This paper links the medieval and early modern production of parchment and paper with modern electronics manufacturing, in order to examine some of the occluded ecological and political dimensions of archival study.
Gibagadinamaagoom, (To Bring to Life, to Sanction, to Give Permission), will bring together a diverse array of partners to discuss how state-of-the-art digital technology can be employed to translate ancient and sophisticated systems of traditional Ojibwe knowledge. Discussions will address the challenging, vitally important questions concerning how to design a digital archive that can be accessed using multiple interfaces. Partners include educational (including tribal colleges) and cultural institutions, native Ojibwe scholars, digital media experts, and a distinguished advisory board. These collaborative partners are well positioned to develop one of the most culturally sensitive Native American archives ever built. This project will contribute significantly to how digital technology can be used to revise academic, museum, and library protocols regarding cultural sensitivity, and enhance teaching and learning with a commitment to honor the cultural sovereignty of the Ojibwe.
MIAS based in Oxford, England, took an initiative to collect Ibn ‘Arabi’s rare works and manuscripts through several digitisation projects to preserve the collections for future generations; and at a later stage the MIAS digital archive was formed to facilitate online access and encourage collaborative research and raise the profile of the Society. Initially, a thorough literature review was conducted so that to understand the discipline of archive science and its digital counterpart and get a comprehensive view of the subject. The aim of the research is to evaluate the MIAS digital archive in terms of quality of descriptive information, design, and user accessibility. A survey research method was used in the research and hence five London-based archivists have been interviewed from several institutions. In addition to the interviews, the research has been augmented by an online questionnaire and was deployed in particular to target members of the MIAS digital archive, but also the opinion of non-members was welcomed. The collected data was from the user-experience in relation to the effectiveness, ease of accessibility and usability of the digital archive. The questionnaire was distributed on the Society’s website and other social media sites. In conclusion, it was apparent the MIAS Society did not explore the use of social media and online technologies to raise the profile of the Society, and therefore it put in recommendations to them that in order to expand their digital archives, they will need to acquire such technologies. The Society also did not follow the general international archival description which is the framework for archival record guidelines. Some recommendations were put forward in relation to other aspects that affect the usability of online digital archives.
To support the development of a comprehensive strategic plan to create the Academy Motion Picture Oral History Digital Archive, the first industry-wide collection of motion picture-related oral and visual histories. With interviews recorded in 1947 through the present, the Archive will bring together the oral and visual history collections of a founding consortium of the Academy, Art Directors Guild, Film Music Foundation, International Cinematographers Guild, Motion Picture Editors Guild, Screen Actors Guild Foundation, Screen Actors Guild-American Federation of Television and Radio Artists (SAG-AFTRA), and Writers Guild Foundation.
Report of a pilot study investigating the creation of a digital archive of medieval property transactions along the City waterfront
This chapter uses Our Marathon: The Boston Bombing Digital Archive to consider the ways that collaborative, public-facing digital humanities initiatives can conflict with institutional conventions and methods of evaluating academic labor. Collaborative work creates challenges as well as opportunities for its organizers and laborers. The particular institutional space of the English department is discussed in relation to digital projects, and it is brought into conversation with the role of collaborators from libraries and local communities.
This essay explores the notion of the experimental film “remake” and the different spectatorial experiences that arise in watching a canonical experimental film and its digital remake. By examining A Movie by Jen Proctor and Man with a Movie Camera: The Global Remake in relation to their originals, this essay reflects on the different effects produced by these films made in the cinematic and digital eras, respectively, as a result of the different archives of documents available for appropriation and recontextualization at each historical moment. Indeed, I suggest that the original films produce a “material archive effect” while the remakes produce a “digital archive effect,” these effects occurring at the levels of both form and content. I argue that these films offer a point of entry for thinking about how cinematic and digital technologies have each differentially shaped human experience of the “real” as its representation is appropriated and recontextualized.
Recent theorizations of archival silence signal a heightened and expanding concern with information that is lost, concealed, destroyed or simply not available for scholarly use. As our access to the archive becomes more dependent upon technologies of the interface, scholars exhibit increasing concern about the impact of digital affordances and constraints on record-keeping, research and artistic production. As digital archives are technocultural artifacts, developments in the field of science studies can provide insight into the interdependence and coevolution of the social, cultural and material factors shaping archival silence. Donna Haraway, Karen Barad, Bruno Latour and others have shown how machine and human agents form tightly linked networks that must be understood as dynamically integrated wholes. Digital archives lend themselves to this kind of exploration of the entanglement of matter and meaning; content and device, human and machine elements. We can thus understand digital archives not as singular physical entities, but as a set of possibilities shaped by the convergence of social and material factors.
I am an English PhD candidate at TCU. My research interests include the relationships between early American women’s manuscript culture, the archive, and digital archive. I am also interested in the Digital Humanities.
Tools of digital information management are being used to preserve and make accessible the cultural heritage of marginalised groups traditionally excluded from mainstream cultural heritage institutions, such as LGBTQ and communities of colour. Alongside the explosion of digital collections, critics are now questioning the extent to which these technologies are being employed to challenge the perpetuation of oppressive traditional archival practices based on dominant archival epistemologies. Recent examples of the inappropriate use of digital information technologies with collections sourced from marginalised communities have seen the structural inequalities experienced by LGBTQ and people of colour intersecting with ethical and legal issues produced within the digital environment. This study investigates discourses relating to this intersection through analysis of online documentation and interviews with five London-based archivists, para-archivists and LIS professionals from the British Library, the Bishopsgate Institute, the National Archives, the London Metropolitan Archives and the rukus! archive. Particular attention is paid to queer, trans and intersex people of colour (QTIPOC) collections and the impact of intersectionality on information practices. Critical discourse analysis combined with a queer of colour critique was used to construct a range of themes from the texts, which include relationships between cultural heritage institutions with community groups; the interplay between ethics and the law and digital information technologies; the ephemerality of the QTIPOC archive; and strategies of control that can be employed by QTIPOC communities over their own cultural heritage. Many of these themes were salient for a number of the institutions involved in the study, and as such, they may provide a basis for future research which could contribute to ethical guidance for cultural heritage institutions working with QTIPOC collections in the digital environment.