Sunday, April 12, 2009

Canadian Food Inspection Agency

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The Canadian Food Inspection Agency (French: Agence canadienne d'inspection des aliments), or CFIA, was created in April 1997, to integrate inspection and related services previously provided through the activities of four federal government departments Agriculture and Agri-Food Canada, Fisheries and Oceans Canada, Health Canada and Industry Canada. The establishment of the CFIA consolidated the delivery of all federal food safety, animal health, and plant health regulatory programmes.
Contents
1 Role and responsibilities
1.1 August 2008 listeria outbreak
2 References
3 See also
4 External links
//
Role and responsibilities
The agency is part of the larger federal public service. According to the CFIA statement of values, science is the basis for regulatory decisions but the need to consider other factors is recognized.[1]
The Minister of Agriculture and Agri-Food is responsible for the CFIA. The Minister of Health is responsible for establishing policies and standards for the safety and nutritional quality of food sold in Canada; the administration of those provisions of the Canadian Food and Drugs Act[2] that relate to public health, safety and nutrition; and for assessing the effectiveness of the Agency鎶� activities related to food safety.
Through the enforcement of various acts and regulations,[3] the CFIA works to protect Canadians from preventable health risks and provide a fair and effective food, animal and plant regulatory regime that supports competitive domestic and international markets
The main food elements of the Food and Drugs Act were last updated in 1985 and there have been ongoing regulatory amendments brought forward by Health Canada in its role as the standard setting body. The most recent attempt at modernizing the Food and Drugs Act was the introduction of Bill C-51. This has been on hold due to the controversy surrounding it.
Various legal interpretations have affected the operational priorities of CFIA. In particular, the Food and Drug Act / Regulations prescribe that entry to a food processing facility must be based on reasonable grounds. As a result, the CFIA must rely on the consumer/industry complaints and advice from Health Canada to provide reasonable grounds for entry.
Other Acts and Regulations do specify inspection requirements and for certain trade requirement, the need to register with CFIA to conduct business. Such companies are termed "registered establishments" as opposed to those "non-federally resgistered establishments" that fall solely under the Food and Drugs Act. While the Food and Drugs Act provide for core food safety standards, many companies opt to use third party standards such as HACCP or ISO in order to meet client specified standards. These standards are closely adhered to due to the potential loss of business.
The Food and Drugs Act does not provide the power to recall food products and almost all recalls are done on a voluntary basis. Few recalls are truly voluntary as a majority of recalls are initiated by the agency and seeks company approval to call it "voluntary". However, Section 19 of the Canadian Food Inspection Agency Act provides authority for the Minister of Agriculture to order a mandatory recall.[4] Such a recall order would only be conducted if there was potential harm to the consumer (Class I or Class II).
CFIA rates their recalls in three classifications.
"Class I" is a situation in which there is a reasonable probability that the use of, or exposure to, a violative product will cause serious adverse health consequences or death.
"Class II" is a situation in which the use of, or exposure to, a violative product may cause temporary adverse health consequences or where the probability of serious adverse health consequences is remote.
"Class III" is a situation in which the use of, or exposure to, a violative product is not likely to cause any adverse health consequences.
Public notification of Class I and sometimes class II recalls is done by the CFIA. Public notice of low risk recalls are not done but recall information is available through the Access to Information process.[5]
Recall classifications are conducted by 'Food Safety Investigation Recall with the aid of the Food Safety Investigation Program
The Food and Drugs Act does not have any requirements for domestic manufacturers to notify the agency of their existence but companies generally require provincial registrations or municipal licenses to operate. Provincial authorities and local public health units carry out inspections and work with the CFIA to manage food safety risks.
There were approximately 10,475 importers in Canada in 2005. These importers accounted for over 20 billion kilograms of food products every year (Data provided through Customs Canada). There is no requirement in the Food and Drugs Act for importers to...(and so on)

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Channel 3/4 output

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A channel 3/4 output was a common output selection for most audiovisual devices sold in North America, that are intended to be connected to a TV using a Radio frequency (RF) signal. This channel option was provided because it was rare to have broadcast channels 3 and 4 used in the same market. The choice allowed the user to select the unused channel in their area so that the connected device would be able to provide video and audio on an RF feed to the television without excessive interference from a broadcast signal.
RF modulation was common on equipment deployed in North America. Other countries had the RF output for video equipment on different groups of frequencies. For example, equipment sold in Europe, South Africa and Hong Kong used UHF channels 30 - 39 for this purpose. Equipment sold in Japan used channel 1 or 2 (Channel 13 - 16 is for cable converter).
In Australia, some manufacturers used the channel 3/4 output, while other manufacturers would use the UHF channels 30 - 36 for this purpose. It become common for VCRs sold in that market since the mid-1990s to use this output specification as well. The other common output frequency set in Australia was Channel 0 and 1 on the VHF band throughout the 1980s. This was because most televisions that were deployed on the Australian market before model-year 1980 could not receive the UHF band.
It also is common to have this type of RF output on video cassette recorders (VCRs), early DVD players and video game consoles.
VCR's ubiquity was responsible for making consumers familiar with RF modulation, which could explain its lasting popularity and use in all-digital mediums like DVD and video game consoles. A better explanation might be its familiarity and ease of use, along with legacy televisions, which couldn't readily support newer technologies like composite or S-video.
DVDs relatively later entrance to the marketplace means that most players after the early generations don't natively support RF modulation, instead relying on converters, which could also amplify the signal.
First through early Fifth-generation video game consoles commonly used this method to connect to the television, which was used as the audio and video device for the game. In many cases, an RF modulator was used to take the composite output from the game and modulate it before sending the signal to the television. Late Fifth through current generation video game consoles retain the ability to output through RF modulators, usually through a separately purchased adapter.
This electronics-related article is a stub. You can help Wikipedia by expanding it.
Categories: Television technology | Film and video technology | Analog video connectors | Electronics stubs
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Hi-Point Firearms

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It needs additional references or sources for verification. Tagged since April 2008.
It relies largely or entirely upon a single source. Tagged since April 2008.
Hi-Point Firearms
Type
Private
Founded
February 18, 1992
Headquarters
Mansfield, Ohio, United States
Key people
Thomas E. Deeb, President
Industry
Firearms
Products
Pistols, carbines
Parent
Beemiller, Inc.
Website
www.hi-pointfirearms.com

A Hi-Point CF380 pistol, unloaded, with the slide locked back.

Hi-Point Carbine with new stock from Advanced Technology, Inc and 15 rd magazine

Standard Hi-Point Carbine with original stock and 10rd mag.
Hi-Point Firearms, also known as Beemiller (Distributed by MKS Supply), is a firearms manufacturer based in Mansfield, Ohio. However only the CF.380, C9 9mm, & the carbines are made in Mansfield. They manufacture low-cost pistols and carbines, in the following calibers:
.380 ACP - Model CF-380 and 380COMP
9 mm Luger - C-9 and C-9 COMP pistols, Model 995 and 4095 carbine
The following are manufactured by Iberia Firearms[1]
.40 S&W - Model 40SW pistol
The following are manufactured by Haskell Manufacturing[1]
.45 ACP - Model 45ACP pistol
Hi-Point semi-automatic pistols are polymer-framed and generally regarded as simple, inexpensive handguns, which trade-off aesthetics for lower manufacturing cost. Based on a blowback design, Hi-Point pistols do not have a breech-locking system like most handguns. Instead they have large, heavy slides that hold the breech closed through sheer mass. The result is a heavier gun that is bulkier and may be less aesthetically appealing than designs employing recoil operation. Pistols that use a blowback action in the calibers that Hi-Point firearms are chambered for are somewhat rare.[2] While making the pistols heavy, this design also makes them mechanically simple and easy to maintain. HiPoint recommends hosing out the action with a powder solvent like breakfree powderblast or another aerosol solvent, then every 500-800 rounds running a patch or 2 down the barrel.
Most self-loading pistols can be field-stripped without the use of any tools; Hi-Point pistols require a punch or a small screwdriver to remove a pin in the receiver, in order to permit slide removal (and thus enable field-stripping). Hi-Point products generally retail for one-half to one-quarter the cost of a comparably chambered gun from most other manufacturers.[citation needed]
The slide is die cast from a zinc-family alloy that includes aluminum, magnesium, and copper and is called zamak-3, rather than machined from forged steel. When asked why die-casting was chosen as a manufacturing technique, a Hi-Point representative responded, "In the area of Ohio where we are located, there are many shops that specialize in die casting for the auto industry. We utilize this resource."[3] Uncommon for this construction, they are rated for +P ammunition in calibers up to .45 ACP. Blowback designs are generally simpler and easier to produce than locked-breech recoil-operated firearms. Though the fixed barrel generally will contribute to improved accuracy, blowback guns often are larger and heavier for a given caliber.
Hi-Point carbines use a polymer stock, stamped sheet metal receiver cover, and a receiver and bolt cast from zamak-3. The barrel is steel and button rifled using a 1-10" right hand twist. They are also blowback action, which is typically well suited to a low-pressure carbine.
Hi-Point carbines have a generally better overall reputation than the pistol line, although the pistol line has been gaining popularity as of late, and are fairly popular with budget-minded firearms enthusiasts.
Some people are wary of Hi-Points because of the use of zinc alloy (zamak-3) castings in much of their construction[who?]. However, parts made from zamak-3 in Hi-Point guns (receiver and bolt/slide) are low-stress components that do not require the strength and expense of steel. Higher stress components in Hi-Points, like the barrel and other small parts, are made of steel.
Contents
1 Magazines
2 Warranty
3 Reputation
4 Safety
5 References
6 External links
//
Magazines
Hi-Point magazines are metal, with plastic bases. They are generally available in 8 to 10 round capacities for pistols and 10 rounds for the 9 mm carbine and .40 S&W. The .45 holds 9 rounds in the magazine. Except for the Model 995 carbine, magazines will exchange between Hi-Point pistols and carbines of the same caliber. It is possible to use the magazine from a carbine in a pistol of same caliber. However, it is not safe and is not recommended by Hi-Point. The carbine magazine does not fit well and may cause failure to feed (FTF).The pistol magazines...(and so on)

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Benn Jordan

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Benn Jordan
Benn Jordan
Background information
Birth name
Benn Lee Jordan
Also known as
The Flashbulb, Acidwolf, CHR15TPUNCH3R, DJ ASCII, Dr. Lefty, Dysrythmia, Flexe, Human Action Network, Lucid32, MC Flashbulb, rapemachine, rnd16, 66x, Q-Bit
Born
October 28, 1978 (1978-10-28) (age30)
Georgia, United States
Genre(s)
Electronica, Breakcore, Classical, Ambient
Instrument(s)
Guitar, Drums, Bass, Sitar, Oud, Piano
Years active
1993 - present
Label(s)
Sublight, AlphaBasic, Bohnerwachs, Merck, Accel Japan, Nophi
Website
TheFlashbulb.net
Benn Lee Jordan (born October 28, 1978) is an American electronica musician operating under many pseudonyms. Since 1999 his most widely distributed and eclectic music has been released under the name of The Flashbulb. Other names Benn operates under are Acidwolf, CHR15TPUNCH3R, DJ ASCII, Dr. Lefty, Dysrhythmia, Flexe, Human Action Network, Lucid32, rapemachine, rnd16, 66x, and Q-Bit.
Contents
1 Biography
2 Composing For television and film
3 Musical style
4 Discography
4.1 LPs
4.2 EPs/etc.
5 Production and Live Gear info
6 Citations and references
7 External links
//
Biography
Jordan was born in Georgia in 1978 and moved to Chicago to live with his grandparents at a young age. He began his career releasing instrumental music on small labels in the United States and Europe, but has recently explored other paths such as record producing and freelancing as a television and film composer. Benn is also an active jazz guitar player and drummer at Chicago venues. In 2005, The Flashbulb toured with Dillinger Escape Plan which helped diversify his listeners, and has recently been working with Ben Weinman on creative efforts. Jordan is a sufferer of bipolar disorder[1], which may explain the extreme diversity in his musical endeavors.
Composing For television and film
In recent years, Jordan has seen much success for himself in composing for television and film. In 2006, Jordan's music ("Passage D" from his album Kirlian Selections) was featured in Dove's Evolution promotional campaign for its Campaign for Real Beauty website, which has drawn a large amount of attention from the mainstream media. The campaign took the commercial film winner at Cannes as well as many other prestigious awards. In addition, Jordan had been nominated for a 2007 London International Award for the "Best Use Of Music" category.[2] In 2008, Jordan had completed work in branding, having created stings and trademark sounds for companies such as Dove, Knowledge, Verizon, and many others. Jordan is currently represented by Vapor Music Group, a large international creative firm operating out of Toronto, and currently owns and operates their production and recording facilities in Chicago.
Musical style
As The Flashbulb, Jordan typically releases drill 'n' bass or breakcore styled music. His style differs strongly between albums, but they all have a cohesive bond tied around fast drum programming, acid-influenced melodies, and a wide array of live instrumentation from various instruments Jordan has acquired. He also often records his melodies through MIDI-synced guitars. His guitar style and skill has gained attention because he typically plays it strung backwards, and makes heavy use of fast sweeping and tapping. The last two Flashbulb albums have featured violinist Greg Hirte, who is featured heavily on The Flashbulb's 2008 album, Soundtrack to a Vacant Life, as well. Soundtrack to a Vacant Life is, as Jordan stated in a recent interview, a step away from the breakcore genre. He also said that this step is likely to be a permanent trend in the direction of his music.
Under other aliases, Benn Jordan's work varies quite a bit. His Acidwolf and Human Action Network aliases feature retro acid music that uses old drum machines such as the TR-808 and relies heavily on the melodies of the TB-303. Tracks made under the FlexE alias tend to be laid-back and classic acid. According to him, he showcases his more fundamental, classical, and personal pieces under his own name, Benn Jordan.
Discography
All as "The Flashbulb", unless otherwise indicated.
LPs
M3 (2000, Metatone)
These Open Fields (2001, AlphaBasic) (re-released in 2002 with different cover art and a bonus track)
Fly! (2001, Metatone Records)
Girls.Suck.But.YOU.Don't (2003, Accel Muzhik)
Resent and the April Sunshine Shed (2003, AlphaBasic)
Programmable Love Songs Vol. 1 (2004, Nophi) (as FlexE)
Red Extensions of Me (2004, Sublight)
Kirlian Selections (2005, Sublight)
Acidwolf Legacy 1995-2005 (2005, Bohnerwachs, AlphaBasic) (as Acidwolf)
R闁ion (2005, Sublight)
Flexing Habitual (2006, Sublight)
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Smelts

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(Redirected from Smelt)
For other uses, see Smelt (disambiguation).
Smelt
Rainbow Smelt, Osmerus mordax
Scientific classification
Kingdom:
Animalia
Phylum:
Chordata
Class:
Actinopterygii
Order:
Osmeriformes
Family:
Osmeridae
Genera
AllosmerusHypomesusMallotusOsmerusSpirinchusThaleichthys
Smelts are a family, Osmeridae, of small fish found in the Atlantic and Pacific Oceans. They are common in the North American Great Lakes, and in the lakes and seas of the northern part of Europe, and run in large schools along the coastline during their spring migration to their spawning streams.
It is one of the few fish that sportsmen are allowed to net, using dip nets, either along the coastline or in the streams. Some sportsmen also ice fish for smelt. Smelt are often fried and eaten whole.
Contents
1 Description
2 Species
3 Smelt dipping
4 As food
5 Festivals
6 Miscellaneous
7 External links
//
Description
A favorite of the Mediterranean. Smelts resemble salmon in appearance, but are smaller, usually reaching only around 20centimetres (7.9in), although some species can reach as much as 70centimetres (28in).[1] Indeed, smelts are a food source for salmon and lake trout. Like salmon, many species are anadromous, living most of their lives in the sea, but travelling into fresh water to breed. However, there are a few exceptions, such as the surf smelt, which spend their entire lives at sea.[2]
Smelt roe is bright orange in color, and is often used to garnish sushi.
Species
File:Transpacificus.jpg
transpacificus
There are fifteen species of smelt, grouped into six genera:[1]
Family Osmeridae
Genus Allosmerus
Allosmerus elongatus - Whitebait smelt
Genus Hypomesus
Hypomesus chishimaensis - Kunashir smelt
Hypomesus japonicus
Hypomesus nipponensis - Japanese smelt
Hypomesus olidus - Pond smelt
Hypomesus pretiosus - Surf smelt
Hypomesus transpacificus - Delta smelt
Genus Mallotus
Mallotus villosus - Capelin
Genus Osmerus
Osmerus eperlanus - European smelt
Osmerus mordax - Rainbow smelt
Osmerus spectrum - Pygmy smelt
Genus Sprinchus
Spirinchus lanceolatus
Spirinchus starksi - Night smelt
Spirinchus thaleichthys - Longfin smelt
Genus Thaleichthys
Thaleichthys pacificus - Eulachon
Smelt dipping

Smelt dipping in the Keweenaw Peninsula in Michigan
In Michigan and other Great Lake states of USA, "smelt dipping" is a common group sport in the early spring months (generally late April in the Upper Peninsula, when the stream water reaches approximately 4鐧�, 40-42f). Fish are spotted using a flashlight / headlamp (the best smelt dipping is in the middle of the night from 10:00pm - 2:00am) and scooped out of the water using a dip net made of nylon or metal mesh. The smelt are cleaned by removing the head and the entrails. Fins, scales, and bones of all but the largest of smelts are cooked without removal.[citation needed]
On the Maine coast, smelts were also a sign of spring, with the run of these small fish up tiny tidal estuaries. Many of these streams were narrow enough for a person to straddle and get a good catch of smelt by dipping a bucket.[citation needed]
As food

Close-up of smelt for sale at a California seafood market
Smelts have been traditionally an important winter catch in the salt water mouths of rivers in New England and the Maritime Provinces of Canada. Fishermen would go to customary locations over the ice using horses and sleighs. Smelt taken out of the cold salt water were much preferred to those taken in warm water. The smelt did not command a high price on the market, but provided a useful supplemental income in times when wants were much less. The smelts were "flash frozen" simply by leaving them on the ice and then sold to fish buyers who came down the rivers on horse and sleigh. They were also a winter meal. They were gutted, heads and tails removed and rinsed in cold water then dipped in flour mixed with salt and pepper and fried in butter. Served with boiled potatoes and pickled beets, they were an addition to winter fare.[citation needed]
Festivals
In the city of Inje, South Korea (Gangwan-do Province) a yearly Ice Fish Festival is held from January 30 to February 2 on Soyang Lake. The festival coincides with a smelt run when these small fish make their yearly journey into fresh water to breed. Smelt are locally known as "Bing-O" and are typically eaten alive or deep fried.[1]
Miscellaneous
Lists of miscellaneous information should be avoided. Please relocate any relevant information into appropriate sections or articles. (December 2008)
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Pentax K1000

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Pentax K1000

Without lens, showing the K mount and mirror.

Top view, showing the controls.
The Pentax K1000 (originally marked the Asahi Pentax K1000) is an interchangeable lens, 35 mm film, single-lens reflex (SLR) camera. It was manufactured by Asahi Optical Co., Ltd. (renamed PENTAX Corporation in 2002; acquired by Hoya Corporation in 2008) from 1976 to 1997, originally in Japan. It uses a horizontal travel, rubberized silk cloth focal plane shutter with a speed range of 1/1000 second to 1 second, along with Bulb and a flash X-sync of 1/60 second. It is 91.4 milimetres tall, 143 mm wide, and 48 mm deep, and weighs 620 grams. It was finished in black leather with chrome trim only. (Unlike most SLRs of its generation, there was no all black version.) However, the early production Pentax K1000 SE (see below) bodies had brown leather with chrome trim.
The introductory US list price for the K1000 body with SMC Pentax 55 mm f/2 lens was $299.50. In 1983, a K1000 with SMC Pentax-M 50 mm f/2 lens listed for $220; in 1988, the body only was $210, but $290 with SMC Pentax-A 50 mm f/2; in 1993, the body only was $263. The body plateaued at $315 in 1994 and remained there until discontinued. Note that SLRs usually sold for 30 to 40 percent below list price.
The K1000 is the simplest member of Asahi Optical's Pentax K-series SLRs, whose other members are the Pentax K2, KM, and KX, all introduced in 1975, and the K2 DMD (1976). All have the same basic body design, but with differing feature levels, internal electronics, and external controls and cosmetics.
The K1000's extraordinary longevity makes it a historically significant camera, despite its very ordinary design. Although the K1000 was already obsolete when it was first released, its inexpensive simplicity was a great virtue and earned it an unrivaled popularity as a basic but sturdy workhorse, particularly suited to educating inexperienced photographers. The Pentax K1000 eventually sold over three million units.
Contents
1 Features
2 Design History
3 References
4 External links
//
Features
The K1000 was an almost all metal, mechanically (springs, gears, levers) controlled, manual-focus SLR with manual exposure control. It was completely operable without batteries. It only needed batteries (one A76 or S76, or LR44 or SR44) for the light metering information system. This consisted of a center-the-needle exposure control system using a galvanometer needle pointer moving between vertically arranged +/ over/underexposure markers at the right side of the viewfinder to indicate the readings of the built-in full-scene averaging, cadmium sulfide (CdS) light meter versus the actual camera settings. The meter did not have a true on/off switch and the lens cap needed to be kept on the lens to prevent draining the battery when the K1000 was not in use.
The viewfinder also had a focusing screen with a microprism spot focusing aid. The Pentax K1000 SE substituted a split image rangefinder plus microprism collar focusing screen. The K1000 SE is otherwise identical to the regular K1000, except that the SE's from the first few years of production used brown leather instead of black.

A Pentax K1000 SE
The K1000 was often sold with a version of the SMC Pentax 50 mm f/2 lens. The K1000 accepted all manual focus lenses with the Pentax K bayonet mount, introduced in 1975 with the Pentax K-series SLRs. This included the K-A mount lenses introduced in 1983. Manual focus lenses made by Asahi Optical were the SMC Pentax, SMC Pentax-M and SMC Pentax-A types.
In addition, almost all lenses with the Pentax K-AF and K-AF2 autofocus lens mounts (introduced 1987 and 1991, respectively) would also work in manual focus mode. The exceptions are Pentax's newest SMC-Pentax FA J (1997) and SMC-Pentax DA (2004) types, which lack an aperture control ring. They will mount on the K1000, but have restricted functionality. Asahi Optical sold the Mount Adapter K to allow their older Takumar screw mount lenses (see below) to be used on K mount cameras (with limitations), but it is now a collector's item. In 2006, Pentax said that it had manufactured more than 24 million lenses over fifty years that could provide at least some functionality on the K1000. The number of independently manufactured Pentax-compatible lenses is also huge, but indeterminate.
Except for having an enormous variety of lenses with the popular K mount to choose from, the K1000 had fewer features compared to higher level SLRs of the mid 1970s. It had a slower flash synchronization speed of 1/60th second, a lower-quality sleeve-bushing equipped shutter and film advance mechanism, no self timer, no depth-of-field preview, no mirror lockup, no interchangeable focusing screens, no motor drive option, and no autoexposure.
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Antiques restoration refers to either the practice of "restoration"- restoring an antique or work of art to a like-new condition (or what might be perceived by a viewer or potential buyer as like-new), or "conservation"- the practice of preserving an antique or work of art against further deterioration.
Contents
1 Restoration
2 Conservation
3 See also
4 References
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Restoration
Restoration can be as simple as light cleaning to remove disfiguring dirt or grime, such as on the surface of a painting, or it may include near complete rebuilding or replacement, as might be the case with old automobiles or furniture. Often done in preparation for sale, or by a collector upon acquiring a new piece, the main goal of restoration is to "restore" the original appearance or functionality of a piece. There is a lot of difference between restoring and repairing. You may achieve functionality with a repair, but restoring an item properly is an art-form. Finishes might/may be stripped and redone, but it is essential that the original patination is retained, if possible. Stripping is only done as a last resort, especially with antique furniture. Engines might be rebuilt with new parts as necessary, or holes in a [silver] pot might/may be patched. While some of these practices are frowned on by many museums, scholars, and other experts, for many people there is little value in an antique that is unusable or not able to be displayed. Poor restoration is the bane of a trained restorer. Working on someone else's bad repair is the worst possible situation. Often with antique restoration, there are also other issues as well. For example, some collectors value "patina", or also want an item to still reflect an aesthetic that shows its age- in this respect, an "over restored" item can actually take away from its value than if nothing has been done to the item at all. Therefore, restoration should always be left to professionals who are sensitive to all of the issues- insuring that a piece retains or increases its value after restoration.

Antiques restoration in the National Museum in Warsaw, Poland
Restorers are often trained craftsperson's, such as furniture makers, mechanics, or metalsmiths. Some have years of experience in their fields, whereas others are self-taught volunteers. Many of the antique aircraft around the United States are restored by trained aircraft engineers assisted by volunteers, some of whom are men who flew those same aircraft years ago.
"French Polishing" was the industry standard in Europe during the 18th and 19th centuries, pushed aside by the efficient advantage of modern methods in the Industrial Revolution. Lacquers and spray systems replaced the original French polish finish, which is impractical for mass furniture production due to the labor-intensive process of application. As the desire for antiques was not idle, neither was the need for them to be appropriately restored; thus, the trade has been kept alive by a thread.
Conservation
In contrast, conservation typically aims to preserve the remaining material as being worthy or valuable on its own without necessarily being functional or looking new. There are several criteria for what work is necessary and how far to take any work performed. Chiefly, is the object (book, painting, car, statue, etc.) actively deteriorating? Slowing or stopping deterioration and eliminating or mitigating the root cause is the first task of the conservator. To this end, conservators are usually trained in the science of materials and chemistry, as well as art history, archaeology, and other disciplines related to their areas of expertise.
See also
Category:Conservation materials
References
Categories: Antiques
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