The Art of Archives

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

Tag: authenticity

Walking on the Moon \mm/

I was listening to Umphrey’s McGee (shocking!) while brainstorming ideas for this assignment, when their cover of “Walking on the Moon” by The Police from a show I attended in NYC came on. This led me on one of those vortex Google sprees: first to find out the stats on how many times Umphrey’s had covered the song, and when/at which shows; then to other artists’ renditions of the song; then to random pages about The Police and Sting; and on and on. Finally I ended up on an image search of “walking on the moon” which brought up images from the first moon landing. I decided to somehow work this Google search trail and all of these ideas into this week’s assignment.

We already discussed in class (and Baron discussed in Archive Effect) how the moon landing can be a contested event, and that moon landing conspiracy theorists often use the “authentic” image to prove its in-authenticity. For this reason I thought it would be interesting to choose an image whose authenticity could be doubtful to begin with. The shadow and the flag are things that moon landing conspiracy theorists often point out in photo and video footage of the event, so I kept those elements of the photo and then layered some more shadows and potential light sources for those shadows. The primary background I chose for this image is a picture of lights from a live Umphrey’s show. The original photo features lights that are blue, yellow, fuscia, and a multitude of other colors emanating from the many lighting rigs. The variety of colors in the original image is (clearly) and purposefully not shown in the final image. The colors are a crucial component of any light show and I considered leaving only the lights in color in the final image, but I thought the absence of color here seemed more powerful and effective at creating more temporal disparity. I put myself into the foreground of the photograph, imagining some sort of interaction with the astronaut. The original photo of myself that I used was not taken at an Umphrey’s show, let alone the show the original background photo of the lights was taken at (the photo was taken in a hotel lobby on the way out to an Umphrey’s show in London). The interventions I made provided me the opportunity to play around with both intentional temporal and (enormous) spatial disparity.

This image and the entire process that went into creating it, though fun and not very serious, demonstrates a lot about the manipulation that is possible with digital and digitized materials. This was a very beginner’s attempt at using Photoshop, so it is easy for me to imagine how simple it is for professional and experienced users of Photoshop to reappropriate multiple images/layers into one new image, especially in the digital age. After seeing how easy it is to manipulate images, I will doubt any digital/digitized image’s authenticity even more. Although Baron did argue that Lossless forced us to realize we should “not tie ourselves to this mythical pure original” or authentic image (Baron, 158.) The “originals” of the digital images I used are all just a bunch of algorithms now anyway, zeroes and ones somewhere on the Internet with “internal expiry dates” (Ernst, 85).um5

The JFK Library archival collection

The very existence of the John F. Kennedy Presidential Library is an obvious function of political power. This collection exists solely because it represents a political figure in American history, a president and his administration. The Kennedy administration was of course cut short due to the president’s assassination, and the archived materials represent an unfinished presidency. In this sense, this archive and the numerous materials held there certainly do act as “a type of sepulcher where these remains are laid to rest” (Mbembe, 22). At the same time the archive is also a “shelter” (Derrida), where the remains of President Kennedy’s life and legacy may be protected and preserved.

Being a presidential library, the collection is assumed to be nationally significant and as such is made easily accessible to the public. Many collections are fully digitized and available on the archive’s website, and the archive has an ongoing digitization initiative. This allows the collections to be readily available to all types of researchers, not just academics. The physical materials themselves remain sheltered under security and inaccessible to the general public. On-site researchers fill out call slips to request materials (if available) and the materials are brought to the research room where they may be viewed.

The entire archival collection is divided into textual and audio/visual archives. The textual archive is very well organized: from collection title, series name, box number, folder title, to item title. The Personal Papers of John F. Kennedy collection contains a “Pre-Presidential” series, a “Presidential Campaign” series, and a “President’s Office Files” series. The President’s Office Files further organizes materials into subseries, such as “National Security Files” and “White House Central Name Files.” There are also subseries for staff members and departments. Materials in each series are chronological. This presents a very structured, very ordered set of materials chosen to represent this administration.

The materials in the archives are not limited to those belonging to President Kennedy himself. The textual archives contain a number of collections, including the papers of John F. Kennedy, his speechwriters, his staff, and his wife, as well as other family members. Because of this, the scope of archival materials in the collection covers a much more extensive time period than just the short President Kennedy was in office. (There are, for example, international travel booklets and logs in his mother’s own sub-collection, from trips in the early 1900’s that have essentially nothing to do with John F. Kennedy or his administration.)

The nature of the collection allows for any number of varied materials related to John F. Kennedy to be included. The sub-collections and subseries categorize all materials housed in the archives, and every item is designated a specified home. This careful organization makes the collections easily searchable. Important and/or classified national documents are housed alongside (comparably) unimportant notes and doodles. All are treated as equally important and are carefully catalogued and recorded in the finding aids. These materials are traces of the “authentic” experiences of this administration and its time.

In addition to the president’s personal papers, the archive includes collections of correspondence sent to the White House by various individuals and groups. This correspondence is carefully ordered by date, then by sender in the “White House Central Name File” or by subject in the “White House Central Subject File.” These boxes not only contain letters, but also pamphlets, flyers, artwork, newspaper clippings, photographs, etc. These types of materials provide more historical value and “authenticity” to the archival collection. These collections of correspondence also preserve the individual voices of those who sent correspondence and accompanying materials to the White House. These items within the collections reveal a lot about the time period and what was culturally significant at the time.

The collection is relatively silent on the assassination of President Kennedy (and subsequent conspiracy theories.) As this is a federal institution, the government likely cannot be viewed to be lending credence to assassination conspiracy theories, and as such the subject is avoided altogether. This means that the physical traces or evidence of these theories are necessarily excluded from the archive. There are, however, sub-collections dedicated to President Kennedy’s funeral and condolence mail sent to family members in the wake of his death. These have been deemed appropriate materials to preserve and make available to the public. While the assassination is not covered by the collection, it could be said that President Kennedy’s untimely death provides additional significance and mystique to this archival collection. This particular archive is undoubtedly “rooted in death” (Mbembe, 22).

Who decides what is included or excluded in a collection such as a presidential archive? Where is the line drawn for “relevant” materials?

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