Archival Studies

This article investigates the classification and record-keeping history of a medicine man model in the Wellcome Library archives and the Science Museum archives in London, and the multifarious ways that information is constructed or lost in the history of a museum collection. First, attending to the affective turn in information scholarship, I argue that people's relationships and idiosyncratic preoccupations are formative in the histories of records and yet obscured in them. Second, I argue that broader “epistemic cultures” and “ecologies of standards”—belief systems, histories of disciplinary thought, and institutional histories—are formative in the legacy of information systems. A “trace ethnographic” approach to the history of one ethnographic piece illuminated the formation of authoritative knowledge as it played out in the acquisition and classification of the object and its institutionalized records.

"La scienza (in)utile. Prospettive di riflessione e confronto tra archeologia, antropologia culturale e storia". Workshop organizzato nell'ambito del corso di Dottorato in Scienze Storiche e Archeologiche. Memoria, Civiltà e Patrimonio, Dipartimento di Storia, Culture e Civiltà (DISCI) dell'Università di Bologna

... Rio de Janeiro: ForenseUniversitária. 1987. p. 149. 10 Ibidem, p. 149. 11 Fausto COLOMBO. Apud: Reinaldo MARQUES. Op. cit. p. 3132. 12 Os excertos utilizados neste trabalho estão inclusos no final deste, em anexo. 13 Jacques LE GOFF. Op.cit. p. 68. ...

Video abstract Through hands-on work collecting digital video oral histories for the Arizona Queer Archives, bodies and bodies of knowledge in ongoing affective states of simultaneous becoming and unbecoming can be observed and encountered. Both interviewing and storytelling techniques in select oral histories are considered here to stress the salient and affective processes of mediation and (un)becoming that unfold in front of and behind the camera as part of the production of digital archival stories and subsequent access to streaming technologies. In order to explore the details of archival production, the oral history interview is understood here as a space of both intimate and public storytelling—an affective assemblage. This paper introduces archives as affective multimodalities that work to tenderly hold and structure bodies, technologies, and stories especially as these come together and apart in states of (un)becoming.

This article highlights the particular—embodied—ways in which the human record can be collected, organized, and preserved. Engaging both archival and queer theories, the understanding of body-as-archives and archives-as-body is instantiated in the oral history record from one genderqueer poet. This poet's narration can be understood as a nomadic one of multiplicities, undoings, and metamorphoses. The far-reaching possibilities of the ongoing histories of the simultaneous becoming and unbecoming – archived (un)becomings – are at play and embodied throughout this archived oral history. The archives can produce a dizzying effect through which, I argue, archivists can resist the urge to settle, to neatly organize, and to contain the archival records to consider new ways to understand and represent the dynamic (un)becomings. Through the interpretive frame of the nomadic, the archives can be understood as a site of (un)becomings and as a space that can hold moving living histories.

Este estudo discute a implementação de repositórios arquivísticos em conformidade com o Sistema Aberto para Arquivamento de Informação e a necessidade de auditá-los para avaliar sua confiabilidade. Para tanto, realiza-se um levantamento bibliográfico de materiais previamente publicados, com seleção de: livros que abordam as perspectivas da Arquivística na era digital e o desafio da custódia documental confiável; publicações técnicas como as normas International Organization for Standardization e padrões de auditoria; e artigos científicos recuperados pela ferramenta de pesquisa Google Scholar, com busca temática relacionada à preservação de documentos arquivísticos digitais, repositórios digitais confiáveis, auditoria de informação e auditoria arquivística. O repositório arquivístico é o prisma da discussão, já a comparação entre os padrões de auditoria torna-se a categoria norteadora, logo, obtém-se um artigo de revisão assistemática. Dessa forma, são analisados os padrões de audit...

Archivists and historians wonder about the disappearance of the documents produced by the institutions of Navarre ranging from the late fifteenth to early sixteenth century. It could be due to the transfer to Bearne of a part of the documentation by kings Catalina I and Juan III in the summer of 1512. This article presents the summary of most of Navarre documentation kept in the Departmental Archives of the Atlantic Pyrenees. This summary is indicative of the small number of documents relating to Navarre during these dates.

Check out this link: https://www.tandfonline.com/doi/full/10.1080/23257962.2020.1770709 One area of increasing interest in contemporary art is the reconsideration and reinterpretation of archives to convey historical knowledge based on memory through exhibitions, organized by institutions. The aim of this paper is to contribute to a better understanding of how and why contemporary art institutions use archives in their exhibition practices. Six art institutions, which are members of L’Internationale, were sampled. Data from research demonstrated that contemporary art institutions organize archive-based art exhibitions to reinterpret the widely-known history; to reveal the lesser-known history; to fill in the gaps between artist, artwork, and institution; as a result of artists` archives and archive-based artworks and as an output of their research function. The paper argues that archive-based exhibitions provide a foundation for the new institutional activities and alternative interpretations out of the canonical history of art.

This article describes a year-long application of critical information literacy theory for social-science-related library workshops. Each of these workshops had a customized section that included working with special collections and university archives. The students who participated ranged from incoming freshman to seniors at Stanford University. The curriculum development method for these workshops is based on principles of collaborative co-design.

One of the biggest acts of plunder by Israel was of a vast Palestinian film archive looted by Israeli military forces in Beirut in 1982. The films are managed under the repressive colonial control of the Israel Defense Forces Archive, which thus conceals many of them and information regarding their origin. This article documents my efforts to disclose the films and locate their institutions in Beirut, to chart their history, name their film-makers and open a discussion about returning them. It also provides a deeper understanding of colonial mechanisms of looting and truth production. I discuss the Third Palestine Cinema Movement and the various institutions that were part of the Palestinian revolution in the 1970s, with a focus on the Cultural Arts Section managed by Ismail Shammout.

Chalil Raad (Khalil Ra'd) was one of the most important Arab photographers in the Middle East, beginning in the late nineteenth century, and one of the first – if not the first – active in Palestine. Though born in Lebanon, Raad lived in Palestine for seven decades, was professionally active, mainly in it, for six, and created a significant and impressive oeuvre. He photographed the everyday life of the locals, mainly indigenous Palestinian urban and rural landscapes, social/family scenes, and portraits in the studio or in the public sphere, in a staged, semi-staged or documentary manner, for commercial andother purposes. He was also active in military and ethnographic photography and was apparently the first Arab and local archaeological photographer in Palestine. Simultaneously, he travelled around the Middle East, giving expression to Arab life in a period of reorganisation and reform, the Tanzimat (the massive restructuring of the Ottoman Empire) and al-Nahda (awakening or renaissance), reflecting ‘the afterimage of modernity. From the nineteenth century onwards, the Palestinian presence in the region was concealed or misrepresented by colonialist representations and ‘seizure of narratives’, a process of elimination from Westerner’s and Zionist’s consciousness. Furthermore, since 1930s, and especially since the Nakba (1948), Palestinian archives and material were seized or looted by Jewish and Israeli forces and individuals and deleted from the public sphere by the Israeli colonial regime of knowledge by additional means. Other resources were lost or damaged and subsequent wars between Israel and Arab states and the Palestinians. While Palestinians are still fighting to regain their missing archivesand collect fragments from their past, fighting against ‘archival absence’ (evidence or materials)18 and write their ‘history without documents’, Raad’s archive reveals the very destructiveness of colonialism. At the same time, it enables us to shed light on ‘archival imaginaries … archives both shadow and real, and conditions both intellectual and material’.