4 December 2008
Miren -- Arteleku: artist center. Working in the library field. Documents / descriptions / editorial task / web
Emilia Capell -- philosopher / archivist Barcelona city hall, dep of the mayor provides guidelines for document archiving. No images; not familiar with those typologies
Naomi Cohen -- Tapies collaborat
Mariona -- Filmoteca film archive is sth else -- museum.
Pilar -- national art museum BCN i am convinced by the usefulness of system traditional version -- new technologies background: national museum BCN not professionally trained -- 'exotic view'; so we have been able to do a rigorous but flexible way
Sylvia -- Picasso museum; research project -- photography history and archeology
Linda -- Tapies / coordinator of website Tapies link between museum and public, on line
Nuria -- Tapies Document management is new -- thesaurus project
Gala -- Tapies thesaurus; thinking and doing. We're from the bookshop
Laurence -- Tapies
Jorge -- Culturas des Archivo image archives; the broad sense -- we need to be flexible about the use of the term.
Types of tools, types of solutions in the last 20 years.
archive management field and document management field
5 tools: BIMA: 1989-1993
Basis -- BRS/SEARCH
document database. Fixed and moving images
City hall images
'we' (?) designed the database we were really doing it
Collaboration between document managers and technical people. That worked very well. Information management was exhaustive
A native research language, advance research.
BIMA -- database to find new language; use thesaurus. we liked that it had hierarchy -- semantic context created our own thesaurus (still around? trace?)
parallel systems -- geographical lists a personal working tool. It was just me, doing it I got advise but there was no management system -- i just used a wordprocessing tool.
ISO standards Hierarchy, associations, notes, relations
It is now old but people still want it
1997 A classification tool AHCB-AF
30's system was quite alright. A classification framework. Thematic!
I challenged the use of the system -- it was not used after because that tool did not meet the goal. it was used to distribute the docs theme by theme, but no crossreference. only way to find pics but not enough. 'unnecessary classification (?)'
Feminism = woman sewing
Thesaurus replaced the classification system -- you are q because it was obsolute? so change it! worked for 3 years to make it more rational
if there was a tool ... controlled language ... why did they need the thematic? it was redundant. I critiqued but I did not have the power than
(MM takes notes)
ALBALA: closed systems; a closed archive -- final.
retrieval and management system
conceptually different places.
A tool to cover both photographs AND documents ... impossible!
Jorge: we, from the archive world -- focusing inf on the creative context is the highest objectivity point
user of the archive... we as archive want to be as objective as possible
with photography, documents the same thing: poly-semic / multifaceted
to read it you need to see it in context --
in addition: the idea of the producer is important. produced in a necessary way. in the evolution... a basic concept ... you have to rethink photographs / docs according to production
it is alive, natural
documents generated from my activity; necessity ... docs out of context make no sense. What makes sense is that they are organic. Different than collection, library ... there is choice.
Docs archive is organic. In digital world it is even more radical
archival signs how long have oyu been using them? do you need to re-phrase them?
photos are different than others. what is important to access documentation.
dispersing -- what happens when you open archive to users. users want images, not photographs
documentary techniques through digital means
first it was copies, thematically organised for the public
Filmoteca -- commercial / film database -- filled the gap of amateur categories.
A non-fictional example: anthropologist. many documents, objects ... collected (if objects tell a story!) a body of docs. In photographic archives, it does exist. author is producer / considered to be a 'holding' compile ... / contextualizing, placing in a context.
producer (not creator) Apelles Mestre -- a collector; his holdings ... documents, or things he just collected...
Laurence: What have you learned ... if you could re-imagine?
Sylvia: All disciplines have tools, useful for the function they need to develop. The Task. You should not be radical or extremist. When the technology is applied... it is even better to be flexible
S: I think about the user.
L: What is useful.
S: Apply different tools, with different goals.
Goals for the tools is set by the user.
J: tool is a nice term. Has a long history. They end up in the museum themselves. Where do your old tools to?
S: we try to forget. Tools help us understand how we used to think.
to keep the institutions memory
to be in charge of your own memory
Jorge: an archive produces something that can be 'used' ;-)
The Salamanca archive is the ceased docs by Franco. (is it an archive?)
Where they users or archivists?
Should we think this way? Are you concerned with objectivity.
You can organize Salamanca archives without asking any Q -- without asking Q about where docs come from, how they where gathered. You can do proper archiving (?)
You ask questions anyways... about the producer. This will give you tools.
Problem is: a-septic archivist. Files need to be given back to the people. We are not neutral referees.
As a catalan archivist ... I have another opinion than an archivist from somewhere else. It is not a technical issue.
Filmoteca: If i am offered a snuff movie collection -- i would say no. how do you become involved... it is a document, but i don't want to get involved, i don't want to deal with this. But who makes the decision?
S: Preserve the archive as a whole. it is a political discourse. these memories have to be kept. do you need to dismantle? undo them? or keep a trace?
J: A lack of sensivity to the info structure -- repression can be told from the system. Groups of documents, and the way they are organised is heritage too. Digitalized or not... the documents are organised are very particularly organised. I want to keep the memory of how the docs were organised. The use of the documents.
Keeping track of changes, traces of use.
understanding links through the way a collection is organised.
N: "People rarely come with no system installed"
generational conflict how can we keep the memory... do we need to keep the experience of these softwares too?
digital leaves traces...
to archive and to disseminate spontaneous.
why do we want to keep the memory?
relation to the author
N: preservation / integrity not solved by free software. The nature of digital: extremely fragile. (tears paper to show coherence). If you delete a digital doc ... you change the link. (she sais: I'm not suffering from losing the object)
The evolving format ... if you use free software, formats are documented; documentation is accessible; you know how to reconstruct, re-engineer.
lifecycle of producing software is very short -- means files can become inaccessible without breaking themselves.
M: librarians are open source by nature. False sense of security -- to become 'guaranteer' -- digital / F/LOSS put that into question.
To question the linearity of the production (of meaning).
A false sense of ... we librarians trusted proprietary companies.Not static info units, it is mobile!
S: we have trusted technology too much.
M: work philosophy has been open. Our slogan was: sharing, now it turns around.
Move away from one authority to multiple.
Liability ... rigor ... we can move, and exchange.
traditional archivist archive science in a non-archive museum
monitor lifecycle of all documents memory of object, not the institute
destroy dichotomy administration and documents.
an 'action form' for an object.
Institute are selective -- make choices
self defined databases -- a creative process. we needed our own tool. to integrate the inventory of all the documents, audio files... in the same 'environment'. Our application was special: historical organisation, adding restauration files were nowhere available. But... the museum did not have anything / a managing system for the collection to the archive.
we saw the need to link to the right number + object
The CV of an object.... an object-syndication?
world exhibition ... than system was created. system FOR universal exhibition.
artistic typology, style, theme, ...
re-attribution of images
crosslinking between system
inactive documntation ;-)
link to the work of the museum archive science is taylor made.
organizing documents vs doing research
museum vs iconographic museum
A global image
Conceived as an instrument of the universal exhibition -- 1929 permanent and temporal at the same time
a cultural project -- going beyond, with vision and management ... do they still exist?
a critique of tools
started before computers ... description of documents was standardized
contemporary art library ... everything ends up in 7.0.36
computers do not require CDU
expertise is decentralized
research for artists was not archived itself... a tool Amicos --- closed system but does not allow to link to docs outside
secondary documents... process ... more important than the object. This tradition does not exist in library science.
sharing is interesting as librarian
information training ... professionals. MARC /
methodologies ... we need to respect them
competent management of information
Jorge: what about collections ... historical methodologies only relevant for fields we know
we need to question ... CDU for example
MIREN methodologically we are in an analog world, but physically we are in a digital world.
anyone else using the system? Who can see data inside it?
Document and tool merge!
10:54, 5 December 2008 (CET)
museum is image bank ... a movie bank
various musea across the world
films are not reels but dvd's ... watched on screens
home cinema devices ... micro cinema theatres; convergence of what film is.
10:57, 5 December 2008 (CET)
Television, videogames, ... A change of paradigm! But there are no labs anymore working with b-w 16mm !
most of users are historians, documentalists, producers.
every copy of a film is a single object ... not a replica. Generate an idea, exchange.
'mother' information kept on paper
not BTLS (library management) but DAC (museum management system) -- important to share methodology with other institutions. You also share your problems.
DAC actually collapsed ... too much data!
11:04, 5 December 2008 (CET)
A movie is also it's poster, trailer... Sometimes the object is missing; we only archive traces.
we need to archive the 486 computer -- to even access our system; if we export we lose the structure of the data (How is this possible?)
Th micro-museum (?) objects ... cameras etc. we do not really know how to do that yet.
rights can a problem.
11:09, 5 December 2008 (CET)
To make this public... we cannot show everything (privacy, rights, people get lost ... how do you navigate?)
Suggest certain collections.
Uses the OPAC Web 'OpacWeb3 generator' -- search (13 fields)
Josep Calle - responsible for digital magazine.
Talking about methodology ... we went from 3 to 14 people working in the archive. They worked for / with Universities as well, to index their collections and others helped us. So they needed people to understand how to index.
Versions of the same advertise
Using MoviDoc ... a relational database.
If you work with a company you have an agreement... a binding agreement.
11:22, 5 December 2008 (CET)
We exported sheet by sheet... we lost our structure. The DAC had relations, we lost.
Before 1930's we are missing many objects.
Jorge: most of the servers we use is already on Free Software (Apache). It is a reality, not an utopia. Ordinary, not an exception.
Laurence: National history museum -- Free Formats for documents for databases and documents. Change requires time and money.
11:30, 5 December 2008 (CET)
The authorities have hierarchies, systems that get obsolete. We can not download anything
11:51, 5 December 2008 (CET)
Not it's own 'collection'.
The archive is the collection... it is the archive of all activities that ever happened.
Departments have worked autonomously; each their own archival organisation system.
We realised we have to organise the collection.
Everything in the archive was turning around activities. How to discover/make discoverable common threads.
A space to consult the archive. Consultation... how to reinvent that. A space devoted to memory, reflection; for different kinds of users.
A hybrid space... a small exhibition, a workspace...
12:02, 5 December 2008 (CET)
A provisional database ... Access? Re-using a film archive ... it was only for one type of document. For 2nd version we decided to create a new one. Audiovisual, docs, ...
Xcentric. Kosmopolis archive
Intranet AND website
The experience has been difficult. You know what you need, it is a lot of work to add it to an existing platform. We knew exactly what we needed. But the result is ok. Now we are in the process of constructing the Intranet; website is the same but other permissions.
Main problem is a rights problem; we need to re-contact people to ask permission.
Laurence: copyright project. Filmmuseum ... what is in the storage room. A repository. The possibility of sharing archives.
Sylvia: Everything related to copyright is a problem. In spain ... Industry is not powerful enough to take copies away from us.
Sharing between institutes? We have a lot of work already.
We have organised the system according to activities. And physically? They are separated. Framework activity -- Specific activities -- supporting documents.
12:20, 5 December 2008 (CET)
The border between public docs and internals: public are the docs that allow user to reconstruct the event. An ambiguous border in fact.
Have you thought about including administrative documents.
Images ... working with metadata? no no we are in a primitive stage.
To go give visibility is the first step. It is an archive based on thema -- but they are processes.
making visible is included
how do you organise? according to activity
L: archiving is giving a vision -- focus changes, result is different.
authors, themes, titles... changes the archiving process and end result.
Sylvia: it does make a difference... but it only changes the discourse around the object.
Talk about a practical issue. When the user accesses the data ...
we need to set rules now of what we will conserve, include about each exhibition.
Jorge the dilettante ... mimesis ... i cannot answer to the desire to do a faithful, loyal copy. It is a construction, narrative.
12:35, 5 December 2008 (CET)
Archiving and mimesis.
Between systematic and practical.
N: Decentralized production
The problem with folksonomies, tagging... a statistical approach.
SPIP as a casus.
13:29, 5 December 2008 (CET)
Ideas / strategies for decentralized production. Translation requires an effort that is effort to carry on your own.
N: SVN -- "the feeling of an ongoing conversation of this code"
13:50, 5 December 2008 (CET)
continuity ... we want to share our project. we will come to you and ask your contribution.
I want to insist on the following ... the story ... archiving is not just archivists
political and ethical implications. to put archiving at the forefront of an activity. We need to question working methodologies. We have all knowledge but how to share. Some interfaces ... you need to become literate about technology, to know what is going on behind the interface.
State heritage changes ... we have questioned that problem. Not collateral, but part of life itself.
What happens when 'others' can intervene. How much is it manipulated. Tech can be used to repress and to keep track.
Key term is ORGANIC ...
An archive that is close to living processes. At the foundation of an archive itself. Organic means that there is no difference between the archive itself and living materials (?)
13:56, 5 December 2008 (CET)