This post is only slightly off topic, but it is preservation related of a kind. Our University Archivist and myself went over to Duke Hospital to take part in a compression-only CPR class today. This session focused on what to do if an adult or teenager collapses due to cardiac arrest.Resusci Annie has been replaced by a half-manikin androgynous bot. It has a dial in the back that must adjust the resistance, it says “adult” and “child.” Was I the only one that flipped it over to look at the back?
We learned the proper way to apply compressions following the “three C’s.”
- Check to see if the person is conscious
- Call 911; and if there is an AED in your building, ask someone to get that, or get it yourself
- Compressions at at least 100 beats per minute
If you need help keeping the 100 beats-per-minute rhythm, the American Heart Association has put together a Spotify list of music with the perfect beat to do CPR compressions. We also learned how to use an Automated External Defibrillator or AED, which led me to wonder if the library has one. I’ve sent an email to our building security manager to find out.
There is a very brief video by the American Heart Association that demonstrates the compression-only CPR technique. You do not need to be certified to do this method of CPR, and it does not involve checking for a heart beat, sweeping the mouth, or providing breaths.My new sticker for my office window.
At the beginning of the class we were asked to share this information with eight people, and ask them to share as well. Consider yourself part of my eight people. Now go and share!
Today was board-shear maintenance day. We changed the blade, replaced some worn screws, and trued the cut. It takes two people to change the blade. One person under the shear (usually me) and one person to tighten the screws. We have the maintenance down to about half an hour. A while ago we showed you the view from above, ever wonder what the view from below looks like?Rachel laughing at Beth on the floor.
That is not a very flattering angle. It’s a very good thing Rachel has a great sense of humor.
We are conducting a collections survey of the Music Library’s locked stacks in order to develop a conservation plan for the items held there. Surveying can be fun, but it can also be routine and repetitive:
- Pull book from shelf.
- Enter bibliographic info into database.
- Look at the covers and binding.
- Look at the text block and paper.
- Record your observations.
- Put the book back on the shelf.
- Repeat hundreds and hundreds and hundreds of times.
It is easy to feel that you have seen every book there is to see and nothing could surprise you. Then you open the next score on the shelf and you gasp out loud.
This brittle music score has had some pretty awful repairs done to it in the distant past (emphasis on distant). My guess is that when it was first damaged someone used self adhesive tape to repair it. Fair enough, it’s a common impulse and often seen in scores. When those repairs failed and the paper was too brittle to repair, it was laminated between two vinyl sheets AND stapled AND glued into a pamphlet binder.
There appears to be a little air pocket about a millimeter in width around the score. I tried picking around the edges of the vinyl with to see if it would come away easily. No luck. We’ll have to bring this to the lab to see if there is something we can do to remove the lamination. Digitization may be the best option at this point given the condition of the paper.
As horrible as this treatment is, if not for the lamination, this score may have ceased to exist long ago. Yes, the treatment is actively damaging the paper, but it also kept all the pieces together.
We have a lot of discussions about when to undo previous repairs, and whether or not we should spend time working on items whose repairs may be unsightly but are still functioning and not causing further harm. It’s a worthy discussion to have. But this one is crying out for undoing if at all possible. It went into the database as “treat immediately” and we will be talking to the head of the Music Library about treatment options when it gets to the lab.