necessarily include
    the joint work of several museum professionals and requires
    the strict observance of rigorous controls of the parameters
    of temperature, relative humidity (RH), the effects of certain
    light spectra (UV), and the control of certain pollutants, a
    feasibility and suitability study of packaging, frames, vitrines,
    and so on. All this information is gathered by the collections
    registrar, and he/she will turn it into different specifications,
    loan agreements and other documents related to the object.

    Packaging and transportation

    In risk management, it is necessary to implement high
    standards of handling, packaging and transportation.
    Objects must be handled as little as possible. It is extremely
    necessary to ensure that museum staff in direct contact with
    the objects are well aware of good practices for handling
    objects, such as hand washing protocols, the appropriate
    use of cotton or rubber gloves, knowing how to identify
    structural weaknesses that may require special care, and the
    proper ways to transport objects inside institutions
    (platforms, trolleys, dollies, lifts, trays, conservation cases,
    etc.).

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    Anchorage of packaging in the truck to avoid vibrations

    To ensure safe transportation outside the museum, the
    correct handling standards of objects must be combined with
    strict individual packaging requirements for each object.
    Ideally, the object must be packaged in a rigid container
    (case) made of fireproof materials, to ensure
    watertightness and protect it from bumps, vibrations, sudden
    temperature changes and bad handling. The registrar
    requests a technical report from the department of
    conservation-restoration on the suitability of the packaging
    materials and the handling.

    On the other hand, the registrar will have to weigh up other
    aspects to minimise risk such as the means of dispatch
    (land, air or sea transport or a combination), the difference in
    climatic conditions that the object will presumably encounter
    when it arrives in the new destination, the most direct routes
    or the need for police escorts if the work so requires it.

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    Handling of large-format artworks

    Integrated pest management

    Good collections handling addressed to risk management
    must include a section on pest control that in the case of the
    Museu Nacional is implemented by the Infrastructures
    Department according to technical requirements drawn up
    by conservators-restorers.

    Each intervention and control of pests must be painstakingly
    researched, describing the effects of the pest, the parts of
    the collection affected and the treatment applied for its
    extermination. All this information has to be included in the
    files of the collections.

    Emergency plans

    Apart from collection management, most institutions also

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    [https://blog.museunacional.cat/wp-content/uploads/IMG_1563.jpg](https://blog.museunacional.cat/wp-content/uploads/IMG_1563.jpg)

    have an emergency plan that regulates which procedures
    must be followed to avoid not just injury or loss of life for
    visitors and staff in the event of a catastrophe, but also to
    minimize damage or losses in the collection.

    The plan, in which the Departments of Maintenance,
    Security, Collections and Conservation-Restoration are
    heavily involved, must also include protocols on how to
    manage an emergency evacuation of people and objects at
    risk.

    Emergency plans must also include systems of assessment,
    rescue priorities, as well as post-damage inventories,
    including damage recovery procedures.

    Recommended links:

    SPECTRUM. The UK Museum Collections Management
    Standard. Risk Management procedure

    Sílvia Tena

    Registre d’obres d’art i Gestió de Col·leccions

    Registre d’obres d’art i Gestió de Col·leccions

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    [http://collectionstrust.org.uk/spectrum/](http://collectionstrust.org.uk/spectrum/)

    [http://collectionstrust.org.uk/spectrum/](http://collectionstrust.org.uk/spectrum/)

    [http://collectionstrust.org.uk/spectrum/](http://collectionstrust.org.uk/spectrum/)

    [http://collectionstrust.org.uk/spectrum/](http://collectionstrust.org.uk/spectrum/)

    [https://blog.museunacional.cat/en/author/silvia-tena/](https://blog.museunacional.cat/en/author/silvia-tena/)

    [https://blog.museunacional.cat/en/author/silvia-tena/](https://blog.museunacional.cat/en/author/silvia-tena/)

    [https://blog.museunacional.cat/en/author/silvia-tena/](https://blog.museunacional.cat/en/author/silvia-tena/)

    [https://blog.museunacional.cat/en/author/silvia-tena/](https://blog.museunacional.cat/en/author/silvia-tena/)

    **## 3_1Theregistrarincollectionmanagement_Riskmanagement_2.pdf**

    Blog del Museu Nacional d'Art de
    Catalunya » The registrar in
    collection management: Risk
    management

    11–14 minutes

    Sílvia Tena

    Art collections and, in general, any kind of heritage require
    great care and protection to ensure their safety with respect
    to losses or external damage. Works of art experience
    periods of extreme vulnerability (movement, transfer,
    intervention, restoration work, temporary exhibitions and so
    on). One of the aims of good collection management is to
    create a secure environment for objects through the
    implementation of a series of measures, which require the
    experience of many museum professionals (conservators-
    restorers, curators, registrars, specialists in security, in
    preventive conservations, among others). These measures
    can be divided into two main thematic groups: collection
    management proper and risk management, which can be
    seen as part of the former.

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    [https://blog.museunacional.cat/wp-content/uploads/3233-005.jpg](https://blog.museunacional.cat/wp-content/uploads/3233-005.jpg)

    [https://blog.museunacional.cat/wp-content/uploads/3233-005.jpg](https://blog.museunacional.cat/wp-content/uploads/3233-005.jpg)

    Handling of exhibition showcase materials

    On one hand, collection management deals with
    administrative and legal responsibilities associated with
    collections, the most central and strategic of which revolves
    round the creation and maintenance of a scrupulous
    inventory, as well as exhaustive documentation that places
    each and every one of the objects looked after by the
    institution historically, legally, artistically and physically. The
    professionals most closely associated with collection
    management are collection managers, registrars and
    researchers. More details in the first part of this article, The
    registrar in collection management: an emerging
    profession /1.

    But, on the other hand, a good collection management policy
    must above all envisage good risk management, in the

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    [https://blog.museunacional.cat/wp-content/uploads/3233-005.jpg](https://blog.museunacional.cat/wp-content/uploads/3233-005.jpg)

    [https://blog.museunacional.cat/wp-content/uploads/3233-005.jpg](https://blog.museunacional.cat/wp-content/uploads/3233-005.jpg)

    [https://blog.museunacional.cat/en/the-registrar-in-collections-management-an-emerging-profession-1/](https://blog.museunacional.cat/en/the-registrar-in-collections-management-an-emerging-profession-1/)

    [https://blog.museunacional.cat/en/the-registrar-in-collections-management-an-emerging-profession-1/](https://blog.museunacional.cat/en/the-registrar-in-collections-management-an-emerging-profession-1/)

    [https://blog.museunacional.cat/en/the-registrar-in-collections-management-an-emerging-profession-1/](https://blog.museunacional.cat/en/the-registrar-in-collections-management-an-emerging-profession-1/)

    [https://blog.museunacional.cat/en/the-registrar-in-collections-management-an-emerging-profession-1/](https://blog.museunacional.cat/en/the-registrar-in-collections-management-an-emerging-profession-1/)

    [https://blog.museunacional.cat/en/the-registrar-in-collections-management-an-emerging-profession-1/](https://blog.museunacional.cat/en/the-registrar-in-collections-management-an-emerging-profession-1/)

    [https://blog.museunacional.cat/en/the-registrar-in-collections-management-an-emerging-profession-1/](https://blog.museunacional.cat/en/the-registrar-in-collections-management-an-emerging-profession-1/)

    [https://blog.museunacional.cat/en/the-registrar-in-collections-management-an-emerging-profession-1/](https://blog.museunacional.cat/en/the-registrar-in-collections-management-an-emerging-profession-1/)

    [https://blog.museunacional.cat/en/the-registrar-in-collections-management-an-emerging-profession-1/](https://blog.museunacional.cat/en/the-registrar-in-collections-management-an-emerging-profession-1/)

    [https://blog.museunacional.cat/en/the-registrar-in-collections-management-an-emerging-profession-1/](https://blog.museunacional.cat/en/the-registrar-in-collections-management-an-emerging-profession-1/)

    sense that the latter is closely related to care of the
    collections from the point of view of their physical
    preservation, and different museum departments collaborate
    in this.

    The use of gloves is a preventive measure when handling
    artworks

    Risk management

    Care of the collections can be defined as the different
    preventive care steps taken to prevent damage or to delay
    the natural deterioration of objects. These practices are
    focused very especially on the prevention of risk and are
    addressed to achieving “zero risk”, by minimizing the
    potential damage caused by external sources.

    The ICOM Committee for Conservation defines ten risks:

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    [https://blog.museunacional.cat/wp-content/uploads/3265-016.jpg](https://blog.museunacional.cat/wp-content/uploads/3265-016.jpg)

    [https://blog.museunacional.cat/wp-content/uploads/3265-016.jpg](https://blog.museunacional.cat/wp-content/uploads/3265-016.jpg)

    [http://www.icom-cc.org/15/about/#.WngKTq1DlBy](http://www.icom-cc.org/15/about/#.WngKTq1DlBy)

    [http://www.icom-cc.org/15/about/#.WngKTq1DlBy](http://www.icom-cc.org/15/about/#.WngKTq1DlBy)

    • physical forces (like earthquakes, bad handling, …)

    • fire

    • water

    • acts of vandalism

    • pests

    • pollutants

    • excessive exposure to light and radiation

    • the wrong temperature (or brusque changes of it)

    • the wrong relative humidity (or brusque changes of it)

    • negligent care

    • dissociation

    Good collection maintenance involves seeking advice from
    different specialists that carefully ensures the objects’
    preventive conservation needs, and this ranges from asking
    conservators-restorers for technical reports on the suitability
    of supports and materials, to adequate methods of storage,
    packaging, framing, cleaning and the correct handling of
    objects, as well as the prevention and integral management
    of pests and deterioration in frames, works of art and their
    supports.

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    [https://blog.museunacional.cat/wp-content/uploads/3146-013.jpg](https://blog.museunacional.cat/wp-content/uploads/3146-013.jpg)

    [https://blog.museunacional.cat/wp-content/uploads/3146-013.jpg](https://blog.museunacional.cat/wp-content/uploads/3146-013.jpg)

    Control of locations of artworks in the Museu Nacional’s
    reserves

    Loans and temporary deposits

    Museums and institutions that look after collections often
    temporarily transfer objects as part of a loan or through
    temporary care agreements. This practice, which
    undoubtedly contributes to the dissemination and
    internationalization of collections and works, is nowadays
    clearly and gradually on the increase. Nevertheless, it
    constitutes a potential risk for collections that are loaned out.

    Risk management is a multidisciplinary management policy
    whose mission is focused on detecting, controlling,
    minimizing and managing the different risks run by art
    objects. It is essential to learn about the characteristics of
    the objects, the technique with which they are made, the
    year, the workshop or the artist who made them. One also
    has to know the route taken to transport it, the entrances or

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    [https://blog.museunacional.cat/wp-content/uploads/3146-013.jpg](https://blog.museunacional.cat/wp-content/uploads/3146-013.jpg)

    the design of the most suitable packaging for each object.

    A carefully thought out and considered loans policy is
    therefore vitally important, aimed at minimizing risk,
    weighing up the reasons for requesting, approving or
    refusing a loan, observing officially approved international
    regulations. As a general rule, museums have
    interdisciplinary loan committees which discuss different
    requirements prior to approving or refusing the loaning of
    objects, which establish the fees associated with the loan,
    where appropriate, and set the conditions – loan
    specifications or loan agreement – that the borrower is
    obliged to comply with.

    Control of packaging when unloading artworks of a truck

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    [https://blog.museunacional.cat/wp-content/uploads/3053-030.jpg](https://blog.museunacional.cat/wp-content/uploads/3053-030.jpg)

    [https://blog.museunacional.cat/wp-content/uploads/3053-030.jpg](https://blog.museunacional.cat/wp-content/uploads/3053-030.jpg)

    Aside from the scientific interest of the project for which the
    loaning of works is requested, the collection manager must
    on one hand gather information about the borrower to help
    him/her consider any possible risks to the object before it
    leaves the museum and on the other, a series of technical
    information that the registrar requests from different museum
    professionals, like:

    • the preventive conservation specialist is asked for a
    technical assessment report of a document called the
    facilities report, which will previously have been requested
    from the person asking for the loan.

    • another technical assessment report is requested from the
    person in charge of security to assess the aspects of the
    premises’ security.

    • a conservator-restorer draws up a detailed report on the
    object’s current condition (condition report). This report is
    essential when making a decision about the feasibility of a
    loan, and the factors included in this kind of report must be
    taken into account above any and all others.

    With all this information gathered, the collection registrar
    produces general loan conditions whose purpose is to
    foresee any possible risks for the work. Thus, the general
    terms and conditions of the loan regulate and stipulate
    conditions to be complied with such as the length of the loan
    period, conservation and care obligations, instructions for

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    the handling, packaging and transportation of the object,
    whether or not a police escort and a courier are obligatory
    (where appropriate), a line of credit for the catalogue,
    conditions for insuring the work, the notification of incidents.
    These documents also regulate a series of rights that the
    loaning museum reserves such as the right to inspection and
    retrieval. In short, each object in the collection receives
    personalized attention, in accordance with its specific nature.

    Storage and atmospheric conditions

    Anchor control of artworks

    When objects are looked after in museums, whether in the
    storeroom or in the galleries, the collection manager’s chief
    concern must be the continual safety of the objects. For this,
    the collection registrar and, very especially, the conservator-

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    [https://blog.museunacional.cat/wp-content/uploads/soporte.jpg](https://blog.museunacional.cat/wp-content/uploads/soporte.jpg)

    [https://blog.museunacional.cat/wp-content/uploads/soporte.jpg](https://blog.museunacional.cat/wp-content/uploads/soporte.jpg)

    restorer must take into account the suitability of storage
    spaces, the containers for the works, and the necessary
    atmospheric conditions to avoid damage to them. The
    registrar asks conservators-restorers for advice when
    drafting technical specifications and contracts that involve
    the supply of materials. Among other things these include:

    • Advice on the suitability of supports, vitrines, frames and
    rigid packaging adapted to the works. This includes bearing
    in mind the interior filling and the support of the objects to
    avoid damage caused by bumps and scratches.

    • The vitrines must be stable and watertight.

    • Technical advice about the adhesives to be used, papers,
    passe-partouts and foams; they must be materials that do
    not cause any chemical reactions, abrasions or marks due to
    contact with the work.

    Apart from the materials wrapping the object, strict control of
    the atmospheric conditions is important, given that
    excessive humidity or brusque changes in relative
    humidity and temperature can cause problems such as
    corrosion, the proliferation of fungi colonies, cracks,
    warping or fragility. In the Museu Nacional this task is
    overseen by Preventive Conservation, and the registrar
    notes down the parameters advised by the conservator-
    restorer if the object is travelling on loan or its place is being
    changed.

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    Thus, good collection management will necessarily include
    the joint work of several museum professionals and requires
    the strict observance of rigorous controls of the parameters
    of temperature, relative humidity (RH), the effects of certain
    light spectra (UV), and the control of certain pollutants, a
    feasibility and suitability study of packaging, frames, vitrines,
    and so on. All this information is gathered by the collections
    registrar, and he/she will turn it into different specifications,
    loan agreements and other documents related to the object.

    Packaging and transportation

    In risk management, it is necessary to implement high
    standards of handling, packaging and transportation.
    Objects must be handled as little as possible. It is extremely
    necessary to ensure that museum staff in direct contact with
    the objects are well aware of good practices for handling
    objects, such as hand washing protocols, the appropriate
    use of cotton or rubber gloves, knowing how to identify
    structural weaknesses that may require special care, and the
    proper ways to transport objects inside institutions
    (platforms, trolleys, dollies, lifts, trays, conservation cases,
    etc.).

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    [https://blog.museunacional.cat/wp-content/uploads/3053-034.jpg](https://blog.museunacional.cat/wp-content/uploads/3053-034.jpg)

    [https://blog.museunacional.cat/wp-content/uploads/3053-034.jpg](https://blog.museunacional.cat/wp-content/uploads/3053-034.jpg)

    Anchorage of packaging in the truck to avoid vibrations

    To ensure safe transportation outside the museum, the
    correct handling standards of objects must be combined with
    strict individual packaging requirements for each object.
    Ideally, the object must be packaged in a rigid container
    (case) made of fireproof materials, to ensure
    watertightness and protect it from bumps, vibrations, sudden
    temperature changes and bad handling. The registrar
    requests a technical report from the department of
    conservation-restoration on the suitability of the packaging
    materials and the handling.

    On the other hand, the registrar will have to weigh up other
    aspects to minimise risk such as the means of dispatch
    (land, air or sea transport or a combination), the difference in
    climatic conditions that the object will presumably encounter
    when it arrives in the new destination, the most direct routes
    or the need for police escorts if the work so requires it.

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    [https://blog.museunacional.cat/wp-content/uploads/3053-034.jpg](https://blog.museunacional.cat/wp-content/uploads/3053-034.jpg)

    [https://blog.museunacional.cat/wp-content/uploads/3053-034.jpg](https://blog.museunacional.cat/wp-content/uploads/3053-034.jpg)

    [https://blog.museunacional.cat/wp-content/uploads/IMG_1563.jpg](https://blog.museunacional.cat/wp-content/uploads/IMG_1563.jpg)

    [https://blog.museunacional.cat/wp-content/uploads/IMG_1563.jpg](https://blog.museunacional.cat/wp-content/uploads/IMG_1563.jpg)

    Handling of large-format artworks

    Integrated pest management

    Good collections handling addressed to risk management
    must include a section on pest control that in the case of the
    Museu Nacional is implemented by the Infrastructures
    Department according to technical requirements drawn up
    by conservators-restorers.

    Each intervention and control of pests must be painstakingly
    researched, describing the effects of the pest, the parts of
    the collection affected and the treatment applied for its
    extermination. All this information has to be included in the
    files of the collections.

    Emergency plans

    Apart from collection management, most institutions also

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    [https://blog.museunacional.cat/wp-content/uploads/IMG_1563.jpg](https://blog.museunacional.cat/wp-content/uploads/IMG_1563.jpg)

    [https://blog.museunacional.cat/wp-content/uploads/IMG_1563.jpg](https://blog.museunacional.cat/wp-content/uploads/IMG_1563.jpg)

    have an emergency plan that regulates which procedures
    must be followed to avoid not just injury or loss of life for
    visitors and staff in the event of a catastrophe, but also to
    minimize damage or losses in the collection.

    The plan, in which the Departments of Maintenance,
    Security, Collections and Conservation-Restoration are
    heavily involved, must also include protocols on how to
    manage an emergency evacuation of people and objects at
    risk.

    Emergency plans must also include systems of assessment,
    rescue priorities, as well as post-damage inventories,
    including damage recovery procedures.

    Recommended links:

    SPECTRUM. The UK Museum Collections Management
    Standard. Risk Management procedure

    Sílvia Tena

    Registre d’obres d’art i Gestió de Col·leccions

    Registre d’obres d’art i Gestió de Col·leccions

    Blog del Museu Nacional d'Art de Catalunya » The registrar in collecti… about:reader?url=file%3A%2F%2F%2FUsers%2Fnizan.shaked%2FLib…

    13 of 14 7/8/24, 10:39 AM

    [http://collectionstrust.org.uk/spectrum/](http://collectionstrust.org.uk/spectrum/)

    [http://collectionstrust.org.uk/spectrum/](http://collectionstrust.org.uk/spectrum/)

    [http://collectionstrust.org.uk/spectrum/](http://collectionstrust.org.uk/spectrum/)

    [http://collectionstrust.org.uk/spectrum/](http://collectionstrust.org.uk/spectrum/)

    [https://blog.museunacional.cat/en/author/silvia-tena/](https://blog.museunacional.cat/en/author/silvia-tena/)

    [https://blog.museunacional.cat/en/author/silvia-tena/](https://blog.museunacional.cat/en/author/silvia-tena/)

    [https://blog.museunacional.cat/en/author/silvia-tena/](https://blog.museunacional.cat/en/author/silvia-tena/)

    [https://blog.museunacional.cat/en/author/silvia-tena/](https://blog.museunacional.cat/en/author/silvia-tena/)