Bletchley Park text: using mobile and semantic web technologies to support the post-visit use of online museum resources

A number of technologies have been developed to support the museum visitor, with the aim of making their visit more educationally rewarding and/or entertaining. Examples include PDA-based personalized tour guides and virtual reality representations of cultural objects or scenes. Rather than supporting the actual visit, we decided to employ technology to support the post-visitor, that is, encourage follow-up activities among recent visitors to a museum. This allowed us to use the technology in a way that would not detract from the existing curated experience and allow the museum to provide access to additional heritage resources that cannot be presented during the physical visit. Within our application, called Bletchley Park Text, visitors express their interests by sending text (SMS) messages containing suggested keywords using their own mobile phone. The semantic description of the archive of resources is then used to retrieve and organize a collection of content into a personalized web site for use when they get home. Organization of the collection occurs both bottom-up from the semantic description of each item in the collection, and also top-down according to a formal representation of the overall museum story. In designing the interface we aimed to support exploration across the content archive rather than just the search and retrieval of specific resources. The service was developed for the Bletchley Park museum and has since been launched for use by all visitors

Ambivalent pasts: colonial history and the theatricalities of ethnographic display

In the twenty-first century, museums holding ethnographic collections have come under scrutiny for their implication in colonial history, and many have started to address this problematic legacy, often in conscious attempts to move beyond the colonial as “post-ethnographic” spaces and forums for intercultural dialogue. This essay uses a contemporary artwork, Peggy Buth’s installation “The Warrior as Multiple, “exhibited at the Frankfurt Museum of World Cultures in 2014, as a starting point to develop a taxonomy of dominant curatorial strategies at work in ethnographic museums today: self-reflexive contextualization, inversion or reversal, indigenous curation, visible storage, and the turn to live performance—all of which are used to address colonial history. Approaching these strategies from the perspective of theatre and performance studies, the essay analyzes their “theatricalities” of display—the “doing” of ethnographic objects, as well as the “spectacularity” of dioramic settings—through a series of case studies, including the American Museum of Natural History in New York City, the Mashantucket Pequot Museum and Research Center in Connecticut, and the Tropenmuseum Amsterdam. It argues that despite their critical potential, these strategies run the danger of being complicit in a working through (in the Freudian sense of the term) of colonial history, which might ultimately “liberate” ethnographic museums from their problematic legacy. Instead, the essay proposes an insistence on ambivalence, understood as the simultaneous co-existence of at least two conflicting meanings, in order to resist such an erasure

Biodiversity and Biocollections: Problem of Correspondence

This text is an English translation of those several sections of the original paper in Russian, where collection-related issues are considered. The full citation of the original paper is as following: Pavlinov I.Ya. 2016. [Bioraznoobrazie i biokollektsii: problema sootvetstvia]. In: Pavlinov I.Ya. (comp.). Aspects of Biodiversity. Archives of Zoological Museum of Lomonosov Moscow State University, Vol. 54, Pр. 733–786. Orientation of biology, as a natural science, on the study and explanation of the similarities and differences between organisms led in the second half of the 20th century to the recognition of a specifi c subject area of biological explorations, viz. biodiversity (BD). One of the important general scientifi c prerequisites for this shift was understanding that (at the level of ontology) the structured diversity of the living nature is its fundamental property equivocal to subjecting of some of its manifestations to certain laws. At the level of epistemology, this led to acknowledging that the “diversifi cationary” approach to description of the living beings is as justifi able as the before dominated “unifi cationary” one. This general trend has led to a signifi cant increase in the attention to BD. From a pragmatic perspective, its leitmotif was conservation of BD as a renewable resource, while from a scientifi c perspective the leitmotif was studying it was studying BD as a specifi c natural phenomenon. These two points of view are united by recognition of the need for scientific substantiation of BD conservation strategy, which implies the need for a detailed study of BD itself. At the level of ontology, one of the key problems in the study of BD (leaving aside the question of its genesis) is determination of its structure, which is interpreted as a manifestation of the structure of the Earth’s biota itself. With this, it is acknowledged that the subject area of empirical explorations is not the BD as a whole ( “Umgebung”) but its particular manifestations (“Umwelts”). It is proposed herewith to recognized, within the latter: fragments of BD (especially taxa and ecosystems), hierarchical levels of BD (primarily within- and interorganismal ones), and aspects of BD (before all taxonomic and meronomic ones). Attention is drawn to a new interpretation of bioinformatics as a discipline that studies the information support of BD explorations. An important fraction of this support are biocollections. The scientifi c value of collections means that they make it possible both empirical inferring and testing (verification) of the knowledge about BD. This makes biocollections, in their epistemological status, equivalent to experiments, and so makes studies of BD quite scientific. It is emphasized that the natural objects (naturalia), which are permanently kept in collections, contain primary (objective) information about BD, while information retrieved somehow from them is a secondary (subjective) one. Collection, as an information resource, serves as a research sample in the studies of BD. Collection pool, as the totality of all collection materials kept in repositories according to certain standards, can be treated as a general sample, and every single collection as a local sample. The main characteristic of collection-as-sample is its representativeness; so the basic strategy of development of the collection pool is to maximize its representativeness as a means to ensure correspondence of structure of biocollection pool to that of BD itself. The most fundamental characteristic of collection, as an information resource, is its scientific signifi cance. The following three main groups of more particular characteristics are distinguished: — the “proper” characteristics of every collection are its meaningfulness, informativeness, reliability, adequacy, documenting, systematicity, volume, structure, uniqueness, stability, lability; — the “external” characteristics of collection are resolution, usability, ethic constituent; — the “service” characteristics of collection are its museofication, storage system security, inclusion in metastructure, cost. In the contemporary world, development of the biocollection pool, as a specific resource for BD research, requires considerable organizational efforts, including work on their “information support” aimed at demonstrating the necessity of existence of the biocollections

Curate and storyspace: an ontology and web-based environment for describing curatorial narratives

Existing metadata schemes and content management systems used by museums focus on describing the heritage objects that the museum holds in its collection. These are used to manage and describe individual heritage objects according to properties such as artist, date and preservation requirements. Curatorial narratives, such as physical or online exhibitions tell a story that spans across heritage objects and have a meaning that does not necessarily reside in the individual heritage objects themselves. Here we present curate, an ontology for describing curatorial narratives. This draws on structuralist accounts that distinguish the narrative from the story and plot, and also a detailed analysis of two museum exhibitions and the curatorial processes that contributed to them. Storyspace, our web based interface and API to the ontology, is being used by curatorial staff in two museums to model curatorial narratives and the processes through which they are constructed

Proposal for an IMLS Collection Registry and Metadata Repository

The University of Illinois at Urbana-Champaign proposes to design, implement, and research a collection-level registry and item-level metadata repository service that will aggregate information about digital collections and items of digital content created using funds from Institute of Museum and Library Services (IMLS) National Leadership Grants. This work will be a collaboration by the University Library and the Graduate School of Library and Information Science. All extant digital collections initiated or augmented under IMLS aegis from 1998 through September 30, 2005 will be included in the proposed collection registry. Item-level metadata will be harvested from collections making such content available using the Open Archives Initiative Protocol for Metadata Harvesting (OAI PMH). As part of this work, project personnel, in cooperation with IMLS staff and grantees, will define and document appropriate metadata schemas, help create and maintain collection-level metadata records, assist in implementing OAI compliant metadata provider services for dissemination of item-level metadata records, and research potential benefits and issues associated with these activities. The immediate outcomes of this work will be the practical demonstration of technologies that have the potential to enhance the visibility of IMLS funded online exhibits and digital library collections and improve discoverability of items contained in these resources. Experience gained and research conducted during this project will make clearer both the costs and the potential benefits associated with such services. Metadata provider and harvesting service implementations will be appropriately instrumented (e.g., customized anonymous transaction logs, online questionnaires for targeted user groups, performance monitors). At the conclusion of this project we will submit a final report that discusses tasks performed and lessons learned, presents business plans for sustaining registry and repository services, enumerates and summarizes potential benefits of these services, and makes recommendations regarding future implementations of these and related intermediary and end user interoperability services by IMLS projects.unpublishednot peer reviewe

Privileging information is inevitable

Libraries, archives and museums have long collected physical materials and other artefacts. In so doing they have established formal or informal policies defining what they will (and will not) collect. We argue that these activities by their very nature privilege some information over others and that the appraisal that underlies this privileging is itself socially constructed. We do not cast this in a post-modernist or negative light, but regard a clear understanding of it as fact and its consequences as crucial to understanding what collections are and what the implications are for the digital world. We will argue that in the digital world it is much easier for users to construct their own collections from a combination of resources, some privileged and curated by information professionals and some privileged by criteria that include the frequency with which other people link to and access them. We conclude that developing these ideas is an important part of placing the concept of a digital or hybrid paper/digital library on a firm foundation and that information professionals need to learn from each other, adopting elements of a variety of different approaches to describing and exposing information. A failure to do this will serve to push information professional towards the margins of the information seekers perspective

Digitization, Donor Relations, and Undergraduate Instruction

Collection development archivists know that building a partnership with a potential donor may take years, occasionally decades. From the perspective of a donor, contributing unique materials to an archival repository – a local historical society, academic archives, or a research library – can be an emotionally complicated process. A donor must have acquired a degree of separation from the material, but also have a deep sense of trust in the repository soliciting the records. Often, the initial contribution to a repository consists of records void of sentimental or financial value. As the relationship between a donor and a repository strengthens, donors (hopefully) begin contributing more noteworthy and revealing materials, including personal correspondence, diaries, and photographs. This scenario is routine not only with the acquisition of personal papers, but the records of businesses, membership organizations, and all other kinds of archival records

A study to examine the operation and function of a virtual UK environmental specimen bank (UK-ESB). Final report

Executive Summary: 1. Environmental specimen banking is recognised internationally as an integral part of long-term environmental research and monitoring. Analysis of preserved environmental samples is often needed to detect and quantify patterns and rate of environmental change, and the emergence and progression of environmental hazards and risks. 2. National Environmental Specimen Banks have been established in several countries; they vary in scope and breadth. There are a few specialised environmental specimen holdings in the UK but no national-scale catalogue of holdings, despite an estimated annual spend of £16 million to store specimens. This lack of information results in under-exploitation of archived specimens and is a lost opportunity to facilitate world-class science and identify emerging pressures and threats on the environment. 3. An earlier project had identified key stakeholder organisations either engaged in archiving nationally important environmental specimens or who wished to utilise such specimens. These stakeholders had agreed there was a need for a national metadata catalogue of environmental specimens (subsequently termed a virtual UK-ESB). The objective of the current project was to further develop a virtual UK-ESB. Specifically, the aim was to work with stakeholders to establish the correct metadata entry fields, the search capabilities, the functionality and the nature of the hosting website of a virtual UK-ESB. 4. More than 80 stakeholder organisations that had previously expressed an interest in a UK-ESB were approached to provide feedback either electronically or by attending a stakeholder workshop. Thirty eight organisations responded. All remained interested in the UK-ESB concept and seventeen answered the survey questions. 5. Mock-ups of data entry screens, search screens and ideas around the functionality of a UK-ESB were developed by the CEH project team. These were mailed to stakeholders for feedback. Initial feedback was incorporated into the mock-ups which were then presented for discussion at a workshop comprising 15 attendees from across the specimen archiving community, CEH and the UK-EOF. 6. Workshop participants reviewed and agreed the format of 23 mandatory or optional data-entry fields for a virtual UK-ESB that, in the absence of standard for material samples and archives, were aligned with ISO19115 (geospatial metadata standard) and DublinCore (metadata standard). These fields were sub-divided into the following headings: Sample description, Categorisation, keywords and links, Storage Information and Contact information. Workshop participants also made a number of recommendations as to the format of the data entry screens and inclusion of extra fields. 7. Workshop participants reviewed options for search capabilities and made recommendations as to simple and advanced searching methods and their formats. It was also recommended that search facilities of the ESBs of other countries be examined to determine what is used, ease of use, and how they match the recommendations from the workshop. 8. Workshop participants reviewed options for functionality and agreed a detailed list of prioritised requirements. 9. Workshop participants agreed that a virtual UK-ESB should be hosted through a dedicated website that would also provide wider information, such as recently updated or added specimen holdings, most downloaded information, links to other groups, standard operating procedures, etc. 10. The next step for the development of a virtual UK-ESB is to implement the design and development ideas captured in the current report and build a test version of a virtual UK-ESB. This would be tested and refined, and could then be launched on a specifically designed website. This would need to be accompanied by a communication strategy. There is potential to link and co-brand a virtual UK-ESB with the UK-Environmental Observation Framework (UK-EOF)

Amnesia at play: free sol Lewitt by superflex at the Van Abbemuseum

For Play Van Abbe, an exhibition program that invited artists to question the function of the museum in the 21st century, the Danish artist collective SUPERFLEX commissioned professional welders to reproduce a specific artwork from the collection: Untitled (Wall Structure) by Sol LeWitt, 1972. Relying on the 1967 Paragraphs on Conceptual Art, in which LeWitt stated that “[t]he idea becomes a machine that makes the art,” SUPERFLEX argued that the geometric wall sculpture could be regarded as a piece of information waiting to be ‘liberated.’ FREE SOL LEWITT playfully tackled historical and present-day questions of authorship, authenticity, originality as well as the ensuing laws of copyright and usage. Proceeding from the surprising omission of significant archival material on LeWitt’s relationship with the institution, this paper will question the project’s acclaimed critical engagement with the preservation and fabrication of collective cultural memory in the contemporary museum

Creating Three-Sixty Objects for Marist Archives Using Open Source JQuery Reel

[Excerpt] In this article I will look into some of the recent 3D digitization projects and highlight numerous technological and financial challenges that would be familiar to many small and medium sized archives. I will further propose jQuery Reel, an open source three-sixty player as a viable alternative to 3D modeling and discuss the workflow we employed at Marist Archives