Capturing Lives in Scotland’s Communities – an Arts Award Explore Project
#CapturingLives2020: Helping ‘paint a picture’ of Scotland’s communities in Covid
Are you between 11-18 years old and looking for something to do this summer? Why not join our ‘Capturing Lives in Scotland’s Communities’ project and learn new skills, make new friends and gain an Arts Award Explore Qualification?
What does life look like for young people in different communities across Scotland? How do we capture different aspects of life happening in our communities? No doubt you’ll have heard that we’re ‘living though history’ at the moment. How do we create an archive for the future of what our lives are like right now?
The Arts Award Explore programme, open to all young people aged 11 to 18. The programme brings together collections materials and expertise from five different University Museums in Scotland:
University of Aberdeen
University of Dundee
University of Edinburgh
Glasgow School of Art
University of Stirling
Each week will explore a different theme and medium of art, including photography, oral histories, landscape painting and public art. All instruction videos and resources will be posted online and you can work through them at your own pace. But we’ll also put you into groups of 6 or 7 people and have weekly discussion group sessions. You’ll be with the same people throughout the course so you can get to know each other well. Don’t worry, if you want to be in the same group as a friend, we can arrange that too.
Participants will get the chance to work with current students at the universities. Every participant on the project will be assigned a student mentor who will join your discussion groups and help you complete the assigned activities. Everyone who completes the assigned activities will be awarded an Arts Award Explore qualification.
The programme will run from 15th June to 24th July. Don’t worry if you have to miss a week or two for holidays you can always catch up. When it is possible again to do so, we’d like to display some of the work you create in a pop up exhibition at the University campuses.
Mary and Elizabeth was purchased for the Art Colllection in 2017 with assistance from the National Fund for Acquisitions. It is now installed outside the Pathfoot Building on campus. The sculpture explores the relationship between Elizabeth I and Mary Queen of Scots which is outlined in the document below.
Jacqueline Donachie is an award-winning Scottish artist. She is based in Glasgow and has forged an international reputation for a socially-engaged art practice that is rooted in an exploration of individual, family and collective identity and the structures, platforms and spaces (both actual and conceptual) through which it is constructed and supported. Her work encompasses sculpture, installations, photographs, films, drawings and performance and is research-based, collaborative and participatory. Below she talks about her working practice and the inspiration behind her work.
Jacqueline has been a great supporter of the Art Collection and in 2019 she acted as Adjudicator for the Grand Final of ARTiculation Prize Scotland which is hosted annually at the University of Stirling. Below she is pictured in front of Elizabeth with the 2019 finalists.
The history of libraries at Florida State University traces back almost 100 years to the 1920s. In 1923, FSU’s first library opened in what is now Dodd Hall. Dodd Hall served as the library for Florida State College for Women and then for Florida State University until Strozier Library was built in 1956.
The first record of university librarians is documented in the 1925 Florida State College for Women course catalog, which lists Louise Richardson as Librarian and Clara Rider Hayden as Assistant Librarian. By 1926, “Library Science” had become its own instruction area, composed of two classes: Library Methods and Advanced Library Methods. In 1929, Etta Lane Matthews was hired as the first professor of Library Science.
By June 1930, the Department of Library Science was officially established and had nine faculty and seven courses. The department had also received American Library Association accreditation to properly qualify students as librarians.
As the university continued to expand and move towards coeducational status in 1946, the Department of Library Science was restructured to offer a major in Library Science. In 1947, the department was renamed to the School of Library Training and Service and was established as a professional school offering a masters degree. This was Florida’s first nationally accredited professional school for the training of librarians.
The new library building, now known as Strozier, opened in 1956. Between 1956 and 1958, major reorganization and expansion took place within the library. The Department of Special Collections was created during these years with the goal to “preserve and make available to scholars rare books and historical documents of Florida” (source 1956-58 President’s Report).
This excerpt from the 1954-58 President’s Report describes some of the amenities offered by the new library. It also makes clear that from the opening of the new library, university officials recognized a need for even more space. The addition mentioned in the last sentence of the excerpt became a reality in 1967, when the library was expanded to include a 5-story annex.
In the next installments of Library History with HUA, we’ll explore how the Department of Special Collections transformed and grew after its inception in 1956. We’ll also trace the next steps for the Department of Library Training and Service, or “The Library School” as it was referenced in the President’s Report, after 1947 and how it became the online degree program it is today.
Throughout May, ARA Scotland are hosting their popular #ArchiveZ Twitter campaign which sees archive services from across Scotland, the wider UK and Ireland and even further afield internationally, post highlights from their collections and outreach programmes themed around a letter of the alphabet. We’re still early days in the campaign and currently on the letter B. We couldn’t possibly let ‘B’ go by without mentioning baking – that ubiquitous (if the eternal lack of four is anything to go by!) lockdown pursuit!
While we might not let you eat cake in our reading room on a normal day, our archive has plenty of instructional material on baking. Our NHS Forth Valley Archive holds a whole host of material relating to fundraising efforts to support construction of the new Falkirk & District Royal Infirmary in the 1920s. We have posters advertising bazaars, tea dances, singing and music and even a parade of cars! And yes, you guessed it – bake sales galore! But how will we ever know what cakes the bakers might have sold there? Why, through the Grangemouth Cookery Book, of course!
In 1925, recipes sent in from all over the UK – and even a few from further afield! Sandkaaker, anyone? – were compiled into this wonderful cookery book which was sold for one shilling and sixpence, ‘an effort on behalf of the Falkirk & District Infirmary Appeal Fund’. The recipe book includes savoury chapters on pies, soups, chutneys and jellies as well as pages dedicated to all kinds of desserts. And sure, who isn’t intrigued as to what Red Monkey is, let alone how to make it, but we couldn’t possibly resist the lure of all that cake!
In November 2019, the University Archives and Special Collections challenged colleagues across Information Services to recreate recipes from the cakes section of the Grangemouth Cookery Book. We selected a short list of cakes for our colleagues to choose from – mostly to ensure that they didn’t end up needing ingredients from brands that don’t exist anymore! Once recipes were distributed, there were a whole host of other difficulties to overcome – how hot is a ‘sharp’ oven? Or rather, how hot would it have been in 1925? Instructions for recipes assumed a fair amount of knowledge that some of our more novice IS bakers didn’t have! And how much is a ‘dash’ of lemon juice anyway? Does ‘sugar’ mean granulated, caster, icing? And speaking of icing, can I just add some to this cake, it sounds a little dry? (NO! Follow that recipe!) We had chocolate cake, apple cake, date cakes that didn’t need any baking, gluten free cross tarts, a fruit cake whose ingredients you had to decipher from Bible references (is my Bible definitely the same as a 1925 Bible?), some surprisingly modern sounding doughtnuts and so much gingerbread that we had to have a bake off just for them!
But no matter how worried our bakers were, we had the most magnificent bake sale to show for all their hard work. Not a scrap of cake was left at the end of the day, not even from the failed first attempt one of our bakers brought in alongside her successful second attempt to give us a laugh – even that flat specimen was wolfed down with some homemade orange curd and cream!
If the coronavirus pandemic has shed any insight into the human psyche or social history, it has demonstrated that baking (and particularly bread) is still utterly ingrained (pun intended, why not?) in us as a comforting practise and compiling a recipe book to raise funds is far from being antiquated.
In fact, a member of retired University of Stirling staff who attended our Grangemouth Cookery Book Bake Sale in November was reminded of a recipe book that the University’s Airthrey Gardens Group compiled in the 1988 to raise money for keeping our beautiful campus gardens well looked after. Her copy of this recipe book ‘Teatime at Airthrey’ was generously donated to the University’s own Archive collection and may well one day be the subject of a second archive cake sale!
Baking seems to be one of those pursuits where although amazing new recipes and tricks are being developed all the time, we still love to go back to old, old recipes and keep memories alive with it too. How many of us still make our great grandmother’s Christmas cake recipe? Or keep a handwritten recipe card from that friend who makes the best gooey brownies? Recipes and memories of food are things that we treasure all of our lives in a way that doesn’t apply to many things we experience. We’d love to hear about those recipes or cook books that have been passed down the generations or shared across your own. And why not head to History Begins At Home for some ideas on how to get a conversation going with family and friends about their favourite food memories?
While the Pathfoot Building is closed, the Art Collection will each week focus on an object of interest. You can also search our entire collection online here.
Cool Interior – A Rememberance Robin Philipson (Oil on canvas, 1974)
Robin Philipson was first inspired to paint churches after visiting French cathedrals – especially Amiens – whilst on annual holidays there in the 1950s. Early works focused on the grandeur of cathedral exteriors, but soon his interest shifted inside, to the glow of light produced by sun shining through coloured stained glass. Philipson painted several rose window paintings, of which this is a particularly fine example.
It was presented to the University Chaplaincy in May 1974, created specifically for this location, and was gifted by the artist in memory of Tom Cottrell, the first Principal of the University, who had died suddenly in post in 1973. The many facets of the painting symbolised to the artist the piece-by-piece creation of the University and this also represents his appreciation and affection for Tom Cottrell.
There are two further works of Philipson’s in the permanent collection. The painting shown below, purchased for the brand new Art Collection in 1967, is entitled ‘Martyr’.
Philipson had lost his first wife Brenda Ellis Mark at the age of only thirty seven to a brain tumour in 1960, and many of his works during the following years speak of grief and a sombre sadness. Unlike most of his close contemporaries who were abstract artists, Philipson was never quite able to desert the motif in his work, and was unusual in using expressionism to mirror human experience in this way. Although this painting initially looks like a fully abstract canvas, divided into sections of pure colour, on closer inspection the figure of the martyr can be found in the dark grey panel towards the left of the canvas. Head bowed and body dejected, he seems no longer to be able to bear even his own weight.
Philipson produced several different series of paintings, and during the 1960s one of these themes was burning. This small, dramatic watercolour also includes a rose window, as well as the suggestion of something burning in the foreground. The vigorous handling of the paint, almost scratched onto the paper, implies violence, and yet the use of watercolour gives a quieter feel to the background than was apparent in his oil paintings.
Robin Philipson was a significant and influential presence on the Scottish Art Scene for more than three decades. He had numerous commitments as Head of School of Drawing and Painting at Edinburgh College of Art, and in his 50s was President of the Royal Scottish Academy, but he was above all a practising painter, ranking as one of the most distinguished and prolific artists of the Edinburgh School.
My favorite thing about being the social media manager for the Sunshine State Digital Network is getting to look through the content of the repository. There is a wide variety of trends, current events, and life styles preserved by the materials that are contributed to the Sunshine State Digital Network. One of my favorite collections are the yearbooks contributed by Godby High School, which includes all of their yearbooks since the year 1969. As a fan of current events and trends, I decided to look through the oldest and newest yearbooks to see how time has changed Godby High School.
One of the most noticeable changes that has happened at Godby High School is the change in hair and fashion style. Back in 1969 and 1970, teachers wore their hair high and styled. Today, the range of teacher hair styles vary more because there is a greater diversity among the teacher population and because modern hair styles have changed for women.
Another noticeable change in the year books is that current yearbooks feature more student centered articles than the early Godby yearbooks. While looking through the 2019 yearbook, I noticed many student highlight articles written for student athletes, students in clubs, and students who excel academically. These articles have added more content and length to the yearbooks. It gives a look into the year the students had and creates a type of time capsule to that specific year. Examples of these articles include highlights of the programs within the school, sports highlights, and highlights about school events.
The Godby High School yearbooks are student made and great ways of viewing into the lives of past and present high school students. They can be found in the Sunshine State Digital network repository under the Godby High School contributor link.
On Tuesday, May 19, 2020, from 10:30 a.m. to 12:30 p.m., ISOO’s National Industrial Security Program (NISP) will hold an interagency meeting by teleconference to discuss NISP cost collection. The discussion will be led by ISOO Associate Director Greg Pannoni, and will include representatives of the Department of Defense, the Office of the Director of National Intelligence, the Department of Homeland Security, the Department of Energy, and the Nuclear Regulatory Commission. The ISOO Overview will post a meeting summary on Friday, May 22, 2020.
Like all of you, Covid-19 made an abrupt change to my spring semester. Thankfully, my Digital History class was mostly unaffected because the assignments were already web-based. Our final project had us create a digital exhibit using Omeka.net which is a free platform available from the Roy Rosenzweig Center for New Media. As opposed to a historical approach like my project takes, archivists and librarians sometimes use Omeka differently. Instead of creating an exhibit, they might create digital collections as an online repository for digitized materials.
I built this exhibit based off the work I did in my internship here in Special Collections & Archives. Even with Covid-19’s disruptions to our work, education, and daily lives, we can still find alternatives like this to help our community access collections and research from home. All the primary sources featured in the exhibit come from our archival manuscript collections highlighted in the Enslavement and Sharecropping Research Guide.
What does creating an Omeka site look like? For starters, FSU Libraries has a guide on the subject. Other then setting up the site, we must decide what goes into it as objects. In this case, I wanted to interpret a wide range of primary sources that shows a narrative of how the Florida Territory introduced enslavement and how it developed over our State’s history. When we load an object into the site, we create metadata that records information about the object itself which you can see in this picture. Below is an example item addition for a sharecropping contract.
Omeka uses the Dublin Core schema which is relatively simple. The site allows users to input the metadata into labelled text boxes, as you can see above, with the option to use HTML for simple text editing. This is where we give the object a title, describe it, tell users who created it, and provide links to digitized versions when available. We also upload a digital file so that users can look at the material being described and so that we can put it in the exhibit.
Once the objects are loaded and the metadata is created, it’s just a matter of arranging them and then writing the descriptive text for them. For this one, I created sections based on chronology: territorial Florida, Antebellum, Reconstruction, and Civil Rights.
The exhibit sections are created from different “pages.” In a page, you use “boxes” as a tool to integrate images and text in a variety of options and styles. Within these sections, I arranged the objects chronologically with descriptive text next to each of them. Just like a physical exhibit, this is where we would provide some context on the source or tell our audience what makes it unique and valuable for research. Because this exhibit is historical, it is also where I interpret what we can learn from the primary source.
Including extant projects like this exhibit and our Research Guides, Special Collections & Archives staff are still available for virtual reference. While our physical spaces remain closed at this time, if you have any questions about accessing our collections, you can get in touch with us via email at email@example.com. We also have a range of items in our Digital Library that everyone can access remotely.
This week’s #BeConnected Explore Our Campus looks at Nostalgia by Hironori Katagiri. This sculpture is located at the bottom of Pathfoot Drive on campus.
This work is one of 14 works by Hironori Katagiri on campus. “Nostalgia” was made while Katagiri was artist in residence at the Scottish Sculpture Workshop in Lumsden as part of the Japan 2001 Festival.
The sculpture explores plays with the physicality and character of the natural stone as a vessel to contain and remember human memories and experiences.
One block of red granite rock was split into over 40 pieces, which is irreversible. Katagiri then reformed the pieces back together to form the original block. Visually it looks a smilar shape but it is inextricably altered by this experience- the same way that we are altered by the life experiences that we live through.
Artists Hironori Katagiri and Kate Thomson talk about their working practice and how they feel about their artworks being on the University campus.
Nostalgia has also been the inspiration for creative writing pieces undertaken by the Stirling students. The short story The Memory Stone was created by Stirling student Frances Ainslie.
For this week’s #Brigincolour we are focussing on Peziza by Jeffrey Steele which was added to the Art Collection in 1974. Jeffrey Steele (born 3rd July 1931) is an abstract painter. He grew up in Cardiff, Wales, and studied at local art schools.
During the 1950s he experimented with representational styles. In Paris in 1959 he encountered the work of geometric abstractionists such as Victor Vasarely and Max Bill, and adopted a lifelong abstract approach.
Jeffrey Steele’s work in the 1960s was two-dimensional and two-tonal, and explored the idea of space and how we conceive space. For eight years he worked only in black and white and was associated with the Op art movement.
Op art, short for optical art, is a style of visual art that uses optical illusions. Op art works are abstract, with many better known pieces created in black and white. Typically, they give the viewer the impression of movement, hidden images, flashing and vibrating patterns, or of swelling or warping.
The Art Collection’s Peziza was created in 1965 and Jeffrey explained his work as ‘visual black and white impressions based upon a series of lines of length which increase in mathematical progression’. He was interested not only in the creation of a sense of space within artworks, but was also interested in how an audience responds to art and the way in which they move in the space around an artwork in order to gain different perspectives.
This artwork currently hangs in the A-B Corridor in the Pathfoot Building, In our collections we also have another work by Steele Syntagma SG13 which was added to the collection a year earlier in 1973.
Difficult times demand innovative thinking. In March, the National Archives began closing buildings around the country in order to protect our staff and public from the pandemic. NARA staff members were plunged into a world where the work to support the mission of the agency became fully digital. In response, NARA quickly created a wide variety of new training programs for staff. Within the first week of remote working, NARA developed new staff training for a variety of digital projects.
Many of the charts you may have seen lately have been depressingly grave regarding the virus. Here’s a chart that shows NARA’s work over the past few weeks and the increase is actually great news.
Our community management team is providing training for NARA remote workers and the public that supports NARA’s goal of Making Access Happen through tagging and transcribing records in the Catalog. By transcribing records, especially hand-written documents, we are enabling the search engine to find those records more easily. Tagging also supports better search results by providing data about the records for the search engine to find.
The response to this training has resulted in a tripling of tags and transcriptions, which makes finding specific records easier for researchers.
The COVID-19 pandemic has caused us to quickly move to 100% remote work projects and NARA staff have been rising to the challenge. This is just one example of NARA staff living our values to collaborate, innovate and learn. NARA staff are busy on a wide variety of digital projects in support of the mission of the agency. Stay tuned for more!
Once we completed digitization of the church bulletins, I met with my contacts at the Church for what they wanted to explore for digitization next. A set of photographs, programs and other historical documentation about the Church emerged. I set my contacts to the task of creating some basic description about these materials. As the subject experts, they were the best suited to the task of telling me who was in these photographs or what events they were showing and how they reflected the history of the Church. They did not disappoint! I was very pleased to be able to provide rich metadata for the new materials thanks to the hard work of my volunteer catalogers.
I was particularly happy to see this photograph from the 1940s showing a celebration held in the sanctuary of the Church for recent college graduates, many of whom were probably graduating from Florida State College for Women, FSU’s predecessor institution.
Another aspect of the Church that this set of materials shares is the work of the Women’s Missionary Union (WMU) and its Girls Auxiliary. Around this time of year, a new set of girls would be initiated into the Auxiliary and start their paths to becoming maidens, ladies-in-waiting, princesses and queens for the Auxiliary. It would have been a crowning achievement for these girls as they contributed to their church and local communities to earn their titles. The materials relating to the WMU and Girls Auxiliary share their work over the years to contribute widely to the Church, both locally and around the world.
Composer and conductor Gena Branscombe (1881-1977) was a prominent figure in New York City’s musical life from 1910 till her death. Her passion for composing, performing and being a mentor and leader for American women composers formed the very essence of this remarkable musician. Although she later fell into obscurity, today there is a resurgent interest in her romantic music and inspired life.
Branscombe composed 150 art songs sung by famous singers of her day, and her chamber music and choral works were performed across the country. Her women’s chorus, The Branscombe Choral, gave yearly concerts at the Broadway Tabernacle Church and at Town Hall, sang at the first United Nations and on radio broadcasts, and presented Christmas concerts for commuters at Grand Central and Pennsylvania stations.
Branscombe was married to John Ferguson Tenney and was mother to four daughters. Over one hundred years ago, multi-tasking was part of her daily routine.
In 1940 Branscombe’s dramatic oratorio, Pilgrims of Destiny (above) aired over WNYC with the help of the station’s WPA-funded concert orchestra. But this large-scale work had already been played throughout America since its publication in the 1920s. After drifting from public awareness, an April 2019 revival performance at Clark University in Worcester, Massachusetts brought the work into the 21st century; once again Branscombe’s patriotic work told America’s story through the eyes of the Mayflower’s passengers.
The work had its roots in 1919, a year of agonizing loss and new life for Branscombe as she nursed her husband and three daughters through the influenza pandemic. Betty, her radiant three year old daughter, succumbed to the illness in January; in June, Gena gave birth to her fourth daughter, Beatrice.
Branscombe composed Pilgrims of Destiny while dealing with emotions ranging from the depths of mourning to the joy of new life. The oratorio was a family endeavor, with her husband encouraging his wife to return to her emotional outlet – creating music. Tenney served as her editor, typist and research assistant: he combed the Mayflower’s logs for passenger details and studied accounts of the voyage.
The text of the oratorio follows events on board the Mayflower on November 9 and 10, 1620. A storm swells; sailors boast of their life at sea; a brother and sister sing a tender duet. Children sing while playing games remembered from their homeland. A mournful women’s chorus questions why children and the sick may not survive. Will God hear their pleas? Finally, land is sighted and the work ends with a ringing chorus of thankful jubilation to God. The pilgrims are convinced that their new country shall be a temple filled with brotherhood, faith, and love.
Pilgrims of Destiny received many accolades. The Daughters of the American Revolution recognized the work for its patriotic subject matter, while in 1928 the National League of American Pen Women awarded Pilgrims of Destiny its Best Composition award; and when the 1929 convention of the National Federation of Music Clubs took place in Plymouth, Massachusetts, it naturally included a performance of the oratorio. Later that year the famed Boston music publisher Oliver Ditson published Pilgrims of Destiny for its acclaimed musical excellence and subject matter. This year, the newly edited orchestral and piano/vocal scores will be republished.
Branscombe conducted Pilgrims of Destiny for the 1940 WNYC broadcast, augmenting her Branscombe Choral with additional singers, soloists and the WNYC Concert Orchestra. It was the work’s last performance of the 20th Century.
My personal connection to the work happened several years ago, when I came across lacquer disc recordings of the broadcast in Branscombe’s collection at the New York Public Library for the Performing Arts. As I listened to the WNYC announcer recount the story and characters of Scene V, he said “Dorothy Bradford, sung by Ellen Repp, cries out in anguish that she will never again see her little son left behind in Holland.” Ellen Repp had been my voice teacher in the early 1980s, long before I knew who Gena Branscombe was. Repp died in 1999, the year I discovered Branscombe’s music. We never had the opportunity to discuss her work with the composer.
Would you like to make a difference to the lives of young people in Scotland?
We’re looking for current students to volunteer as mentors on our ‘Capturing Lives in Scotland’s Communities’ project.
The project aims to bring together young people aged 8 – 18 from across Scotland to explore and document life in their own communities in 2020 by creating art in response to art and archival material held in university collections. We are seeking current students to act as mentors to the discussion groups to help introduce participants to life at University.
Able to commit to a maximum of 3.5 hours per week between 8th June and 17th July
Be an enthusiastic, confident communicator who is able to enthuse others
Have previous experience working with young people
Have previous experience in one or more art forms (desirable)
Have previous experience of using Microsoft Teams (desirable)
Successful Applicants will be required to attend two Training Sessions
Introduction to the project: Wednesday 27th May, 10am to 12pm or Thursday 28th May, 2.30pm to 4.30pm
Child protection and safeguarding: Wednesday 3rd June, 11am to 12pm or Thursday 4th June, 2.30pm to 3.30pm
Further details of the project can be found in the downloadable document
If you would like to apply to volunteer, please email Sarah firstname.lastname@example.org a copy of your current CV and a statement of up to 300 words detailing how you meet the person requirements. Please also indicate which training sessions you would be able to attend. Don’t hesitate to get in touch with any questions you may have.
Our new website provides an opportunity for us to share digitised content from our collections with researchers, an increasingly important resource during the current coronavirus lockdown. The University Archives has added a full set of digitised copies of The Musician, the magazine of the Musicians’ Union covering the years 1950 to 1975 to the website. This video provides further information on the magazine and how to access this new research resource:
Beneath the sometimes dry writing style and seriousness of a trade union journal, The Musician is an invaluable and unique account of what it was like to be a musician working in the UK during the second half of the twentieth century. It covers all the big social and political issues of the period from a singular – but otherwise under documented perspective – that of the musician. Crucially for researchers it does this to a level of detail that is unavailable elsewhere, allowing for the creation of new and more compelling histories of the profession and industries surrounding it.
John Williamson, author of Players’ Work Time – A Social History of the Musicians’ Union.
Since its transfer to the University of Stirling Archives in 2009 the Musicians’ Union Archive has been one of our most used collections with researchers from around the UK (and further afield) using the collection for a wide variety of research projects. The archive also receives a large amount of enquiries from members of the public engaged in family history research whose relatives were professional musicians. In 2016 a new history of the Union was published which has generated further interest in the collection (Cloonan, M. & Williamson, J., Players’ Work Time – A Social History of the Musicians’ Union, Manchester University Press).
During the summer of 2019 Lorna Keddie, a graduate of the University of Stirling in Heritage and Tourism undertook a traineeship in the University Archives funded by the Musicians’ Union, to carry out the digitisation of the The Musician. You can read her report on the project here.
One of my favorite responsibilities in my work is coordinating and working with community organizations in the Tallahassee area to digitize materials they hold in their historical collections. As a public university, I feel FSU, and by extension myself, have a responsibility to help smaller community institutions who are unable, for various reasons, to digitize and provide access to these materials on their own. I have found this to be rewarding work and over the next month, I’ll be spotlighting the collections of these partners and the work I’ve been lucky enough to share with them to bring these materials online.
Havana, Florida is 30 minutes north of downtown Tallahassee and is considered by some online sources to be a suburb of Tallahassee but its residents would argue it is a distinct rural community in its own right. The Havana History & Heritage Society was established to preserve and highlight the historical assets and events that have made Havana an exceptional community in which to live, have a business, and visit. The Society’s home is in the Shade Tobacco Museum in downtown Havana.
FSU was first approached by the Society in February 2019, referred by one of our other community partners, to gauge interest in digitizing a set of scrapbooks documenting the Home Demonstration Extension Service work in Gadsden County from 1916 through the 1960s. In particular, the scrapbooks documented the work of Ms. Elise Laffitte who ran the home demonstration portion of the extension services in the county for several decades.
In 2019, FSU did digitize seven scrapbooks and a loose set of photographs from the Society which are now available online in DigiNole: FSU’s digital repository. These scrapbooks provide a fascinating look at this farming community during the World Wars and Great Depression years. It also showcases the importance of women in producing food and clothing in these communities. In the 1942-1946 scrapbook in particular, the importance of the activities of the extension services during the war effort are clear. There is also a focus on what women and children through gardening and 4-H clubs were doing for the war effort in this scrapbook which is a different perspective then we often get. There is also correspondence showing businesses went to Ms. Laffitte to find fresh produce and products they needed during the war that they could not get elsewhere but that small farms and gardens could provide at the time.
Over time though, there is a shift in interested in the home demonstration extension service. By the last scrapbook from 1960-1961, the focus has shifted from food production to soft goods like clothing and quilts. Canning is still mentioned frequently but food production does not seem to be as much of a focus for the group. The State Style Show features prominently in this later scrapbook.
While the Pathfoot Building is closed, the Art Collection will each week focus on an object of interest. You can also search our entire collection online here.
Oyster Catchers (3 pieces) Helen Denerley (Scrap and found metal, 2007)
In 2007 in the Crush Hall in the Pathfoot Building, plans were being made for a major exhibition of Willie Rodger‘s work. During the early stages, it was decided to include several artistic Rodger family members, alongside Willie himself, in this display, and in addition the courtyard just off the Crush Hall was chosen for a special overhaul. One of Willie’s sons Guy redesigned this space as a wheelchair-accessible gravel garden.
Oyster catchers are wading birds, with distinctive black and white plumage and long orange beaks. Every spring, several pairs arrive on the University of Stirling campus where they build their nests and raise their chicks on the ground on pebbles or rocks. During the design and construction stage of this courtyard, a pair of these birds started to build a nest there, in the new gravel, halting progress for several weeks***(see below for an update).
Serendipitously, the Art Curator Jane Cameron discovered that leading wildlife artist Helen Denerley had created some Oyster catchers from scrap metal, and three sculptures were purchased to be placed in the newly created garden.
And Robin Rodger, another of Willie’s sons, wrote a poem, for the new space.
The Oyster catcher courtyard now flourishes with beautiful grasses, flowers and climbers, providing a restful sanctuary for students and staff…
…except when the birds return to nest. Then the doors remain closed to the public, and peace reigns for a while, until the birds have flown.
We hope that they are enjoying their space undisturbed in this unusual spring.
***PS We are grateful to Alison Campbell for giving us more details from this time. Here is the text of an email she sent to the Terry Wogan show on Radio 2 in Spring 2007:
“Yesterday I went on an outing to Stirling University to see the gems of their art collection, and indeed the paintings and the sculptures, displayed as they are in the main concourse of one of the teaching buildings, are beautiful and inspirational. Most popular exhibit of the day, however, was in a small courtyard which was supposed to be undergoing re-landscaping. A single-minded and bolshie oyster-catcher has decided that the pebbled path is the best location for sitting tight on her eggs, and therefore entry is barred and all work has stopped till mid-June when the chicks will be fledged”.
Alison tells us that one of the chicks when it hatched was named Terry…and that the Art Collection got three more mentions on the radio during the course of that year.
The National Archives, in partnership with the Women’s Suffrage Centennial Commission (WSCC), is providing 2,500 free Rightfully Hers popup displays to cultural institutions nationwide in honor of the 100th anniversary of the 19th Amendment and women’s constitutional right to vote.
While many of our institutions remain closed due to COVID-19, we are grateful for the opportunity to share these displays, making them available to you when our communities begin to reopen. The ratification of the 19th Amendment was a landmark moment in American history that dramatically changed the electorate. It enshrined in the United States Constitution fuller citizenship for women and a more expansive democracy for the nation. This popup display contains simple messages about the expansion of the vote to millions of women, before and after the 19th amendment, and its impact today. An educational tool for teaching about American government, the engaging and interpretative display is lightweight, easy to set-up, and requires no tools or walls. Organizations or venues interested in ordering a popup display can sign up here by June 27 or send questions to email@example.com.
The holdings of the National Archives include extensive documentation of the struggle for Women’s Suffrage. Rightfully Hers explores the history of the ratification of the 19th Amendment and the state of voting rights before and after the women’s suffrage movement. In 2019, the National Archives delivered 1,600 of these popups to numerous venues. This partnership between the National Archives and WSCC will make the information available to many more communities this year and beyond. Through the Rightfully Hers popup displays, we can bring engaging and invaluable content from these materials to communities across the country.
The National Archives’ Rightfully Hers popup display is presented by the Women’s Suffrage Centennial Commission, Unilever, Pivotal Ventures, Carl M. Freeman Foundation in honor of Virginia Allen Freeman, AARP, Denise Gwyn Ferguson, and the National Archives Foundation.
This Thursday, to tie in with ‘Brig in Colour‘, we are showcasing this work by John Houston, purchased for the Art Collection in the year 1985.
Dark Sunset V John Houston OBE RSA (Screenprint 1/1)
Houston took his inspiration from the East Coast of Scotland. His style was expressionist, painting landscapes, seascapes, still-life and the human form in oil and watercolour, using strong colours to evoke atmosphere and changing weather and light. John Houston’s work was also inspired by his passion for jazz, and this can clearly be imagined when looking at this piece. Another similar example is the print shown below, also owned by the Art Collection.
One of the most distinguished painters of the post-war Scottish school, John Houston was born in Buckhaven, Fife, and in fact played football for Dundee United (and Scotland under 21s) until his career was halted by a knee injury. He then attended Edinburgh College of Art where his contemporaries included David Michie and Alan Davie (an acomplished jazz musician). After graduating he began teaching at ECA, and remained till his retirement in 1989, while also working as a prolific painter.
John Houston was married to Dame Elizabeth Blackadder, whose work is also in the University collection, and in 2012 a joint exhibition entitled ‘Journeys from Home I Journeys Together’ was organised by the Art Collection, and The Park Gallery, Falkirk. Copies of the catalogues are available here
Florida State College for Women (FSCW) began a precursor to the current Nursing Program in 1936. A B.S. in Nursing was available through the School of Home Economics. Students in this program worked closely with local hospitals to receive the necessary nursing training, while also taking more traditionally liberal arts classes at FSCW.
In 1949, FSU created a separate College of Nursing, which was the second collegiate nursing program established in the state of Florida, and appointed Ms. Vivian M. Duxbury as Dean. The first class admitted in 1950 and was made up of 25 young women. The classes continued to be made up of small groups of primarily female students for many years, even though it was introduced after the university became coed in 1947. This was primarily due to the stereotype of nursing being a woman’s job and becoming a doctor was strictly for men. This meant that there were no male professors or doctors to teach the female students. Therefore, the college utilized women who had obtained their nursing degree from elsewhere or had experience/training from past wars to teach the women.
In 1958 Florida State’s nursing baccalaureate program became the first in Florida to receive national accreditation by the National League for Nursing. It was only 1 out of less than 100 in the entire nation to become accredited. This was a great accomplishment for FSU. Due to the newfound distinction of the nursing program, it was able to grow at a much faster rate than before. In 1975 the school of nursing was finally granted their own building on campus, Vivian M Duxbury Hall, and by 1976 1,871 students had graduated from the nursing program at FSU.
In 1985, the school of nursing was able to offer a masters program for students pursuing higher degrees in nursing. By 2006, the school of nursing officially changed its name from School of Nursing to College of Nursing.
The College of Nursing is constantly improving, adapting, and pursuing high reaching goals. It is now ranked among the top one hundred universities in the nation and one of the most selective majors at FSU with only 80 applicants accepted in the fall and over 300 applicants applying. In the end, the College of Nursing’s prestige continues to add to FSU’s reputation as one of the top twenty public universities in the nation.
Held in Heritage & University Archives, are the records and memorabilia of the College of Nursing. This collection consists of papers, ephemera, and photographs that document the history and activities of the college from its development in 1948 through 2014. Included are records from the deans, the graduate nursing program, various faculty committees, student organizations (Student Nurses Association and Sigma Theta Tau), and the Legacy Project, as well as materials created for special events such as pinning and graduation ceremonies, homecoming events, conferences, and presentations. A detailed inventory is located here.
En tiempos de home office forzoso: un estudio descubrió que entre más cosas tienes en tu escritorio, más competirás por mantener tu atención.
Sobras de comida
Un recipiente hermético a medio terminar va en el refrigerador, no en la esquina de tu escritorio. Además de molestar a tus compañeros de trabajo, las migas y la comida olvidada podrían atraer criaturas a tu escritorio.
Para alejar los problemas, lleva la basura de los alimentos al bote en la cocina, y no al que está debajo de tu escritorio. Toneladas de suministros de oficina
Hay una razón por la que debes tratar de controlar el desorden de la oficina: un estudio realizado por un neurólogo de Princeton descubrió que, entre más cosas tienes a tu alrededor, más compiten por tu atención.
Eso significa que es más difícil para tu cerebro filtrar la información o resolver un problema si solo ves notas adhesivas pegadas por todos lados. Reduce la pila de tu oficina a tres plumas, un resaltador, un marcador y un lápiz. Publicidad
En cuanto a los documentos, desarrolla un sistema de entrada y salida. Fotos inapropiadas
Esa foto hilarante de tus amigas en una despedida de soltera no es ideal para exhibirse en la oficina. Preséntate como una persona domesticada: una foto con tu pareja e hijos, o tus mejores amigos en un juego de pelota. TE RECOMENDAMOS Hábitos asquerosos… ¿pero saludables?
Si no le mostrarías esa foto a tu jefe, no la dejes en tu escritorio. Difusores de fragancia
Ciertas fragancias (como menta y limón) pueden hacer maravillas por tu productividad y concentración. Y si bien puede ser una gran idea incorporar estos aromas en su espacio de trabajo, un difusor no es la mejor manera, especialmente si tus colegas no comparten tu gusto en fragancias.
Mantén una pequeña botella del aceite esencial de tu elección en tu escritorio; cuando lo necesites, aplica una gota en una borla de algodón y disfrútalo. Artículos políticos
Especialmente en un año electoral, puede ser tentador representar a su candidato favorito con un botón o una calcomanía de apoyo.
Pero a menos que trabajes en una oficina política, no presumas tus preferencias. Pilas de notas adhesivas
Pero si toda la orilla de tu computadora está cubierta con notas, es momento de reconsiderar tu proceso. Suministros de aseo personal
Artículos como laca para el cabello, crema hidratante y maquillaje adicional deben ir adentro de uno de los cajones de tu escritorio, no sobre él.
Tu escritorio debe ayudarte a sentirte organizado y concentrado, no recordarte que no has terminado de arreglarte. Distracciones conocidas
¿Tener tu teléfono celular en su escritorio te tentará a revisar sus notificaciones cada cinco minutos? ¿Tu pila de revistas te hace soñar despierto?
Esconde tus distractores principales y sácalos solamente a la hora del descanso. Aperitivos no saludables
Comer en tu escritorio no es tan malo si prefieres una mezcla de almendras a una bolsa de papas fritas. Limita estos alimentos a refrigerios saludables que te mantengan con energía.
Si se te antoja algo dulce, el chocolate amargo es tu mejor opción: una investigación de la Universidad del Norte de Arizona descubrió que los dulces activan el cerebro e incrementan los niveles de atención.
¿Cómo abrir archivos RTF en PC usando Google Chrome? https://tecneofito.com/
Probablemente esté aquí porque no puede abrir el archivo con la extensión “.rtf” o esta en busqueda de un programa con la capacidad de abrir este tipo de archivos en la PC. La buena noticia es que no necesita ningún programa adicional para abrir su archivo RTF, puede hacerlo dentro de su navegador.
¿Qué es un archivo RTF?
Un archivo que termina en la extensión RTF es un documento con formato de texto enriquecido. Este tipo de archivos pueden soportar diferentes tipos de formatos como negrita y cursiva, además de admitir diversas fuentes, tamaños e imágenes.
La extensión RTF fue desarrollada por Microsoft en la década de 1980, y en 2008, detuvieron el desarrollo de otras versiones. El RTF (abreviado Rich Text Format), fue diseñado con el objetivo principal de hacer que el intercambio de archivos a través de las plataformas sea fácil y armonioso. Por ejemplo, si hace un documento RTF en su PC con Windows y lo comparte con su colega que opera Linux Pc, el formato RTF permitirá abrir el documento en la PC de su compañero de trabajo sin encontrar ningún problema. ¿Cómo abrir archivos RTF en su PC?
La forma más fácil de abrir archivos RTF en Windows es usando WordPad que viene preinstalado en este sistema operativo. Sin embargo, los editores de texto y otros procesadores trabajan básicamente de la misma manera, como los programas LibreOffice, OpenOffice, AbleWord, Jarte, AbiWord, WPS Office y FreeOffice SoftMaker.
Usando Google Docs
Doc es una extensión de archivo que admite el formato RTF. Es la forma más fácil de abrir su archivo RTF en Google Chrome.
Dirígete al navegador Chrome y verás el botón Aplicaciones en la barra de herramientas debajo del campo de búsqueda, luego selecciona documentos. Si no puede encontrar eso, dirigete a https://docs.google.com/
Cuando utilizamos Google Docs para editar nuestros archivos RTF, previamente debemos cargarlos en nuestra cuenta de Google Drive. Inicie un documento en blanco, haga clic en Archivo> Abrir> busque su archivo RTF y haga doble clic en abrirlo.
Ver documento RTF en línea
Puede abrir archivos RTF desde su navegador sin descargarlos. Doc Online Viewer es una extensión que contiene el formato de texto enriquecido y le permite ver el documento en línea, dentro del navegador.
Agregue la extensión Docs Online Viewer en Chrome, después de agregarlo verá el botón Doc Online Viewer en la barra de herramientas del navegador. Y eso es todo. Ahora puede ver documentos con formato de texto enriquecido en su navegador.
RTF Viewer para Google Chrome
Este es otro visor de formato de texto enriquecido. Le permite ver su documento RTF en Chrome. Puede abrir un documento RTF que exista en su computadora, en Chrome (de manera similar a la función de vista previa en PDF en Chrome).
Haga clic en el icono de extensión en la barra de herramientas del navegador y busque el archivo RTF que desea abrir. Es así de simple. Abrir documentos RTF con Google Drive
Sin embargo, también puede abrir un archivo de texto enriquecido dentro de Chrome u otros navegadores que admitan las aplicaciones web de Google. Google Drive (GD) es un almacenamiento en la nube con el que puede guardar documentos y luego editarlos a través de Documentos y Presentaciones.
Primero, tenemos que accedera Google Drive, el único requisito es tener una cuenta gmail.
A continuación, haga clic en Mi unidad y seleccione la opción Cargar archivos en el menú.
Seleccione el archivo RTF para guardar en Google Drive y haga clic en el botón Aceptar .
Cuando Google Drive incluye su documento seleccionado, haga clic con el botón derecho en el icono del archivo RTF en la página GD y seleccione Abrir con .
La consulta a archivos se reanuda con un máximo de diez documentos si es presencial y quedarán diez días en cuarentena
MADRID, 04 (SERVIMEDIA) La consulta a archivos se reanudará a partir de este lunes en la llamada ‘fase 0’ o de reactivación, aconsejando su acceso de forma telemática, o limitándola a diez documentos si resulta obligado proporcionarlos de manera presencial y que deberán quedar en ‘cuarentena’ durante diez días antes de estar disponibles de nuevo.
Así consta en la orden ministerial que firma el ministro de Sanidad, Salvador Illa, y que se publicó ayer en el Boletín Oficial del Estado (BOE), abriendo el servicio de archivos a consulta al público a la vez que se producirá una apertura gradual del resto de establecimientos y comercios pequeños o la hostelería y restauración.
Así, los archivos prestarán sus servicios “preferentemente por vía telemática”, mediante solicitudes y peticiones que serán atendidas, cuando resulte posible, por los servicios de información, administración y reprografía digital.
Se registrarán y atenderán por orden de recepción y entregarán las correspondientes copias digitales o en papel, obtenidas a partir de soportes digitales, “hasta un máximo de veinticinco unidades”. Si resulta imposible esta fórmula y toca acceder a ejemplares in situ, se limitará a los citados diez documentos o unidades de instalación física en que éstos se encuentren, por jornada de trabajo y en las dependencias oportunas, previa cita y también atendidas por riguroso orden de solicitud.
En ambos casos, presencial y telemático, se dará prioridad a las peticiones de información y las copias de documentos que deban aportarse en procedimientos administrativos y judiciales, y comunicar al usuario si resulta imposible por razones justificadas, como puede ser no disponer de salas adaptadas para la situación del Covid-19.
A pesar de abrirse el servicio, no se podrán utilizar los ordenadores y medios informáticos de los archivos, destinados para el uso público por usuario ni por investigadores. Sí podrán, sin embargo,
utilizar sus equipos y recursos personales con conectividad a la red durante su estancia en las salas de consulta o en las que se habiliten para tal fin.
Cuando tengan acceso a un documento físico quedarán en cuarentena durante un período mínimo de diez días antes de poder ser utilizados de nuevo. Para que accedan a las instalaciones, las empresas o entidades tendrán que adoptar las medidas adecuadas para proteger su salud y evitar contagios, manteniendo la correspondiente distancia interpersonal, tanto en los circuitos de comunicación y demanda de servicios administrativos, como en las salas de trabajo y consulta, o en cualesquiera otras dependencias y espacios de uso público.
Asimismo, deberán poner a disposición de quienes accedan a los mismos agua, jabón, toallas de papel desechables y soluciones hidroalcohólicas; y adoptar también los correspondientes protocolos de seguridad para los trabajadores.
Los pequeños comercios reabren el lunes: la letra pequeña del BOE con los requisitos
Peluquerías, pequeños comercios y restaurantes con opción de recogida en tienda podrán reabrir a partir de este lunes. La fase 0, la vigente en la mayoría de provincias, permitirá la vuelta a la actividad de todos aquellos comercios de hasta 400 metros cuadrados, aunque siempre con la obligación de tener cita previa. La atención individualizada y la distribución un trabajador por cliente es la norma que explicita la orden ministerial publicada este domingo en el Boletín Oficial del Estado (BOE). Esta también establece que, durante la fase 0, los comercios deben facilitar una atención preferente a los mayores de 70 años y concederles cita entre 10 de la mañana y 12 del mediodía, la franja habilitada para sus paseos.
Los negocios que ya tenían autorización para seguir operando de cara al público podrán continuar con los mismos protocolos de prevención y seguridad exigidos hasta ahora. Es decir, no es necesario pedir cita previa para acudir a comprar al supermercado, a la charcutería o cualquier otra tienda de suministros de primera necesidad. Simplemente se deberán respetar los mismos protocolos que han regido hasta ahora para este tipo de negocios, como el uso de guantes, gel desinfectante y restricciones de aforo para entrar, entre otros.
El resto de comercios tendrán la posibilidad de reabrir sus establecimientos, siempre que estos no superen los 400 metros cuadrados o estén ubicados en un centro comercial o recinto de similares características. Y estos tendrán vetados las zonas de espera dentro de los locales para que un cliente aguarde a ser atendido. Lo que implica que si un usuario llega antes de su hora o de que el profesional de rigor haya acabado de atender a la persona del turno previo, deberá esperar fuera del local. Asimismo, los clientes que acudan a los establecimientos con cita previa tendrán prohibido, en la medida que ello no sea inevitable, el uso de los aseos.
En el caso concreto de las peluquerías, donde el mantenimiento de la distancia de seguridad de dos metros entre cliente y profesional es imposible, el empresario deberá garantizar el “equipo de protección individual oportuno”, según consta en el BOE, tanto para peluquero como para cliente. Y, en caso de coincidir más de un cliente a la vez en el establecimiento, estos sí deben guardar la distancia de seguridad de dos metros. Dejando, si fuera necesario, una butaca vacía entre corte de pelo y corte de pelo.
Recogida en tienda
En paralelo a las empresas que reabran desde el lunes con cita previa, la orden ministerial publicada este domingo en el BOE también habilita a reabrir a los negocios que operen a través de un sistema de recogidas. Es decir, los consumidores no podrán acceder al interior de los locales, pero sí podrán contactar con los mismos para preordenar una comanda y desplazarse hasta el establecimiento para recogerla. Esto impera tanto para los restaurantes y la venta de comida para consumo en el domicilio, como para otro tipo de actividades y productos.
Los desplazamientos a los establecimientos y locales solo podrán efectuarse dentro del municipio de residencia del comprador. Y la empresa comercializadora de estos servicios tiene la obligación de garantizar las medidas necesarias para evitar aglomeraciones de gente en el exterior de su local esperando a poder recoger su pedido.
En los establecimientos y locales comerciales que cuenten con zonas de autoservicio, deberá prestar el servicio un trabajador del establecimiento, con el fin de evitar la manipulación directa por parte de los clientes de los productos. Y quedan vetados los productos de prueba. Desinfección dos veces al día
En los comercios que pueden a abrir se tendrán que desinfectar las instalaciones al menos dos veces al día, una de ellas al cierre y con diluciones con lejía o desinfectantes comerciales y autorizados por el Ministerio de Sanidad. La desinfección tras cerrar será de carácter obligatorio y la otra limpieza será en la franja que decida el empresario. No obstante, las autoridades recomiendan que esta sea al mediodía, realizando una pausa en la atención al público.
De cara a la prevención de riesgos para los trabajadores, los puestos de trabajo deberán ser desinfectados en cada cambio de turno. Y las empresas tienen la obligación de proveer de los equipos de protección individual (epi) y deberán desecharlos tras ser usados. Los uniformes y ropa de trabajo deberán lavarse en ciclos de 60 a 90 grados. Los clientes no podrán usar los baños a no ser que sea una extrema necesidad. A su vez no deberán incorporarse al trabajo los empleados con síntomas o que estén en cuarentena y deberá suprimirse el tema de fichaje con huella dactilar.
El Gobierno también ha aprobado medidas extraordinarias de precaución en el caso de tiendas de ropa. Aquellas piezas que un cliente se haya probado y que finalmente no compre deberán ser apartadas y lavadas con las oportunas medidas de seguridad. Y los probadores quedan limitados a uno por persona y los trabajadores del negocio deberán limpiarlos y desinfectarlos después de cada uso.
El Ayuntamiento de Astorga reabre el archivo municipal con petición previa
El Ayuntamiento de Astorga informa a los investigadores y cuantas personas deseen consultar el archivo municipal que pueden hacerlo realizando la petición en el teléfono de la Biblioteca, 987 618 690, o enviandola a través del correo electrónico, firstname.lastname@example.org.
La apertura de los archivos se encuentra entre los servicios que el Ministerio de Sanidad permite su reapertura este lunes, una vez que han comenzado las fases de desescalada del estado de alarma por la pandemia de coronavirus. Junto con los archivos, desde hoy reabren comercios y hostelería con unas condiciones determinadas
Por otra parte, el Ayuntamiento mantien la entrega de mascarillas a los colectivos y familias que tengan dificultad para conseguirlas. En concreto, para la fase de desescalada que comienza este lunes, los responsables de los establecimientos comerciales o de hostelería pueden solicitar las protecciones llamando al teléfono municipal, 987 616 838, este lunes, martes y miércoles, de 10 a 14 horas.
King and Queen is located just outside the Pathfoot Building (E corridor outside courtyard, halfway up the building). The sculpture was purchased by the Art Collection in 2012 with match funding from the National Fund for Acquisitions.
At the Art Collection we are always keen to inspire creativity and encourage individual responses to our artworks. In 2016 we embarked on a collaborative project with former MRes Creative Writing student (and current PhD student) Janine Mitchell, the School of Education and a variety of writers, including a previous cohort of MLitt Creative Writing Students, These writers were invited to submit creative responses to our sculptures and amongst the creative responses was the poem below aimed at young learners inspired by King and Queen,
Kings and Queens by Janine Mitchell
I’ve heard of richard and william and henry
queen anne and lizzie, victoria and mary
their carriages, servants and posh jewellery
but these aren’t the monarchs that matter to me
The King of the Herrings and King Dragonflies
The Queen Triggerfish with her blue-patterned eyes
The Winged Queen Black Ant and Queen Butterflies
The King of Saxony Bird of Paradise
King Vultures, Kingcroakers and King Cormorants
Queen Bumblebees, Dragonflies, Termites and Ants
The Dashing King Penguin dressed up for romance
The King Rail that runs with a chicken-like prance
The Queen Parrotfish with her jewels and her crown
And Kingfishers: Malachite, Pied, White and Brown
King Cobras that build a leaf nest on the ground
The Seven-Striped Queen Snake not easily found
These Kings of the Jungles and Mountains and Seas
These Queens of the Skies and the Rivers and Trees
The Scaled and the Feathered, the Giant, the Wee
Now these are the Monarchs that matter to me.
The publication below is used every year by students of the Initial Teacher Education programme to introduce young learners to the sculptures on the campus and to encourage active and creative engagement with these pieces. It is also be made available for use by educators, schools, students, families and the wider community.
Estimados usuarios, Archivologo se une a la campaña QUÉDATE EN CASA para evitar contagios innecesarios, y les pide cumplir con los protocolos de salud y prevención establecidos en cada país, así mismo, les propone en estos tiempos de cuarentena realizar labores que normalmente por la falta de tiempo se dejan de hacer, entre ellos la organización de sus archivos personales y familiares compuestos por documentos administrativos, legales, fotografías etc. Esperamos como todos que esta situación mejore pronto, mientras pongamos de nuestra parte QUÉDATE EN CASA.
The Scottish Political Archive are looking for volunteers to help with a new crowdsourcing project to fully transcribe and index their 2014 Independence Referendum Collection.
This project is jointly led by Dr Chiara Bonacchi (University of Stirling) and the Scottish Political Archive (Sarah Bromage), in collaboration with the UCL Institute of Archaeology, The Fitzwilliam Museum, University of Cambridge, and the British Museum. The associated researcher developing and managing crowdsourcing activities is Dr Elisa Broccoli.
MicroPasts is a free and open-source, crowdsourcing platform which supports online mass creation, enhancement and analysis of open data in archaeology, history and heritage. It aims to build collaborations between heritage institutions and citizens to study the human past together. MicroPasts was established in 2013 with seed-funding from the UK Arts and Humanities Research Council and has continued running ever since with input from some of its co-founders (Prof. Andrew Bevan, UCL, Daniel Pett, Fitzwilliam Museum, Dr Chiara Bonacchi, University of Stirling, Dr Jennifer Wexler, British Museum).
Dr Chiara Bonacchi said “This is an important activity to ensure that smaller heritage organisations like the Scottish Political Archive can continue engaging audiences during this difficult period of lockdown and in the immediate aftermath. Through this digitisation project, in particular, we hope to create data that will unlock new research on the political uses of heritage in the context of the 2014 Referendum.”
Dr Elisa Broccoli said “We developed a first crowdsourcing application to transcribe leaflets from the Scottish Political Archive. We will follow it up with a photo-tagging application to publicly index photographs from the 2014 Referendum campaign and facilitate searches for specific people, places, objects. We are asking volunteer contributors to help with these tasks”
Archivist Sarah Bromage said “The Scottish Political Archive actively collected Yes and No campaign materials for the 2014 Independence Referendum. We wanted to find out what was happening at grass roots level in local communities; effectively what was being put through people’s doors, distributed at campaign stalls and displayed in shop and home windows. We ended up with nearly 3,000 photographs and many, many leaflets. This new project allows us to make this collection fully accessible to researchers around the world”
On March 23rd, our student employees returned to work from Spring Break, but not to the library. Due to the campus shut down because of COVID-19, our staff started working from home. Remote work is an interesting conundrum to figure out when 90% of your work exists in the physical realm. Our collections management team are in charge of reshelving and paging materials, preparing books for shipment to Cataloging, rehousing new materials, and everything else in between. Since the shut down, our staff have shifted to working on projects in ArchivesSpace, metadata remediation, and lots and lots of webinars and training. This situation has been difficult for everyone to navigate, but this group of students has demonstrated tremendous resilience. As part of their work, we asked for them to write about their experiences in working from home.
I never imagined working from home before the pandemic started. I really enjoyed the work I did at Special Collections so I am heartbroken, but grateful. At the library, I’d probably be reshelving books with my coworkers or listening to podcasts to keep me company. Working from home doesn’t feel the same. As much as I love my roommate, being with the same person for days on end feels a tad exhausting; especially since I can’t talk to them about my work. When I’m working on ArchivesSpace, my mind starts to spiral thinking about all the things that I wasn’t able to do.
I was supposed to graduate on Saturday. I had already picked out my outfits according to the days I’d be at work. I’ll never get to finish cataloging my stack of books. I’ll never be able to get closure of saying goodbye to my coworkers. I miss the rush of having a schedule. I miss walking up the Civic Center parking lot and hiking that mile up to the library.
Zoom meetings became something to look forward to. Monday OPS meetings helped me remember the days of the week. It was the bit of normalcy that I needed during this time. I’d get happy solely when people said my name. Although these meetings were short, it was nice to see people’s faces and laugh about Animal Crossing. Now that I’m graduating, I feel sad that my life will change once again. No more Zoom meetings or Teams messages. I’ll miss my life before but I’ll always remember how happy I was when I was working at Special Collections.
My experience working from home, while not ideal, has been nice in some ways. I am someone who prefers structure, but I really can’t complain about sitting on my couch in my pajamas and doing work (although, the world is missing out on seeing me in some seriously cute work outfits). The work I’ve been doing has also been somewhat different. I’ve been working on reorganizing collections in our ArchivesSpace database which is not too out of the ordinary, but I’ve also taken the opportunity to learn more about librarianship through various webinars and trainings. While the experience is challenging and frustrating, I truly think that we will come out of this with a better understanding of how we can use technology to enhance the library experience. Already we are coming up with creative ways to keep our patrons engaged and I think that some of the ideas that have sprung from this will continue to help us post-quarantine. Other than that, I will say that my dog is not the best coworker and my roommate can be distracting, but I’m also happy to have their company. Of course I miss everyone in SCA, but I’m glad we are all taking the proper precautions to stay safe and healthy. If we do it right, we’ll be back to the library in no time! Until then, I’ll enjoy my morning coffee and bagel from home.
Working from home was difficult at first, but I managed to make a structured schedule of my own. I was able to access a lot of resources that helped me understand the ArchivesSpace database, especially in top container management. There were also training resources that I was able to obtain about digital learning and other online classes to educate myself as much as I can. Zoom meetings both inside and outside of work were also something I looked forward to with the lack of human interaction I was having. This experience also made me realize how much I love working with people in person and how much I miss my co-workers!
Nevertheless, working from home still gave me more insight into technology and the best ways to utilize it while working from home. In addition to school work and Special Collections, I’ve been spending a lot of time with my family and spending time with my dog Leo! I hope we will all be back in the fall and continue with our regular routines.
At first, I thought working from home wouldn’t be so bad but after a week or so I definitely felt the differences. Specifically, most of my routines regarding exercise and meal prepping have stalled so it has been a challenge to restart. But I’m slowly building them back up. Even though some exercise routines have slacked I have found some time to start learning the piano, drawing for fun, and trying to improve my solve time with the Rubik’s Cube. So far, my average solve time for the Rubik’s Cube is about 50 seconds but by the time the stay-at-home order is finished (whenever that happens) I’d like to have an average solve time of about 30 seconds. I’ve played the piano here and there but now I have the time to try and learn more scales and chords.
Even though working from home was a challenge at first, I’ve found it easier to optimise the work that I do have, and work on my ability to focus for longer periods of time. I’ve grown to miss in-person interactions with people but I’ve learned to settle for just hearing or seeing people through a computer screen! Hopefully, I will be able to see my co-workers in the near future!
I’ve always been someone who loves creating a weekly schedule, but never has it been more important to do so then now. I’ve caught myself once or twice not filling out my planner and boy, let me tell you, that was a nightmare! Additionally, while having my cat and dog with me and eating wherever and whenever I want has come as a pleasant addition to my everyday life, the hands-on, face-to-face work I did when campus was still open is something I now can’t wait to get back to.
Not everything has been doom and gloom. While in quarantine, the first thing I did was finish some preservation boxes I’d pre-measured to bring home. This work was one of my favorite things to do in Special Collections, so I really can’t wait to get back into it. I’ve also worked on a number of digitization projects which is awesome as I get to see so much of the content I’m currently away from. It also serves as a decent relaxer as I can crank this work out in a decent amount of time with few hiccups. Something I’ve taken away from this experience is how important it is to have options. I have taken advantage of this time to educate myself and enrolled in an online course which is teaching me about creating a digital cultural heritage community. Learning new things is one of my favorite pastimes, so what better way than to find a course geared toward my intended career path? This course is really helping me to stay sane through this transition and I’m optimistic that it will give me additional knowledge about the field of library sciences that will help me as I graduate and move on to graduate school. I’m glad I get to see everyone’s faces at least once a week and I have hope that we’ll get back to our normal routines soon. Until then, I’ll continue to work as hard as I can to contribute to everything that is thrown at me. Cheers!
As this year’s #Archive30 draws to a close, the final theme is #WhyArchives? What an excellent question! Earlier this month we asked some of our users to write about their favourite items from our collections for #FavouriteItem on the 2nd April and one of our users seemed to have highlighted beautifully why we think of archives as being so special and so key for research. So here is our last guest blog post for April, from Brooks Marmon, a PhD researcher at the University of Edinburgh who talks about the gaps that archives can fill and the treasure trove of little known primary sources archives can prove to be.
Over the course of my doctoral research, I’ve enjoyed making
several trips to Stirling for research in the extensive collection of Peter Mackay,
a journalist and activist who played a significant, albeit unheralded role in the
independence struggles in Malawi and Zimbabwe as well as supporting wider post-colonial
development efforts across southern Africa.
Participation in two ‘Freedom Road
Workshops,’ hosted by Stirling celebrating Mackay’s contributions to the
region also provided welcome opportunities for networking and exchanging ideas.
The Mackay Archive is substantial and chock-full of fascinating documents and materials spanning critical events across southern Africa during the Cold War era. I’ve only skimmed the surface of the collection, but fascinating material that I’ve encountered includes a courtroom doodle by Herbert Chitepo, Southern Rhodesia’s (colonial Zimbabwe) first black lawyer, the first letterhead of Zimbabwe’s current ruling party (ZANU-PF) after it was established in August 1963, and the behind the scenes correspondence concerning Tsopano, a newsmagazine edited by Mackay from 1959 – 1961.
However, for my research purposes, some of the most
fascinating items I’ve found in the Mackay Archive covers an earlier period. Mackay emigrated to Rhodesia in the late
1940s and it was nearly a decade before he emerged as a committed anti-colonial
In the early 1960s, a radical Mackay was jailed by the
Rhodesian authorities for refusing to register for military service. However, a decade earlier, Mackay, as a
junior administrator and journalist, rubbed shoulders with those who soon
became his oppressors. Mackay wrote for the Rhodesian Farmer, the organ of the Rhodesian National Farmers’ Union,
the bedrock of the colony’s white farming community.
He became more overtly ensconced in establishment political circles in 1952 and 1953 when he joined the staff of the United Central Africa Association (UCAA). The UCAA successfully lobbied for the federation of three British colonies – Southern Rhodesia, Northern Rhodesia and Nyasaland. It was led by the Southern Rhodesian Prime Minister, Godfrey Huggins, and its membership included a number of Rhodesian cabinet members and MPs. The Association disbanded after Southern Rhodesia’s overwhelmingly white electorate approved the establishment of the Federation of Rhodesia and Nyasaland at a referendum.
Mackay was so successful in organising branches for the UCAA
on a voluntary basis that he was offered paid employment with the organisation,
which he accepted.
It is the material on the UCAA in the Mackay Archive that I
most treasure from my visits to Stirling.
The UCAA, which temporarily subsumed the better-known Capricorn Africa
Society (which also subsequently employed Mackay), has been rarely discussed in
the academic literature. The few
academic works which do mention the UCAA, lack depth and appear to overwhelmingly
rely on newspaper accounts.
The Mackay papers add a wealth of new dimensions to the limited existing scholarly assessments of the UCAA. It includes membership forms for enrolment in the UCAA and pamphlets issued by them such as Why Federation?, Federation or Isolation?, and If You’re Frightened of Bogies.
Perhaps most valuably, Mackay has collected documents that
provide a behind the scenes take on the activities of the UCAA. This includes a considerable collection of
minutes of meetings of the UCAA’s Organising and Publicity Committee as well as
the Association’s monthly progress reports.
As more scholars make use of the Mackay Archive, these documents will undoubtedly come to play a prominent role in informing our understanding of the Capricorn Africa Society, the activities of leading Rhodesian politicians and the dynamics that underpinned the creation of the Federation of Rhodesia and Nyasaland. More specifically, via the UCAA records, I’ve acquired a better understanding of just how transformative Mackay’s embrace of African nationalism actually was.
Brooks Marmon is a PhD student in the Centre of African Studies at the University of Edinburgh. His doctoral thesis examines the impact of African decolonisation on Southern Rhodesia during the era of the Federation of Rhodesia and Nyasaland (1953-63). Follow him @AfricaInDC.