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Journal articles on the topic 'Facsimilies'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Koblischke, Patryk. "Faksymilia jako typ publikacji książkowej — definicja, typologia, edytorstwo i funkcje." Roczniki Biblioteczne 63 (April 14, 2020): 93–116. http://dx.doi.org/10.19195/0080-3626.63.5.

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The subject of facsimiles has rarely been explored in Polish bibliology. That is why the present study is an attempt to systematise the knowledge of the subject on the basis of bibliological and scholarly sources, both Polish and foreign. Facsimiles are made to represent the most important features of documents, including the faithfulness in the reproduction of the original, content added during facsimile edition (back matter, commentary) as well as formal and editorial features. The very process of producing a facsimile consists in advanced scanning of the original document, precise printing guaranteeing faithful reproduction of colours, manual treatment (e.g. cutting of holes, gilding etc.) and binding. All these elements are to make the facsimile similar to the original as much as possible. Facsimiles serve as substitutes of original documents, making it possible to disseminate and protect the originals, and use them in research or popularising activities. Given the aesthetic and material value, they may also become collector’s items or investments for potential users. Today facsimiles are undergoing transformations in the context of their roles and functions.

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2

Loughridge, Deirdre. "Making, Collecting and Reading Music Facsimiles before Photography." Journal of the Royal Musical Association 141, no. 1 (2016): 27–59. http://dx.doi.org/10.1080/02690403.2016.1151232.

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ABSTRACTFacsimiles of musical autographs are typically thought to require photography, and to have a primary purpose of clarifying composers’ intentions. But there was a robust culture of music facsimile prior to photography. Made by transfer lithography, these facsimiles served different purposes and reading habits. The activity of collecting handwriting samples was paramount, as was the idea that handwriting was a mirror of character. This article surveys ways of using and finding meaning in composer autographs in the 1820s to the 1840s, focusing especially on music facsimiles in Paris. Here, composers used facsimiles to help shape their public image, and publishers used them to entice consumers. When facsimiles reproduced documents of friendship, they crossed private and public expression in ways that could be advantageous or problematic, as seen through a look at the publication in facsimile of a Rossini waltz by the Revue et gazette musicale and the ensuing legal battles.

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3

Mascorro, J. A., and G. S. Kirby. "Physical characteristics of "old" epon 812 and various epon-like replacements." Proceedings, annual meeting, Electron Microscopy Society of America 44 (August 1986): 222–23. http://dx.doi.org/10.1017/s0424820100142736.

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Epon 812 has been used successfully as an embedding medium because of its well known sectioning and staining characteristics as well as its ability to tolerate the unfriendly confines of an electron microscope column which include intense heat and strong vacuum. Although production of this popular medium was discontinued by the Shell Chemical Co. in the mid-1970's, the product still is available from several suppliers. However, existing inventories now are nearly 10 years old and microscopists eventually must rely on similar substitutes if Epon was their original choice. This work has examined the replacements EmBed 812, LX-112, Pelco Medcast and PolyBed 812 for physical characteristics such as flow rate, density, viscosity and hardness. In addition, an original supply of Shell Epon 812 was tested and compared to the Epon facsimilies. This work also seeks to establish ideal infiltration and polymerization schedules in order to minimize processing time and insure that tissues are well impregnated subsequent to microtomy and microscopy.

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4

VAN WOERDEN, H. C., M. R. EVANS, B. W. MASON, and L. NEHAUL. "Using facsimile cascade to assist case searching during a Q fever outbreak." Epidemiology and Infection 135, no. 5 (October 26, 2006): 798–801. http://dx.doi.org/10.1017/s0950268806007333.

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SUMMARYIn September 2002, facsimiles were sent to 360 primary-care physicians alerting them to a local outbreak of Q fever. The physicians subsequently submitted serology samples on significantly more patients than in a previously comparable period in 2001. Facsimile cascade assists effective communication with primary-care physicians in an outbreak investigation.

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5

Pryimak, O. "RESEARCH OF SIGNATURE IMAGES APPLIED WITH A FAXIMILE CLICHET." Criminalistics and Forensics, no. 66 (2021): 820–29. http://dx.doi.org/10.33994/kndise.2020.66.60.

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In modern expert practice, the so-called signatures made using facsimile clichés are increasingly becoming objects of research. In fact, these are not actually, signatures requiring handwritten execution, but its images, applied using certain clichés (facsimiles). The determination of a specific method of drawing a graphic object (handwritten or not handwritten, in particular, by means of a facsimile cliché) is within the competence of a specialist in the field of forensic examination of documents. In addition, the establishment of a specific performer of the signature refers to the identification tasks of handwriting research. The solution of handwriting problems during handwriting signatures’ research that served as originals for making facsimile clichés, the prints of which are provided for research, is in some cases possible. However, when assessing the identified signs of handwriting, the expert should take into account that with this method of drawing a graphic object, these signs are not reproduced in full, because a significant part of the handwriting information is lost. The facsimile-recreated graphic is not a person identification. Therefore, it is unacceptable to use facsimile clichés to certify documents related to property or legal relations.

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6

Willis, Graham Denyer. "City of clones: Facsimiles and governance in São Paulo, Brazil." Current Sociology 65, no. 2 (September 22, 2016): 235–47. http://dx.doi.org/10.1177/0011392116657295.

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São Paulo is a megacity defined by formal and informal patterns of urbanization. Informally urbanized spaces are not absent of state intent, despite appearances. Grassroots-led social and spatial practices for survival, agency and self-governance contribute to the reproduction of urban political order in surprisingly unoriginal and routinely recognizable ways. This article argues that these unexceptional informal practices can be understood as ‘facsimiles’ of their formal institutional originals. Using the example of cloned cars the article shows that the facsimile and the original are the same in form and function. Facsimiles do not exist outside of political authority, but are a byproduct and a component of it. They are indistinguishable in their bureaucratic deployment, recognition and acceptance as part of social and spatial order.

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7

Goodwin, Godfrey. "Art and society of Bulgaria in the Turkish period. By Machiel Kiel. pp. 400, 77 illus. 7 facsimilies, 9 maps. Assen/Maastricht, Van Gorcum, 1985." Journal of the Royal Asiatic Society of Great Britain & Ireland 119, no. 1 (January 1987): 130. http://dx.doi.org/10.1017/s0035869x00167309.

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8

Márton, Mátyás, László Zentai, and Gábor Gercsák. "From the digital contentual facsimile of a globe map to a contemporaneous facsimile globe in 3D (The rebirth of Perczel’s globe)." Abstracts of the ICA 2 (October 8, 2020): 1–2. http://dx.doi.org/10.5194/ica-abs-2-9-2020.

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Abstract. The final result of the Perczel Project was born after ten years of research at the Department of Cartography and Geoinformatics of Eötvös Loránd University by end 2019. The plan was to completely reconstruct Perczel’s giant globe. The globe, dated 1862, was made by László Perczel and it is now kept in the Map Room of the National Széchényi Library. It is a unique manuscript globe with a diameter of 127.5 cm, but its condition was very poor (several serious defects and illegible labels). In addition to the cartographic tasks by the Department, it was necessary to involve graphic designers and object restorers, model makers, a wood restorer, a coppersmith and an engraver; they were all coordinated by the Archiflex Studio. As a result of their collaboration such globes were born which most probably look like the original manuscript product looked almost 160 years ago. The facsimile was made in three copies.Before the Archiflex Studio started to organize the work, the Department created – by processing 800 photographs – a digital virtual 3D facsimile to register the state of the globe. This globe was entered into the Virtual Globes Museum (http://terkeptar.elte.hu/vgm). The original large-resolution photos were also used for making the segments of the digital contentual globe map between 2008 and 2012. This intensive work (with the cooperation of several BSc, MSc and PhD students of cartography) produced a series of digitally recreated segments of the globe map, which were redrawn, recoloured, and registered the legible letters. The digital contentual facsimile was used to prepare the virtual 3D model, which was also placed in the Virtual Globes Museum in 2012.The work on the globe at the Department ceased in 2012–13, but continued in a half-year project in 2019, before the start of the actual physical reconstruction. The project was undertaken by Mátyás Márton, the head of the former Perczel Poject. The work meant that the digital contentual facsimile completed in 2012 had to be further processed: namely, the digital reconstruction of the globe map. Various cartographic challenges had to be solved to accomplish this task:The possible sources had to be identified: those maps and atlases had to be found that Perczel may have used for the preparation of his globe. The collected publications were compared to the easily readable parts of the globe; in this way, it was possible to select those that were probably used. These sources were considered basic sources for further work.The selected sources made it possible to achieve two goals: first, to complete the letters of place names that were partly illegible, and second, to add the graphical elements to those parts of the globe that had been completely destroyed.There was only limited time to carry out the above tasks, and at the same time, we had to serve those who were working on the production of the three facsimile globes under the direction of the artistic director of the project.This paper gives only an outline of the events of the progress of the digital recreation, that is the digital (virtual) contentual facsimile of the globe at the Department in the past more than ten years. It gives details on the cartographic tasks needed before the physical reconstruction. This made it possible to make the digital restoration and digital reconstruction of the globe map as complete as possible. As a result, it also became possible to prepare the virtual 3D model of the content of the reconstructed facsimile globe. In comparison to the state of the globe in 2012, altogether 2,872 graphical elements and 3,252 place name amendments and corrections were made in the project. Hill shading was added or completed on 318 places – mostly on the damaged parts. Further, the content of the badly damaged calendar ring was explored. (The study and reconstruction of the artistic drawing of the signs of the zodiac was done by a designer-graphic artist.) It is a cartographic interest that the points of the compass were written in old-style Hungarian words on the calendar frame (horizon ring), which are not used today.Finally, the authors present the contemporaneous facsimiles in their physical form, which is the result of the project coordinated by the Archiflex Studio (the 3D models can be seen in the VGM). The completion of these facsimiles makes this work of art – known as Perczel’s globe in map history – a common property representing great scientific and cultural value.

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9

Sadie, Stanley, Mozart, and Brahms. "Facsimiles." Musical Times 126, no. 1714 (December 1985): 736. http://dx.doi.org/10.2307/965209.

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10

Lefferts, Peter M. "Facsimiles of Fourteenth-Century English Polyphony." Royal Musical Association Research Chronicle 21 (1988): 83–95. http://dx.doi.org/10.1080/14723808.1988.10540930.

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With the proliferation of comprehensive commercial microfilming of major music collections, careful consideration needs to be given to the production of hard-cover books of facsimiles that traverse the same ground. Of course, a book is still a convenient way of storing and handling certain kinds of material. In compensation for its bulk it is tangible, accessible and portable, not to mention the fact that it can be annotated. And certain kinds of facsimile volume are obviously still going to be desirable: those reproducing single sources of great importance; those containing the contents of smaller libraries and obscure or less accessible collections; and those that comprise within a single volume an important cross-section of some scattered repertory or corpus of sources. In the light of those considerations, the publication of these two volumes of facsimiles of late-medieval English polyphony is most welcome. They make widely available at reasonable quality and price a vast amount of buried treasure found up to now only in the file drawers of a few specialists. The hoard consists of a large proportion of the surviving English polyphony from the era between the Worcester fragments and the Old Hall manuscript. This is an important and little-known repertory, spanning the entire fourteenth century but dispersed among numerous fragmentary sources. Both volumes will be necessary and welcome additions to public collections as well as to the private libraries of specialists in medieval music. They are also an essential complement to the four-volume edition of this same repertory recently published by Editions de L'Oiseau Lyre in the series Polyphonic Music of the Fourteenth Century, and they will surely prove invaluable for the teaching of surveys and seminars on early English polyphony.

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11

Poulle, Emmanuel. "Essay Review: Copernicus's Minor Works in Facsimile: Nicholas Copernicus, Complete Works, iv: The Manuscripts of Nicholas Copernicus' Minor Works Facsimiles, Nicolas Copernic, Œuvres complètes, ii (Version française): Facsimilés des manuscrits des écrits mineurs." Journal for the History of Astronomy 27, no. 1 (February 1996): 75–78. http://dx.doi.org/10.1177/002182869602700107.

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12

Spencer, Robert. "Lute facsimiles." Early Music XXII, no. 2 (May 1994): 335–36. http://dx.doi.org/10.1093/earlyj/xxii.2.335.

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13

Fallows, David. "Manuscript facsimiles." Early Music XXIV, no. 2 (May 1996): 345–46. http://dx.doi.org/10.1093/earlyj/xxiv.2.345.

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14

ARDOIN, JOHN. "Three Facsimiles." Opera Quarterly 3, no. 4 (1985): 38–47. http://dx.doi.org/10.1093/oq/3.4.38.

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15

Tock, Benoît-Michel. "Facsimilies of English Episcopal Acta, 1085–1305. By Martin Brett (with Philippa Hoskin and David Smith). (English Episcopal Acta. Supplementary, 1.) Pp. liv incl. colour frontispiece and handlist of descriptions and facsimiles+100 black-and-white and colour plates. Oxford: Oxford University Press (for the British Academy), 2012. £120. 978 0 19 726456 0." Journal of Ecclesiastical History 66, no. 1 (January 2015): 175–76. http://dx.doi.org/10.1017/s0022046914001420.

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16

Dahlström, Mats. "Copies and facsimiles." International Journal of Digital Humanities 1, no. 2 (May 8, 2019): 195–208. http://dx.doi.org/10.1007/s42803-019-00017-5.

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17

Fischer, Bob, and Burkay Ozturk. "Facsimiles of Flesh." Journal of Applied Philosophy 34, no. 4 (May 29, 2016): 489–97. http://dx.doi.org/10.1111/japp.12223.

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18

Knight, David. "Background and Foreground: Getting Things in Context." British Journal for the History of Science 20, no. 1 (January 1987): 3–12. http://dx.doi.org/10.1017/s0007087400000455.

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Historians generally grumble at the liberties taken with letters and papers by editors and biographers in the past, while reviewers may complain at the professorial pomposities which interfere with the reader's interaction with the text. Certainly, reading is not a mere matter of information retrieval or of source-mining, but a meeting of minds, and any over-zealous editing which makes this more difficult will have failed. Editors, whether of journals or of documents, are midwives of ideas—self-effacingly bringing an author's meaning and style into the world. What reviewers praise is the unobtrusive, and what they damn is ‘a manner at once slapdash and intrusive’, making allowances perhaps for an ‘introduction which is as admirable as his footnotes are useless’. When in the 1960s new technology brought us a flood of facsimile reprints of scientific works, some avoided these problems by appearing naked and unashamed: but for a text on phrenology, or for Goethe's Theory of Colours, a fig leaf or two of commentary is really necessary to help the innocent reader to interact with the book. Facsimiles of nineteenth-century editions of Wilkins' papers, of some Newton correspondence, or of Henry More's poetry are even more problematic; the reader should know that these editors' assumptions cannot be taken for granted, and that their introductions are themselves historical documents. The exact reproduction of misprints and misbindings (giving pages out of order and misnumbered) is of dubious assistance to the modern reader.

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19

Light, Jennifer S. "Facsimile." New Media & Society 8, no. 3 (June 2006): 355–78. http://dx.doi.org/10.1177/1461444806059920.

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20

Mohri, Katsuo, Michio Shiraogawa, Yoshito Dezaki, and Toshiro Nose. "Special edition Facsimile broadcasting. Facsimile receiver." Journal of the Institute of Television Engineers of Japan 41, no. 2 (1987): 150–57. http://dx.doi.org/10.3169/itej1978.41.150.

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21

Stämpfli, R. "Facsimiles of selected papers." Experientia 50, no. 4 (April 1994): 355–428. http://dx.doi.org/10.1007/bf02026638.

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22

Pugh, Alan. "Facsimile today." Electronics & Communications Engineering Journal 3, no. 5 (1991): 223. http://dx.doi.org/10.1049/ecej:19910038.

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23

Hatade, Yoshio, and Toshio Shimizu. "Home facsimile." Journal of the Institute of Television Engineers of Japan 39, no. 3 (1985): 206–13. http://dx.doi.org/10.3169/itej1978.39.206.

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24

Matsuki, Makoto. "Color facsimile." Journal of the Institute of Television Engineers of Japan 46, no. 9 (1992): 1134–40. http://dx.doi.org/10.3169/itej1978.46.1134.

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25

Itoh, Yutaka. "Facsimile Broadcasting." Journal of the Institute of Television Engineers of Japan 46, no. 1 (1992): 40–48. http://dx.doi.org/10.3169/itej1978.46.40.

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26

Uchida, Toru, and Toshiaki Hatanaka. "Facsimile Technology." Journal of the Society of Mechanical Engineers 102, no. 967 (1999): 362–63. http://dx.doi.org/10.1299/jsmemag.102.967_362.

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27

Coopersmith, J. "Facsimile's false starts." IEEE Spectrum 30, no. 2 (February 1993): 46–49. http://dx.doi.org/10.1109/6.208366.

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28

Temperley, Nicholas. "On Editing Facsimiles for Performance." Notes 41, no. 4 (June 1985): 683. http://dx.doi.org/10.2307/940851.

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29

Visser, Michelle. "Digital Facsimiles on CD-ROM." Journal of Interlibrary Loan, Document Delivery & Information Supply 14, no. 4 (September 8, 2004): 69–78. http://dx.doi.org/10.1300/j110v14n04_06.

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30

OʼBoyle, J. E., and R. W. Enzenauer. "Eye Drops and Unreasonable Facsimiles." AJN, American Journal of Nursing 92, no. 11 (November 1992): 61. http://dx.doi.org/10.1097/00000446-199211000-00024.

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31

West, James L. W. "Are Manuscript Facsimiles Still Viable?" Textual Cultures 6, no. 2 (October 2011): 103–8. http://dx.doi.org/10.2979/textcult.6.2.103.

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32

Takada, Tuneyoshi, Mitsuo Togashi, and Toshiharu Sasaki. "Special edition Facsimile broadcasting. Facilities for facsimile broadcasting." Journal of the Institute of Television Engineers of Japan 41, no. 2 (1987): 145–49. http://dx.doi.org/10.3169/itej1978.41.145.

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33

Brackenridge, J. Bruce. "Isaac Newton. The Preliminary Manuscripts for Isaac Newton's 1687 Principia 1684–1686. Facsimilies of the Original Autographs, now in Cambridge University Library, with an Introduction by D. T. Whiteside. Cambridge: Cambridge University Press, 1989. Pp. xxi + 246. ISBN 0-521-33499-3. £65.00. $115.00." British Journal for the History of Science 25, no. 3 (September 1992): 364–65. http://dx.doi.org/10.1017/s0007087400029253.

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34

Marcus, J. "A Reasonable Facsimile." Literary Imagination 10, no. 1 (January 1, 2008): 62–71. http://dx.doi.org/10.1093/litimag/imm082.

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35

Kawauchi, Masataka. "Facsimile broadcasting system." Journal of the Institute of Television Engineers of Japan 43, no. 8 (1989): 790–95. http://dx.doi.org/10.3169/itej1978.43.790.

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36

Wilding, Nick. "A Galileo Facsimile." Journal for the History of Astronomy 46, no. 3 (August 2015): 368–70. http://dx.doi.org/10.1177/0021828615585452.

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37

Schmidt, Steven J. "A Reasonable Facsimile." Bottom Line 8, no. 1 (January 1995): 32–37. http://dx.doi.org/10.1108/eb025436.

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38

Colton, Lisa. "Polyphony in facsimile." Early Music 46, no. 2 (May 2018): 339–40. http://dx.doi.org/10.1093/em/cay034.

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39

Subba Rao, Siriginidi. "A reasonable facsimile." Work Study 48, no. 5 (September 1999): 170–75. http://dx.doi.org/10.1108/00438029910279411.

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40

Eguchi, Fumio. "Special edition Facsimile broadcasting. Information services offered by facsimile broadcasting." Journal of the Institute of Television Engineers of Japan 41, no. 2 (1987): 158–59. http://dx.doi.org/10.3169/itej1978.41.158.

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41

Giovine, Sara. "Un facsimile non è un template… ma sono entrambi invariabili?" XVII, 2021/2 (aprile-giugno), no. 2 (June 29, 2021): 92–95. http://dx.doi.org/10.35948/2532-9006/2021.9562.

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Rispondiamo ai numerosi lettori che ci hanno scritto per conoscere la differenza di significato tra facsimile e template riproponendo la risposta di Gabriella Cartago, pubblicata sul n. 58 (I, 2019) della nostra rivista La Crusca per voi. Aggiungiamo inoltre una breve nota per rispondere a quanti ci chiedono quale sia la corretta forma di plurale di facsimile.

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42

Welther, Barbara L. "Harlow Shapley: A View from the Harvard Archives." Symposium - International Astronomical Union 126 (1988): 477–78. http://dx.doi.org/10.1017/s0074180900042698.

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This exhibit featured facsimiles of some letters that Shapley exchanged with George Ellery Hale, Henry Norris Russell, and Heber Doust Curtis from 1917 when he was at Mount Wilson working on globular clusters to 1921 when he became Director of Harvard College Observatory.

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43

Roylance, Patricia Jane. "Winthrop's Journal in Manuscript and Print: The Temporalities of Early-Nineteenth-Century Transmedial Reproduction." PMLA/Publications of the Modern Language Association of America 133, no. 1 (January 2018): 88–106. http://dx.doi.org/10.1632/pmla.2018.133.1.88.

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In the early nineteenth century, the antiquarian James Savage produced a print edition of John Winthrop's seventeenth-century manuscript journal. This transmedial reproduction illustrates the differing affordances of print and manuscript as vehicles for connecting to the past. Manuscripts offer a tangible link to long-dead people, but manuscripts' rarity encourages their sequestration in archives. In contrast, print editions make historical content more broadly accessible but provide a less direct material link to earlier eras. Print facsimiles of manuscript, such as the reproduction of Winthrop's handwriting included in Savage's edition, seek to embody the best of both media. But print facsimiles' promise of access to manuscript materiality elides their nature as temporal hybrids and their tendency to distort and damage their originals. The way that nineteenth-century antiquarians negotiated manuscript's and print's temporal affordances and juggled the competing prerogatives of past, present, and future makes those antiquarians useful models for understanding the stakes of digitization projects today.

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44

Mitsufuji, Toshio. "The innovation process of facsimile machines that extends over a long period of time." International Conference on Business & Technology Transfer 2006.3 (2006): 124–29. http://dx.doi.org/10.1299/jsmeicbtt.2006.3.0_124.

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45

Paucker, Günther Michael. "Liturgical chant bibliography 12." Plainsong and Medieval Music 12, no. 2 (October 2003): 179–211. http://dx.doi.org/10.1017/s0961137103003097.

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Liturgical chant bibliography 12 maintains the traditional division into: (1) Editions and facsimile editions, (2) Books and reprints, (3) Congress reports, (4) Chant journals, (5) Collections of essays and dictionaries, (6) Articles in periodicals and Festschriften. Additions to previous bibliographies, consisting mainly of reviews, follow the present introduction. A significant publication in 2002 was without doubt the colour facsimile of the manuscript Paris, Bibliothèque nationale de France, fonds lat. 776 (12002), an eleventh-century gradual from the Benedictine abbey of Saint-Michel-de-Gaillac near Albi. Although no staff lines are present, the music is notated carefully in diastematic notation. The availability of a facsimile of this famous manuscript will certainly be of value for the study of semiology and the transmission history of tropes, proses and prosulae. It also contains traces of the Gallican and Mozarabic chant repertories.

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46

Sanderson, Robert, Benjamin Albritton, Rafael Schwemmer, and Herbert Van de Sompel. "SharedCanvas: a collaborative model for digital facsimiles." International Journal on Digital Libraries 13, no. 1 (September 30, 2012): 3–16. http://dx.doi.org/10.1007/s00799-012-0098-8.

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47

Nakashima, Keisuke. "High-quality image processing architecture for facsimiles." Journal of Electronic Imaging 1, no. 1 (January 1, 1992): 61. http://dx.doi.org/10.1117/12.55179.

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48

Wong, Winnie. "Imperfect Facsimiles: The Library and the Museum1." Law & Literature 33, no. 3 (April 6, 2021): 413–34. http://dx.doi.org/10.1080/1535685x.2021.1885155.

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49

JENNINGS, CHELSEA. "Susan Howe’s Facsimile Aesthetic." Contemporary Literature 56, no. 4 (2015): 660–94. http://dx.doi.org/10.3368/cl.56.4.660.

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50

Haxen, Ulf. "Biblia de Alba facsimile." Magasin fra Det Kongelige Bibliotek 8, no. 4 (March 1, 1994): 3–7. http://dx.doi.org/10.7146/mag.v8i4.66347.

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