The Art of Archives

UMass Boston || English 600 || Spring 2015 || Prof. Erin Anderson

Month: March 2015 (page 2 of 3)

Archive of Lost Context

The Archive Of Lost Context attempts to expose the invisible — often deliberately obscured — organizational logic behind the construction and organization of archives by applying their logic to a private collection of photographs.

These are photographs selected from a family’s unorganized personal collection because of the unknown information about the photographs: the subject or time of the photo, the person responsible for taking it, or the motivations for its preservation. Because the selected photos range from the 1960s to the late 1990s, they play with the short-term nature of human memory: photos from as late as 1994 are presented without the requisite information to understand their context.

The interest in this collection is in the “cards” for each image (in this format, the posts associated with each image): their labeling is erratic because of the different types of information available for each object. The cards are also speculative: they draw attention to the subjectivity involved in their own creation. In interrogating the material as thoroughly as they summarize it, these labels no longer privilege the “known” information over the unknown, and the coexistence of different types of information draws viewers to think about the nature of knowledge.

The “call numbers” in the archive were determined by a personal logic. This logic will be completely opaque to other viewers/researchers (although I will say here that factors included the suspected photographer, the subject type of the poem, its location relative to other selected items, and my relative certainty about each of the previous factors.) This in some respects highlights the initially difficult internal logic of an individual archive — with its own private oddities, systems, and rules — but ultimately reclaims this “public” presentation of material as a personal collection.

The archive’s header quotes Virgil’s Aeneid: it will please us someday, perhaps, to remember even this. If an archivist’s goal in the digital age tends towards totality — or at least a broad swath — of preservation, the realm of personal memory is still one organized by whim, nostalgia, and inevitably loss. We preserve objects from our family history despite our shrinking contexts for the items; the sense of gradual loss surrounding them is part, ironically, of what gives them value.

 Archive of Lost Context

Some technical notes on this archive’s form:
–My decision to locate this archive digitally, and therefore semi-publically, resulted in the elision of most (full) names. Instead, I tended to describe people relationally: “my godmother,” “my grandmother.” While originally this was a presentation concern, the rather satisfactory effect of it is that the personal investment of the archivist (that’s me!) is highlighted.
–A larger “finding aid” was intended but turned out to be difficult in digital format, although I had a rough start on it in analog form. This is due to nothing more interesting than “technical limitations (in this case, skill gaps) prevent the adoption of certain features in an archive.” jQuery and WordPress is hard.

Oldest Memories from the “T”

For my collection, I ventured out on the T (for many, many hours) and collected oral histories from riders about their oldest memory in life. I set out to create a collection that reflects the diversity of the T–a place where people from all ethnicities, ages, and socioeconomic statuses collide amidst the rattle of the tracks, the seats with ’80s upholstery, and the booming voice of the conductor.

Being an introvert, the longest portion of this process was the time it took to muster the courage to approach people and ask them an intimate detail of their past before even knowing their name. Then, about half of the time I could actually get the words out of my mouth, the answer was, “No.” After several hours of working on the collection, only asking people who sat down next to me, or stood by me on the platform, I broke the set parameters of my collection. In reflecting on my partial archive, I realized that only white, American English speakers had sat/stood next to me and agreed to help me with my project. Since my goal was to capture the diversity of the “T,” I decided that I needed to focus on getting people from a variety of backgrounds with different voices to agree to participate, whether they sat/stood next to me or not. So, through many, many, nos, I finally landed with a group of diverse voices telling their stories. Some groups, such as those whose English isn’t entirely fluent, are absent from audio archive, as I couldn’t seem to convince any of them that their English was, in fact, great.

Another contributor to my goal of a diversified collection can be found in the anonymity of the collection.  Out of the 17 “T” riders who agreed to share their stories, I only learned the names of a few, and the greater story of the rider’s life from even less. I purposely didn’t record names, take photos, or elicit extra information from the subjects because I wanted these stories to be universaliz-able, in a way. I believe hearing a person’s story, however small, can promote empathy, and a feeling of connectedness between strangers, even if they don’t share the experience. Thus, the anonymity of the collection is intended to allow the feeling of connectedness created by stories to go beyond the speaker in the audio clip, and be applied to fellow riders. Essentially, after listening to the collection, you are able to board the T and wonder if the story came from the older woman sitting next to you, etc., causing you (hopefully) to want to hear her voice to see if it’s the same as the storyteller’s, and thus produce a connection through conversation that wouldn’t have otherwise existed. I hope that the collection will, in some small way, remind people that, when we all board the T as if in our own little bubble, we each have stories to be told and can all find connections in some way.

Some of them are funny, some sweet, and some tragic. I hope you enjoy!

OLDEST MEMORIES FROM THE T

A Dynamic Archive of Corporate Sticky Notes

I work at Merck: a large pharmaceutical company. Here, in Boston, research is conducted to find treatments for cancer, asthma, arthritis, diabetes, and multiple sclerosis. The records that are kept, for the most part, preserve the characteristics of the company (financial records, receipt records, inventory, protocols, etc.). They are representative of the actions of a corporate entity, but not of the thousands of people that allow the entity to function.

 

When I first started collecting sticky-notes, I was interested in analyzing material that is easily disposed of in this age of digital storage.  As I collected, however, I realized that the easy disposal of sticky notes makes them material that is outside the purview of Merck. These handwritten reminders, directions, notes, and other ephemera, then, could represent the actual individuals within a corporation. (I thought about emails, but they would have been impossible to collect [protection of confidential information]).

 

After collecting these sticky notes from the seventh floor (the floor I work on), I decided that I wanted to maintain the materiality of this medium because it is the materiality that allows for the individuality I was interested in. So I pinned sticky notes and category labels to a cork bulletin board.

 

 

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Poor quality photo, weak camera phone, hopefully you at least get a sense of what it looks like.

 

Cataloguing was a challenge. I could not decide on a way to organize that would accurately and fairly depict the individuality of the handwriting and content of each sticky-note. So, I chose to make a dynamic archive. The categories and the organization of the sticky notes within the categories can be constantly changed. Just as people’s writing, memory devices, and syntax are not easily categorized, so must the sticky notes avoid permanent categorization. For the time being, I have placed the sticky notes into four categories: directions, reminders, notes, and miscellaneous. I used strips of dry erase board for the category labels. They can be erased and renamed at any time and more strips of dry erase board can be used to create more categories. The sticky-notes themselves can be moved with the push pin that fixes them.

 

What can be drawn from this? It depends upon how someone interacting with the archive chooses to organize. If the sticky notes are arranged by color or type, then the information could be used by a sticky note company to discover what kinds of sticky notes are most popular (imagine this on a wider scale). If the sticky notes are arranged by context of the writing, then there is insight into the ways in which people go about their day within a corporate entity—how they work, how they remind themselves, how they interact, how they express themselves, and how they connect to each other.

 

Practically, this is not an archive that would normally be saved. This archive reflects more of what we throw out than what we keep. It’s a neglected collection that includes aspects of the personal that cannot be seen in company records. It eliminates the impression of a singular autonomous company voice and produces many voices that are often silenced by a paycheck and subordinated by the hierarchy of a large company.

 

The archive can also act as an exploration into the merging of a dynamic and material archive. What are the consequences of an ephemeral archive that is categorized by the viewer? What is lost? What is gained? Is there a place for it?

Train Tickets Collection

I have to say that I was not intend to do the train tickets collection at first until later I saw some interesting photos of train tickets in the past. It suddenly occurred to me that I can collect train tickets in different time periods and make an archive of them. Those tickets of different countries have their own characteristics and reveal the history and the development of railway technology. I’d love to look into different designs of train tickets all over the world and various stories behind these tickets. I find out that many people just throw the tickets away after they finish their trip, but if we can keep all the tickets recording where we’ve been and where we’re going, I believe that will be a wonderful experience.

 

The collection mainly consists of photos, taken from Google and social networks, like Facebook, Twitter and Instagram, as well as others and all the original links and related information of these photos will be noted. This TRAIN TICKETS COLLECTION is categorized into three time periods: 1890s to1970s, 1970s to 2000s and from 2000s till now. The images of train tickets are shared by people all around the world. This collection offers a way of scrutinizing the past and present. The patterns and designs of some tickets change a lot over centuries, but the basic information, like date, departure time, name of the holder and destination, etc. are always included. The size of some tickets are really small, while others are apparently not. Many people love to share their trips and document their tickets on social networks, which have become an essential part in the process of collecting the tickets. This archive allows viewers not only to accumulate their memories, but also to examine the evolution of train tickets and the history in the past.

 

http://trainticketscollection.tumblr.com/

 

wave collection/wave collecting


wavestill

The digital form of this archive is still under construction. This link (wave1 ) represents in-process work.

I’ve proposed to collect waves, which has resulted so far in a mass of digital video. The video, shot in the surf, captures ocean waves breaking along the east side of Block Island, RI.

In some ways the video documents waves, but what is also present is an encounter–meeting the wave in its breaking state. What’s captured by the video is a temporal window, a loop of that encounter.

#wavegrid

How to catalog this collection presents the most significant challenge to the project. Physical attributes of the waves might be logical limits for a catalog, as well as location, and maybe even duration—the time elapsed from the wave’s peak to the veil of foam that reaches the beach and finally recedes back towards the ocean. Wave_equation_1D_fixed_endpoints

However, the experience of being in the wave–having it pass over one’s body, or collect (catch) the body in its forward momentum–seems to so far delimit this archive.

This project proposes to explore what it means to collect something that resists collection.

Are the videos here simply part of a larger (continual?) energy transfer?

Since a wave is not a thing, but rather a disturbance or oscillation that moves through matter or space can that immateriality inform the archive’s catalog.

What does the wave have to do with origin?

 

 

Things That Say “No”

A digital photo collection hosted on Tumblr, Things That Say “No” captures and categorizes publicly posted messages that dictate “no” to each T rider, patron, passerby, and everyday Bostonian. Enabling a viewer to scrutinize each train platform, bank, park, street corner, and cafe at which they themselves could be told what not to do, the photographed messages reveal a collective rhetoric for how order and control are maintained in Boston’s urban environment. The collection seeks to study, understand, and question the discourse in which city-dwellers find themselves submerged, often without their attention or awareness.

As a whole, these digital photographs paint a picture of the federal, state, and municipal laws; capitalist business concerns; and shared social values that exist in Boston’s dense and, at times, chaotic metropolitan landscape. Since the cross-section of signs appear to reflect cultural interests in public safety, health, and transportation; business operations and consumerism; and private property, all of which are typically dictated and enforced by laws and social practices, each photograph has been categorized based on one of these interests. In this way, the collection examines the publicly posted sign as a symbol of power, often delivered by a public or private institution.

Within this context, Things That Say “No” strives to draw attention to the ways in which citizens’ free will is restricted by the public agencies, businesses, and even individuals whose lives intersect with ours, as evidenced by these public postings. Constantly “hailing” us as citizens and consumers, these signs—posted by “the powers that be”—tell us again and again how to behave. With posts labeled with locations and the times and dates captured, each photograph serves as evidence for a moment that I personally was “hailed” by one of these messages. The collection offers the temporal and physical location of each interpolation to show the persistent and inescapable presence of these power structures.

This collection also examines the object of the publicly posted sign that says “no” by categorizing each based on its material presentation. These characteristics too seem to reflect the power (or the imitative presence of power) that these institutions have over their messages’ audience.

Since each photograph was captured and categorized by me, one individual citizen, the collection also talks back to the entities that posted these messages. Taken on various commutes using a humble iPhone, the photographs call the political structures they belong to into question through the radical act of collection. The photographs become part of a private archive—mine. In this way, the power that these signs reflect is co-opted or undermined. The messages become part of a personal experience, the signs objects to be considered as material and memory. The photographs in Things That Say “No” could fit into an archive curated by Public Works, the MBTA, or the Parks and Recreation Department, or perhaps be of interest to researchers examining urban planning, public transportation, or property law, but their existence outside an institution makes them politically radical. The collector herself says “no” in return.

http://thingsthatsayno.tumblr.com/

Midterm Project: The Beverage Diary

Something needs to be traced back and connected with its peculiar links so that our past is called back to the present. The Beverage Diary consists of some old pictures of the drinks ranging from the early 1990s to the 2010’s, the nutrition facts fundamentally translated based on the original versions, advertisements of these drinks in the old days and some diaries with a short introduction of the beverages. The volume intends to be something like an electronic journal intersecting with pictures and words. Some audio and video files will be inserted into the collection, for example, the short video of the ads in the past. One thing I like best for the collection is that it is primarily in the format of a diary, which means that it is carried out through an intimate conversation from the present to the immediate past. This does not intend to be something like an official record stating out a host of facts which stand apart from us with some distance in thoughts and feelings.

 

This is basically a digital archive, which means that some useful means of technique could be employed hopefully. I have inserted some flash into the collection to make it more pleasing to the eyes. I think this could be a creative attempt to combine archives and technologies all together. The digital archive, as it appears to me, can make its good use of all sorts of resources available at hand to make a more vivid description of what we, as the record-keepers of the old times, aspire to convey. By inserting some of the models of displaying the pictures, the space of the collection will be used more effectively, which seems to be hardly imagined in the physical archives. Four or five pictures or even more, whatever the number should be, could be presented in a consecutive order by using the space of only one. This could be something really amazing about the digital archive, which is being made full use of in this collection.

 

Also what I am thinking about is that how an archive could stand out less as an archive. It appears to me that sometimes, the official one used to intimidate some of its readers with its thick volume filled with cold facts of a distant past and its reserved manners devoid of some proper dynamic powers. What I intend to make would be something more like the engagement of a conversation between the past and the present with some nostalgic emotions. This is more like some family archive, or a personal everyday collection. Thus the format of a diary suits this purpose best. Some of the attachment to the beverages in the old days, some short descriptions of the drinks in particular and some of the interesting events connected with the specific beverages will be poured out in the diaries. This would be something like a person in her twenties addressing to the very same person in her childhood and teenage years. This could be like the most intriguing part of this collection to observe the development of the years progressed.

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Farm Animal Rights Social Media Archive

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The history of the animal rights movement has interested me for some time, but I have so far focused on animals research and the anti-vivisection movement from the 1800’s through today. I wanted to explore a different side of the animal rights movement, and so decided to collect images related to farm animal rights and factory farming. I find animal rights/welfare organizations’ use of social media platforms an interesting use of our society’s available technology and methods of communication. This “Farm Animal Rights Social Media” collection consists of photos, primarily “memes,” shared on the social media accounts by various animal rights and animal welfare organizations. These materials are taken from the Facebook, Twitter, Instagram accounts and blogs of organizations including Mercy for Animals, Vegan Outreach, Vegan Publishers, Evolve! Campaigns, as well as others. Wherever possible, links to the original content and social media account information have been linked in the description.

Though the animal rights and welfare organizations share materials on a variety of animal rights issues on their social media accounts, the images selected for this collection are focused solely on farm animal rights and factory farms. Some of the images address the concepts of “speciesism” and “anthropocentrism,” exploring why certain animals have been deemed food by humans while others have not. The memes include messages that attempt to convey the current condition of concentrated animal feeding operations (CAFOs), or factory farms. Many of the images contain information that reveal the reality of conditions animals are kept in on meat and dairy farms, and include photographs of the animals in these conditions. Issues related to CAFOs are addressed in the text of some of the images, in the hope that this method of sharing information will effectively reach the general public and educate them about this subject. Some of the memes are humorous, while others certainly are not. This demonstrates how animal rights organizations seek to play off of the different emotional responses of the public in these images.

This collection serves as a sample of the types of visual materials shared by animal rights organizations on social media outlets. Social media in its various forms has become an important mode of communication, and it is important to document how different social groups communicate to the public using these platforms. The content of the images can also tell a lot about the current condition of our society and how people communicate. Furthermore, this particular collection can reveal how humans view farmed animals and their status in our anthropocentric society. The content of the images provides a sample of the types of issues deemed most important to the animal rights movement today (farm animal rights.welfare). This archive would permit potential researchers to understand how organizations use social media platforms to advocate for their goals. The messages and quotes also reflect various public attitudes humans have toward farmed animals, and how these attitudes are (or are not) changing and evolving.

Link: https://www.tumblr.com/blog/farm-animal-rights

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00100000 01110011 01100101 01100101 01101101 01110011 00100000 01110100 01101111 00100000 01101111 01100110 01100110 01100101 01110010 00100000 01100001 00100000 01110100 01101000 01100101 01101111 01110010 01111001 00100000 01100110 01101111 01110010 00100000 01101000 01101111 01110111 00100000 01110000 01101111 01100101 01110100 01110010 01111001 00100000 01101101 01101001 01100111 01101000 01110100 00100000 01110011 01110101 01100011 01100011 01100101 01110011 01110011 01100110 01110101 01101100 01101100 01111001 00100000 01100101 01101110 01110100 01100101 01110010 00100000 01110100 01101000 01100101 00100000 01100110 01101100 01100001 01110100 01110100 01100101 01101110 01100101 01100100 00100000 01100100 01101001 01100111 01101001 01110100 01100001 01101100 00100000 01110100 01100101 01110010 01110010 01100001 01101001 01101110 00101110 00100000 01000001 01101110 01100100 00100000 01110111 01101000 01101001 01101100 01100101 00100000 01001111 01101100 01110011 01101111 01101110 00100000 01101101 01100001 01111001 00100000 01110000 01110010 01101111 01110110 01100101 00100000 01110000 01110010 01101111 01110000 01101000 01100101 01110100 01101001 01100011 00101100 00100000 01110100 01101000 01100101 01110010 01100101 00100000 01101001 01110011 00100000 01110011 01110100 01101001 01101100 01101100 00100000 01110100 01101000 01100101 00100000 01110001 01110101 01100101 01110011 01110100 01101001 01101111 01101110 00100000 01101111 01100110 00100000 01101100 01100001 01101110 01100111 01110101 01100001 01100111 01100101 00100000 01101001 01101110 00100000 01110100 01100101 01110010 01101101 01110011 00100000 01101111 01100110 00100000 01110100 01101000 01100101 00100000 01100010 01101001 01110100 00111111 00100000 01001111 01110010 00100000 01101000 01101111 01110111 00100000 01101101 01101001 01100111 01101000 01110100 00100000 01110111 01101000 01100001 01110100 00100000 01101001 01110011 00100000 01101011 01101110 01101111 01110111 00100000 01100001 01100010 01101111 01110101 01110100 00100000 01110000 01101111 01100101 01110100 01101001 01100011 01110011 00100000 01101001 01101110 00100000 01110100 01100101 01110010 01101101 01110011 00100000 01101111 01100110 00100000 01110100 01101000 01100101 00100000 01110011 01111001 01101101 01100010 01101111 01101100 01101001 01100011 00100000 01100001 01101100 01110000 01101000 01100001 01100010 01100101 01110100 00100000 01101110 01100101 01100101 01100100 00100000 01110100 01101111 00100000 01100101 01111000 01110000 01100001 01101110 01100100 00100000 01110100 01101111 00100000 01100001 01100100 01100100 01110010 01100101 01110011 01110011 00100000 01110100 01101000 01100101 00100000 01100011 01100001 01110000 01100001 01100011 01101001 01110100 01111001 00100000 01100011 01101111 01101110 01110100 01100001 01101001 01101110 01100101 01100100 00100000 01101001 01101110 00100000 00101000 00110000 00101111 00110001 00101001 00111111 00001101 00001010

to convert the bin # to text

all Olson references are from the the first page

The Incompleteness of Film Archives and YouTube as Archive

The two readings from this week had me considering several things about audiovisual installments in both traditional and digital archives. On page 90 of Digital Memory and the Archive, Ernst reiterates Volker Kahl’s idea that “…electronic communication ‘is based on time. It leaves no traces apart from the result, which lies outside this process, unless traces are deliberately laid…’ Audiovisual media art is, by its nature, transient and unarchivable.” Applying this idea to film archives, such as the Scottish Screen Archive, discussed by Roscaroli, Young, and Monahan, seems to become particularly problematic (252). For, if audiovisual media art is “transient and unarchivable” then a film is, in essence, a highly incomplete text, missing not only the process that led up to the resultant film, but the contextual data—political, historical influences and the like—that spurred on the creation of the film before the process even began. Thus, what exists in the film archives is (contentually, not materially) a single version of a film, vacant of the multiplicity of narratives that were involved in its composition; it is a captured moment in the transient process that has been archived and considered the totality of the film, a “latent archive” (Ernst, 82). Thought of in this perspective, brought about by Kahl and Ernst, can it then be said that the film archive is merely a great collection of last pages torn from thick manuscripts? There is, of course, the possibility of bridging this incompleteness with written documents to scaffold the unseen/unheard political unconscious, and to supply for viewers deliberately laid traces of the process. Would this not, though, disrupt the precedent of the films in the film archive, making traditional documentation of equal importance in the archiving of the films, and thus transforming the film archive into more of an archive that contains some films, amongst other things?

The second main idea I was forced to contemplate with these readings was the idea of YouTube as an archive (Roscaroli, 252). Brought up by Roscaroli, Young, and Monahan, I quickly began to consider the immateriality of the site’s archived videos. Like the three authors also discussed, digital records in past forms, such as reels, VHSs—even on the personal level—are collected and archived for both their form and content. Items like these—and like someday soon, I’m sure, the floppy disk and CD-ROM—are not recognized for their formal archival value until they are part of a closed historical era of technology. For, in the yet-open present, they cannot be recognized or known as something that will soon pass away in light of the next technological advance. In the case of websites like YouTube, however, how should such an archive be preserved in an open present? And, when it is a member of a closed historical era, won’t it have progressed to the then-present, disrupting the data and metadata of its archive as a representative of the historical moment of the then-past? Obviously, as Ernst notes, the Internet is transient along with its audiovisual content, but if something, like YouTube, is to be named an archive, should it be made latent at some point before potentially valuable archival material is lost? If so, would this mean recreating YouTube ever few years, or is their no proper answer for the transient, archival site, but to let it continue moving through time with little trace of its origin and process?

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