This subject will introduce students to the ethical issues, cultural considerations, policy framework and the economic environment that informs conservation practice.

During the pre-teaching period students are expected to complete the course readings, review the lectures and any other course preparation as outlined on the LMS. The LMS will become available at the commencement of the pre-teaching dates.

In this subject, students explore issues relating to the preservation of culture that is held beyond large collecting institutions. Students will develop an understanding of how the epistemology of cultural maintenance manifests in a range of societal and cultural practices. Students engage with issues relating to context, disruption, authenticity, legal standing, development, reinvention, identity and minority status. Students will understand how a broad intellectual engagement and the promotion of ideas and interests operate to produce outcomes for people who may not be in a position to engage with large collecting institutions.

This subject examines the history and manufacture of traditional and modern materials, their properties and behaviour, and considers their chemical and physical processes of deterioration. These are considered in light of their cultural, historical and scientific contexts. The analytical methods used to examine materials, and the conservation treatments commonly applied, are introduced.

This subject examines the physical and chemical causes of deterioration of cultural material, and considers how these can be effectively mitigated. Areas of study include the ten agents of deterioration that include light, incorrect relative humidities, incorrect temperature, physical stresses, biodeterioration, pollutants, pests, fire, criminal activity and dissociation. Students will critically evaluate current theories, international standards and guidelines for the management of museum and cultural collection environments and contexts. The context and opportunities for the implementation of a preventive conservation approach within an overall risk management framework will be emphasised, including environmental impact, budgetary implications, sustainability, and stakeholder management.

It is now readily acknowledged by most commentators that it is culturally preferable as well as financially advantageous to minimise or prevent deterioration of cultural material than to apply remedial conservation intervention after avoidable damage has been sustained. However this is a collective decision-making process embedded in individual, institutional and community needs. As such this subject lays a critical foundation for effective professional practice as a conservator in preventive conservation. Off campus site visits are a regular activity for this subject, which may include visits to conservation laboratories, museums, galleries and art centres.

This subject aims to provide students with an introduction to the fundamental principles and practical applications of the major analytical techniques used in cultural materials conservation. The subject builds upon the students' knowledge gained in CUMC90032 Technical Examination and Documentation, and CUMC90033 Cultural Materials Conservation Science. It covers methods accessible in a conservation laboratory and instrumental methods based upon:

• Microscopy (visible and SEM);
• Atomic spectroscopy (SEM-EDS, XRF and XRD;
• Molecular spectroscopy (FTIR and Raman); and
• Chromatography (GC-MS and HPLC).

Students learn to devise appropriate testing regimes, acquire control samples, prepare samples (eg. cross section), undertake analysis and manage analytical data. Students will gain an understanding of the practical application of a range of analytical techniques (including their advantages and disadvantages, their sampling requirements, and whether the sample is destroyed) and the interpretation of results. Students will apply fundamental examination and analytical techniques to the study of:

• One focus object, which students will select and work on as a group. Each group will investigate either a painting, paper or object based artefact.
• A variety of cultural heritage objects composed of organic, inorganic or metallic materials.

This subject aims to provide students with an introduction to a range of technical examination and documentation methods. Visual examination methods include the use of: visible light (reflected, transmitted, raking), ultraviolet and infrared radiation and x-radioagraphy. More invasive examination methods include: microscopy, sampling and chemical spot tests. Documentation methods include: photography, 3-D imaging, condition reporting and scientific report writing. Students will apply these fundamental examination and documentation techniques to the study of:

• One focus object which, students will select and work on as a group. Each student group will be investigating ether a painting (landscape or portrait), paper (watercolour, print or photograph) or object (textile, wood, ceramic, metal, glass or plastic) based artefact.
• A variety of cultural heritage objects composed of organic, inorganic or metallic materials will also be examined during the practical sessions, for a more holistic perspective.

During the pre-teaching period students are expected to complete the course readings, review the online lectures and any other course preparation as outlined on the LMS. The LMS will become available at the commencement of the pre-teaching dates.

This subject aims to provide students, who have an assumed knowledge of chemistry, with an introductory understanding of the chemistry and science that influences the properties and behaviour of a range of original and added materials, associated with cultural heritage materials. Within a conservation intervention hierarchy framework, students will apply their fundamental understanding of the relationship between materials (organic, inorganic and metal), their bonds, chemical structure, solubility and other properties to an understanding of the:

• Material composition of cultural heritage objects and their susceptibility to chemical, physical and biological paths of degradation.
• Application of intervention materials (like solvents, polymers and paints), which can be manipulated using auxiliary materials (solvents and poultices) to achieve the desired aesthetic or stabilisation conservation outcome, such as the removal of non-original materials, adhesion and consolidation.
• Interaction of intervention materials with cultural heritage objects and the surrounding environment.

Students who do not have a background in Chemistry, can obtain this by doing the Chemistry Bridging Course, which will be offered by the Grimwade Centre prior to the delivery of this subject.

This subject builds on the current philosophical and ethical approaches and the materials and techniques used in the interventive conservation treatment of cultural and heritage artefacts. Students learn to document the condition and materials of artefacts, to examine the ethical frameworks for the development of treatment decisions and apply these to conservation treatments. Students develop and carry out minor treatment programs on selected objects and materials that are ethical, sustainable and achievable.

This unit may include laboratory or field work in situ as an individual or group projects.

In this subject students arrange and undertake a placement in cultural heritage industry. They work under the guidance of a senior cultural heritage practitioner within the workplace. Students carry out a set program of cultural heritage research, conservation projects and/or conservation treatment involving complex decision making and the application of high level skills. During the internship an academic supervisor is available for consultation and advice.

The student proposes an original research topic that contributes to existing bodies of conservation knowledge and is approved by the coordinator. The student then initiates and conducts an involved program of primary research requiring interdisciplinary skills and knowledge. The student conducts the independent research under the guidance of an academic supervisor, and produces a critical research report. The thesis is undertaken across two consecutive semesters and in some cases, access to cultural collections in the field maybe required.

Refer to CUMC90035 Conservation Thesis Part 1 for details

The topics covered in this intensively taught subject will reflect those identified by the conservation sector as necessary and relevant to contemporary professional practice. The subject provides students with the opportunity to acquire and develop specialised skills in a professional industry setting. Lectures, seminars, and practical sessions will be led by national and internationally recognised experts. This unit is taught intensively over one week. During the pre-teaching period students are expected to complete the readings, review the lectures and any other course preparation as outlined on the course LMS. The LMS will be available at the beginning of the pre-teaching period.

The subject builds upon the prerequisite subject and extends the focus of materials and techniques of artefacts to also encompass theoretical discussions and methodologies for object based learning in conservation research. Students focus on a more detailed study of objects and the history, manufacture, value and use of traditional and modern materials, their properties and behaviour, more complex chemical and physical deterioration processes, and the wider contexts for the evaluation of objects in conservation research. Drawing on non-invasive examination, scientific pathways, identification of degredation and damage, reconstruction and other ways of 'knowing' the life of objects, students will use an interdisciplinary approach to object based learning in conservation research. Areas of focus will include: Objects - a variety of organic, inorganic and composite artefacts; Paper - papers, traditional printing, photographic and digital processed, pigments, binders and book binding technologies; Easel paintings - easel painting supports, grounds, pigments, binders and coatings.

During the pre-teaching period students are expected to complete the course readings, review the lectures and any other course preparation as outlined on the LMS. The LMS will become available at the commencement of the pre-teaching dates.

Students undertake more complex assessment, documentation and conservation treatment of artefacts across different material types within an ethical and sustainable decision making framework. Areas of study covered depend on the cultural and heritage collections but are likely to include methods of examination, documentation and digitisation, cleaning, surface coatings, consolidation, structural repairs, filling and loss compensation, inpainting and conservation project work. This unit may include individual or group projects in either the conservation laboratory at the Grimwade Centre for Cultural Materials Conservation with in situ work in the field, or off campus conservation treatments.

During the pre-teaching period students are expected to participate in a 1 hour online orientation forum in the first week of the pre-teaching period on the Wednesday, engage with the online lectures, complete the course readings, quizzes and any other course preparation as outlined in the LMS. The LMS will be available at the commencement of the pre-teaching period.

This subject introduces the current philosophy, ethics, materials, procedures and techniques that are used in the practical conservation of photographs. Students will identify problems and the appropriate treatment including repairs, consolidation, retouching, surface cleaning and humidification and relaxing.

This subject will provide students with an introduction to the identification and preservation of the video format; and provide an overview of the care of collections comprising video material and formats. The subject examines the history, technological base, and the deterioration mechanisms that impact on the format.

Conserving diverse cultural records inscribed on video formats is a global issue for multi-scale collections. The balancing of competing stakeholder demands for access and preservation will be examined, as will the ethical implications of collecting practices. From this foundation, the subject will consider the handling of video collections including identification, capture, compression, distribution, standards, duplication, storage, and risk analysis.

This subject will be taught as an intensive with some material being available online and the opportunity for industry placement working in the student’s area of interest.

During the pre-teaching period students are expected to complete the course readings, review the lectures and any other course preparation as outlined on the LMS. The LMS will become available at the commencement of the pre-teaching dates.

This seminar led subject will critically examine how documentation is currently used to archive collections, promote conservation, maintain artist intent and reveal context. Students will develop an interdisciplinary approach to the documentation of complex cultural material in the arts and culture sector. This includes performance works, time-based media, installation art, online collections and display solutions for museums.

This interdisciplinary subject examines the maintenance of culture using digital methods. New forms of conservation care is considered in terms of technical and ethical protocols. A mix of seminars and workshops investigate the application of decision making models in a variety of work environments, from academic and state institutions, to Indigenous and community organisations. An engagement with critical theory is required to analyse digital infrastructures currently organising preservation procedures in diverse cultural settings. Students will examine documentary practices within conservation workflows through a range of media-based materials and digital formats.

During the pre-teaching period students are expected to complete the course readings, review the lectures and any other course preparation as outlined on the LMS. The LMS will become available at the commencement of the pre-teaching dates.

This field based subject critically frames cross-cultural work currently taking place in the culture and heritage sector, and practically teaches students how to generate cultural conservation content accordingly, from community consultation, translation strategies, intellectual property protocols, working in partnership with all stakeholders and within a multidisciplinary team, to the technical needs of on-site documentation and cultural materials conservation.

Please note: This subject is delivered alternately in regional Australia and overseas in the field. In 2020 the subject will run in the Philippines or Indonesia. See 'Eligibility and Requirements' for further information.

This on-country subject takes place at Warmun Art Centre and on surrounding Gija land in the East Kimberley, Western Australia. It is taught by senior Gija knowledge holders as part of a collaborative two-way learning partnership with University of Melbourne cultural materials conservation staff. Gija lecturers will introduce students to the concept of Ngarranggarni; an expansive and complex one that defies simple definition or translation. The Ngarranggarni is also a framework that continues to encode, nourish and maintain Gija law and conceptions of social organisation, trade and exchange, kinship relations and family ties, custodianship of country and the practice of song, dance, spirituality, art, language and philosophy.

These big concepts are explored through song, dance, language, mungari (food) and the preparation and use of artistic materials, such as ochre, garliwoony (tree sap) and wood for carving.

In introducing Ngarranggarni the fundamental link between Gija culture, language, country and artistic expression is emphasised. Its specific relevance to ethical and technical decision making regarding the conservation, storage, exhibition and use of Gija cultural material is reinforced through discussion and practical sessions in which the source, location, physical characteristics and production methods of the ochres and binders used in Warmun artworks and their associated stories are studied.

In this subject, students explore issues relating to the preservation of culture that is held beyond large collecting institutions. Students will develop an understanding of how the epistemology of cultural maintenance manifests in a range of societal and cultural practices. Students engage with issues relating to context, disruption, authenticity, legal standing, development, reinvention, identity and minority status. Students will understand how a broad intellectual engagement and the promotion of ideas and interests operate to produce outcomes for people who may not be in a position to engage with large collecting institutions.

This on-country subject takes place at Warmun Art Centre and on surrounding Gija land in the East Kimberley, Western Australia. It is taught by senior Gija knowledge holders as part of a collaborative two-way learning partnership with University of Melbourne cultural materials conservation staff. Gija lecturers will introduce students to the concept of Ngarranggarni; an expansive and complex one that defies simple definition or translation. The Ngarranggarni is also a framework that continues to encode, nourish and maintain Gija law and conceptions of social organisation, trade and exchange, kinship relations and family ties, custodianship of country and the practice of song, dance, spirituality, art, language and philosophy.

These big concepts are explored through song, dance, language, mungari (food) and the preparation and use of artistic materials, such as ochre, garliwoony (tree sap) and wood for carving.

In introducing Ngarranggarni the fundamental link between Gija culture, language, country and artistic expression is emphasised. Its specific relevance to ethical and technical decision making regarding the conservation, storage, exhibition and use of Gija cultural material is reinforced through discussion and practical sessions in which the source, location, physical characteristics and production methods of the ochres and binders used in Warmun artworks and their associated stories are studied.

This field based subject critically frames cross-cultural work currently taking place in the culture and heritage sector, and practically teaches students how to generate cultural conservation content accordingly, from community consultation, translation strategies, intellectual property protocols, working in partnership with all stakeholders and within a multidisciplinary team, to the technical needs of on-site documentation and cultural materials conservation.

Please note: This subject is delivered alternately in regional Australia and overseas in the field. In 2020 the subject will run in the Philippines or Indonesia. See 'Eligibility and Requirements' for further information.

Students undertake more complex assessment, documentation and conservation treatment of artefacts across different material types within an ethical and sustainable decision making framework. Areas of study covered depend on the cultural and heritage collections but are likely to include methods of examination, documentation and digitisation, cleaning, surface coatings, consolidation, structural repairs, filling and loss compensation, inpainting and conservation project work. This unit may include individual or group projects in either the conservation laboratory at the Grimwade Centre for Cultural Materials Conservation with in situ work in the field, or off campus conservation treatments.

During the pre-teaching period students are expected to participate in a 1 hour online orientation forum in the first week of the pre-teaching period on the Wednesday, engage with the online lectures, complete the course readings, quizzes and any other course preparation as outlined in the LMS. The LMS will be available at the commencement of the pre-teaching period.

This interdisciplinary subject examines the maintenance of culture using digital methods. New forms of conservation care is considered in terms of technical and ethical protocols. A mix of seminars and workshops investigate the application of decision making models in a variety of work environments, from academic and state institutions, to Indigenous and community organisations. An engagement with critical theory is required to analyse digital infrastructures currently organising preservation procedures in diverse cultural settings. Students will examine documentary practices within conservation workflows through a range of media-based materials and digital formats.

During the pre-teaching period students are expected to complete the course readings, review the lectures and any other course preparation as outlined on the LMS. The LMS will become available at the commencement of the pre-teaching dates.

This seminar led subject will critically examine how documentation is currently used to archive collections, promote conservation, maintain artist intent and reveal context. Students will develop an interdisciplinary approach to the documentation of complex cultural material in the arts and culture sector. This includes performance works, time-based media, installation art, online collections and display solutions for museums.

The student proposes an original research topic that contributes to existing bodies of conservation knowledge and is approved by the coordinator. The student then initiates and conducts an involved program of primary research requiring interdisciplinary skills and knowledge. The student conducts the independent research under the guidance of an academic supervisor, and produces a critical research report. The thesis is undertaken across two consecutive semesters and in some cases, access to cultural collections in the field maybe required.

Refer to CUMC90035 Conservation Thesis Part 1 for details

This subject aims to provide students with an introduction to the fundamental principles and practical applications of the major analytical techniques used in cultural materials conservation. The subject builds upon the students' knowledge gained in CUMC90032 Technical Examination and Documentation, and CUMC90033 Cultural Materials Conservation Science. It covers methods accessible in a conservation laboratory and instrumental methods based upon:

• Microscopy (visible and SEM);
• Atomic spectroscopy (SEM-EDS, XRF and XRD;
• Molecular spectroscopy (FTIR and Raman); and
• Chromatography (GC-MS and HPLC).

Students learn to devise appropriate testing regimes, acquire control samples, prepare samples (eg. cross section), undertake analysis and manage analytical data. Students will gain an understanding of the practical application of a range of analytical techniques (including their advantages and disadvantages, their sampling requirements, and whether the sample is destroyed) and the interpretation of results. Students will apply fundamental examination and analytical techniques to the study of:

• One focus object, which students will select and work on as a group. Each group will investigate either a painting, paper or object based artefact.
• A variety of cultural heritage objects composed of organic, inorganic or metallic materials.

This subject aims to provide students with an introduction to a range of technical examination and documentation methods. Visual examination methods include the use of: visible light (reflected, transmitted, raking), ultraviolet and infrared radiation and x-radioagraphy. More invasive examination methods include: microscopy, sampling and chemical spot tests. Documentation methods include: photography, 3-D imaging, condition reporting and scientific report writing. Students will apply these fundamental examination and documentation techniques to the study of:

• One focus object which, students will select and work on as a group. Each student group will be investigating ether a painting (landscape or portrait), paper (watercolour, print or photograph) or object (textile, wood, ceramic, metal, glass or plastic) based artefact.
• A variety of cultural heritage objects composed of organic, inorganic or metallic materials will also be examined during the practical sessions, for a more holistic perspective.

During the pre-teaching period students are expected to complete the course readings, review the online lectures and any other course preparation as outlined on the LMS. The LMS will become available at the commencement of the pre-teaching dates.

This subject aims to provide students, who have an assumed knowledge of chemistry, with an introductory understanding of the chemistry and science that influences the properties and behaviour of a range of original and added materials, associated with cultural heritage materials. Within a conservation intervention hierarchy framework, students will apply their fundamental understanding of the relationship between materials (organic, inorganic and metal), their bonds, chemical structure, solubility and other properties to an understanding of the:

• Material composition of cultural heritage objects and their susceptibility to chemical, physical and biological paths of degradation.
• Application of intervention materials (like solvents, polymers and paints), which can be manipulated using auxiliary materials (solvents and poultices) to achieve the desired aesthetic or stabilisation conservation outcome, such as the removal of non-original materials, adhesion and consolidation.
• Interaction of intervention materials with cultural heritage objects and the surrounding environment.

Students who do not have a background in Chemistry, can obtain this by doing the Chemistry Bridging Course, which will be offered by the Grimwade Centre prior to the delivery of this subject.

This subject builds on the current philosophical and ethical approaches and the materials and techniques used in the interventive conservation treatment of cultural and heritage artefacts. Students learn to document the condition and materials of artefacts, to examine the ethical frameworks for the development of treatment decisions and apply these to conservation treatments. Students develop and carry out minor treatment programs on selected objects and materials that are ethical, sustainable and achievable.

This unit may include laboratory or field work in situ as an individual or group projects.

In this subject students arrange and undertake a placement in cultural heritage industry. They work under the guidance of a senior cultural heritage practitioner within the workplace. Students carry out a set program of cultural heritage research, conservation projects and/or conservation treatment involving complex decision making and the application of high level skills. During the internship an academic supervisor is available for consultation and advice.

The student proposes an original research topic that contributes to existing bodies of conservation knowledge and is approved by the coordinator. The student then initiates and conducts an involved program of primary research requiring interdisciplinary skills and knowledge. The student conducts the independent research under the guidance of an academic supervisor, and produces a critical research report. The thesis is undertaken across two consecutive semesters and in some cases, access to cultural collections in the field maybe required.

Refer to CUMC90035 Conservation Thesis Part 1 for details

The topics covered in this intensively taught subject will reflect those identified by the conservation sector as necessary and relevant to contemporary professional practice. The subject provides students with the opportunity to acquire and develop specialised skills in a professional industry setting. Lectures, seminars, and practical sessions will be led by national and internationally recognised experts. This unit is taught intensively over one week. During the pre-teaching period students are expected to complete the readings, review the lectures and any other course preparation as outlined on the course LMS. The LMS will be available at the beginning of the pre-teaching period.

The subject builds upon the prerequisite subject and extends the focus of materials and techniques of artefacts to also encompass theoretical discussions and methodologies for object based learning in conservation research. Students focus on a more detailed study of objects and the history, manufacture, value and use of traditional and modern materials, their properties and behaviour, more complex chemical and physical deterioration processes, and the wider contexts for the evaluation of objects in conservation research. Drawing on non-invasive examination, scientific pathways, identification of degredation and damage, reconstruction and other ways of 'knowing' the life of objects, students will use an interdisciplinary approach to object based learning in conservation research. Areas of focus will include: Objects - a variety of organic, inorganic and composite artefacts; Paper - papers, traditional printing, photographic and digital processed, pigments, binders and book binding technologies; Easel paintings - easel painting supports, grounds, pigments, binders and coatings.

During the pre-teaching period students are expected to complete the course readings, review the lectures and any other course preparation as outlined on the LMS. The LMS will become available at the commencement of the pre-teaching dates.

Students undertake more complex assessment, documentation and conservation treatment of artefacts across different material types within an ethical and sustainable decision making framework. Areas of study covered depend on the cultural and heritage collections but are likely to include methods of examination, documentation and digitisation, cleaning, surface coatings, consolidation, structural repairs, filling and loss compensation, inpainting and conservation project work. This unit may include individual or group projects in either the conservation laboratory at the Grimwade Centre for Cultural Materials Conservation with in situ work in the field, or off campus conservation treatments.

During the pre-teaching period students are expected to participate in a 1 hour online orientation forum in the first week of the pre-teaching period on the Wednesday, engage with the online lectures, complete the course readings, quizzes and any other course preparation as outlined in the LMS. The LMS will be available at the commencement of the pre-teaching period.

This subject will provide students with an introduction to the identification and preservation of the video format; and provide an overview of the care of collections comprising video material and formats. The subject examines the history, technological base, and the deterioration mechanisms that impact on the format.

Conserving diverse cultural records inscribed on video formats is a global issue for multi-scale collections. The balancing of competing stakeholder demands for access and preservation will be examined, as will the ethical implications of collecting practices. From this foundation, the subject will consider the handling of video collections including identification, capture, compression, distribution, standards, duplication, storage, and risk analysis.

This subject will be taught as an intensive with some material being available online and the opportunity for industry placement working in the student’s area of interest.

During the pre-teaching period students are expected to complete the course readings, review the lectures and any other course preparation as outlined on the LMS. The LMS will become available at the commencement of the pre-teaching dates.

This seminar led subject will critically examine how documentation is currently used to archive collections, promote conservation, maintain artist intent and reveal context. Students will develop an interdisciplinary approach to the documentation of complex cultural material in the arts and culture sector. This includes performance works, time-based media, installation art, online collections and display solutions for museums.

This interdisciplinary subject examines the maintenance of culture using digital methods. New forms of conservation care is considered in terms of technical and ethical protocols. A mix of seminars and workshops investigate the application of decision making models in a variety of work environments, from academic and state institutions, to Indigenous and community organisations. An engagement with critical theory is required to analyse digital infrastructures currently organising preservation procedures in diverse cultural settings. Students will examine documentary practices within conservation workflows through a range of media-based materials and digital formats.

During the pre-teaching period students are expected to complete the course readings, review the lectures and any other course preparation as outlined on the LMS. The LMS will become available at the commencement of the pre-teaching dates.

This on-country subject takes place at Warmun Art Centre and on surrounding Gija land in the East Kimberley, Western Australia. It is taught by senior Gija knowledge holders as part of a collaborative two-way learning partnership with University of Melbourne cultural materials conservation staff. Gija lecturers will introduce students to the concept of Ngarranggarni; an expansive and complex one that defies simple definition or translation. The Ngarranggarni is also a framework that continues to encode, nourish and maintain Gija law and conceptions of social organisation, trade and exchange, kinship relations and family ties, custodianship of country and the practice of song, dance, spirituality, art, language and philosophy.

These big concepts are explored through song, dance, language, mungari (food) and the preparation and use of artistic materials, such as ochre, garliwoony (tree sap) and wood for carving.

In introducing Ngarranggarni the fundamental link between Gija culture, language, country and artistic expression is emphasised. Its specific relevance to ethical and technical decision making regarding the conservation, storage, exhibition and use of Gija cultural material is reinforced through discussion and practical sessions in which the source, location, physical characteristics and production methods of the ochres and binders used in Warmun artworks and their associated stories are studied.

This subject introduces the current philosophy, ethics, materials, procedures and techniques that are used in the practical conservation of photographs. Students will identify problems and the appropriate treatment including repairs, consolidation, retouching, surface cleaning and humidification and relaxing.

This field based subject critically frames cross-cultural work currently taking place in the culture and heritage sector, and practically teaches students how to generate cultural conservation content accordingly, from community consultation, translation strategies, intellectual property protocols, working in partnership with all stakeholders and within a multidisciplinary team, to the technical needs of on-site documentation and cultural materials conservation.

Please note: This subject is delivered alternately in regional Australia and overseas in the field. In 2020 the subject will run in the Philippines or Indonesia. See 'Eligibility and Requirements' for further information.

This subject will introduce students to the ethical issues, cultural considerations, policy framework and the economic environment that informs conservation practice.

During the pre-teaching period students are expected to complete the course readings, review the lectures and any other course preparation as outlined on the LMS. The LMS will become available at the commencement of the pre-teaching dates.

In this subject, students explore issues relating to the preservation of culture that is held beyond large collecting institutions. Students will develop an understanding of how the epistemology of cultural maintenance manifests in a range of societal and cultural practices. Students engage with issues relating to context, disruption, authenticity, legal standing, development, reinvention, identity and minority status. Students will understand how a broad intellectual engagement and the promotion of ideas and interests operate to produce outcomes for people who may not be in a position to engage with large collecting institutions.

This subject examines the history and manufacture of traditional and modern materials, their properties and behaviour, and considers their chemical and physical processes of deterioration. These are considered in light of their cultural, historical and scientific contexts. The analytical methods used to examine materials, and the conservation treatments commonly applied, are introduced.

This subject examines the physical and chemical causes of deterioration of cultural material, and considers how these can be effectively mitigated. Areas of study include the ten agents of deterioration that include light, incorrect relative humidities, incorrect temperature, physical stresses, biodeterioration, pollutants, pests, fire, criminal activity and dissociation. Students will critically evaluate current theories, international standards and guidelines for the management of museum and cultural collection environments and contexts. The context and opportunities for the implementation of a preventive conservation approach within an overall risk management framework will be emphasised, including environmental impact, budgetary implications, sustainability, and stakeholder management.

It is now readily acknowledged by most commentators that it is culturally preferable as well as financially advantageous to minimise or prevent deterioration of cultural material than to apply remedial conservation intervention after avoidable damage has been sustained. However this is a collective decision-making process embedded in individual, institutional and community needs. As such this subject lays a critical foundation for effective professional practice as a conservator in preventive conservation. Off campus site visits are a regular activity for this subject, which may include visits to conservation laboratories, museums, galleries and art centres.

In this subject, students explore issues relating to the preservation of culture that is held beyond large collecting institutions. Students will develop an understanding of how the epistemology of cultural maintenance manifests in a range of societal and cultural practices. Students engage with issues relating to context, disruption, authenticity, legal standing, development, reinvention, identity and minority status. Students will understand how a broad intellectual engagement and the promotion of ideas and interests operate to produce outcomes for people who may not be in a position to engage with large collecting institutions.

This on-country subject takes place at Warmun Art Centre and on surrounding Gija land in the East Kimberley, Western Australia. It is taught by senior Gija knowledge holders as part of a collaborative two-way learning partnership with University of Melbourne cultural materials conservation staff. Gija lecturers will introduce students to the concept of Ngarranggarni; an expansive and complex one that defies simple definition or translation. The Ngarranggarni is also a framework that continues to encode, nourish and maintain Gija law and conceptions of social organisation, trade and exchange, kinship relations and family ties, custodianship of country and the practice of song, dance, spirituality, art, language and philosophy.

These big concepts are explored through song, dance, language, mungari (food) and the preparation and use of artistic materials, such as ochre, garliwoony (tree sap) and wood for carving.

In introducing Ngarranggarni the fundamental link between Gija culture, language, country and artistic expression is emphasised. Its specific relevance to ethical and technical decision making regarding the conservation, storage, exhibition and use of Gija cultural material is reinforced through discussion and practical sessions in which the source, location, physical characteristics and production methods of the ochres and binders used in Warmun artworks and their associated stories are studied.

This field based subject critically frames cross-cultural work currently taking place in the culture and heritage sector, and practically teaches students how to generate cultural conservation content accordingly, from community consultation, translation strategies, intellectual property protocols, working in partnership with all stakeholders and within a multidisciplinary team, to the technical needs of on-site documentation and cultural materials conservation.

Please note: This subject is delivered alternately in regional Australia and overseas in the field. In 2020 the subject will run in the Philippines or Indonesia. See 'Eligibility and Requirements' for further information.

Students undertake more complex assessment, documentation and conservation treatment of artefacts across different material types within an ethical and sustainable decision making framework. Areas of study covered depend on the cultural and heritage collections but are likely to include methods of examination, documentation and digitisation, cleaning, surface coatings, consolidation, structural repairs, filling and loss compensation, inpainting and conservation project work. This unit may include individual or group projects in either the conservation laboratory at the Grimwade Centre for Cultural Materials Conservation with in situ work in the field, or off campus conservation treatments.

During the pre-teaching period students are expected to participate in a 1 hour online orientation forum in the first week of the pre-teaching period on the Wednesday, engage with the online lectures, complete the course readings, quizzes and any other course preparation as outlined in the LMS. The LMS will be available at the commencement of the pre-teaching period.

This interdisciplinary subject examines the maintenance of culture using digital methods. New forms of conservation care is considered in terms of technical and ethical protocols. A mix of seminars and workshops investigate the application of decision making models in a variety of work environments, from academic and state institutions, to Indigenous and community organisations. An engagement with critical theory is required to analyse digital infrastructures currently organising preservation procedures in diverse cultural settings. Students will examine documentary practices within conservation workflows through a range of media-based materials and digital formats.

During the pre-teaching period students are expected to complete the course readings, review the lectures and any other course preparation as outlined on the LMS. The LMS will become available at the commencement of the pre-teaching dates.

This seminar led subject will critically examine how documentation is currently used to archive collections, promote conservation, maintain artist intent and reveal context. Students will develop an interdisciplinary approach to the documentation of complex cultural material in the arts and culture sector. This includes performance works, time-based media, installation art, online collections and display solutions for museums.

The student proposes an original research topic that contributes to existing bodies of conservation knowledge and is approved by the coordinator. The student then initiates and conducts an involved program of primary research requiring interdisciplinary skills and knowledge. The student conducts the independent research under the guidance of an academic supervisor, and produces a critical research report. The thesis is undertaken across two consecutive semesters and in some cases, access to cultural collections in the field maybe required.

Refer to CUMC90035 Conservation Thesis Part 1 for details

In this subject students arrange and undertake a placement in cultural heritage industry. They work under the guidance of a senior cultural heritage practitioner within the workplace. Students carry out a set program of cultural heritage research, conservation projects and/or conservation treatment involving complex decision making and the application of high level skills. During the internship an academic supervisor is available for consultation and advice.

The student proposes an original research topic that contributes to existing bodies of conservation knowledge and is approved by the coordinator. The student then initiates and conducts an involved program of primary research requiring interdisciplinary skills and knowledge. The student conducts the independent research under the guidance of an academic supervisor, and produces a critical research report. The thesis is undertaken across two consecutive semesters and in some cases, access to cultural collections in the field maybe required.

Refer to CUMC90035 Conservation Thesis Part 1 for details

The topics covered in this intensively taught subject will reflect those identified by the conservation sector as necessary and relevant to contemporary professional practice. The subject provides students with the opportunity to acquire and develop specialised skills in a professional industry setting. Lectures, seminars, and practical sessions will be led by national and internationally recognised experts. This unit is taught intensively over one week. During the pre-teaching period students are expected to complete the readings, review the lectures and any other course preparation as outlined on the course LMS. The LMS will be available at the beginning of the pre-teaching period.

The subject builds upon the prerequisite subject and extends the focus of materials and techniques of artefacts to also encompass theoretical discussions and methodologies for object based learning in conservation research. Students focus on a more detailed study of objects and the history, manufacture, value and use of traditional and modern materials, their properties and behaviour, more complex chemical and physical deterioration processes, and the wider contexts for the evaluation of objects in conservation research. Drawing on non-invasive examination, scientific pathways, identification of degredation and damage, reconstruction and other ways of 'knowing' the life of objects, students will use an interdisciplinary approach to object based learning in conservation research. Areas of focus will include: Objects - a variety of organic, inorganic and composite artefacts; Paper - papers, traditional printing, photographic and digital processed, pigments, binders and book binding technologies; Easel paintings - easel painting supports, grounds, pigments, binders and coatings.

During the pre-teaching period students are expected to complete the course readings, review the lectures and any other course preparation as outlined on the LMS. The LMS will become available at the commencement of the pre-teaching dates.

Students undertake more complex assessment, documentation and conservation treatment of artefacts across different material types within an ethical and sustainable decision making framework. Areas of study covered depend on the cultural and heritage collections but are likely to include methods of examination, documentation and digitisation, cleaning, surface coatings, consolidation, structural repairs, filling and loss compensation, inpainting and conservation project work. This unit may include individual or group projects in either the conservation laboratory at the Grimwade Centre for Cultural Materials Conservation with in situ work in the field, or off campus conservation treatments.

During the pre-teaching period students are expected to participate in a 1 hour online orientation forum in the first week of the pre-teaching period on the Wednesday, engage with the online lectures, complete the course readings, quizzes and any other course preparation as outlined in the LMS. The LMS will be available at the commencement of the pre-teaching period.

This subject introduces the current philosophy, ethics, materials, procedures and techniques that are used in the practical conservation of photographs. Students will identify problems and the appropriate treatment including repairs, consolidation, retouching, surface cleaning and humidification and relaxing.

This subject will provide students with an introduction to the identification and preservation of the video format; and provide an overview of the care of collections comprising video material and formats. The subject examines the history, technological base, and the deterioration mechanisms that impact on the format.

Conserving diverse cultural records inscribed on video formats is a global issue for multi-scale collections. The balancing of competing stakeholder demands for access and preservation will be examined, as will the ethical implications of collecting practices. From this foundation, the subject will consider the handling of video collections including identification, capture, compression, distribution, standards, duplication, storage, and risk analysis.

This subject will be taught as an intensive with some material being available online and the opportunity for industry placement working in the student’s area of interest.

During the pre-teaching period students are expected to complete the course readings, review the lectures and any other course preparation as outlined on the LMS. The LMS will become available at the commencement of the pre-teaching dates.

This seminar led subject will critically examine how documentation is currently used to archive collections, promote conservation, maintain artist intent and reveal context. Students will develop an interdisciplinary approach to the documentation of complex cultural material in the arts and culture sector. This includes performance works, time-based media, installation art, online collections and display solutions for museums.

This interdisciplinary subject examines the maintenance of culture using digital methods. New forms of conservation care is considered in terms of technical and ethical protocols. A mix of seminars and workshops investigate the application of decision making models in a variety of work environments, from academic and state institutions, to Indigenous and community organisations. An engagement with critical theory is required to analyse digital infrastructures currently organising preservation procedures in diverse cultural settings. Students will examine documentary practices within conservation workflows through a range of media-based materials and digital formats.

During the pre-teaching period students are expected to complete the course readings, review the lectures and any other course preparation as outlined on the LMS. The LMS will become available at the commencement of the pre-teaching dates.

This field based subject critically frames cross-cultural work currently taking place in the culture and heritage sector, and practically teaches students how to generate cultural conservation content accordingly, from community consultation, translation strategies, intellectual property protocols, working in partnership with all stakeholders and within a multidisciplinary team, to the technical needs of on-site documentation and cultural materials conservation.

Please note: This subject is delivered alternately in regional Australia and overseas in the field. In 2020 the subject will run in the Philippines or Indonesia. See 'Eligibility and Requirements' for further information.

This subject will introduce students to the ethical issues, cultural considerations, policy framework and the economic environment that informs conservation practice.

During the pre-teaching period students are expected to complete the course readings, review the lectures and any other course preparation as outlined on the LMS. The LMS will become available at the commencement of the pre-teaching dates.

In this subject, students explore issues relating to the preservation of culture that is held beyond large collecting institutions. Students will develop an understanding of how the epistemology of cultural maintenance manifests in a range of societal and cultural practices. Students engage with issues relating to context, disruption, authenticity, legal standing, development, reinvention, identity and minority status. Students will understand how a broad intellectual engagement and the promotion of ideas and interests operate to produce outcomes for people who may not be in a position to engage with large collecting institutions.

This subject examines the history and manufacture of traditional and modern materials, their properties and behaviour, and considers their chemical and physical processes of deterioration. These are considered in light of their cultural, historical and scientific contexts. The analytical methods used to examine materials, and the conservation treatments commonly applied, are introduced.

This subject examines the physical and chemical causes of deterioration of cultural material, and considers how these can be effectively mitigated. Areas of study include the ten agents of deterioration that include light, incorrect relative humidities, incorrect temperature, physical stresses, biodeterioration, pollutants, pests, fire, criminal activity and dissociation. Students will critically evaluate current theories, international standards and guidelines for the management of museum and cultural collection environments and contexts. The context and opportunities for the implementation of a preventive conservation approach within an overall risk management framework will be emphasised, including environmental impact, budgetary implications, sustainability, and stakeholder management.

It is now readily acknowledged by most commentators that it is culturally preferable as well as financially advantageous to minimise or prevent deterioration of cultural material than to apply remedial conservation intervention after avoidable damage has been sustained. However this is a collective decision-making process embedded in individual, institutional and community needs. As such this subject lays a critical foundation for effective professional practice as a conservator in preventive conservation. Off campus site visits are a regular activity for this subject, which may include visits to conservation laboratories, museums, galleries and art centres.

This subject builds on the current philosophical and ethical approaches and the materials and techniques used in the interventive conservation treatment of cultural and heritage artefacts. Students learn to document the condition and materials of artefacts, to examine the ethical frameworks for the development of treatment decisions and apply these to conservation treatments. Students develop and carry out minor treatment programs on selected objects and materials that are ethical, sustainable and achievable.

This unit may include laboratory or field work in situ as an individual or group projects.

This subject aims to provide students with an introduction to the fundamental principles and practical applications of the major analytical techniques used in cultural materials conservation. The subject builds upon the students' knowledge gained in CUMC90032 Technical Examination and Documentation, and CUMC90033 Cultural Materials Conservation Science. It covers methods accessible in a conservation laboratory and instrumental methods based upon:

• Microscopy (visible and SEM);
• Atomic spectroscopy (SEM-EDS, XRF and XRD;
• Molecular spectroscopy (FTIR and Raman); and
• Chromatography (GC-MS and HPLC).

Students learn to devise appropriate testing regimes, acquire control samples, prepare samples (eg. cross section), undertake analysis and manage analytical data. Students will gain an understanding of the practical application of a range of analytical techniques (including their advantages and disadvantages, their sampling requirements, and whether the sample is destroyed) and the interpretation of results. Students will apply fundamental examination and analytical techniques to the study of:

• One focus object, which students will select and work on as a group. Each group will investigate either a painting, paper or object based artefact.
• A variety of cultural heritage objects composed of organic, inorganic or metallic materials.

This subject aims to provide students with an introduction to a range of technical examination and documentation methods. Visual examination methods include the use of: visible light (reflected, transmitted, raking), ultraviolet and infrared radiation and x-radioagraphy. More invasive examination methods include: microscopy, sampling and chemical spot tests. Documentation methods include: photography, 3-D imaging, condition reporting and scientific report writing. Students will apply these fundamental examination and documentation techniques to the study of:

• One focus object which, students will select and work on as a group. Each student group will be investigating ether a painting (landscape or portrait), paper (watercolour, print or photograph) or object (textile, wood, ceramic, metal, glass or plastic) based artefact.
• A variety of cultural heritage objects composed of organic, inorganic or metallic materials will also be examined during the practical sessions, for a more holistic perspective.

During the pre-teaching period students are expected to complete the course readings, review the online lectures and any other course preparation as outlined on the LMS. The LMS will become available at the commencement of the pre-teaching dates.

This subject aims to provide students, who have an assumed knowledge of chemistry, with an introductory understanding of the chemistry and science that influences the properties and behaviour of a range of original and added materials, associated with cultural heritage materials. Within a conservation intervention hierarchy framework, students will apply their fundamental understanding of the relationship between materials (organic, inorganic and metal), their bonds, chemical structure, solubility and other properties to an understanding of the:

• Material composition of cultural heritage objects and their susceptibility to chemical, physical and biological paths of degradation.
• Application of intervention materials (like solvents, polymers and paints), which can be manipulated using auxiliary materials (solvents and poultices) to achieve the desired aesthetic or stabilisation conservation outcome, such as the removal of non-original materials, adhesion and consolidation.
• Interaction of intervention materials with cultural heritage objects and the surrounding environment.

Students who do not have a background in Chemistry, can obtain this by doing the Chemistry Bridging Course, which will be offered by the Grimwade Centre prior to the delivery of this subject.

This on-country subject takes place at Warmun Art Centre and on surrounding Gija land in the East Kimberley, Western Australia. It is taught by senior Gija knowledge holders as part of a collaborative two-way learning partnership with University of Melbourne cultural materials conservation staff. Gija lecturers will introduce students to the concept of Ngarranggarni; an expansive and complex one that defies simple definition or translation. The Ngarranggarni is also a framework that continues to encode, nourish and maintain Gija law and conceptions of social organisation, trade and exchange, kinship relations and family ties, custodianship of country and the practice of song, dance, spirituality, art, language and philosophy.

These big concepts are explored through song, dance, language, mungari (food) and the preparation and use of artistic materials, such as ochre, garliwoony (tree sap) and wood for carving.

In introducing Ngarranggarni the fundamental link between Gija culture, language, country and artistic expression is emphasised. Its specific relevance to ethical and technical decision making regarding the conservation, storage, exhibition and use of Gija cultural material is reinforced through discussion and practical sessions in which the source, location, physical characteristics and production methods of the ochres and binders used in Warmun artworks and their associated stories are studied.

In this subject, students explore issues relating to the preservation of culture that is held beyond large collecting institutions. Students will develop an understanding of how the epistemology of cultural maintenance manifests in a range of societal and cultural practices. Students engage with issues relating to context, disruption, authenticity, legal standing, development, reinvention, identity and minority status. Students will understand how a broad intellectual engagement and the promotion of ideas and interests operate to produce outcomes for people who may not be in a position to engage with large collecting institutions.

This on-country subject takes place at Warmun Art Centre and on surrounding Gija land in the East Kimberley, Western Australia. It is taught by senior Gija knowledge holders as part of a collaborative two-way learning partnership with University of Melbourne cultural materials conservation staff. Gija lecturers will introduce students to the concept of Ngarranggarni; an expansive and complex one that defies simple definition or translation. The Ngarranggarni is also a framework that continues to encode, nourish and maintain Gija law and conceptions of social organisation, trade and exchange, kinship relations and family ties, custodianship of country and the practice of song, dance, spirituality, art, language and philosophy.

These big concepts are explored through song, dance, language, mungari (food) and the preparation and use of artistic materials, such as ochre, garliwoony (tree sap) and wood for carving.

In introducing Ngarranggarni the fundamental link between Gija culture, language, country and artistic expression is emphasised. Its specific relevance to ethical and technical decision making regarding the conservation, storage, exhibition and use of Gija cultural material is reinforced through discussion and practical sessions in which the source, location, physical characteristics and production methods of the ochres and binders used in Warmun artworks and their associated stories are studied.

This field based subject critically frames cross-cultural work currently taking place in the culture and heritage sector, and practically teaches students how to generate cultural conservation content accordingly, from community consultation, translation strategies, intellectual property protocols, working in partnership with all stakeholders and within a multidisciplinary team, to the technical needs of on-site documentation and cultural materials conservation.

Please note: This subject is delivered alternately in regional Australia and overseas in the field. In 2020 the subject will run in the Philippines or Indonesia. See 'Eligibility and Requirements' for further information.

Students undertake more complex assessment, documentation and conservation treatment of artefacts across different material types within an ethical and sustainable decision making framework. Areas of study covered depend on the cultural and heritage collections but are likely to include methods of examination, documentation and digitisation, cleaning, surface coatings, consolidation, structural repairs, filling and loss compensation, inpainting and conservation project work. This unit may include individual or group projects in either the conservation laboratory at the Grimwade Centre for Cultural Materials Conservation with in situ work in the field, or off campus conservation treatments.

During the pre-teaching period students are expected to participate in a 1 hour online orientation forum in the first week of the pre-teaching period on the Wednesday, engage with the online lectures, complete the course readings, quizzes and any other course preparation as outlined in the LMS. The LMS will be available at the commencement of the pre-teaching period.

This interdisciplinary subject examines the maintenance of culture using digital methods. New forms of conservation care is considered in terms of technical and ethical protocols. A mix of seminars and workshops investigate the application of decision making models in a variety of work environments, from academic and state institutions, to Indigenous and community organisations. An engagement with critical theory is required to analyse digital infrastructures currently organising preservation procedures in diverse cultural settings. Students will examine documentary practices within conservation workflows through a range of media-based materials and digital formats.

During the pre-teaching period students are expected to complete the course readings, review the lectures and any other course preparation as outlined on the LMS. The LMS will become available at the commencement of the pre-teaching dates.

This seminar led subject will critically examine how documentation is currently used to archive collections, promote conservation, maintain artist intent and reveal context. Students will develop an interdisciplinary approach to the documentation of complex cultural material in the arts and culture sector. This includes performance works, time-based media, installation art, online collections and display solutions for museums.

The student proposes an original research topic that contributes to existing bodies of conservation knowledge and is approved by the coordinator. The student then initiates and conducts an involved program of primary research requiring interdisciplinary skills and knowledge. The student conducts the independent research under the guidance of an academic supervisor, and produces a critical research report. The thesis is undertaken across two consecutive semesters and in some cases, access to cultural collections in the field maybe required.

Refer to CUMC90035 Conservation Thesis Part 1 for details