Exploring British Design: Research Paths II

We recently ran a second workshop as part of our Exploring British Design project. The workshops aim  to understand more about  approaches to research, and researchers’ understanding and use of archives.

The second workshop was run largely on the same basis as the first workshop, using the same exercises.

Looking at what our researchers said and documented about their research paths over the two workshops, some points came out quite strongly:

  • Google is by far the most common starting point but its shortcomings are clear and issue of trust come up frequently.
  • There is often a strong visual emphasis to research, including searching for images and the use of Pinterest; there seems to be a split between those who gravitate towards a more text-based approach and those who think visually (many of our participants were graphic designers though!).
  • It is common to utilise the references listed in Wikipedia articles.
  • The library as a source is seen as part of a diverse landscape – it is one place to go to, albeit an important one. It is not the first port of call for the majority.
  • Aggregators are not specifically referred to very often. But they may be seen as a place to go if other searches don’t yield useful results.
  • Talking to people is very important, be it lecturers, experts, colleagues or friends
  • Online research is more immediate, and usually takes less effort, but there are issues of trust and it may not yield specific enough results, or uncover the more obscure sources.
  • There is a tendency to start from the general and work towards the more specific. With the research paths of most of the researchers, the library/archive was somewhere in the middle of this process.
  • Personal habits and past experience play a very large part, but there is a real interest in finding new routes through research, so habit is not a sticking point, but simply the dominant influence unless it is challenged.

For the second workshop, the first exercise asked participants to document their likely research paths around a topic.

flip chart showing research paths for a topic
Research paths of two researchers for the topic of Simpsons of Piccadilly

 

We had four pairs of researchers looking at different topics, and we left them to discuss their research paths for about 45 minutes. The discussions following the exercise picked up on a number of areas:

Online vs Offline

We kicked off by asking the researchers about online versus ‘offline’ research paths. One participant commented that she saw online as a route through to traditional research – maybe to locate a library or archive – ‘online is telling me where to look’ but in itself it is too general and not specific enough; whereas the person she was paired with tended to do more research online. He saw online as giving the benefit of immediacy – at any time of day or night he could access content. The issue of trust came up in the discussion around this issue, and one participant summed up nicely: “If you do online research there is less effort but there is less trust; if you research offline there is more effort but there is more trust.”

Following on from the discussion about how people go about using online services, there was a comment that things found online are often the more obvious, the more used and cited resources. Visiting a library or archive may give more opportunity to uncover little known sources that help with original research. This seemed to be endorsed by most participants, one commenting that Pinterest tends to reflect what is trendy and popular. However, there was also a view that something like Pinterest can lead researchers to new sources, as they are benefiting from the efforts, and sometimes the quite obsessive enthusiasms, of a wide range of people.

There was agreement that online research can lead to ‘information dumping’, where you build up a formidable collection of resources, but are unlikely to get round to sorting them all out and using them.

Library Resources

The issue of effort came up later in the discussion when referring to a particular university library (probably typical of many university libraries), and the amount of effort involved in using its databases. There was a comment about how you need to ‘work yourself up to an afternoon in the library’ and there seemed to be a general agreement that the ‘search across all resources’ often produced quite meaningless results. When compared to Google, the issue seems to be that relevance ranking is not effective, so the top results often don’t match your requirements. There was also some discussion around the way that library resource discovery services often involve too many steps, and there is effort in understanding how the catalogue works. One participant, whose research centres on the Web and the online user experience, felt that printed sources were of little use to him, as they were out of date very quickly.

Curating your sources

One researcher talked about using Pinterest to organise findings visually. This was followed up by another researcher talking about how with online research you can organise and collect things yourself. It facilitates ‘curating’ your own collection of resources. It can also be easier to remember resources if they are visual. Comparing Pinterest to the Library – with the former you click to add the image to your board; with the Library you pay a visit, you find the book, you take it to the scanner, you pay to take a scan…although it is increasingly possible to take pictures of books using your own device. But the general feeling was that the Web was far quicker and more immediate.

Attitudes towards research

One participant felt that there might be a split between those more like him who see research as ‘a means to an end’ and those who enjoy the process itself. So maybe some are looking for the shortest route to the end goal, and others see research as more exploratory activity and expect it to take time and effort. This may partly be a result of the nature and scope of the research. Short time scales preclude in-depth research.

Talking about serendipitous approaches, someone commented that browsing the library shelves can be constructive, as you can find books around your subject that you weren’t aware existed. This is replicated to some extent in something like Amazon, which suggests books you might be interested in. There was also some feeling that exploring too many avenues can take the researcher off topic and take up a great deal of time.

Trust and Citation

The issue of trust is important.  A first-hand experience, whether of a place you are researching, or using physical archive sources, is the most trustworthy, because you are seeing with your own eyes, experiencing first hand or looking at primary sources first hand; a library provides the next level of trust, as a book is an interpretation, and you may feel it requires corroboration; the online world is the least trustworthy. You will have the least trust if you are looking at a website where you don’t know about who or what is behind it. There was agreement that trust can come through crowd sourced information, but also some discussion around how to cite this (for example, using the Harvard system to reference web pages and crowd sourced resources). This led on to a short discussion around the credibility of what is cited within research. Maybe attitudes to Wikipedia are slowly changing, but at present there is generally still a feeling that a researcher cannot cite it as a source. There are traditions within disciplines around how to cite and what are the ‘right’ things to cite.

[Further posts on Exploring British Design will follow, with reflections on our workshops and updates on the project generally]

 

 

 

 

 

 

Exploring British Design: Research Paths

Introduction

As part of our Exploring British Design project we are organising workshops for researchers, aiming to understand more about their approaches to research, and their understanding and use of archives. Our intention is to create an interface that reflects user requirements and, potentially, explores ideas that we gather from our workshops.

Of course, we can only hope to engage with a very small selection of researchers in this way, but our first workshop at Brighton Design Archive showed us just how valuable this kind of face-to-face communication can be.

We gathered together a small group of 7 postgraduate design students. We divided them into 4 groups of 2 researchers and a lone researcher, and we asked them to undertake 2 exercises. This post is about the first exercise and follow up discussion.  For this exercise, we presented each group with an event, person or building:

The Festival of Britain, 1951
Black Eyes and Lemonade Exhibition, Whitechapel Art Gallery, 1951
Natasha Kroll (1912-2004)
Simposons of Piccadilly, London

We gave each group a large piece of paper, and simply asked them to discuss and chart their research paths around the subject they had been given. Each group was joined by a facilitator, who was not there to lead in any way, but just to clarify where necessary, listen to the students and make notes.

Case Study

Researchers charting their research paths for the Festival of Britain
Researchers charting their research paths for the Festival of Britain

I worked with two design students, Richard and Caroline, both postgraduate students researching aspects of design at The University of Brighton. They were looking at the subject of the Festival of Britain (FoB). It fascinated me that even when they were talking about how to represent their research paths, one instinctively went to list their methods, the other to draw theirs, in a more graphic kind of mind map. It was an immediate indication of how people think differently. They ended up using the listing method (see left).

 

diagram showing stages of research
Potential research paths for the Festival of Britain

The above represents the research paths of Richard and Caroline. It became clear early on that they would take somewhat different paths, although they went on to agree about many of the principles of research. Caroline immediately said that she would go to the University library first of all and then probably the central library in Brighton. It is her habit to start with the library, mainly because she likes to think locally before casting the net wider, she prefers the physicality of the resources to the virtual environment of the Web. She likes the opportunity to browse, and to consider the critical theory that is written around the subject as a starting point. Caroline prefers to go to a library or archive and take pictures of resources, so that she can then work through them at her leisure.  She talked about the importance of being able to take pictures, in order to be able to study sources at her leisure, and how high charges for the use of digital cameras can inhibit research.

Richard started with an online search. He thought about the sort of websites that he would gravitate towards – sites that were directly about the topic, such as an exhibition website. He referred to Wikipedia early on, but saw it as a potential starting place to find links to useful websites, through the external links that it includes, rather than using the content of Wikipedia articles.

Richard took a very visual approach. He focused in on the FoB logo (we used this as a representation of the Festival) and thought about researching that. He also talked about whether the FoB might have been an exhibition that showcased design, and liked the idea of an object-based approach, researching things such as furniture or domestic objects that might have been part of the exhibition. It was clear that his approach was based upon his own interests and background as a film maker. He focused on what interested and excited him; the more visual aspects including the concrete things that could be seen, rather than thinking in a text-based way.

Caroline had previous experience of working in an archive, and her approach reflected this, as well as a more text-based way of thinking. She talked about a preference for being in control of her research, so using familiar routes was preferable. She would email the Design Archives at Brighton, but that was not top of the list because it was more of an unknown quantity than the library that she was used to. Maybe because she has worked in an archive, she referred to using film archives for her research;  whereas Richard, although a film maker, did not think of this so readily. Past experience was clearly important here.

Both researchers saw the library as a place for serendipitous research. They agreed that this browsing approach was more effective in a library than online. They were clearly attracted to the idea of searching the library shelves, and discovering sources that they had not known about. I asked why they felt that this was more effective than an online exploration of resources. It seemed to be partly to do with the dependency of the physical environment and also because they felt that the choice of search term online has a substantial effect on what is, and isn’t, found.

Both researchers were also very focused on issues of trust; both very much of opinion that they would assess their sources in terms of provenance and authorship.

In addition, they liked the idea of being able to search by user-generated tags and to have the ability to add tags to content.

General Discussion

In the general discussion some of the point made in the case study were reinforced. In summary:

Participants found the exercise easy to do. It was not hard to think about how they would research the topics they were given. They found it interesting to reflect on their research paths and to share this with others.

For one other participant the library was the first port of call, but the majority started online.

Some took a more historical approach, others a much more narrative and story-based approach.  There were different emphases, which seemed to be borne out of personality, experiences and preferences. For example, some thought more about the ordering of the evidence, others thought more about what was visually stimulating.
It was therefore clear that different researchers took different approaches based on what they were drawn to, which usually reflected their interests and strengths.

There was a strong feeling about trust being vital when assessing sources. Knowing the provenance of an article or piece of writing was essential.

The participants agreed that putting time and effort into gathering evidence is part of the enjoyment of research. One mentioned the idea that ‘a bit of pain’ makes the end result all the more rewarding!  They were taken aback at the idea that that discovery services feel pressured to constantly simplify in order to ensure that we meet researchers’ needs. They understood that research is a skill and a process that takes time and effort (although, of course, this may not be how the majority of undergraduates or more inexperienced researchers feel).  Certainly they agreed that information must not be withheld, it must be accessible. We (service providers) need to provide signposts, to allow researchers to take their own paths. There was discussion about ‘sleuthing’ as part of the research process, and trying unorthodox routes, as chance discoveries may be made. But there was consensus that researchers do not need or wish to be nannnied!

All researchers did use Google at some point….usually using it to start their search. Funnily enough, some participants had quite long discussions about what they would do, before they realised they would actually have gone to Google first of all. It is so common now, that most people don’t think about it. It seemed to operate very much as a as a starting point, from where the researchers would go to sites, assess their worth and ensure that the information was trustworthy.

[There will be follow up posts to this, providing more information about our researcher workshops, summarising the second activity, which was more focused on archive sources, and continuing to document our Exploring British Design project.]

 

 

WikiLinks

WikiLinks – Guest Blog by Andy Young

Between March and June 2014 I conducted a piece of social media-oriented research on behalf of the Archives Hub, the primary purpose of which was to measure the impact of adding links from specific Wikipedia articles featuring Hub content on the traffic that comes into the Hub website. As well as providing the Hub administrators – and, indeed, the profession as a whole – with a gauge as to whether the amount of time invested in creating links is worthwhile when compared to the benefits of impact, this research benefitted me personally in that it allowed me the opportunity to potentially earn credits on the Archives & Records Association’s Registration Scheme, under the ‘Contributions to the profession’ category.

The first phase of the study involved me identifying twenty archival collections listed in the Hub, with no existing links to related Wikipedia pages, which I could treat as measurable research subjects. This was done simply by entering specific Hub collection level descriptions into the Wikipedia search engine. (If a link to the Hub had already been created, I eliminated that particular collection from the study.) In order to achieve a fair and balanced piece of research, I selected collections of a relatively similar size and status, and avoided those relating to any significant public events running concurrent to, or immediately prior to, the commencement of the research, i.e. local elections in England, the World Cup. My feeling was that such collections could have been subject to closer scrutiny from researchers while the study was underway, which, in turn, would have resulted in an unexpected increase in Hub-searching activity. This, in essence, would have undermined the credibility of the study. I also made sure that the Wikipedia pages I utilised didn’t already include links to the collection-holding repositories, as this could potentially sway researchers away from clicking the newly-created links to the Hub descriptions, thereby affecting the accuracy of research.

The twenty collections selected, along with their corresponding Wikipedia links, are shown in the table below.

table showing list of Hub collections with wikipedia links
List of Collections used in the study with the Wikipedia URLs

Once the Hub collections and related Wikipedia pages had been identified, I then added new links to the individual pages using Wikipedia’s built-in editing tool. In the interests of consistency, I embedded each new link in the ‘External Links’ section on each of the pages I modified. I then used Google Analytics, in conjunction with an Excel spreadsheet, to collate and record Hub traffic data for each individual collection for the twelve-week period prior to the start of the study, specifically from the 22nd December, 2013 to the 15th March, 2014. This was done in order to enable me to generate a measurement of the overall impact of the newly-created links on incoming Hub traffic. The cumulative results for each collection, for the twelve-week period prior to the commencement of the study, are shown below.

table showing page views for collections prior to wikipedia links
Page views for collections in a 12 week period prior to the creation of the Wikipedia links

Over the course of the next twelve weeks, from the 17th March, 2014 to the 7th June, 2014, I used Google Analytics once again to monitor incoming Hub traffic, with a reading being taken at the end of every fourth week in order to identify any significant traffic fluctuations or changes. The four-week hit statistics for each of the twenty collections are shown in the table below.

table showing hits for hub collections when the links were on wikipedia
Hits for Hub collections during the Wikipedia study

At the end of the twelve-week research period it was evident from the accumulated data that fourteen of the twenty collections had each experienced an increase in traffic compared to the previous twelve-week period. Indeed, of the fourteen, two collections, namely the Ramsay MacDonald Papers and the London South Bank University Archives, had each received well in excess of 100 additional hits compared to the pre-link period. Of the remaining six collections, only the Sadler’s Wells Theatre Archive had decreased in hits significantly, down 109 from the previous period. Although it isn’t possible to say definitively why this decrease occurred, it may have been due to the fact that at some point during the research, a new link had been added to the Sadler’s Wells Theatre Archive Wikipedia page giving researchers the option to examine ‘Archival material relating to Sadler’s Wells Theatre listed at the UK National Archives.’ Taking this modification into account, it seems fair to suggest that any researchers interested in the Sadler’s Wells Theatre material may have been drawn to this link description rather than the newly-added link to the Hub description essentially because it makes mention of the country’s principal archival repository, TNA.

The cumulative number of hits for each of the twenty collections during the research period are presented in the table below. This table also shows the positive and negative numerical differences in hits for each of the collections compared to the twelve-week period prior to the start of the research.

table showing cumulative hits for collections with positive and negative changes shown
Cumulative hits for collections with positive and negative differences shown

Conclusion

This piece of research has demonstrated that the simple task of linking online archival descriptions to a popular social media reference tool such as Wikipedia can yield extremely positive results. It has shown, moreover, that there are clear benefits, both for the archival repository/aggregator and the individual researcher, when catalogue data is linked and shared. Not only that, it has proven that a successful outcome can be achieved in a relatively short space of time, and, truth be told, with only a small amount of physical effort. The process of checking whether links from specific Hub collections already existed in Wikipedia and then adding them to the website if they didn’t, took little more than three hours to complete, and, for the most part, basically involved me copying data from one website and pasting it onto another. Ultimately, the sheer simplicity of this exercise, coupled with the knowledge that interest in the vast majority of the Hub collections increased as a result of the Wikipedia editing, confirms, to my mind at least, that archive services the world over – especially those blessed with a healthy number of volunteers – would benefit from embarking on linked data projects of this nature. After all, it’s like Benjamin Franklin said, “An investment in knowledge always pays the best interest.”

Kettle’s Yard Archive

Archives Hub feature for September 2014

Image of Kettle's Yard House
Kettle’s Yard House, University of Cambridge

Kettle’s Yard – A Way of Life

Kettle’s Yard is a unique and special place.  It is so much more than a house, a museum or a gallery, and it invariably leaves a lasting impression with those who visit.

Between 1958 and 1973, Kettle’s Yard was the home of Jim and Helen Ede. In the 1920s and 30s, Jim had been a curator at the Tate Gallery in London. It was during this time that he formed friendships with artists and other like-minded people, which allowed him to gather a remarkable collection of works by artists such as Ben and Winifred Nicholson, Alfred Wallis, Christopher Wood, David Jones and Joan Miro, Henri Gaudier-Brzeska, Constantin Brancusi, Henry Moore and Barbara Hepworth.  Ede also shared with many of his artist friends a fascination for beautiful natural objects such as pebbles, weathered wood, shells or feathers, which he also collected.

Jim carefully positioned artworks alongside furniture, glass, ceramics and natural objects, with the aim of creating a perfectly balanced whole. His vision was of a place that should not be

“an art gallery or museum, nor … simply a collection of works of art reflecting my taste or the taste of a given period. It is, rather, a continuing way of life from these last fifty years, in which stray objects, stones, glass, pictures, sculpture, in light and in space, have been used to make manifest the underlying stability.”

Image of Jim Ede's bedroom table
Jim Ede’s bedroom table – Kettle’s Yard, 
University of Cambridge. Photo: Paul Allitt.

Jim originally envisaged making a home for his collection in quite a grand house, but unable to find a suitable property, he opted instead to remodel four derelict 19th century cottages and convert them into a single house.

Kettle’s Yard was conceived with students in mind, as ‘a living place where works of art could be enjoyed . . . where young people could be at home unhampered by the greater austerity of the museum or public art gallery.’  Jim Ede kept ‘open house’ every afternoon of term, personally guiding his visitors around his home. This experience is still faithfully recreated as visitors ring the bell at the front door, and are welcomed into the house.

Image of Jim Ede
Jim Ede at Kettle’s Yard – Kettle’s Yard, 
University of Cambridge

In 1966 Jim gave the house and its contents to the University of Cambridge, though he continued to occupy and run it until 1973. In 1970, the house was extended, and an exhibition gallery added to ensure that there would always be a dynamic element to Kettle’s Yard, with space for contemporary exhibitions, music recitals and other public events.

The archive

If Kettle’s Yard is the ultimate expression of a way of life developed over 50 years and more, the archive adds an extra dimension by documenting the rich story of how that philosophy evolved.  At its core are Jim Ede’s personal papers, which chart a wide range of influences throughout his life, from his experience of World War I, through the ‘open house’ the Ede’s kept in Hampstead through the late 1920s and early 1930s and the vibrant set who attended their parties; the weekend retreats for servicemen on leave from Gibraltar at the Ede’s house in Tangier at the end of World War II; the ‘lecturer in search of an audience’ who travelled to the US in the early 1940s; the prolific correspondence not just with artist friends, but figures such as T E Lawrence; and the development of Kettle’s Yard and its collections.

Thanks to the support of the Newton Trust, we are now half way through a 2-year project to improve access to the archive and support research by producing a digital catalogue of the collections, putting in place proper preservation strategies, and establishing procedures for public access. This work builds on the foundations laid by the dedicated archive volunteers, who continue to work with us.

We have started out by publishing a high-level description of the Ede papers on the Archives Hub [http://archiveshub.ac.uk/data/gb1759-ky/ede?page=1#id1308050], to which we will add more detail over the coming year.  The catalogue already includes detailed descriptions of c.120 letters Jim Ede received from the artist and writer David Jones between 1927 and 1971, and c. 200 from the collector and patron Helen Sutherland, from 1926 to 1964.   We will soon be adding correspondence with the artists Ian Hamilton Finlay and Richard Pousette-Dart, and the museum director Perry Rathbone; papers relating to Jim Ede’s lifelong mission to promote the work of Henri Gaudier Brzeska, and the establishment and running of Kettle’s Yard; and other small collections such as Helen Sutherland’s letters to the poet Kathleen Raine.

In another exciting development, Kettle’s Yard has now received backing from the Arts Council England Capital Investment Programme Fund to create a new Education Wing and carry out major improvements to the exhibition galleries.  The plans [http://www.kettlesyard.co.uk/development/index.php] include a purpose-built archive store and dedicated space for consulting and exhibiting archive material.

One recent addition to the archive is a letter that Jim Ede wrote in 1964, in response to a thank you note from an undergraduate who had visited Kettle’s Yard.  In typical style, Jim expresses concern about whether he really is providing pleasure to others through his endeavours at Kettle’s Yard, and draws strength from the expression of gratitude.  He ends the letter ‘Do come in as often as you like – the place is only alive when used’.

Image of letter from Jim Ede
“the place is only alive when used” – Kettle’s Yard Archive, University of Cambridge

This is very true of the house, but equally true of the archive – and hopefully everything we are doing to improve physical and intellectual access to the archives, and integrate it into all aspects of the Kettle’s Yard programme, will ensure that it is well used.

Frieda Midgley, Archivist
Kettle’s Yard, University of Cambridge

All images copyright Ketttle’s Yard, University of Cambridge, and reproduced with the kind permission of the copyright holder.

A Spring in Your Step

Archives Hub feature for May 2014

Photograph of ballet dancer, Anthony Crickmay Dance Photographs, © V&A Department of Theatre and Performance.
Anthony Crickmay Dance Photographs (THM/20), © V&A Department of Theatre and Performance, Victoria and Albert Museum, London.

The Archives Hub contains a range of material linked with dance – dancers, choreographers and teachers, schools and companies, ballet, contemporary and other styles of dance. This feature highlights some of these collections.

Dancers and Choreographers

Jack Cole Scrapbook Collection, 1910s-1970s, dancer and choreographer. He was known for his unpredictability and originality, grafting on elements from Indian, Oriental, Carribean, Latin American, Spanish, and African-American dance. He worked on Broadway and in Hollywood as both dancer and choreographer, being popularly remembered for his choreography for Marilyn Monroe. http://archiveshub.ac.uk/data/gb71-thm/106

Ram Gopal Collection, 1930s-2004, dancer, choreographer and teacher. Gopal was trained in classical Indian dance forms of Kathakali, Bharatra Natya and Manipuri. He wanted Eastern and Western dance forms to work together and taught Indian folk dance at the Harlequin Ballet Company. http://archiveshub.ac.uk/data/gb1975-ram

Papers of Diana Gould, 1926-1996, dancer. Diana Rosamund Constance Grace Irene Gould was a British ballerina. Early in her career Sergei Diaghilev spotted her and invited her to join his Ballets Russes but he died before this could be arranged, events said to have been fictionalized in the film ‘The Red Shoes’. Diana married Sir Yehudi Menuhin in 1947.
http://archiveshub.ac.uk/data/gb2228-dpdg

Papers relating to the career of Bruce McClure, 1925-1989, dancer and choreographer. Bruce McClure trained as a dancer and worked as a dancer at the Citizens’ Theatre among other places. In the 1960s he moved on to choreography including for television. http://archiveshub.ac.uk/data/gb247-stabmc

Collection of material relating to Margaret Morris, 1891-1980, ballet dancer and choreographer. She established the first national ballet company for Scotland, developed a modern dance technique and a system of movement therapy. http://archiveshub.ac.uk/data/gb247-stabq1

Harry Relph (Little Tich) volumes, 1881-1974, dancer. Known on stage as Little Tich (he was 4 foot 6 inches tall), Harry Relph became one of Britain’s most popular music-hall and variety acts. One of his best known routines was called ‘Big Boots’, which had him dancing in boots that were 28 inches long.
http://archiveshub.ac.uk/data/gb71-thm/326

Shirley Wimmer Collection, 1946-1987, dancer, choreographer and dance scholar. http://archiveshub.ac.uk/data/gb1701-d3

Dance schools, companies and educational organisations

Photograph of tap dancing class 1942
Tap dancing class in the gymnasium at Iowa State College, 1942. Library of Congress, LC-DIG-ppmsc-00250.

Papers relating to the Pushpalata Dance Company, 1991-2005. The company focuses on Odissi and Kathak dance practices, but also performs in a number of collaborations with Western dance forms, most notably investigating the point at which Flamenco and Kathak dance meet. http://archiveshub.ac.uk/data/gb1975-pu

Philip Richardson Archive Collection, Royal Academy of Dance, c1900-1963; c1760-1780; c1800-1900. Richardson’s interest in the history of dancing led him to become an avid collector of rare books on the subject. His personal library collection was bequeathed to the RAD after his death in 1963. http://archiveshub.ac.uk/data/gb3370-rad/pjsr

The Mimi Legat Collection, The Royal Ballet School, White Lodge Museum, 1900-1970. Papers relating to the Russian ballet dancers Sergei Legat, Nicolas Legat, and Nadine Nicolaeva-Legat. http://archiveshub.ac.uk/data/gb3208-rbs/mim

Rita Dow Ballet Bequest, Royal Conservatoire of Scotland, 1920s-1990s. Dancer and teacher. http://archiveshub.ac.uk/data/gb2607-rd000-682

Rambert Dance Company logo
Rambert Dance Company logo

Marie Rambert collection, Rambert Dance Company, 1890s-1980s. Collection of films, costumes, photographs, correspondence, diaries, programmes, press cuttings, personal papers, autobiographical notes, awards and medals owned and collected by Dame Marie Rambert throughout her life as well as papers relating to her death and memorials. http://archiveshub.ac.uk/data/gb2228-mr

Laban Collection, Trinity Laban Conservatoire of Music and Dance, 1918-2001. Papers and other material relating to Rudolf Laban: teacher, philosopher, dancer, choreographer, author, experimentor and the father of modern dance. http://archiveshub.ac.uk/data/gb1701-lc

Ballet

Dance scrapbooks (ballet), c1951-1978. Containing newspaper cuttings of national and international ballet companies and dancers including Margot Fonteyn and Rudolf Nureyev.
http://archiveshub.ac.uk/data/gb1701-lz

Ekstrom Collection: Diaghilev and Stravinsky Foundation, 1902-1984. Letters, financial records, and telegrams, which give a unique insight into the day-to-day running of Diaghilev’s Ballets Russes.
http://archiveshub.ac.uk/data/gb71-thm/7

Russian Ballet Collection, 1911-1914. Programmes of the Russian Ballet’s seasons at the Theatre du Chatelet, Paris, held by the University of Exeter. Included are many colour illustrations of costume designs, as well as photographs and illustrations of various dancers and text about various ballet productions. http://archiveshub.ac.uk/data/gb29-eulms158

Records of Scottish Ballet, 1952-1999. Programmes, photographs, leaflets, periodicals, press cuttings, posters and other papers relating to the Scottish Ballet and Western Ballet Theatre. http://archiveshub.ac.uk/data/gb247-gb247stasbetc

Valentine Gross Archive, 1700-1960s. Valentine Gross, a.k.a. Valentine Hugo (1887-1968), was a French art ballet enthusiast, illustrator, researcher and painter and still a student at the time of 1909 Saison Russe in Paris.
http://archiveshub.ac.uk/data/gb71-thm/165

Contemporary dance

Trinity Laban Conservatoire of Music and Dance logo
Trinity Laban Conservatoire of Music and Dance logo
Bonnie Bird Choreography Fund Archive, 1981-2001. The Bonnie Bird Choreography Fund was established in 1984 to support and promote innovative choreographers and dance writers in Britain, Europe and America. http://archiveshub.ac.uk/data/gb1701-d25

Contemporary Dance Trust Archive, 1957-1998. Consists of papers relating to the running of the Contemporary Dance Trust which incorporated the London Contemporary Dance Theatre and the London Contemporary Dance School.
http://archiveshub.ac.uk/data/gb71-thm/22

Independent Dance at the Holborn Centre for Performing Arts Archive, 1989-1999. Independent Dance is an artist-led organisation which provides specialist training to contemporary dance artists. It was established in 1990 and has the longest running daily training programme in the UK.
http://archiveshub.ac.uk/data/gb1701-d17

Bob Lockyer Collection, 1970-1995. Photographs and scripts from various dance programmes produced for the British Broadcasting Company (BBC) by Bob Lockyer. http://archiveshub.ac.uk/data/gb1701-d8

Dorothy Madden Collection, 1912-2002. Dr Dorothy Gifford Madden, former Professor Emerita of the University of Maryland, United States of America who was responsible for bringing American modern dance practice to the United Kingdom.
http://archiveshub.ac.uk/data/gb1701-d23

Transitions Dance Company Archive, c1985-2009. Established in 1983, Transitions Dance Company was among the first graduate performance companies in the United Kingdom. http://archiveshub.ac.uk/data/gb1701-d24

Clubs, societies and other dance-related collections

Image of couple dancing, 1900s.
Lecon de Cake-Walk, 1900s.
Image in Public domain

Cambridge Dancers’ Club (Cambridge University), 1963-1983. Correspondence, minutes and other papers. http://archiveshub.ac.uk/data/gb012-ms.add.8694

Classical and Ballroom Dancing Society (University of Manchester), 1946-1948. The Society was set up in 1946 to encourage “the improvement of all forms of dancing” amongst its membership. http://archiveshub.ac.uk/data/gb133-vss.html?page=2#idp32580000

Dance theatre programmes collection, c1950-1999. A collection of over 3,000 dance theatre programmes from over 500 national and international dancers and dance companies. http://archiveshub.ac.uk/data/gb1701-ld

Folk Dance Society (University of Manchester), 1948-1976. Established in 1948 to promote folk dancing, particularly the traditions of the British Isles. http://archiveshub.ac.uk/data/gb133-vss.html?page=3#idp18573024

Papers of the Foundation for Community Dance and predecessors, 1984-2011. Papers of the Foundation for Community Dance and its predecessors the Community Dance and Mime Foundation and the National Association of Dance and Mime Animateurs. http://archiveshub.ac.uk/data/gb3071-d/036

Henry Rolf Gardiner: Letters to Margaret Gardiner, 1921-1960. 34 letters from Gardiner (businessman and author) to his sister Margaret Gardiner, on his time at Cambridge. Topics include folk-dancing, morris-dancing and work on a dance-book. http://archiveshub.ac.uk/data/gb012-ms.add.8932

Els Grelinger Collection, c1928-2000. Notation scores, papers and videos of Els Grelinger, dance notator. http://archiveshub.ac.uk/data/gb1701-d22

Sadler’s Wells Theatre Archive, c1712-2012. The Sadler’s Wells site has been occupied by six different theatres since 1683. The current theatre, which opened in 1998, is dedicated to international dance. http://archiveshub.ac.uk/data/gb1032-s/swt

Peter Williams Collection, c1950-1980. Williams was the editor of the journal Dance and Dancers. The collection includes c40,000 black and white photographs of dancers and dance companies from all over the world. http://archiveshub.ac.uk/data/gb1701-d11

Photo of Bharatanatyam male dancer.
Bharatanatyam male. Image in Public Domain.

250 and counting!

Image of shield used on Virginia's State Route
© Image is in the public domain: Virginia 250 – shield used on Virginia’s State Route.

We’re delighted to announce that we now have more than 250 UK institutions and organisations contributing to the Archives Hub! That amounts to:

* over 26,000 collection-level descriptions
* over 350,000 lower-level descriptions

Our contributors include universities, businesses, local authorities, museums, cathedrals, charities and other organisations. The wide range of archives covered by the Hub is demonstrated by the latest descriptions, received from:

Barclays Group

barclayslogoBarclays Group Archives is one of the principal financial and business archives in the UK. The parent company, Barclays PLC, has been providing banking services continuously since 1690, with records dating mainly from the early 1700s onwards. Collections include: Barclays Bank, Lombard Street (London): board, management and head office records (1896-1985) and Goslings and Sharpe: private bankers, Fleet Street (London): branch records including customer ledgers (1717-1972).
http://archiveshub.ac.uk/contributors/barclays.html

Doncaster Archives, Local Studies and Family History
The Archives and Local Studies services collect, preserve and provide access to a comprehensive collection of historical and contemporary information relating to the town of Doncaster, its metropolitan district and some adjacent areas. Collections include records of the Yorkshire Archaeological Society: Doncaster Group (1948-1986).
http://archiveshub.ac.uk/contributors/doncaster.html

Feminist Webs Archive
Set up in 2008 by a group of young women, their female youth workers and allies, the Feminist Webs Archive is held at Manchester Metropolitan University. It is both a physical resource and an online resource. The collection is ever-growing with contributions from older feminist youth workers and consists of photographs, banners, leaflets, magazines, oral “her-stories” with older feminist youth workers carried out by young women, and various other documents that are related to feminist youth work with girls and young women.
http://archiveshub.ac.uk/contributors/feministwebsarchive.html

Marks and Spencer

Marks and Spencer Company Archive logo
Marks and Spencer Company Archive logo

Marks & Spencer began in 1884 when Michael Marks set up a market stall in Leeds. In 1894 he went into partnership with Tom Spencer and a famous high street name was born. Based in Leeds, the M&S Company Archive collects, preserves and utilises material relating to all aspects of the history and development of the company. The Company Archive contains a range of materials from 1884 onwards, including written records, staff publications, photographs and films, garments and household products, design and advertising material.
http://archiveshub.ac.uk/contributors/marksandspencer.html

National Jazz Archive
Founded in 1988, the National Jazz Archive is the specialist repository for the history of Jazz in the UK, in addition to the USA and Europe. The collection, comprising mainly 20th century material, includes 2,500 books from 1914 onwards, over 600 periodicals and journals dating from 1927 photographs personal papers, ephemera and a small number of objects.
http://archiveshub.ac.uk/contributors/nationaljazzarchive.html

National Railway Museum
The library and archive collections at the National Railway Museum form one of the largest resources of railway and transport history in the world. Collections include technical archives containing drawings of locomotives, carriages and wagons; business records of large companies such as the North British Locomotive company, the Pullman Car Company and The General Electric Company; personal and business papers of prominent railway individuals such as George and Robert Stephenson and their families; railway ephemera and semi-published material including advertising, publicity and design records.
http://archiveshub.ac.uk/contributors/nationalrailwaymuseum.html

Paul Mellon Centre for Studies in British Art
The Paul Mellon Centre for Studies in British Art is an educational charity set up to promote original research into the history of British art and architecture.
http://archiveshub.ac.uk/contributors/paulmelloncentre.html

Queen Square Archive
The Queen Square Archives are housed in and managed by the Queen Square Library. They comprise the archives belonging to the National Hospital for Neurology and Neurosurgery (named The National Hospital for the Paralysed and Epileptic during the period covered by the Archive) and those of UCL Institute of Neurology. Collections include: 1500 bound volumes of case notes, including many examples of early medical photography (1863-1946); administrative records for the Hospital (1859-1946); employment records (1860-1946); patient admission registers and other health records; approximately 3000 photographs.
http://archiveshub.ac.uk/contributors/queensquarearchive.html

Rambert Dance Company

Rambert Dance Company logo
Rambert Dance Company logo

The Rambert Archive holds significant collections documenting the evolution of British dance via the development of Britain’s oldest dance company as we moved from pure classical ballet, through embracing modern American influences, into the future of dance. Collections include: Arts Theatre Ballet (1930s-1941), Company History (1900s-2000s), Marie Rambert Collection (1890s-1980s) and Rambert Dance Company Archive: Productions (1920s-2010s).
http://archiveshub.ac.uk/contributors/rambert.html

Royal Ballet School
The Royal Ballet School Collections trace the activities of the institution from its founding in 1926 as the Academy of Choreographic Art to the present day. The Collections include School records; collections relaing more broadly to the development of British Ballet, with substantial collections of lithographs, periodicals, programmes, press cuttings and books; personal collections of international significance, such as Ninette de Valois, the Founder of The Royal Ballet School and Companies, and the class notes of the great teacher, Vera Volkova, among whose students were Margot Fonteyn, Erik Bruhn and Rudolf Nureyev.
http://archiveshub.ac.uk/contributors/royalballetschool.html

Royal College of Nursing

Royal College of Nursing logo
Royal College of Nursing logo

Founded in 1916 the Royal College of Nursing has evolved into a successful professional UK-membership body and union. The Royal College of Nursing Archives’ collects across all fields of nursing in the UK and some overseas. The largest and most significant archive is that of the College itself. Other archives include: 30 deposited nursing archives dating back to the 1880s; over 700 personal archives dating from 1815; photographic and postcard collections from the 1880s onwards and 28 handwritten letters written by or addressed to Florence Nightingale (1830-1862).
http://archiveshub.ac.uk/contributors/royalcollegeofnursing.html

Salvation Army

The Salvation Army is a worldwide Christian church and registered charity. Founded by William Booth in East London in 1865, The Salvation Army now works in 126 countries. In the United Kingdom, The Salvation Army is one of the largest providers of social services. The Salvation Army International Heritage Centre is the repository for the official records of the organisation’s International and Territorial Headquarters. Collections include: William Booth College (1883-2012), The Salvation Army International Headquarters (1875-2013), papers relating to Catherine Booth (c1847-1995) and The Musical Instrument Factory (1893-1972).
http://archiveshub.ac.uk/contributors/salvationarmy.html

You can browse and view the full contributor list at: http://archiveshub.ac.uk/contributors or use our map to explore:

Hub contributors map
Hub contributors map

Want to add your descriptions to the Archives Hub? Find out how at: http://archiveshub.ac.uk/contributing/ .

Thank you so much to all our contributors!

A European Journey: The Archives Portal Europe

In January 2013 the Archives Hub became the UK ‘Country Manager’ for the Archives Portal Europe.

The Archives Portal Europe (APE) is a European aggregator for archives. The website provides more information about the APE vision:

Borders between European countries have changed often during the course of history. States have merged and separated and it is these changing patterns that form the basis for a common ground as well as for differences in their development. It is this tension between their shared history and diversity that makes their respective histories even more interesting. By collating archival material that has been created during these historical and political evolutions, the Archives Portal Europe aims to provide the opportunity to compare national and regional developments and to understand their uniqueness while simultaneously placing them within the larger European context.

The portal will help visitors not only to dig deeper into their own fields of interest, but also to discover new sources by giving an overview of the jigsaw puzzle of archival holdings across Europe in all their diversity.

For many countries, the Country Manager role is taken on by the national archives. However, for the UK the Archives Hub was in a good position to work with APE. The Archives Hub is an aggregation of archival descriptions held across the UK. We work with and store content in Encoded Archival Description (EAD), which provides us with a head start in terms of contributing content.

Jane Stevenson, the Archives Hub Manager, attended an APE workshop in Pisa in January 2013, to learn more about the tools that the project provides to help Country Managers and contributors to provide their data. Since then, Jane has also attended a conference in Dublin, Building Infrastructures for Archives in a Digital World, where she talked about A Licence to Thrill: the benefits of open data. APE has provided a great opportunity to work with European colleagues; it not just about creating a pan-European portal, it is also about sharing and learning together. At present, APE has a project called APEx, which is an initiative for  “expanding, enriching, enhancing and sustaining” the portal.

How Content is Provided to APE

The way that APE normally works is through a Country Manager providing support to institutions wishing to contribute descriptions. However, for the UK, the Archives Hub takes on the role of providing the content directly, as it comes via the Hub and into APE. This is not to say that institutions cannot undertake to do this work themselves. The British Library, for example, will be working with their own data and submitting it to APE. But for many archives, the task of creating EAD and checking for validity would be beyond their resources. In addition, this model of working shows the benefits of using interoperable standards; the Archives Hub already processes and validates EAD, so we have a good understanding of what is required for the Archives Portal Europe.

All that Archives Hub institutions need to do to become part of APE is to create their own directory entry. These entries are created using Encoded Archival Guide (EAG), but the archivist does not need to be familiar with EAG, as they are simply presented with a form to fill in. The directory entry can be quite brief, or very detailed, including information on opening hours, accessibility, reprographic services, search room places, internet access and the history of the archive.

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Fig 1: EAG entry for the University of East London

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Once the entry is created, we can upload the data. If the data is valid, this takes very little time to do, and immediately the archive is part of a national aggregation and a European aggregation.

APE Data Preparation Tool

The Data Preparation Tool allows us to upload EAD content and validate it. You can see on the screen shot below a list of EAD files from the Mills Archive that have been uploaded to the Tool, and the Tool will allow us to ‘convert and validate’ them. There are various options for checking against different flavours of EAD and there is also the option to upload EAC-CPF (which is not something the Hub is working with as yet) and EAG.

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Fig 2: Data Preparation Tool

 

 

 

 

 

 

 

 

 

If all goes according to plan, the validation results in a whole batch of valid files, and you are ready to upload the data. Sometimes there will be an invalid file and you need to take a look at the validation message and figure out what you need to do (the error message in this screenshot relates to ‘example 2’ below).

blog-ape-dpt2
Fig 3: Data Preparation Tool with invalid files

 APE Dashboard

The Dashboard is an interface provided to an APE Country Manger to enable them to administer their landscape. The first job is to create the archival landscape. For the UK we decided to group the archives into type:

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Fig 4: Archival Landscape

The landscape can be modified as we go, but it is good to keep the basic categories, so its worth thinking about this from the outset. We found that many other European countries divide their archives differently, reflecting their own landscape, particularly in terms of how local government is organised. We did have a discussion about the advantages of all using the same categories, but it seemed better for the end-user to be presented with categories suitable for the way UK archives are organised.

Within the Dashboard, the Country Manager creates logins for all of the archive repositories contributing to APE. The repositories can potentially use these logins to upload EAD to the dashboard, validate and correct if necessary and then publish. But at present, the Archives Hub is taking on this role for almost all repositories. One advantage of doing this is that we can identify issues that surface across the data, and work out how best to address these issues for all repositories, rather than each one having to take time to investigate their own data.

Working with the Data

When the Archives Hub started to work with APE, we began by undertaking a comparison of Hub EAD and APE EAD. Jane created a document setting out the similarities and differences between the two flavours of EAD. Whilst the Hub and APE both use EAD, this does not mean that the two will be totally compatible. EAD is quite permissive and so for services like aggregators choices have to be made about which fields to use and how to style the content using XSLT stylesheets. To try to cover all possible permutations of EAD use would be a huge task!

There have been two main scenarios when dealing with data issues for APE:

(1) the data is not valid EAD or it is in some way incorrect

(2) the data is valid EAD but the APE stylesheet cannot yet deal with it

We found that there were a combination of these types of scenarios. For the first, the onus is on the Archives Hub to deal with the data issues at source. This enables us to improve the data at the same time as ensuring that it can be ingested into APE. For the second, we explain the issue to the APE developer, so that the stylesheet can be modified.

Here are just a few examples of some of the issues we worked through.

Example 1: Digital Archival Objects

APE was omitting the <daodesc> content:

<dao href=”http://www.tate.org.uk/art/images/work/P/P78/P78315_8.jpg” show=”embed”><daodesc><p>’Gary Popstar’ by Julian Opie</p></daodesc></dao>

 Content of <daodesc><p> should be transferred to <dao@xlink:title>. It would then be displayed as mouse-over text to the icons used in the APE for highlighting digital content. Would that solution be ok?

In this instance the problem was due to the Hub using the DTD and APE using the schema, and a small transformation done by APE when they ingested the data sufficed to provide a solution.

Example 2: EAD Level Attribute

Archivists are all familiar with the levels within archival descriptions. Unfortunately, ISAD(G), the standard for archival description, is not very helpful with enforcing controlled vocabulary here, simply suggesting terms like Fonds, Sub-fonds, Series, Sub-series. EAD has a more definite list of values:

  • collection
  • fonds
  • class
  • recordgrp
  • series
  • subfonds
  • subgrp
  • subseries
  • file
  • item
  • otherlevel

Inevitably this means that the Archives Hub has ended up with variations in these values. In addition, some descriptions use an attribute value called ‘otherlevel’ for values that are not, in fact, other levels, but are recognised levels.

We had to deal with quite a few variations: Subfonds, SubFonds, sub-fonds, Sub-fonds, sub fonds, for example. I needed to discuss these values with the APE developer and we decided that the Hub data should be modified to only use the EAD specified values.

For example:

<c level=”otherlevel” otherlevel=”sub-fonds”>

needed to be changed to:

<c level=”subfonds”>

At the same time the APE stylesheet also needed to be modified to deal with all recognised level values. Where the level was not a recognised EAD value, e.g. ‘piece’, then ‘otherlevel’ is valid, and the APE stylesheet was modified to recognise this.

Example 3: Data within <title> tag

We discovered that for certain fields, such as biographical history, any content within a <title> tag was being omitted from the APE display. This simply required a minor adjustment to the stylesheet.

Where are we Now?

The APE developers are constantly working to improve the stylesheets to work with EAD from across Europe. Most of the issues that we have had have now been dealt with. We will continue to check the UK data as we upload it, and go through the process described above, correcting data issues at source and reporting validation problems to the APE team.

The UK Archival Landscape in Europe

By being part of the Archives Portal Europe, UK archives benefit from more exposure, and researchers benefit from being able to connect archives in new and different ways.  UK archives are now being featured on the APE homepage.

blog-ape-feature1
Wiener Library: Antisemitic board game, 1936

APE and the APEx project provides a great community environment. It provides news from archives across Europe: http://www.apex-project.eu/index.php/news; it has a section for people to contribute articles: http://www.apex-project.eu/index.php/articles; it runs events and advertises events across Europe: http://www.apex-project.eu/index.php/events/cat.listevents/ Most importantly for the Archives Hub, it provides effective tools along with knowledgeable staff, so that there is a supportive environment to facilitate our role as Country Manager.

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APEx Project meeting in Berlin, Nov 2013

 

 

 

See: http://www.flickr.com/photos/apex_project/10723988866/in/set-72157637409343664/
(copyright: Bundersarchiv)

EAD and Next Generation Discovery

This post is in response to a recent article in Code4Lib, ‘Thresholds for Discovery: EAD Tag Analysis in ArchiveGrid, and Implications for Discovery Systems‘ by M. Bron, M. Proffitt and B. Washburn. All quotes are from that article, which looked at the instances of tags within ArchiveGrid, the US based archival aggregation run by OCLC. This post compares some of their findings to the UK based Archives Hub.

Date

In the ArchivesGrid analysis, the <unitdate> field use is around 72% within the high-level (usually collection level) description. The Archives Hub does significantly better here, with an almost universal inclusion of dates at this level of description. Therefore, a date search is not likely to exclude any potentially relevant descriptions. This is important, as researchers are likely to want to restrict their searches by date. Our new system also allows sorting retrieved results by date. The only issue we have is where the dates are non-standard and cause the ordering to break down in some way. But we do have both displayed dates and normalised dates, to enable better machine processing of the data.

Collection Title

“for sorting and browsing…utility depends on the content of the element.”

Titles are always provided, but they are very varied. Setting aside lower-level descriptions, which are particularly problematic, titles may be more or less informative. We may introduce sorting by title, but the utility of this will be limited. It is unlikely that titles will ever be controlled to the extent that they have a level of consistency, but it would be fascinating to analyse titles within the context of the ways people search on the Web, and see if we can gauge the value of different approaches to creating titles. In other words, what is the best type of title in terms of attracting researchers’ attention, search engine optimisation, display within search engine results, etc?

Lower-level descriptions tend to have titles such as ‘Accounts’, ‘Diary’ or something more difficult to understand out of context such as ‘Pigs and boars’ or ‘The Moon Dragon’. It is clearly vital to maintain the relationship of these lower-level descriptions to their parent level entries, otherwise they often become largely meaningless. But this should be perfectly possible when working on the Web.

It is important to ensure that a researcher finding a lower-level description through a general search engine gets a meaningful result.

Archives Hub search result from a Google search
A search result within Google

 

 

 

The above result is from a search for ‘garrick theatre archives joanna lumley’ – the sort of search a researcher might carry out. Whilst the link is directly to a lower -level entry for a play at the Garrick Theatre, the heading is for the archive collection. This entry is still not ideal, as the lower-level heading should be present as well. But it gives a reasonable sense of what the researcher will get if they click on this link. It includes the <unitid> from the parent entry and the URL for the lower-level, with the first part of the <scopecontent> for the entry.  It also includes the Archives Hub tag line, which could be considered superfluous to a search for Garrick Theatre archives! However, it does help to embed the idea of a service in the mind of the researcher – something they can use for their research.

Extent

“It would be useful to be able to sort by size of collection, however, this would require some level of confidence that the <extent> tag is both widely used and that the content of the tag would lends itself to sorting.”

This was an idea we had when working on our Linked Data output. We wanted to think about visualizations that would help researchers get a sense of the collections that are out there, where they are, how relevant they are, and so on. In theory the ‘extent’ could help with a weighting system, where we could think about a map-based visualization showing concentrations of archives about a person or subject. We could also potentially order results by size – from the largest archive to the smallest archive that matches a researchers’ search term. However, archivists do not have any kind of controlled vocabulary for ‘extent’. So, within the Archives Hub this field can contain anything from numbers of boxes and folders to length in linear metres, dimensions in cubic metres and items in terms of numbers of photographs, pamphlets and other formats. ISAD(G) doesn’t really help with this; the examples they give simply serve to show how varied the description of extent can be.

Genre

“Other examples of desired functionality include providing a means in the interface to limit a search to include only items that are in a certain genre (for example, photographs)”.

This is something that could potentially be useful to researchers, but archivists don’t tend to provide the necessary data. We would need descriptions to include the genre, using controlled vocabulary. If we had this we could potentially enable researchers to select types of materials they are interested in, or simply include a flag to show, e.g. where a collection includes photographs.

The problem with introducing a genre search is that you run the risk of excluding key descriptions, because the search will only include results where the description includes that data in the appropriate location. If the word ‘photograph’ is in the general description only then a specific genre search won’t find it. This means a large collection of photographs may be excluded from a search for photographs.

Subject

In the Bron/Proffitt/Washburn article <controlaccess> is present around 72% of the time. I was surprised that they did not choose to analyse tags within <controlaccess> as I think these ‘access points’ can play a very important role in archival descrpition.  They use the presence of <controlaccess> as an indication of the presence of subjects, and make the point that “given differences in library and archival practices, we would expect control of form and genre terms to be relatively high, and control of names and subjects to be relatively low.”

On the Archives Hub, use of subjects is relatively high (as well as personal and corporate names) and use of form and genre is very low. However, it is true to say that we have strongly encouraged adding subject terms, and archivists don’t generally see this as integral to cataloguing (although some certainly do!), so we like to think that we are partly responsible for such a high use of subject terms.

Subject terms are needed because they (1) help to pull out significant subjects, often from collections that are very diverse, (2) enable identification of words such as ‘church’ and ‘carpenter’ (ie. they are subjects, not surnames), (3) allow researchers to continue searching across the Archives Hub by subject (subjects are all linked to the browse list) and therefore pull collections together by theme (4) enable advanced searching (which is substantially used on the Hub).

Names (personal and corporate)

In Bron/Proffitt/Washburn the <origination> tag is present 87% of the time. The analysis did not include the use of <persname> and <corpname> within <origination> to identify the type of originator. In the Archives Hub the originator is a required field, and is present 99%+ of the time. However, we made what I think is a mistake in not providing for the addition of personal or corporate name identification within <origination> via our EAD Editor (for creating descriptions) or by simply recommending it as best practice. This means that most of our originators cannot be distinguished as people or corporate bodies. In addition, we have a number where several names are within one <origination> tag and where terms such as ‘and others’, ‘unknown’ or ‘various’ are used. This type of practice is disadvantageous to machine processing. We are looking to rectify it now, but addressing something like this in retrospect is never easy to do. The ideal is that all names within origination are separately entered and identified as people or organisations.

We do also have names within <controlaccess>, and this brings the same advantages as for <subjects>, ensuring the names are properly structured, can be used for searching and for bringing together archives relating to any one individual or organisation.

Repository

“Use of this element falls into the promising complete category (99.46%: see Table 7). However, a variety of practice is in play, with the name of the repository being embellished with <subarea> and <address> tags nested within <repository>.”

On the Archives Hub repository is mandatory, but as yet we do not have a checking system whereby a description is rejected if it does not contain this field. We are working towards something like this, using scripts to check for key information to help ensure validity and consistency at least to a minimum standard. On one occasion we did take in a substantial number of descriptions from a repository that omitted the name of repository, which is not very useful for an aggregation service! However, one thing about <repository> is that it is easy to add because it is always the same entry. Or at least it should be….we did recently discovery that a number of repositories had entered their name in various ways over the years and this is something we needed to correct.

Scope and content, biographical history and abstract

It is notable that in the US <abstract> is widely used, whereas we don’t use it at all. It is intended as a very brief summary, whereas <scopecontent> can be of any length.

“For search, its worth noting that the semantics of these elements are different, and may result in unexpected and false “relevance””

One of the advantages of including <controlaccess> terms is to mitigate against this kind of false relevance, as a search for ‘mason’ as a person and ‘mason’ as a subject is possible through restricted field searching.

The Bron/Proffitt /Washburn analysis shows <bioghist> used 70% of the time. This is lower than the Archives Hub, where it is rare for this field not to be included. Archivists seem to have a natural inclination to provide a reasonably detailed biographical history, especially for a large collection focussed on one individual or organisation.

Digital Archival Objects

It is a shame that the analysis did not include instances of <dao>, but it is likely to be fairly low (in line with previous analysis by Wisser and Dean, which puts it lower than 10%). The Archives Hub currently includes around 1,200 instances of images or links to digital content. But what would be interesting is to see how this is growing over time and whether the trajectory indicates that in 5 years or so we will be able to provide researchers with routes into much of the Archives Hub content. However, it is worth bearing in mind that many archives are not digitised and are not likely to be digitised, so it is important for us not to raise expectations that links to digital content will become a matter of course.

The Future of Discovery

“In order to make EAD-encoded finding aids more well suited for use in discovery systems, the population of key elements will need to be moved closer to high or (ideally) complete.”

This is undoubtedly true, but I wonder whether the priority over and above completeness is consistency and controlled vocabulary where appropriate. There is an argument in favour of a shorter description, that may exclude certain information about a collection, but is well structured and easier to machine process. (Of course, completeness and consistency is the ideal!).

The article highlights geo-location as something that is emerging within discovery services. The Archives Hub is planning on promoting this as an option once we move to the revised EAD schema (which will allow for this to be included), but it is a question of whether archivists choose to include geographical co-ordinates in their catalogues. We may need to find ways to make this as easy as possible and to show the potential benefits of doing so.

In terms of the future, we need a different perspective on what EAD can and should be:

“In the early days of EAD the focus was largely on moving finding aids from typescript to SGML and XML. Even with much attention given over to the development of institutional and consortial best practice guidelines and requirements, much work was done by brute force and often with little attention given to (or funds allocated for) making the data fit to the purpose of discovery.”

However, I would argue that one of the problems is that archivists sometimes still think in terms of typescript finding aids; of a printed finding aid that is available within the search room, and then made available online….as if they are essentially the same thing and we can use the same approach with both. I think more needs to be done to promote, explain and discuss ‘next generation finding aids’. By working with Linked Data, I have gained a very different perspective on what is possible, challenging the traditional approach to hierarchical finding aids.

Maybe we need some ‘next generation discovery’ workshops and discussions – but in order to really broaden our horizons we will need to take heed of what is going on outside of our own domain. We can no longer consider archival practice in isolation from discovery in the most general sense because the complexity and scale of online discovery requires us to learn from others with expertise and understanding of digital technologies.

 

 

 

 

 

 

 

We’re supporting EXPLORE YOUR ARCHIVE

Logo, Explore Your Archives campaign
Explore Your Archive, http://www.exploreyourarchive.org, developed by The Archives and Records Association (UK and Ireland) and The National Archives, is the biggest ever public awareness campaign by the archives sector of the UK and Ireland.

From 16 November there will be hundreds of events and activities taking place in all kinds of archives. Those who work in archives will also be sharing some of their wonderful stories and amazing treasures. The public are being encouraged not just to visit an archive or explore archival collections online, but to understand more of the vital role which archives play in education, business, transparency and identity.

How the Hub fits in

The Archives Hub is a gateway to archives held at over 220 institutions and organisations across the UK.

Explore…

Using our map to discover archives close to you:
http://archiveshub.ac.uk/contributorsmap/.

Search….

Using the Hub search at http://archiveshub.ac.uk/search.html to uncover other collections.

Discover…

Image: Ballerina advert.
© TSB savings advert, c. 1950. Lloyds Banking Group Archives.

A rich variety of content: The breadth of content on the Hub highlights how archives are integral to historical and cultural awareness. Our contributors include Universities, business archives, charities, local government, libraries, museums and cathedrals.

Here are just a few of the collections you can find:

From the Ancient…

Canterbury Cathedral: Records of the Dean and Chapter of Canterbury Cathedral, c800 to present. http://archiveshub.ac.uk/data/gb054-cca/dcc

The collection of records of Canterbury Cathedral includes material dating from the early Middle Ages right up to the present day. The material relates to the Cathedral’s estates and reflects the activities of the Dean and Chapter and its staff.

… to the Contemporary

Archive of the National Theatre of Scotland, 2006 to present.
http://archiveshub.ac.uk/data/gb247-stants

Launched in February 2006 and billing itself as a ‘theatre without walls’, the National Theatre of Scotland has no building of its own and operates within the existing infrastructure of Scottish theatre. Material is held at Glasgow University Library and includes programmes, press-cuttings, reviews and scripts.

From the Large…

Royal Greenwich Observatory: Records and Papers, 1675-1998.
http://archiveshub.ac.uk/data/gb012-ms.rgo

With around one kilometre of material, the records consist of all the surviving historical paper records of the Royal Observatory. Collections include: papers of the Astronomers Royal and telescope construction projects, management and observations, including the William Herschel Telescope and Radcliffe Observatory.

… to the Small

Gaelic Manuscripts, c. 1732-c. 1869. http://archiveshub.ac.uk/data/gb752-gm

One reel of microfilm comprising images of 23 original Gaelic manuscripts, relating to Ireland and to the activities of Irishmen at home and abroad, held at Queen’s University Belfast. It consists largely of fragments of both religious and secular verse, topographical poems and other tracts and tales dating mainly from the 18th and 19th centuries.

From the Young…

Children’s Society, 18th century – 21st century.
http://archiveshub.ac.uk/data/gb2180-tcs

The Children’s Society Archive comprises the records created and managed by The Children’s Society (titled The Waifs and Strays Society from 1881 to 1946). The majority of the collections date from the organisation’s founding in 1881. This includes a large quantity of visual material in the form of photographs and publicity material, as well as some audio-visual material.

… to the Older generation

Scrapbooks of Barking and Dagenham Branch of Age Concern, 2002-2008.
http://archiveshub.ac.uk/data/gb0350-bd58

This collection comprises six scrapbooks, containing newspaper cuttings on the Barking and Dagenham Branch of Age Concern, relating to events, as well as issues affecting elderly people in the borough.

From Northern Scotland…

Thomas S Muir, Architectural notes on churches on Scottish islands, 1850-1872. http://archiveshub.ac.uk/data/gb227-msbr783.m9

Thomas S Muir (1802-1888) worked for most of his life as a book-keeper in Edinburgh. All his spare time was devoted to his passion for early Scottish churches, visiting all the locations where ruins were to be found, including even the most inaccessible islands. The volume, ‘Ecclesiological notes on some of the islands of Scotland’, comprises detailed architectural descriptions, with line drawings, of features of churches and other ecclesiastical remains.

… to the Southerly Channel Islands

Image: Jersey Archive.
Image: Jersey Archive.

Archive of the States of Jersey, 1603 – 2010.
http://archiveshub.ac.uk/data/gb1539-c

The States of Jersey collection includes the minutes, correspondence, reports and acts of the States of Jersey. Also, the minutes of the different Committee’s of the States including Agriculture, Education, Defence, Housing, Social Security, Finance, Harbours and Airports, Health and Social Services, Tourism, Home Affairs, Planning and Environment, Economic Development and Policy and Resources.

From the Frozen Antarctic…

British Australian New Zealand Antarctic Research Expedition, 1929-1934. http://archiveshub.ac.uk/data/gb015-banzare

The collection comprises of press cuttings relating to the British Australian New Zealand Antarctic Research Expedition, 1929-1931.

…to the Heat of Africa

Africa 95, c. 1957-1996. http://archiveshub.ac.uk/data/gb102-africa95

Africa 95 was founded in 1992 to initiate and organise a nationwide season of the arts of Africa to be held in the UK in the last quarter of 1995. Printed material, photographs, and slides of the work of artists from Algeria, Egypt, Ethiopia, Ghana, Ivory Coast, Kenya, Morocco, Nigeria, Senegal, South Africa, Sudan, Uganda,Tanzania, Tunisia, Zambia, Zimbabwe, and the USA.

From the Fire brigade…

Fire Brigades Union, 1919-1997. http://archiveshub.ac.uk/data/gb152-mss.346

The Fire Brigades Union (FBU) was founded in 1918 as the Firemen’s Trade Union. The union began its life as a body very much based around the London area but soon expanded to include provincial brigades. The collection includes: Executive Council minutes, annual accounts, subject files (including Sizewell Public Inquiry, 1980s) and the national strike, 1977.

…to the Water board

Records relating to Derwent Valley Water Board, 1899-1974.
http://archiveshub.ac.uk/data/gb159-dvw

The collection comprises a full series of indexed bound minute books (1899-1974) containing annual statements of accounts, and other specific reports. Also, maps and plans relate to specific elements of intended works such as the building of Ladybower Reservoir in Derbyshire.

From the Arts…

D.H. Lawrence (1885-1930) Collection, 1865-1999.
http://archiveshub.ac.uk/data/gb159-la

The Lawrence Collection contains extensive materials by and about D.H. Lawrence, ranging in date from his childhood and including original manuscripts and his correspondence.

… to Science

Clifford Hiley Mortimer Collection, 1937-1980.
http://archiveshub.ac.uk/data/gb986-morc

This collection contains river and lake data in rivers in Britain, and correspondence regarding flows, inflows, chemical analyses and chemical stratification. It also includes mud samples!

From War…

Image: Poppy, World War One
© Image is in the public domain: papaver in High Wood, [tinelot@pobox.com Tinelot Wittermans]
Daniel Dougal First World War Diaries, 1914-1918.
http://archiveshub.ac.uk/data/gb133-ddd

Diaries of Daniel Dougal, which detail his service as an army doctor on the Western Front during the First World War. Dougal rose to become Deputy Assistant Director of Medical Services, 34th Division of the British Army, and his diaries provide important information on the operation of Army medical services.

… to Peace

Campaign for Nuclear Disarmament (CND), 1958-2008.
http://archiveshub.ac.uk/data/gb097-campaignfornucleardisarmament

The Campaign for Nuclear Disarmament (CND) is a non party-political British organisation advocating the abolition of nuclear weapons worldwide. Includes papers relating to the CND’s constitution, minutes of National Council, National Executive Committee annual conference papers and papers relating to Aldermaston marches and other demonstrations.

These are selected descriptions: there’s much more to discover by exploring the Hub! And we’re adding more descriptions every week. If you’d like to add your descriptions to the Hub, now’s a great time! See Be part of something bigger for information on how we can help you expose your collections to a worldwide audience.

Also of interest:

Work in an archive and want to be involved in the Explore Your Archive campaign?

It’s not too late to take part, visit: www.nationalarchives.gov.uk/yourtoolkit.

More on Collections

Image of Guardian staff
Guardian billing room staff, 1921. From the Guardian News and Media Archive. Copyright: Guardian.

Browse our Features pages to learn about the breadth of material described on the Hub: http://archiveshub.ac.uk/features/

Facing the Music: are researchers and information professionals dancing to different tunes?

Still of presentation at ELAG 2013
What are the chief weapons we need to use to improve the user experience?

At ELAG 2013 I gave a presentation with a colleague from The University of Amsterdam, Lukas Koster. We wanted to do something entertaining, but with a worthwhile message that we both feel strongly about. We believe that more needs to be done to integrate resources and provide them to researchers in a way that suits end-user needs. We gave a presentation where we urged our colleagues to ‘mind the gap’ between the perspective of the information professional – their jargon and their complicated systems, which often fail to link resources adequately – and the researcher, who wants an integrated approach, language that is not a barrier to use and expects the power of the Web to be used within a library context, just as they might when looking for music online.

Still of a presentation where a librarian is explaining the library system to a researcher
A researcher tries to make sense of the library systems

Our presentation included two sketches: one in a music shop, where a punter (the ‘seeker’) expects the shop owner (the ‘pusher’) to know who else bought this music and what they thought of if; and one in a library, where the seeker wants an overview of everything available, and they want to look at research data and other resources without struggling with different catalogue systems and terminology.

In our presentation we referred to the ‘seeker’ wanting a discipline-focussed approach (not format based), and access regardless of location. I highlighted one of the problems with searching by showing examples of search terms used on the Archives Hub where the researchers were confused by the results. The terms researchers use don’t always fit into our approach, using controlled vocabularies.  We talked about the importance of connections between information. Our profession is making headway here, but there is a long way to go before researchers can really pull things together across different systems.

I spoke about the danger of making assumptions about our users and showed some examples of the Archives Hub survey results. Researchers don’t always come to our websites knowing what they are or what they want; they don’t necessarily have the same understanding of ‘archives’ as we do. Lukas expanded more on our musical theme. We can learn from some of the initiatives in this area – such as the ability people have to explore the musical world in so many different ways though things like MusicBrainz. Lukas also showed examples of researcher interfaces, looking to pull things together for the end user. Isn’t the idea of giving the researcher the ability to manage all of their research in this way  something libraries should be spearheading?

Image of a woman at a desk surrounded by books
A librarian contemplates the end of the index card…

We concluded that the vision of integrated, interconnected data is not easy. As information professionals we may have to move out of our comfort zones. But we don’t have any choice unless we want to be sidelined. This means that we need to change our mindsets (we talked about a ‘librarian lobe’!) and we need to actually think about whether it is us that needs to learn information literacy because we need to learn to think more like the end user!

Still of a scence in which the librarian cuts up a book for the researcher
The librarian has a frustrating time with a researcher who only wants one chapter!

See the slides on Slideshare.

The presentation is on You Tube, but be warned there are scenes of book cutting that may be upsetting to some!