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The impulse for this article was the current publication ‘Book supports of open books in exhibitions. A guide for conservators and exhibition designers’ (Buchstutzen fur geoffnete Bucher in Ausstel...

Before reinforcements or new construction are added to historic structures, it is important to understand how the existing damage could have arisen. Often to do this, documentation methods such as laser scanning and photogrammetry are used to capture the existing conditions and physics-based models are used to simulate the response of a facsimile structure to various responses. Something that varies quite a bit though is the level of detail used to capture the existing conditions as well as the level of detail used to represent the structure during physics-based modelling. This paper aims to understand the effects of documentation detail on diagnostics of historic structures. To do this, two masonry structures were documented with laser scanners, photographs, and thermal images. For each case study, three-dimensional models of varying fidelity were generated based on the results of simulation. The response of these models to loading conditions was then calculated using a physics-based modelling technique called finite-distinct element modelling. The results for each case study are compared to understand the impacts of geometry on diagnostics; discussion about future tools to augment current practices is included.

"Image" has a relatively broad definition. In this paper image refers to the image media vision, picture vision, etc., emerged with the development of imaging technology, that is, "photographic image" and "ready-made image", such as photos, image materials, advertising magazines, facsimile printed copies, etc.. The emergence of images seems to erase the meaning of traditional representation painting creation, and bring many challenges to the current art creation. Some people even call for the "death" of painting creation. Indeed, images are convenient, fast and even incomparable to reproduce the details of reality, compared to other artistic means. Image can also quickly capture the objective moment that our naked eye cannot detect efficiently and accurately. However, does this mean that contemporary painting creation will face the crisis of "aphasia"? According to this point of view, this paper discusses the different authenticity of images and paintings, the "translation" of images and the artistic creation of "micro images", hoping to provide reference for the current art creation colleagues when they rely on the image as the "intermediary" to build the relationship between social life and painting creation.

Bizonyára több diszciplína tudja elmondani ennek a könyvnek a megjelenése kapcsán, hogy „történelmi pillanat”. A török művelődéstörténet, különféle keleti nyelvi filológiák, és persze a könyv- és könyvtártörténész közösség is. A közel 1700 oldalas ’opus magnum’ ismertetése tehát sokrétű feladat, jelen sorok írója is csak könyvtáros művelődéstörténészként ünnepli a kiadást. Ezen kívül, mint a most kiadott kézirat eredetijét őrző könyvtár vezetője is elégedett lehetek, hiszen a közgyűjtemények számára a legfontosabb, hogy az általuk megőrzött dokumentumok minél többször, minél több szakember által elemezve kerüljenek napvilágra, értékelve és felértékelve gyűjteményük egyes darabjait.

An early example of the working relationship between the electrical transmission of images and silver halide photography or phototelegraphy was the Kopiertelegraph (from the German Kopagraphegrafen for copying telegraphy), the invention of engineer Gustav Grzanna, born in Breslau. In 1901 Grzanna presented his fernschreiber (teleprinter) that used a scanning stylet at the transmitter to send an electrical signal via telegraph lines. At the receiver the image was written by a mirror galvanometer, a small mirror on a magnet held within the field produced by two electromagnetics, one for X and the other for Y translation. Light projected onto the mirror was reflected to scan and expose photographic paper (Huurdeman 2003). The Grzanna Kopiertelegraph Company of Dresden went out of business in 1905, unable to compete with the Telautograph of German physicist Arthur Korn that was introduced in 1902, as noted in Chap. 75 (Suplee et al. 1906, p. 1105). Korn’s rotating scanning drum was a precursor of the photographic facsimile machines used by organizations like newspapers and police departments for many years.

This chapter is dedicated to the developments in the area of television before World War II. It all started with still image sensing and duplicating it on another device connected by the wires, involved picture scanning, generation of picture signal for transmission and reception of picture signal for reproduction of originally transmitted picture. The Pantelegraph, a precursor of modern facsimile machine, senses still image and transmits it to an another location. Alexander Bain patented the principles of facsimile machine; however, he could not take an advantage of his invention as Frederick Collier Bakewell took a patent of his superior device earlier than Alexander Bain. The world’s first practical operating facsimile machine called “Pantelegraph” was developed by Abbe Giovanna Caselli and was first person to transmit a still image over wires. The landmark discovery of photosensitive selenium by Swedish chemist Jons Jacob Berzelius paved a way for non-contact sensing of images. Arthur Korn was the first person to use photosensitive properties of selenium in his fax machine. Ėdouard Belin improved the methods of Arthur Korn and added wireless transmission of pictures using radio waves and photoelectric methods and was able to measure intensity of each point of picture known as pixel. Constantin M. SENLECQ was first to use selenium in his first device called Telectroscope and George R. Carey used array of array of selenium and used current variation depending on intensity of light in sensing the image while English physicist Shelford Bidwell was first to use a photocells for scanning of pictures. William Lucas contributed to a scanning mechanism used in modern television. Paul Nipkow introduced a spiral scanning mechanism used in early televisions. Many inventors like John P. Gassiot, Julius Plucker, Cromwell Fleetwood Varley and William Crookes contributed to the developments of cathode-ray tubes used in reproduction of moving images. Eugen Goldstein introduced a concept of perforated grid to create canal rays called “cathode rays”. Karl Ferdinand Braun introduced cathode-ray tube with fluorescent screen also named after him called “Braun tube”. J.J. Thomson discovered that beam of cathode rays consists of lightest negatively charged particles called corpuscles called “Electrons”.

The act of plagiarism occurs when an author uses other author’s intellectual ideas without his/her permission. In academics, scholars used to submit assignments now and then in the form of codes or text documents. In this work, the primary focus will be on program codes. In the current scenario, a major perspective is that the scholars may facsimile the codes from a source record without appropriately referencing the original writer or programmer. As there is a wide range of programming languages like C, C++, Java, Python, and many more, in this paper, we have dealt with Java code files. The objective of this work is to estimate the percentage of plagiarism in the given input programming code.

Access to the original Lascaux cave, a UNESCO World Heritage site famous for its 18 000 year old paintings, has been restricted since 1963. In 2016, an accurate facsimile, Lascaux IV, was designed and built. In the original cave, Lascaux I, classical contemporary room acoustics measurement systems could not be used. However, it has been possible to perform simplified measurements in a few minutes. Similar measurements were made in Lascaux IV once completed. The data provide a unique insight of the acoustic behavior of the Lascaux cave: it shows that the two caves, the original and the copy, have similar acoustical characteristics. In both cases, in the famed Hall of Bulls, the impulse response is smooth, reverberation time is relatively long, and speech intelligibility is fair; this environment is suitable for the ceremonies that presumably took place there. Because of the precision of the copy, Lascaux IV could be used as a 1/1 scale-model of Lascaux I. Therefore, sophisticated acoustical tests could be undertaken in Lascaux IV to help specialists in their archeological investigations. For example, resonances could be precisely documented to explore the potential relationship between parietal painting positions and echoes or sound effects that may have been used in ritual ceremonies.

The Chicago House Method is a set of procedures for making facsimile copies of Egyptian monumental decoration. Since its creation by James Henry Breasted in 1924, the Epigraphic Survey has employed this Method for the recording and publication of the ancient records found on the walls of Egyptian monuments. The documentation process uses large-format photographs from which facsimile line drawings are made and rigorously cross-checked against the original monument, utilizing the diverse skills of a team of experts to ensure the highest possible degree of accuracy. The method is flexible when necessitated by field conditions or various types of inscribed material and can integrate new tools and techniques to address a variety of epigraphic tasks more effectively, but the core principles—a photographic basis and multiple checks of the copy by a series of specialists who examine the original—are observed at all times.

This analysis of S., a novel by J. J. Abrams and Doug Dorst designed to look like an old, annotated book, illuminates the genre’s position in the digital media ecology. The chapter argues that S. epitomizes aspects of book culture that remain compelling to contemporary audiences: a nostalgic, bookish aesthetic; the ability to connect readers; and the perception that books are particularly auratic. It argues further that S.’s paradoxes usefully complicate the print/digital binary. Finally, it contends that the history of the novel—a genre that has long appropriated the conventions of non-fictional genres—models how emerging literary genres written for new media, like podcasts, might similarly obscure their ontological status as fiction by manipulating readers’ expectations about the facticity of media.

В статье прослеживается история развития тех методов копирования наскальных рисунков, которые позволяют получить трехмерное воспроизведение оригинальной скальной поверхности с изображениями. К ним относятся изготовленные из разных материалов и разными способами оттиски и сделанные в них как в формах отливки. Первые оттиски делались из увлажненной бумаги (эстампажи) сейчас современные материалы и технологии позволяют получать высокой точности матрицы из силиконовых смол и отливать в них факсимильные копии из различных имитирующих камень материалов. Автор приводит примеры из опыта использования этих методов отечественными специалистами анализирует преимущества и недостатки рассматривает возможности использования факсимильных копий в сфере изучения, сохранения и популяризации наскального искусства., The paper traces the history of development of those methods of copying rock art which enable one to obtain a three-dimensional reproduction of the original decorated rock surface. These include imprints made of various materials and in various ways, and also casts. The first imprints were made with moistened paper (squeezes, estampages), and now modern materials and technologies make it possible to obtain high-precision silicone moulds and to cast facsimile copies in them with various rock-imitating materials. The author gives a number of examples from direct experience of using theose methods, mainly in Russia analyzes their advantages and disadvantages and considers the possibilities of using facsimile copies in the study, preservation and popularization of rock art.

Western Han consists of a reproduction in color facsimile of an entire storyteller manuscript together with a facing printed reproduction of the script, an English-language translation, a lengthy i...

Facsimile inserts for tear repair and for making inserts in works of art on paper are documented since the 19th century, described in detail in a 1938 publication by Max Schweidler, and have contin...

Quando a reprodução fac-similar não é possível, as edições de correspondências propõem aos leitores um texto impresso, sem levar em conta tudo o que remete à aparência dos manuscritos autógrafos. Em geral, tais aspectos materiais são portadores de informações de fundamental relevância no que diz respeito à maneira como um endereço é redigido no envelope; ao movimento da escrita e da forma dos caracteres; ao desenho da assinatura; às indicações contidas nas zonas periféricas das cartas, as margens ou cabeçalhos. Neste artigo, pretende-se analisar esses diversos elementos à luz de um objeto privilegiado – a correspondência d’Émile Zola. Os exemplos examinados mostram que, em todos os casos, é extremamente produtivo retornar ao manuscrito original e reexeminá-lo, pois o documento oferece informações que o mero conhecimento do texto impresso quase nunca fornece.

FACSIMILE OF A MACHAUT MANUSCRIPT Guillaume de Machaut. The Ferrell-Vogue Machaut Manuscript. 2 volumes in slipcase. Volume I: Introductory Study by Lawrence Earp with Domenic Leo and Carla Shapreau. Preface by Christopher de Hamel. (DIAMM Facsimiles, 5.) Oxford: DIAMM Publications, 2014. [Foreword, p. i-ii; acknowledgements, p. iii-iv; contents, p. v; abbrevs., p. vi; figures, p. vii-viii; tables, p. ix; introd., p. x-xi; introductory study, p. 1-126; appendices, p.127-59; bibliog., p. 160-80; inventory, p. 181-89; indexes, p. 190-207. ISBN-13 978-1-907647-01-7. £560 (inclusive of both volumes).]Guillaume de Machaut. The Ferrell-VogUe Machaut Manuscript. Volume II: Color Facsimile. [ISBN-13 978-1-907647-01-7. £560 (inclusive of both volumes).]As a result of the widespread acceptance and use of digitization, coupled with the ever-increasing and prohibitive costs of publishing, the production of hard-copy music facsimiles has become increasingly rare. There still exist manuscripts of music, however, that are either so inaccessible or so important, that a justifiable case can be made for a publisher to go to the trouble and expense of producing a facsimile edition of them. The Ferrell-VogUe manuscript of Guillaume de Machaut (ca. 1300-1377), hereinafter referred to by its scholarly siglum, Vg, is such a manuscript. Inaccessible to scholars for nearly its entire modern history, it is now available from the Digital Image Archive of Medieval Music Publications (DIAMM) in a superb color facsimile accompanied by an excellent introductory study written by the Machaut specialist Lawrence Earp, with additional chapters contributed by the cultural property law scholar Carla Shapreau and the medieval art historian Dominic Leo.Toward the end of his life, Machaut seems to have supervised the creation of several manuscripts of his works, each one generally containing all of the poetry and music that he had written up to that time. Vg takes its place as the second of these six principal "complete works" manuscripts executed between 1350 and 1390, with its corpus of works having been written during the 1360s. It is therefore a very useful document for determining which of Machaut's works were written later in the composer's life. It is notable as the first Machaut manuscript to transmit the David double hocket (and to name it "Double hoquet"), as well as the first of the composer's manuscripts to transmit the Messe de Nostre Dame (it is also the only manuscript to supply the Mass with that title). As if further justification for publishing Vg in facsimile were necessary, it should also be noted that its musical readings are extremely accurate-in fact, better than all of the other Machaut manuscripts, and perhaps better than any other musical manuscript produced during the fourteenth century.The introductory study brings together everything that has been known about Vg, as well as much that is new. Chapter 1 is an extremely thorough description of the manuscript's contents, its physical layout, and subsequent corrections and additions, with an abundance of helpful tables, all of which should be read with the facsimile at hand, which allows the many important observations Earp makes to become crystal clear. Earp has provisionally identified five text hands, with Earp's hand "B" responsi- ble for over 80 percent of the manuscript. A single hand entered the musical readings of Vg. By comparing these hands to others found in royal court manuscripts of the time, Earp concludes that Vg was produced in the same orbit of scribes and illuminators working expressly for the king of France, Charles V.In chapters 2 through 4, Earp traces the history of Vg, from its creation up until 1916 insofar as the extant documentation allows. Earp's most exciting discovery is that Vg was in the library of Jean, Duke of Berry, by 1388 (pp. 35-44). Earp furthermore argues persuasively that Vg was originally intended for the duke, and that he was, in fact, its original owner. …

This paper introduces two digital prototypes, the Colour Collage and the Constellation visualizations, which we developed to represent eight pages from the scrapbooks of Scottish Poet Makar Edwin Morgan (1920–2010). We understand these prototypes as experiments within our research through design process, rather than as stand-alone digital objects, and so this article presents the theoretical pursuits and design decisions that motivated, and were motivated by, these prototypes. We begin by establishing our theoretical framework, which focuses on the roles of inscription technologies in archives and is guided by Bruno Latour’s concept of a mediator (1993). We then discuss scrapbooks as polyvocal and hybrid mediators, which are nonetheless often pushed to the fringes of reading practices and material histories. In unpacking the fringe status of the Morgan scrapbooks in particular, we outline the copyright restrictions that complicate their digital publication. Reconceptualizing these restrictions as creative constraints, our prototypes experiment with forms of representation that go beyond the facsimile, drawing on detailed metadata and generating new visualizations that are inspired by the scrapbooks’ materially-specific grammars. Our aim with these prototypes is to open the scrapbooks to new forms of play and discoverability in online contexts, while using digital tools and methodologies to better understand the scrapbooks’ multifaceted modes of meaning creation. We conclude by discussing some of our prototypes’ limitations, as well as future directions for our research through design process for the Morgan Scrapbooks.

A 2014 exhibition of Meric Algun Ringborg at Moderna Museet, Stockholm, Sweden, exploring identity and belonging involved the making of facsimiles. The installation included a sound work, booklets to be taken, and a book to be read. Exhibition copies were created of personal letters for open display which were not to be touched. Contrary to the artist's wishes, the work was constantly handled. Made for this one installation, the facsimiles transcended the exhibition and were returned with the work to the artist. The paper examines issues of authenticity and control from a conservation standpoint, and details discussions surrounding reproduction in contemporary art museum conservation practice.

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

John Stuart Mill's relationship with France was peculiarly strong. The editors of his Collected Works have calculated that the one word which appears more times than any other in the whole collecti...

Bach-Jahrbuch, Bd. 69 (1983)

The Sanskrit Yasna Manuscript S1 contains the facsimile images of the manuscript S1 together with an introduction written by Leon Goldman.

The way in which art historical research is conducted and published has changed greatly with the increasing use of information technology. “Digital Montagny” is a research project that examines an album of antique works documented by a French artist of the early nineteenth century. This seemingly traditional object is significant for the way that it opens up questions about art historical methodologies and the ways in which the discipline is being revitalized today. The research project, a partnership between the Getty Research Institute (GRI) and the Institut national d’histoire de l’art, has helped to establish the foundations of the Getty Scholars’ Workspace, a new digital environment being developed by the GRI. Built upon lessons learned in the very first Scholars’ Workspace project, Pietro Mellini’s Inventory in Verse, 1681: A Digital Facsimile with Translation and Commentary, the “Digital Montagny” project compiles the multilevel information contained in the images to produce a born-digital ...

The Sanskrit Yasna Manuscript S1 contains the facsimile images of the manuscript S1 together with an introduction written by Leon Goldman.

The Sanskrit Yasna Manuscript S1 contains the facsimile images of the manuscript S1 together with an introduction written by Leon Goldman.

The Sanskrit Yasna Manuscript S1 contains the facsimile images of the manuscript S1 together with an introduction written by Leon Goldman.

Cloud computing is a facsimile for enabling ubiquitous, on-demand access to a shared pool of configurable reckoning resources which can be rapidly provisioned and released with minimal management effort. The services accorded by cloud are benevolent to many patrons. They are many new fangled ways to exert services of cloud but the prominent thing here is transcendence of service of service exerted by patron and the time spend by the patron for using the service. In cloud computing it is very important that patrons should be able to exert the service with exquisite transcendence and also patron should exert the service that he desires without waiting for long time. So the concept induced in this paper is new-fangled method for forthcoming patrons to exert service of desired transcendence and service which has fewer loads among the services available in cloud. Rough Clairvoyance Fuzzy C-means clustering (RCFCM) algorithm is exerted for clustering the services based on service transcendence by congregating feedback testimony from patrons who exerted the service. This RCFCM algorithm helps in giving testimony to forthcoming patrons regarding service transcendence of services available in cloud. While congregating feedback testimony and storing feedback testimony lot of security, fidelity issues arises, so in this paper decision trait is included therefore only valid feedback testimony from patrons is cogitated. Collateral method provides security while congregating feedback testimony. If patrons know which service transcendence is best then everyone tries to ingress only the services with exquisite transcendence and load of services with exquisite transcendence increases. As load increases again it takes lot of time for the patrons to access the service to solve this load predicament ad-judicature is exerted. Unfeigned and proficient co-conspirators are recruited for accomplishing complex and secure tasks in methodology by using nodular method. Therefore the methods induced in this paper are benevolent for the forthcoming patron’s to gain erudition about services transcendence and to exert desired service by patrons that having less load among available services in cloud so that patrons feel ecstatic and satiated by using the cloud services.

The genre of the scholarly edition is diverse in its forms, but it generally involves a reproduction of original source material in the context of a scholarly apparatus consisting of annotations which add scholarly value to the text by explaining the editorial decisions made in a particular passage, drawing attention to an interesting place in the text, or linking sections of the facsimile with secondary scholarship. This scholarly apparatus acts as a contextualization of the primary material with which it is concerned. Instead of being embedded within the original material, these additions are placed in margins, footers, and appendices separate from but engaged with the material. In every case of a footnote, marginal note, or other part of a scholarly apparatus, we can say that something provided by the editor is a “body” associated with something else that acts as the “target” of the commentary. This association of “body” and “target” is the essence of Open Annotation, an emerging standard on the World Wide Web for associating Web content in this manner. This sense of annotation—of associating one piece of content with another for some express purpose—is the foundation of the Shared Canvas data model, which we present in this chapter as one approach to representing digital facsimile editions in an open, shareable form. Le genre de l’edition critique est divers dans toutes ses formes, mais il represente generalement une reproduction des documents de source originale dans le contexte d’un appareil academique consistant en annotations qui ajoutent une valeur academique au texte, en expliquant les decisions editoriales prises dans un passage en particulier, attirant l’attention vers un endroit interessant dans le texte, ou reliant des sections de la reproduction avec un document academique secondaire. Cet appareil academique sert a contextualiser le document primaire auquel il est lie. Au lieu d’etre integres dans le document original, ces ajouts sont places dans des marges, des bas de page et des annexes separees, mais impliquees dans le document. Dans chaque cas, qu’il s’agisse d’un bas de page, d’une note en marge, ou d’une autre partie d’un appareil academique, nous pouvons dire qu’une chose fournie par l’editeur est un « corps » associe a une autre chose qui agit comme « cible » du commentaire. Cette association de « corps » et de « cible » est l’essence meme de l’Annotation ouverte, une norme emergente dans le World Wide Web pour associer ainsi du contenu Web. Ce sens d’annotation — soit associer un element de contenu a un autre dans un but precis — est la base meme du modele de donnees Shared Canvas, que nous presentons dans ce chapitre comme une methode visant a representer les editions de reproductions numeriques, dans une forme ouverte, partageable.

Guillaume Coatalen offers annotated editions of Richard Reynolds’s The Foundacion of Rhetorike (1563), which has not been edited since the 1945 facsimile edition, and of William Medley’s unknown A Brief Discourse of Rhetorike which survives in a single manuscript dated 1575.

Two portraits of Enrico Scrovegni, patron of the Arena Chapel, are ‘facsimile portraits’ made in the early decades of the fourteenth century; that is to say that they exploit mechanical means of reproduction with the intention of capturing and recreating exact physical likeness. Close visual analysis establishes the use of life casts, and shows how the sculptors responded to the new technology. The resulting portraits seem to contradict prevailing ideas about medieval concepts of likeness, and prompt revision of accepted histories of medieval and renaissance portraits. Arising from a confluence of intellectual and artistic impulses in Padua c.1300, the two portraits express the particular historical consciousness of that time and place. However, they also introduce a benchmark of physical accuracy in portraiture which endured beyond those specific historical circumstances, and they demonstrate the persistence of artistic style in even the most objectively accurate portraits. The advent of facsimile portraiture has implications for our understanding of likeness as a variable element in all subsequent portraiture.

The Digital Fauvel is an interactive facsimile edition of the Roman de Fauvel as preserved in the manuscript Paris, Bibliotheque Nationale, Ms. fr.146. It enables a variety of user interactions with the manuscript using a large multitouch tabletop computer, including viewing and navigating high-resolution scans, viewing superimposed translations of the text, searching manuscript text and metadata, viewing modern editions of musical items, and listening to musical audio. These modes of interaction synthesize information traditionally available in different places (editions, facsimiles, translations, editorial commentary) to create new modes of interaction with digital manuscripts for students, scholars and the general public. The project has been developed using standard design practices from human–computer interaction, mindful of the implications of adapting such practices for a digital humanities domain. Engaging students in the design and implementation of these new tools has also created unique educational opportunities by raising fundamental questions about encoding practices and manuscript culture alike. Work currently in progress involves the creation of an ‘application programming interface’ for Fauvel and other digital manuscripts, which will enable other scholars and programmers to build new and different types of interactions on top of our existing project infrastructure.

Through an engagement with theory from the fields of art history, anthropology, and sociology, this article examines the archival existence of medieval manuscripts and facilitates an understanding of archival practice and its effects on user experience from the perspective of the researcher, rather than from that of the archivist or information professional. In an exploration of notions of materiality and virtuality, the author addresses the material and institutional existence of medieval manuscripts and traces the evolution of the facsimile as a solution to problems of access. Within this framework, the various altered engagements with manuscripts in physical and digital form are assessed in order to establish the costs and benefits of virtuality. The roles of new technologies that produce high-quality facsimiles are investigated through theories of (re)presentation with respect to visual materials, including images and historical text.

Office Supplies and Stationery (ATK) are equipment that is often used in offices, companies and organizations, include cabinet filling, perforators, calculators, paper clips, staplers, numerators, guides, flashdisks, paper punches, pens and paper, paper shredder, computers, printers, facsimile machines, photocopiers, archive folders and cash registers, office furniture. Supplier is part of the supplier chain that influences the development of a company. Problems that are often experienced by PT. PLN Engineering such as late arrivals and lack of quality equipment and stationery from suppliers, therefore it needs to be re-ordered or returned to suppliers, so that time is wasted. Storage of data on procurement of equipment and stationery that are still conventional so that it is not effective and efficient in terms of time, cost and energy, let alone supplier selection which is still subjective. The purpose of this study makes it easier for competent parties to make decisions at PT. PLN Engineering in selecting the best supplier to be consistent in maintaining the determined criteria so as to minimize the risk and not disappoint the company. Incorrect supplier selection affects the quality and costs incurred in buying equipment and stationery from suppliers, how to overcome them requires a decision support system (SPK) that is able to accurately select the most suitable supplier. The method of Simple Additive Weighting (SAW) combined with fuzification is the right method for evaluating the best suppliers. The most important criteria are Price of Goods, Quality of Goods, Delivery Time, Location Distance, Goods Packaging, Accuracy of Goods, Flexibility, Track Record. The conclusion of the test results is the SAW method is able to show that the ranking of the best suppliers with the highest value of 0.89 is UD. Bintang Mulia.