Time-based Media Symposium: Unfolding

The time-based media symposium Unfolding: Production and Process was hosted by the Art Institute of Chicago this fall. I attended last spring’s two-day presentations, and I have been working with one of the organizers - the museum’s time-based media conservation fellow - on other projects at the museum. Given the interdisciplinary nature of the work, and my coursework relating to digital curation, I was excited for the symposium:

“From the selection of formats during production, to the continual reformatting of moving image works, to ‘reconstructions’ of works that are partially lost or obsolete, choices of assessment and care are interwoven with how artworks are seen and remembered. Artists can be critical stakeholders in conservation approaches, including repositioning their past works into new contexts or modes of display. Further, the transfer between formats as technological platforms change provides opportunities to revisit an artwork’s identity or assess the underlying attributes of an analog or digital format. Unfolding will draw from art history, conservation, artists’ own procedures, and technical fields of expertise with the aim of expanding our collective attention to the in-between moments in the lives of artworks (Art Institute of Chicago, 2019).”

There were four total panel discussions over the course of both days. All of these combined a variety of individual contexts: practicing artists, curators, collection managers and archivists, conservators, and technicians. It was interesting to reflect on the range of perspectives on these complicated works, and how necessary collaboration is. 

The first panel in particular resonated with me as it relates to the human aspects of film and video genres within the broader spectrum of time-based media. The moderator posed open-ended questions for us to consider and the panelists to address including: what works are preserved, how we create appropriate and responsible contexts for the work (cataloging, exhibiting, etc), and how we incorporate community into this practice. Speaking to these issues were Liz Johnson Artur, a multidisciplinary artist who works in still and moving images, Abina Manning, from the Video Data Bank, and Jacqueline Stewart, a professor at the University of Chicago and director of the Southside Home Movie Project. All of them spoke to the ways in which their practices intersect with archives, and the interesting dynamics between video and film as documentary and aesthetic. Representation was also an important part of the conversation - from how access is provided in an equitable way, to whether and how materials are made accessible, and what rights creators retain in handing over their materials to a repository. The role of cataloging and description plays a role in this, and so too does the much larger concept of institutionalization of film and video. In the case of the South Side Home Movie Project, Stewart faces the history of conflict as a result of her institution’s role in discriminatory policies in its predominantly black surrounding neighborhoods. Understandably, some of those she works with on potential acquisitions feel a sense of distrust about handing their family’s materials over to this institutional archives. Ultimately, it would seem that relationships are an important part of the process of building, stewarding, and making accessible (or not) this type of time-based media, and that these archives are constantly in flux - not fixed - as a result.

Stewart introducing the South Side Home Movie Project Digital Archive

Stewart introducing the South Side Home Movie Project Digital Archive

The last panel on born-digital art also struck a chord, especially given the immediate and tangible examples of challenges within preservation. Jan Tichy, a multimedia artist, discussed a few of his recent conceptual, time-based pieces that were created digitally and are dependent on specific technological tools in order to be accessible and viewable. His work reflecting on the Museum of Contemporary Photography’s collection may evolve over time as their collection grows, necessitating updates and interventions to the original work. His installation on the last remaining and soon-to-be-demolished Cabrini Green building, the resulting documentation of his installation, and the resulting live-streamed footage required different strategies for archiving. Andreas Angelidakis, an “architect who doesn’t build,” talked about his work in both digital and physical environments, and how preservation comes into play with both (Art Institute of Chicago, 2019). He works with online communities like Active Worlds and Second Life, which are both dependent on companies to maintain the underlying digital infrastructure. The platforms disappear when they are no longer profitable. He started making 3D prints of some of his interventions on these platforms, with the idea that these are more stable versions of his digital creations. These physical manifestations have proven to be fragile themselves, though. In another series of work, his work in creating a digital amphitheater through custom software ended up being reproduced in the real world through the creation of soft blocks. These blocks are meant to be rearranged and used in any way people see fit, referencing the interactive nature of the original software. It also means that the blocks are intended to be physically worn down and marked as people interact with them. Mark Hellar, a technology consultant who has worked with museums on conservation projects, talked about some of the specific projects he has helped to troubleshoot. The piece News by Hans Hacke underwent treatment when it was exhibited in 2018. The piece required reverse-engineering in order to make it compatible with contemporary internet technology and RSS feeds. The underlying software had to be completely rewritten due to licensing limitations, reliance on obsolescent platforms, and link rot of the previously used RSS feeds. Fortunately, his studio did permit for changes to be made to the digital system in order to make the time-based media piece function as it originally did. In another case, Susan Kare’s Mac Icons work made its way into MoMA’s collection as both physical sketchbooks and a series of 300 floppy discs. The storage media, the file systems, and the file formats themselves were obsolete, so Hellar helped to create disc images, set up an emulator to view the files, and built a custom server with the emulator so the files would be accessible via a web browser for curators. All of these works, their inherent fragility in their digital (and physical) forms, and the ongoing work required to make them renderable speaks volumes to the challenges of digital preservation of time-based media.

Basic components of a digital preservation plan, as discussed by Small Data Industries’ Fino-Radin

Basic components of a digital preservation plan, as discussed by Small Data Industries’ Fino-Radin

The last portion of the symposium was dedicated to more direct applications of digital curation through a presentation, workshop, and moderated Q&A session. Ben Fino-Radin of Small Data Industries presented on the ‘Past, Present, and Future of Digital Preservation Storage in Museums.’ This company consulted with the Art Institute to provide recommendations on better managing its time-based media collection. This session looked at general trends and best practices in cultural heritage institutions, including considerations like data backup and redundancy, fixity checks, repositories and access, and roles and governance in order to do this work. The workshop allowed participants to learn about some of these practices, namely using digital preservation tools to assess files. Jeff Martin, a consulting media conservator, talked about ways of performing visual quality assurance on born digital video and digitized film works, and Kristin MacConough, a time-based media conservation fellow, introduced specific technology tools to gather metadata about files. Participants had the opportunity to use Terminal to see file directories and create checksums, Exiftool to read information within files (file size, type of encoding), and Mediainfo to generate a variety of additional technical metadata. 

I am thankful that there are so many folks in the field who take seriously the challenges of digital preservation, and who are willing to share their knowledge with others. I learned so much during the symposium, and I am excited to learn more through coursework and in real-world applications.



References:

Art Institute of Chicago. (2019). Unfolding: Production and process in time-based media art. [Program].

Chicago Area Archivists: Collaborative Exhibits

The Chicago Area Archivists group regularly organizes tours and professional development opportunities around the city and suburbs. I attended one such event at the University of Chicago, which was focused around the idea of collaborative exhibits. 

We first gathered for a presentation by a librarian at the university library on the history of exhibits in the university library. From the 1970s through 2009, the exhibition space was relegated to cases lining a hallway. The space was neither approachable nor particularly practical for exhibiting works on paper, as it featured shag carpet, and fluorescent and incandescent lighting. With the construction of the new Manuseto library, this exhibition space also forced the redesign of the exhibition area. Library staff hired consultants, talked to exhibitions staff at a local museum, and dedicated their efforts to designing a modern and preservation-appropriate space. 

Before and after the exhibit space redesign

Before and after the exhibit space redesign

They implemented appropriate environmental controls including an independent HVAC system for fine-tuned temperature and humidity control. They also installed programmable LED lighting and a variety of security tools - video, alarms, and locks. Additionally, they oddy tested materials that were used to build the cases, which ensured the exhibition furniture is doing no unintended harm to materials on display. These cases are movable, which allows for more nimble and independent control of the exhibits by library staff - they no longer need crew to help them move cases. The cases feature spaces beneath for silica to allow for even greater control of humidity. The library has several designs of these cases available for use, and they also gained storage space dedicated for storing cases. Other features in the newly redesigned exhibition space include a ceiling mounted projector, floor outlets and AV ports, and a poster rail. 

The exhibition space rotates through an average of four exhibits per year, which correlates with the university’s quarter system. The library has one staff dedicated to this work, and the curators rotate - they may include archivists or special library staff, general librarians, faculty, students, or outside curators and donors. There has been a surge of interest in the last few years for university class students to curate exhibits. This can be challenging in a class of 30 students, as cases get crowded. It also means that the exhibition schedule may be filled multiple years in advance, limiting how faculty can design their curriculum. Library staff are evaluating how to strike a balance, and are investigating whether web exhibits may work best for these situations.

Generally, projects begin roughly 12 - 18 months from the anticipated date of installation. The library is in the process of developing a more formal proposal process. The presenter provided a sample of the timeline for exhibits, which includes development - conceptualization, item selection, and exhibit design - and production - digitization, text production, graphic design, web exhibit production, production of collateral materials. 

For the exhibitions’ budgets, most costs are generally covered by the university. The ability to use existing cases and vitrines helps to this end, as do dedicated staff at the library. Printing graphics is usually covered under the general operating budget, and occasionally there may be fees to pay for loans. In cases where curators want to design a full-fledged publication that corresponds to the exhibit, they must find their own source of funding.

As it relates to the selection of items to be exhibited, library staff have found that curators can most easily find materials in the general collection at the university. Generally, it requires more guidance from special library and archives staff for the selection of rare materials - this may include teaching curators how to use finding aids, for example. Wherever possible, they try to source materials from the university system for exhibition. When loans need to be procured, staff try to use the opportunity to inform new acquisitions moving forward.

The digital library team works with the exhibition staff member to develop web exhibits that correlate with the physical exhibits. The design for these experiences is similar in look and feel to Omeka sites, a platform with which faculty and staff are often already familiar. In conjunction with these interactive experiences, the digital team also creates downloadable PDF files with full text. In this way, these exhibits can live on after they have been de-installed, and there is documentation of the work and research. Copyright is one important factor to consider in web exhibits, and generally, they try to err on the side of caution in not digitizing and publishing online materials that are in copyright (held by external agents). Occasionally, the team works with ARS to secure licenses to selectively publish important materials. This also informs how they photographically document the physical exhibits - generally, they document cases as a whole rather than individual objects.

The library leverages existing staff and tools for PR and outreach. Library communications helps to get the word out on campus about exhibitions. Staff try to align programs and events with both the exhibit and any other initiatives on campus. Events may include tours, conferences, classes, lectures, author or artist talks, and general receptions.

The presentation next shifted to a discussion by a staff member at the Oriental Institute (OI), a museum on-campus at the University of Chicago:

“The Oriental Institute was founded in 1919 by James Henry Breasted with the financial support of John D. Rockefeller Jr., and was originally envisaged as a research laboratory for the investigation of the early human career that would trace humankind’s progress from the most ancient days of the Middle East. The goal of the Oriental Institute is to be the world’s leading center for the study of ancient Near Eastern civilizations by combining innovation in theory, methodology, and significant empirical discovery with the highest standards of rigorous scholarship. The Oriental Institute Museum was opened to the public in 1931. (The Oriental Institute, n.d.)

She provided us with some background information about the museum, including its archival collection scope of faculty records, still and moving images, institutional records, and archaeology dig records. Much of this collection has been hidden over the years, as is common with many archival collections given backlogs, but staff recognized that processing to facilitate access is important, especially with their 100 year anniversary. Outreach via this exhibit was another helpful way of raising awareness and visibility of the museum and its holdings.

She made the case that archives are examples of and critical to cultural heritage as much as museum collections objects are. In the context of OI, such archival materials include documentation of now-destroyed ancient sites, and records that tell the story of provenance for historic objects. To make the archives more visible and relevant, they have pursued several projects. One of these includes the Cultural Heritage Experiment, where OI lends reproductions of archival materials to students at the University of Chicago. Students may pick from a selection of digitized images and records, and then have the opportunity to bring the archives into their own personal spaces. OI staff gather stories from students about their experiences, and from this, they are building an archive of the Cultural Heritage Experiment.

IMG_20190920_104845.jpg

The museum has pursued a number of other avenues to connect its holdings - especially those in the archives - to the campus and the broader community. The OI is working to create a museum-in-a-box via 3D printed replicas of museum objects. This will allow the materials to travel to classrooms for remote learning opportunities. The museum also encourages loans, and it works with contemporary artists to activate the museum space in new ways. Finally, and perhaps most relevant to the subject of this event, the OI also works on collaborative exhibits.

The OI staff member presenting curated the exhibit currently on display at the library - Discovery, Collection, Memory: The Oriental Institute at 100. She walked us through the exhibit and discussed each of the cases - their contents and the process of developing a narrative connecting the history of the museum with its collections. Working so closely with institutional archives at my own museum, it was interesting to hear about how this material was reframed to show its value in telling this story. There was discussion of the role of museums like this one, and exhibits that celebrate their history, in contemporary conversations about cultural patrimony and repatriation. Complicating all of this is the university-wide umbrella under which all of these organizations and departments operate, and the bureaucracy and politics that follow as a result. The curator’s talk left me with a lot to reflect on, and I was thankful for the frank discussion.

Views of Discovery, Collection, Memory: The Oriental Institute at 100

Views of Discovery, Collection, Memory: The Oriental Institute at 100

IMG_20190920_110717.jpg
Original negatives rarely go on display in exhibits, so it was exciting to see an example of how this can be done

Original negatives rarely go on display in exhibits, so it was exciting to see an example of how this can be done

A few museum objects were also on display, seen here behind one of the cases with archival materials

A few museum objects were also on display, seen here behind one of the cases with archival materials

I appreciated seeing documents that reference some of the behind-the-scenes work that happens at museum - including acquisition and registrarial records, seen here

I appreciated seeing documents that reference some of the behind-the-scenes work that happens at museum - including acquisition and registrarial records, seen here

The event ended with a tour of the new building of the library, which prompted the redesign of the exhibition space. The structure is notable in that it features automated retrieval of general stack and archival materials in storage which is several stories below the reading room. Library staff demonstrated how the robots work, how this system interfaces with library workers, and how patrons can request materials. The climate-controlled, secure storage is much more efficient in how materials are organized on the shelves than open stacks which patrons may browse.

Several stories of subterranean storage

Several stories of subterranean storage

Computer terminal for one of the robots and a view of some oversized library material stored on the shelves

Computer terminal for one of the robots and a view of some oversized library material stored on the shelves

Reading room above the automated retrieval storage area

Reading room above the automated retrieval storage area

I appreciate the openness of professionals in the field to share this type of insight into some of the work they do, and for organizations like CAA that make these events happen. It helps me to consider practices where I work, and how we might shift to create more value for our users. 

References:
The Oriental Institute. (n.d.). About. Retrieved from https://oi.uchicago.edu/about


CMEG at Chicago Architecture Center: Evaluating exhibits

I receive emails from the Chicago Museum Exhibitors Group (CMEG), and the organization recently announced a meeting dedicated to evaluating exhibits, entitled Everyone Evaluate. I’ve never attended one of their events, and this topic in particular intrigued me, so I decided to go. Evaluation of this sort does not factor heavily in my day-to-day work, so I welcomed the opportunity to learn more from the experts. Museums are known for exhibits, but more archives and libraries are organizing similar experiences in their own spaces. So perhaps I will be a part of exhibition design and planning in the future, and will therefore need to understand the basics of evaluation!

View of one of the exhibit spaces at CAC

View of one of the exhibit spaces at CAC

The newly rebranded and relocated Chicago Architecture Center (CAC) was host for the meeting. Dozens of folks from across Chicagloand attended, including those who work at cultural institutions, companies, and consulting firms. I felt out of my element in this crowd of exhibit and instruction designers, and I enjoyed sitting back and taking it all in. I recognized a few faces from the Art Institute of Chicago and DuSable Museum of African American History.

First Michael Wood, the Senior Director of Program Strategy, provided some information about CAC, its recent change of name, and its move to new facilities. After having spent half an hour or so wandering around the new exhibitions, it was interesting to hear about all the changes the organization has recently undergone. I have had the opportunity to visit their old space, attend some of their tours, and take advantage of the wonderful annual open house event they organize. The exhibitions and their space seem to provide a sense of harmony with their new identity, though Wood made it clear that changes have not been without challenges. He also introduced the topic of evaluation and told us about the agenda and format for the meeting.

Katherine Gean of Katherine Gean consulting was first to present on the topic. She provided a high-level view of what evaluation looks like in the context of cultural heritage exhibits. She first stressed the importance of figuring out research questions: what do I need to know, what do I want to learn, and how to I want to study it? Gathering information and data becomes much more straightforward when there are clear parameters about the goals of the investigation. Gean then explained the difference between quantitative (numeric counts, generalizable) and qualitative (descriptive exploration, not as generalizable) data gathering, and how sometimes combining the two through a mixed methods approach works the best. In fact, she said that often the pursuit of answering one question via one method (quantitative or qualitative) often results in more questions arising, and different methods needing to be employed in order to answer those questions. The process is therefore often iterative. She also provided some examples of types of methods within each category:

  • Quantitative: surveys, timing and tracking

  • Qualitative: interviews, focus groups, follow-alongs, observation, cognitive interviews

Evaluating awe at the MSI

Evaluating awe at the MSI

Jana Greenslit, who works at the Museum of Science and Industry (MSI) was next to speak. She described their efforts to measure awe using in situ evaluation. Evaluation was embedded within the exhibit and overall museum experience, so they did not rely on post-visit surveys or interviews. Observation of visitors within gallery experiences were challenging given the nature of the research question. Measuring awe as a passive observer is challenging, since feelings aren’t always visible or apparent. Instead, Greenslit opted for a combination of experience sampling and eye tracking to help gather information to determine how awe-inspiring the museum experience is. The museum used cheap cell phones that they lent to select visitors, or had visitors opt in with their own cell phones for the experience sampling data gathering. One staff member was then tasked with texting these devices to ask visitors to rate their experience on a numerical scale as they were experiencing it. Greenslit also decided to use eye tracking glasses to help determine what visitors were looking at, what they spent the most time with, and what they were saying as they moved through spaces. Essentially, this technology allowed for observation in both qualitative and quantitative ways (through analyzing the footage and encoding it) without a museum staff representative needing to be present. It sounds as though they have reached some conclusions in regards to their original query, and hopefully the findings will be published on their website soon.

Timing and tracking map for one exhibition area at the MCA

Timing and tracking map for one exhibition area at the MCA

Rosie May, who works at the Museum of Contemporary Art Chicago (MCA) presented last. May started by recommending reading the article ‘The Museum is Watching You’ in the Wall Street Journal, as it provides a helpful overview of evaluation and its value in museums. She then talked about how she began working at MCA in interpretation, and how evaluation played in important role in better understanding their visitors and their needs. Some of the initial questions she posed included:

  • What are visitors’ behaviors in the gallery spaces?

  • What interpretation tools (introductory text, videos, wall labels) do visitors use?

  • How to visitors construct meaning, how do they learn?

  • What is the value of the exhibit experience for visitors?

May opted to employ two methods to gather quantitative and qualitative data to help answer these questions. First, staff were employed to interview visitors after they experienced the galleries. A standard evaluation form was used to note the answers, and the interviews were recorded as well. A team of in-gallery observers were also used in order to measure timing and tracking in front of interpretation tools and the collections objects on display. May was able to see how visitors behaved in the space - how they moved where they spent their time. From this mixed methods approach, the museum learned that visitors struggle to navigate through exhibits, and that they want to know how long they should expect to be in an exhibit. Visitors expect wall labels to be next to every object on display, and they appreciate when these labels are concise and provide tools to help them look at an interpret objects. The data also revealed that visitors want active learning activities, since art museum exhibits tend to be fairly passive experiences. From all this information, the exhibitions team made concrete changes to improve visitors’ experiences in exhibits:

  • Since visitors spent on average less than a minute in front of labels, interpretive text have been edited such that it can be read in this amount of time.

  • Since standard tombstone information on the top of labels (donor information, identifying accession number) was found to be confusing, some of this information has been moved to the bottom of the label.

  • Locating labels next to their corresponding objects has been prioritized in exhibition installation.

  • Clearer wayfinding signage was produced and installed throughout exhibition spaces.

  • More exhibits are featuring rooms in which visitors can actively respond to ideas presented.

Everyone attending this event then had the chance to put some of this practice and methodologies to use. Wood provided us with a prompt from his institution in the hopes that the group could come up with concrete research questions and methods to help CAC. In short, there has been a shift since they have moved locations and rebranded, and many visitors seem confused about what they can do there, and what they should expect. We broke into teams to discuss and explore. My group ended up coming up with the following questions: what is CAC and what do people think CAC is; what do visitors want and are they interested in the exhibit experience? Interestingly, folks identified the first two questions as aligning more closely with market research than audience research. Both sets of questions are important for the organization to answer in order to clarify their services and better provide for their visitors. For the identity component, it was decided that organizing focus groups for staff, visitors, and non-visitors would be helpful in order to gather some qualitative data about mission and services. This market segmentation can provide additional insights. The group decided that eye tracking may also provide useful data, especially given the seeming visitor confusion inside the spaces. Finally, tracking and tallying specific visitor questions could help reveal perceptions or misunderstandings among visitors. The group decided that the identity questions should be a top priority for CAC, but that they could use concept testing in the future to help out with the visitor experience questions. The goal of pursuing these questions and gathering data through these different methods would be to find ways of changing for the better. This could result in improved messaging in advertising, clearer signage on the exterior of the building explaining CAC to visitors, and better communication across all services provided by the organization.

This event was an amazing learning opportunity for me. I walked in with some basic understanding of how evaluation works, and left feeling much more confident about the process and specific methodologies. And crucially, I more fully understand what the aims of evaluation are (answering specific research questions) and overall goals should be (improving the experience and services offered). Cultural heritage exhibitions are important experiences that help connect the public with information and ideas through the display of objects, visuals, interpretive text, and hands-on activities. It’s exciting to think about the ways in which these experiences can be improved through strategic and iterative evaluation. And it’s also worth considering all the ways in which this type of evaluation extends beyond exhibits in information organizations.





Archival outreach and advocacy at AIC

The Art Institute of Chicago celebrates the 125th anniversary of the opening of its Michigan Avenue building December 2018. This structure is the second home to the museum, but it is tied to the institution’s identity. There have been a number of campaigns produced to highlight this moment, and fortunately, the photographic archives have been featured through these efforts.

The museum’s social media platforms, including Instagram, have featured a number of images - sourced both from institutional archives and from outside repositories - and it’s been fascinating seeing the response. Though our department was not directly involved in the selection or sourcing of these images, these are some of the “top hits” in terms of iconic views of the exterior and interior of the building. The photographs have prompted folks to share their experiences visiting the museum, their interest in the landscape around the building in the early days, and their appreciation for a glimpse back in time. The response underscored for me the public’s interest in this institutional history.

Our department was more actively involved in the creation of a promotional video and behind-the-scenes blog post, both of which focused on the institutional photographic archives. For the blog, I worked with the communications team to provide information about the day-to-day tasks involved with working in the archives. Following a format previously used on the blog, I was given a set of questions about my job - more specifically, relating to the photographic materials themselves and what goes into caring for the collection. It was wonderful diving into the topic, trying to reflect on how to explain things to a broad audience. It’s easy to get caught up in jargon used in the field, so working with other staff was helpful in keeping that tendency in check. I also really appreciated the opportunity to explain some of the work that happens at the museum which many folks may not consider. So much of what happens at the museum is invisible to visitors - I think it’s important to let them peek behind the curtain. It humanizes the work, and people often seem excited to learn about it.

One of my colleagues from our department then teamed up with us to capture some images around the archives space. She photographed me looking through photographic materials, a sampling of media in the archives (formats, bases, etc), and our digitization station. I don’t normally enjoy being in front of the camera, but it was nice to partner with a talented photographer to highlight this collection. And, it’s worthwhile making visible the work of archivists, and not just the archives themselves. We then chose some highlights of digitized negatives to feature along with these documentary images, to help show the depth and breadth of content in the collection. You can read the full post and see the images here.

The second project involved a substantial amount of legwork to compile compelling images for a video narrative. I teamed up with the museum’s videographer to assess what types of images would work well. Many of the negatives and transparencies had to be digitized again - a substantial portion of previously digitized archival materials are small files and don’t meet our current standards - then edited, and formatted for prints. The video shoot featured these archival reproductions, as well as a small sampling of original large format negatives and 35mm slides. He also captured scenes around the archives room, and a few scenes including me functioning as archival caretaker. I was glad that he chose to include contemporary images our department is creating as a way of tying the past to the present. It also shows that the institution is thinking about the future as it reflects on its past.

The video project could have focused primarily on the images themselves, essentially functioning as a dynamic slideshow of sorts. Instead, the videographer understood how compelling the archives-as-collection are, and made the decision to feature the original materials, space, and work involved in caring for them as part of the story. History doesn’t preserve itself, intervention is necessary. It felt good to see that acknowledged in the final product, which you can find here.

On one hand, all these initiatives function as outreach in that they raise awareness of a collection largely hidden to the public. Folks who maybe hadn’t considered that institutional archives like this exist have the opportunity to see the amazing images that tell part of the story of the museum. Perhaps equally important in the second two projects was the chance to make visible archival work. Archivists are key to the proper management of collections like this one, to preserve and provide access to materials that help to tell part of our collective story. As such, projects that highlight the individuals that steward the collections help to advocate for this profession. I hope that these projects positively contribute to the growing number of online opportunities which feature the skills, knowledge, and passion of archivists.





Outreach: Marwen visit

This fall I had the opportunity to show a group of youths the photographic institutional archives at the Art Institute of Chicago. I have previously toured the space and explained the collection to staff curious about our holdings, visiting archivists, and interns. As such, most folks have had some background in cultural heritage or interest in pursuing it as a career. This was my first chance to connect the archives with this type of group, many of whom are learning about and often new to the range of professions that connect with the work of our department: photography and imaging, museum studies, and archives and information science.

The teens who visited were enrolled in a photography class at Marwen, taught by one of my colleagues in the department. Her focus in the class has been imaging as a means of telling stories, often involving personal objects (collections, archives) as a way of weaving a narrative. She brought the group to the museum both to show them how other artists have approached these ideas, but also to give them a peek behind the scenes of the work we do in our department: documenting the work of the museum and archiving those images for future use.

My colleague requested that I discuss my path to this line of work as well as what the job entailed. Given that many in the group are thinking about college and what they might want to do professionally, this was a fantastic opportunity to show them one way to arrive in a career like this one. I did not realize that museums, archives, and libraries had such a wide range of jobs within them until I started a few internships in colleges. I would love to make sure more folks area aware of these career options, as I have found this path to be so rewarding. With this in mind, I told them about my background in art and photography, volunteer internships, and professional experience working in several Chicago area institutions. I shared how my love of both history and imaging have blended seamlessly into this job, and how it affords me the chance to continually pursue curiosity.

Reproduction prints of AIC staff at work over the decades

Reproduction prints of AIC staff at work over the decades

She also asked me to gather some original archival materials and some corresponding reproduction prints to show the students. Though I mentioned the core topics covered in the archives (documentation of collections, exhibitions, programs, visitors) I tried to stick to three main themes within the prints to demonstrate to breadth of subjects: World’s Columbian Exposition images, gallery and architectural views, and documentation of museum staff at work. The last theme in particular connected to my discussion about the unexpected types of jobs one might find in a museum like this one. Even more interestingly, these views show how work has both changed and stayed the same over time. Being able to talk about the role of documentation through photography in a museum, for example, and see images that represent that work over time, in addition to touring our facilities today helps to tell a fuller story about this behind-the-scenes work.

I also pulled some original archival material to show where these reproduction prints came from, especially given this group’s interest in photography. I made sure a range of sizes and film bases were represented, including black and white negative, color negative, and color transparency materials. Though these students are using digital technology to create their images, it was clear they were still interested in and connected with these negatives and transparencies. Even within an archives which is fairly narrowly focused by content (institutional archives) and materiality (photography), there is still a fascinating degree of variety. I hope that these materials underscored that fact for the group.

Original archival negatives and transparencies

Original archival negatives and transparencies

Finally, we took a brief look inside the archives themselves - at the compact shelving, card catalog, and digitization setup. They were curious about how things were organized, how we find images, and how often things are lost or misplaced. They wanted to know about the oldest negatives and duplicates. They asked so many excellent and engaging questions! Curiosity brought me to this profession, and it was amazing to see how curious they were about so many aspect of this collection and the work involved in caring for it. My goal was to open their eyes to this fairly niche intersection of photography, archives, and museums if it was not previously on their radar, and to make it relevant to their interests. Given their excited chatter, and the fact that they wanted to linger even after it was time to go walk through the galleries, I hope that I was successful in those goals. This might have been my first outreach program for this type of group, but it certainly won’t be my last, because it was wonderful.




Chicago History Museum Archives Tour

I recently met with Julie Wroblewski, the senior archivist at the Chicago History Museum (CHM), to discuss the state of the archives program at the museum and future goals for its development. I worked at CHM several years ago, but sadly our time at the institution did not overlap. A colleague, and former archivist from CHM, introduced Julie and I recently, and my current enrollment in the Archives & Manuscripts course in my MLIS program seemed like a perfect opportunity to reconnect and put into context what I am learning.

Julie is a certified archivist with an MLIS from Dominican University. She also recently completed an MA in Digital Humanities from Loyola University, and received her digital archives specialist certification from the Society of American Archivists. Previous work experience includes the role of Archivist and Special Collections Librarian at Benedectine University, Project Archivist at Peggy Notebaert Nature Museum, and Project Archivist at Lake Forest-Lake Bluff Historical Society. Her experience makes her well qualified for her current position, especially given the changes the collections unit is undergoing.

The museum is a stand-alone institution, and there is both a library and an archives within it. Hierarchically, the 3D museum collections, archival collections, and library are all situated under the collections unit, so the staff work closely with one another. The archives program at CHM is extensive - a fact I did not fully grasp when I worked there. The archival collecting scope aligns with the overall policy for the museum. The areas include: living, working, and governing the metropolitan area (including the broader suburbs around Chicago), the built environment, and individuals and ideas (Chicago History Museum, Collecting scope, 2017). Each of these areas is further broken down into topics, all of which are represented in the archives. Examples of these subjects include neighborhoods, class, leisure, business, labor, electoral politics, citizen action movements, and urban planning (Chicago History Museum, Collecting scope, 2017). Needless to say, there are a broad range of ideas represented in the collections, but they are all generally geographically focused in the Chicagoland area.

Screenshot of an image from one of the museum’s permanent exhibitions

Screenshot of an image from one of the museum’s permanent exhibitions

Given the wide range of topics covered in the archives, its user base is wide and varied. Requests are primarily fielded through the research center, though she mentioned she assists with queries which prove to be especially challenging. When I worked at CHM, I would walk through the research center on a daily basis, and I was always amazed by how consistently busy it was, and by the range of individuals visiting and materials they were using. Indeed, they information needs of users include genealogical research, architectural drawing requests from homeowners, primary subject material for Chicago History Fair project for students, and both broad and specific subjects in the archival collections driving the development of new work by authors, filmmakers, and academics. The research center was recently able to eliminate the fee to visit and use the archival and library collections, so now even more of the city can use the institution’s resources. Requests from those outside the city is also welcomed through the use of local freelance researchers.

There are several distinct collections areas managed by archivists at the institution: architectural drawings and records, prints and photographs, and archives and manuscripts. Julie is currently focusing her efforts on the first and last, and the museum is currently seeking a new archivist to manage the prints and photographic materials.

The architectural drawings and records highlights the metropolitan area’s scope and variety of buildings. It includes both famous and lesser-known architects and architectural firms, and collecting efforts have prioritized the acquisition of entire archives of the creators (Chicago History Museum, Architectural drawings and records, 2017). The collection is comprised of architectural drawings, documents, photographs, and some 3D material which is managed separately. The Holabird & Roche/Holabird & Root architectural drawings and records, 1885–1980 and Harry Weese Associates architectural drawings and records, 1952–78 are two prominent collections within architectural drawings and records (Chicago History Museum, Architectural drawings and records, 2017). Much of the material in these collections can be challenging to work with, given the scale and relative fragility of many drawings and blueprints. Julie indicated that a good portion of these materials are stored off-site, and that much work needs to be done to improve the discovery of these holdings.

Screenshot of a sample archival document from the architectural drawings and records collection

Screenshot of a sample archival document from the architectural drawings and records collection

The prints and photographs collecting area is that which I am most familiar, as much of the work I did in the photography department at CHM was digitizing negatives and prints for licensing requests. There is an incredible volume of content at “1.5 million images and more than 4 million feet of moving images” (Chicago History Museum, Prints and photographs, 2017). In addition to the sheer number of items, a wide range of media are represented: “prints, including etchings, engravings, and lithographs; photographs, including cabinet cards, cartes de visite, cased images, stereocards, paper prints, and negatives; broadsides; posters; postcards; greeting cards; and moving image film and video” (Chicago History Museum, Prints and photographs, 2017). My favorite collections I had the opportunity to handle and digitize were the Hedrich-Blessing architectural photographs and the morgue from the Chicago Daily News. The majority of these materials are stored at the museum.

Screenshot of a sample photograph from the prints and photographs collection

Screenshot of a sample photograph from the prints and photographs collection

I am the least familiar with the archives and manuscript collection, so fortunately this is one of the storage areas we toured. There are over 20,000 linear feet of materials, and this is the one collecting area which does include content related to broader American history, especially as it pertains to the country’s early history. Archives and manuscripts include “unpublished materials including correspondence, diaries, business and financial records, meeting minutes and agendas, membership lists, research notes, scrapbooks, scripts, sermons, and speeches” (Chicago History Museum, Archives and manuscripts, 2017). Collections which see a lot of use are the Red Squad files - which have challenging access restrictions - and the Chicago Division of the Brotherhood of Sleeping Car Porters records, 1925–69 (Chicago History Museum, Archives and manuscripts, 2017). A large storage space is located in the museum to house some of these materials, but given square footage limitations and the need for more efficient shelving, some collections are stored off-site.

Screenshot of a sample archival manuscript from the archives and manuscript collection

Screenshot of a sample archival manuscript from the archives and manuscript collection

Julie showed me a portion of the storage spaces in the museum, which are not open to the public. We walked past the cool and cold storage - used primarily for still and motion film and color prints. Our next stop was the primary archives and manuscript room. The spaces has several computer stations and large working spaces for processing. Additionally, there is a clearly defined area dedicated to largely unprocessed collections.

Storage space at CHM

Storage space at CHM

More storage

More storage

Efficiency and backlogs were a topic that came up repeatedly throughout our conversation. I knew that the museum historically struggled with a substantial backlog, and Julie indicated that the archival collections were not immune to the problem. Fortunately, she has been making substantial progress to reduce unprocessed collections. She employs a variety of strategies to this end, with More Product, Less Process - or MPLP - featuring prominently in the success. Reflecting on previous finding aids, there had historically been a tendency to approach description from a historian’s rather than archivist’s perspective. Rather than focusing on providing a few useful access points, collections were exhaustively described.

Julie also uses processing plans to help go about work strategically. These plans include timelines to provide benchmarks for work, and she uses spreadsheets to document the work she (and volunteers and interns) do while processing collections. She has also taken a note from agile development strategies used by software developers, and she will often organize work into two week chunks. This helps break down complicated and seemingly daunting tasks into more manageable portions, and it helps keep the processing plan on track. Collectively, all these efforts have resulted in the archives backlog shrinking, all while she continues to take in new collections and faces a staffing shortage.

Capacity is an issue, especially given the fact that Julie is the only archivist on staff at the moment. The consequences of this reality are reflected in two ways in regards to growth of the collection: the nature of acquisitions and the material types currently permitted. Currently (and historically) donations have accounted for roughly 80-90% of new acquisitions in the archives. Staffing is the limiting factor in the solicitation of archival collections, especially since it often takes a substantial amount of time and effort to build relationships, and these types of acquisitions can take years before they are completed. Julie mentioned that some exhibitions have helped to kickstart these relationships, especially with communities who were unaware of CHM and who are underrepresented in the collections. Gaps she would like to address include materials created by and that are about the south and west sides of Chicago, as well as communities of color and the Muslim community in the city. Archivists at CHM will likely need to actively solicit materials to more fully round out the archives.

Potential donors can facilitate the process through the online form

Potential donors can facilitate the process through the online form

Additionally, the museum does not accept born digital content as is outlined in the collecting scope and policy. Julie recognizes that this is problematic, as the majority of archival material being created today is likely digital. As such, there is a chronological gap that has the potential to grow, with material from the 2000s and on simply not being present in the holdings. Limitations in IT, especially as it pertains to infrastructure and the development of a digital preservation plan, are the primary source of this issue. In order to take this on, it will be necessary to have robust staffing and resources to support the substantial amount of work necessary to support born digital material. Julie is actively working on remedying these current limitations, and she hopes that they will begin collecting this type of material in the next few years.

Related to the current technological barriers at CHM, Julie stressed the necessity of emerging archivists to embrace new developments. When I inquired about specific tools or processes, she reflected on the fact that technology changes quickly and that above becoming an expert in one specific application, students should seek to be well-rounded. Competency should be reflected in gaining a range of experiences in order to learn how to use the next new thing, and to develop a foundation and comfort with using technology. She also reassured me that the technical aspects of archival work are not as complicated as they may seem, and that newcomers like me need to approach finding aid encoding and digital preservation with patience and humility.

One especially interesting idea Julie brought up repeatedly, and perhaps many of us do not fully consider when going into this field, is the necessity of relationships. She indicated a variety of ways in which she is actively strengthening ties within the institution - from working with curators to strategize collections building activities to the collaboration with the library and research center to learn what collections are being requested most frequently. Rather than acting as a silo, she understands the need and value in seeking out the experience and knowledge of other staff, and using it to strengthen the archives. This has resulted in the development of a series of brown bag meetings for staff, where Julie presents interesting new acquisitions to raise internal awareness of the collections.

The research center is an important ally for archival activities at CHM, especially because most external research requests are filtered through this department

The research center is an important ally for archival activities at CHM, especially because most external research requests are filtered through this department

Externally, she has been forging connections between current events and archival collections through programs and events, which often take place off-site. This helps acquaint communities, neighborhoods, and organizations with CHM and its archives, and it demonstrates the relevancy of the collections. Julie has developed a strong intern program, which is helping to train the next generation of archivists. As she is going about her work on a day-to-day basis, she keeps a list of candidate processing projects for emerging professionals. These real-world projects feature concrete aims, realistic deadlines, and the types of challenges we will face as archivists. Finally, she maintains close ties with other professionals in the field, especially those with similar collecting scopes. They work together to determine where materials might be a best fit, and they can serve users better by understanding where to refer individuals to with specific requests.


References:

Chicago History Museum. (2017). Architectural drawings and records. Retrieved from

https://www.chicagohistory.org/collections/collection-contents/architecture/

Chicago History Museum. (2017). Archives and manuscripts. Retrieved from https://www.chicagohistory.org/collections/collection-contents/archives-and-manuscripts/

Chicago History Museum. (2017). Collecting scope. Retrieved from https://www.chicagohistory.org/collections/collecting-scope/

Chicago History Museum. (2017). Prints and photographs. Retrieved from https://www.chicagohistory.org/collections/collection-contents/prints-and-photographs/




IPI Photographic Processes Identification Workshop

Last week, I attended a 3-day workshop in identifying photographic prints at the Chicago History Museum. Developed by the Image Permanence Institute, this was an intensive and incredibly helpful opportunity. Two staff from IPI led the sessions - Jae and Alice - and each day alternated between lectures and hands-on activities. After each lecture, we were able to work with the teaching collection, walking through the methodology we were taught to properly identify the images. This really helped to reinforce the ideas presented, especially by working with a partner to talk through what we were seeing.

Our first day was dedicated to an overview of the development and challenges in creating photographic images. The framework for the rest of the workshop was also established via an introduction to a visual identification guide. This checklist helps establish a methodology to looking with the aim of identification, by inspecting: image content, primary support, image color and tone, image deterioration, surface sheen, image structure (continuous tone or patterned), and layer structure. These visual cues align with the content of Graphics Atlas, an online resource provided by IPI. This way of walking through prints, starting with overall observations and gradually working towards magnification, proved to be very helpful throughout the sessions. They also discussed the earliest processes from the 19th century. We covered photographs on rigid supports - Daguerreotypes, ambrotypes, and tintypes - in addition to silver based printed-out prints on paper - salted paper, albumen, collodion, and gelatin prints.

19th century processes

19th century processes

The next day was spent reviewing non-silver based printed-out prints on paper - carbon, cyanotype, and platinum prints. The rest of the session was spent moving forward into the 20th century, focusing primarily on the most common black and white print form of the century - the silver gelatin developed-out print. After learning about this highly variable print type, Jae and Alice introduced us to color photographic prints - autochrome, carbro, dye imbibition, chromogenic, silver dye bleach, and diffusion transfer prints. We rounded out the day by reviewing the non-photographic counterpart to all the processes we had learned up to this point - photomechanical prints. These included Woodburytypes, photogravures, rotogravures, collotypes, letterpress halftone prints, and offset lithography prints.

Comparing bronzing with an overexposed POP print with silver mirroring on a degrading DOP print.

Comparing bronzing with an overexposed POP print with silver mirroring on a degrading DOP print.

20th century process: silver gelatin DOP

20th century process: silver gelatin DOP

The last day moved us into the 21st century and digital printing technologies - inkjet, electrophotography, and dye diffusion thermal transfer prints. We put all our knew knowledge to work by working through the identification of ten prints, which ranged from the earliest to the most contemporary processes. It could have been overwhelming, but knowing the steps helped guide the process. And it was just as helpful to incorrectly identify prints, as Jae and Alice then provided us with additional help on how to get to the right answer. My partner and I went through several packets of prints, and we felt fairly confident by the end! We also had the opportunity to look at some of the photographic prints in the collection at the Chicago History Museum. It was nice to ground everything we had learned with these samples - these are the types of prints we are likely to encounter in the future, and may have to identify without the assistance of our IPI experts.

Teaching collection test!

Teaching collection test!

I went into the experience hoping to gain some greater understanding of print images, and I was floored by how much content we covered, and how effective the instruction and format of active learning were. I still have much to learn, but I am so grateful for the opportunity to get this crash-course in photographic (and photomechanical) print identification.

Print viewing in archival storage at the Chicago History Museum

Print viewing in archival storage at the Chicago History Museum

Early processes in CHM’s collection

Early processes in CHM’s collection

A later process in CHM’s collection

A later process in CHM’s collection






Gerber Hart Library & Archives Tour

I was fortunate to recently visit the Gerber Hart Library and Archives here in Chicago, and the director Wil Brant led me on a tour. I am interested in archives with a strong community focus and in histories often underrepresented in typical repositories, and this is in part why I reached out to this library and archives. This institution reflects these ideas, and asserts its ability to be a “conduit for change” through its resources and programming (Gerber Hart, 2015). The library and archives believes “knowledge is the key to dispelling homophobia” (Gerber Hart, 2015).

Gerber Hart is a collecting institution “dedicated to meeting the information needs of its unique community in a safe atmosphere that promotes research, exploration, and discovery” (Gerber Hart, 2015). The holdings of the institution can be broken up into three broad categories: circulating library material, archival collections, and special collections. The focus of my tour were the roughly 150 archival collections, though we also discussed the 3D and material culture objects comprising the special collections. The collecting scope of the archival branch of the institution is the: “records, papers, and other realia of lesbian and gay life, focusing primarily in the Chicago metropolitan area and the Midwest” (Gerber Hart, 2015).

Main exhibition space and Gay is Good: Homophile Activism before Stonewall exhibit

Main exhibition space and Gay is Good: Homophile Activism before Stonewall exhibit

I started getting a better sense for the archival collections after taking in the temporary exhibition Gay is Good: Homophile Activism before Stonewall in the gallery space down the hallway from the library and archives. Featured were documents, photographs, pamphlets, magazines, books, buttons, and a typewriter. My tour officially began in the reading room and circulating stacks, where Wil discussed the historical context of the institution. We then walked through the two closed-stack storage areas, which housed rare library materials as well as archival and special collections. The collections seemed well organized, and they were housed in archival boxes; there was an emphasis on stewardship. It was clear throughout the tour that archival principles of intellectual and physical control were a primary focus for the management of their collections. Gerber Hart moved into the space shortly after it was renovated, and they were able to make requests of the building owners - including the installation of separate HVAC units for each of their storage spaces. Included too are two processing areas, one of which is large enough to fit several large tables.

Public reading room and circulating library collection

Public reading room and circulating library collection

Reading room with tables for researchers to look at archival collections, exhibition cases featuring archival and special collections, and circulating library collections

Reading room with tables for researchers to look at archival collections, exhibition cases featuring archival and special collections, and circulating library collections

In its nearly 40 year history, the archives has acquired the majority of its collections through donations. It is a well-known institution given its status as the “Midwest’s largest LGBTQ circulating library” and its drive to develop relevant services and programming. As such, strong ties exist between the LGBTQ community and the library and archives, which results in consistent archival donations. Additionally, the library and archive maintains its own institutional archives, which consists in part of previous presidents’ records. Some acquisitions are solicited, especially instances where organizations may be dissolving, but this requires considerable time and effort.

The content of the archival collections varies, and it includes documents, posters, photographs, and audio-video materials. The institution does not yet have the capacity - from a staffing or infrastructure perspective - to begin collecting born digital material. There is a particular strength in records from individuals and organizations, while fewer visual archival items are represented. Wil explained that this can likely be attributed to the fear of homophobic retribution and retaliation from those processing photographic and film material, and to unaccepting family members destroying or hiding what materials may exist. In short, absences in the archival collection can be attributed to restrictive societal norms and laws previously on the books.

Closed stacks, archival collections storage

Closed stacks, archival collections storage

Mixed collections

Mixed collections

This institution fills an important role as a repository of material of LGBTQ life in Chicago, the Midwest, and beyond. Wil helped me to understand that up until fairly recently, mainstream libraries and archives largely were not interested in acquiring material for or about this community. This is especially true with many public libraries. As such, Gerber Hart filled a gap, focusing specifically on circulating, archival, and special collections which were overlooked or rejected by other institutions.

More recently, with other repositories slowly starting to expand their scopes, and with the rise of information being made available on the internet, the focus of Gerber Hart’s users has shifted. Use of the circulating collections has decreased, and research requests for their archival and special collections has increased. As a result, more individuals outside of the LGBTQ community are using the materials, especially professionals developing book and film projects, college students doing research, and public school children working on Chicago Metro History Fair projects. The heart of the user base will likely remain in the community, especially as younger generations seek information about their shared history, but it is heartening to see interest spread and grow. I appreciate how inclusive the space is and how that is reflected in the wide range of users.

Some of the less common visual resources in the archival collections

Some of the less common visual resources in the archival collections

It is incredible to me how much the library and archives are able to accomplish, especially given its size and resources. There are currently two staff - both work part-time, and only one position is permanent. Wil indicated that there are approximately 30 volunteers and interns contributing to the daily operations. Much of his time is dedicated to managing and coordinating the activities of those donating their time. Graduate students in MLIS programs have interned at Gerber Hart, and a comprehensive collection list has recently been created. This is an important resource for users to discover what is available, especially since it is accessible to researchers remotely via the website. There are currently a few finding aids available, and work is underway to create more. Digitization largely happens on an ad hoc basis, and larger projects with special funding utilize contracted services.

The library and archives is a stand-alone institution, it is not a part of any other library, archive, or museum. It does have a symbiotic relationship with Howard Brown Health, which has one of its satellite offices in the same building as Gerber Hart. Howard Brown Health is a health and social service nonprofit organization focused on the wellbeing of the LGBTQ community in Chicago (Howard Brown Health, n.d.). The nonprofit encourages the development and display of archival and special collection exhibitions in their waiting and program areas.

Additional exhibition space in the lobby of Howard Brown Health, Games We Play exhibit

Additional exhibition space in the lobby of Howard Brown Health, Games We Play exhibit

I learned so much during my trip. Wil taking time out of his busy schedule was such a nice reminder how giving folks are in archives, libraries, and museums.

 

References:

Gerber Hart Library and Archives. (2015). About. Retrieved from http://www.gerberhart.org/about-gerberhart


Howard Brown Health. (n.d.). Mission and overview. Retrieved from https://howardbrown.org/mission-and-overview/

IS&T Conference

During my trip to Washington D.C. this spring, I attended the IS&T Archiving conference in conjunction with visiting two Smithsonian archives. A representative from our department had attended this event in the past, and it’s been on my radar for several years. It was a good opportunity to learn about the trajectory of cultural heritage imaging and archiving on a larger, international scale.

This conference led me to consider my career path and hopes for the future, especially as it pertains to information professions. I originally became interested in the field of cultural heritage imaging as a result of my background in photography. Internships in two museums during college opened my eyes to the world of archival and museum work, especially as it pertained to making historic materials accessible. Digitization has been the focus of my career so far, having worked in three different museums and libraries in this capacity. After taking over some archives duties in my current position, I’ve realized how much I enjoy this related, yet different side of making materials accessible. It’s become clear to me that digital capture is just one aspect of access, archival practice is necessary in order to make data findable, and to preserve this data. I was pleased that the IS&T Archiving conference covered the full gamut of my interests: from digitization to quality control, workflows, metadata, standards, and information management.

While much of the conference focused on the hows of doing the work, the end goal of access and preservation was evident in all the presentations. The keynote was a prime example of this focus on use: the Montreaux Jazz Festival Digital Project in Switzerland was conceived first as a means of preserving unique, culturally important audio recordings, and it evolved into an effort rich in dynamic programming. The collaborative project has resulted pop-up exhibits and experiences utilizing archival footage during the annual jazz festival. The project faces the challenge of complicated rights issues, but staff have found a creative solution in the form of a custom-built cafe for researchers, students, and enthusiasts to interact with the collection.

A presentation by staff at the U.S. Library of Congress was another excellent instance of technology serving end users in making archival material accessible. The National Library Service for the Blind and Physically Handicapped within the Library of Congress has been digitizing its Braille music collection for preservation, given the often fragile and rare nature of the material, to maximize space on circulating shelves, and to better serve patrons. Given the fact that this branch serves citizens across the country, digital access has become the preferred method of disseminating music scores. The presenters reviewed their research in the various hardware and software used to effectively capture and output files which accurately capture the original. There is still much that could be improved in the existing technology, library staff made it clear that the challenges in digitization are worth it given the educational value they provide for the community.

The project manager of the Robert F. Smith Fund at the National Museum of African American History and Culture discussed the incredible collaboration between cultural heritage institution and community via their archival projects. Their community curation, professional curation, professional development, and Explore Your Family History Center all connect individuals with history. Staff have organized community digitization projects, which allows folks to learn about best practices for storing materials and digitally archive their ephemera and family photographs. Through professional curation and fellowship and internship opportunities, agency over representation and narratives can be retained within the community. And the Family History Center allows for information professionals to guide genealogical research. The presenter relayed stories about the unexpected social interaction that happens in this space, as long-lost family members have connected as a result of their findings. The work being done as a result of the Robert F. Smith Fund is a prime example of the multitude of ways in which cultural heritage institutions can create value for their patrons and community.

Doretha Williams from the National Museum of African American History and Culture

Doretha Williams from the National Museum of African American History and Culture

There were several sessions that focused on 3D capture of historic objects and sites, and the value of documenting our changing world. This is one emerging side of cultural heritage digitization which shows incredible promise in capturing our collective, global cultural patrimony. Historic sites at risk due to political or economic instability, disaster and climate change can now be captured with a high degree of detail and accuracy. While these captures are no replacement for the originals, their use and distribution can help foster a sense of urgency to preserve these sites and it can help individuals across the world learn in a tactile way about these histories. It was heartening to hear a call for a review of file formats, metadata schema, digital preservation and an overall strategy for dealing with 3D capture. There aren’t currently any standards, so this is a crucial concern. After all, long-term access of this data will only be assured if information professionals turn their attention to effectively archiving these materials.

One presentation out of Finland, and another out of South Korea also pointed to searchability of digitized archival material as key as it pertains to access. The Digitalia Research Center has been working to create systems which will accurately and efficiently perform OCR on a variety of typeset and handwritten materials, in a variety of languages. In addition, their solutions are able to analyze the resulting data to determine keywords for processed materials. The research done in the audio archives of the National Archives of Korea reveals the value of speech recognition technology. Though manual intervention is often necessary with automated processes like this one, deep learning is being implemented on an experimental basis in an attempt to improve efficiency and accuracy. Both these automation projects underscore the value of cost-effective technologies that will provide improved access via search, and which will keep up with the incredible volume of archival materials we create.

Anssi Jääskeläinen from the South-Eastern Finland University of Applied Sciences, Digitalia Research Center

Anssi Jääskeläinen from the South-Eastern Finland University of Applied Sciences, Digitalia Research Center

A poster about the Echoes project, based out of the Netherlands, caught my interest as it pertains to cooperation and collaboration across institutions and countries. This effort is attempting to link data, and thus archival collections, through one unified system. Based on the Europeana portal of digital collections that pulls together cultural heritage material from scores of institutions across the continent, this system goes one step further to connecting collections across the globe. Through careful crosswalking of metadata, museums, archives, and libraries can add to a growing web of information. The data is transformed to LOD/RDF triples, and users can query or use maps as search interfaces (Netiv and Hasselo, 2018). Projects like this one point to the larger trend of linked data, and the necessity of international collaboration. It is easy to become overwhelmed by options when searching for or browsing information as a result of the sheer number of search engines and information portals. Consolidation of data, and enrichment from making connections is key to help cut down on information overload.

I left the conference considering how we might improve our processes and standards within the digitization program at our museum. This has yielded helpful conversations about progress and improvements, that should help to ensure we are producing accurate documentation of our collections for archival purposes. Beyond these implications, I keep reflecting on the presentations in relation to the value of archives. The physical materials and their digital surrogates have value when they are accessed. Access depends on preservation, searchability, and connections. This is where archivists come into play - they help to transform sheets of paper and digital files. Given the scope of impact within each of these projects presented during the conference, it’s crystallized in my mind the role information professionals play in connecting individuals, communities, and societies to unique, historical content.

Netiv, A. and Hasselo, W. (2018). ECHOES: Cooperation across heritage disciplines, institutions, and borders. Retrieved from http://blog.csuc.cat/wp-content/uploads/2018/04/Poster_Echoes_Archiving_2018_final_version.pdf