Recapping Archives Month at FSU

October is a special month for those us in the archives. It’s an entire month to celebrate our collections and, more importantly, our work which is often shrouded in mystery. Even for our co-workers in libraries. So, archivists have embraced American Archives Month, held every October, as a way to share what it is we do.

Visitors to our FSU Faculty & Staff Open House on October 26, 2018
Visitors to our FSU Faculty & Staff Open House on October 26, 2018

For us here in Special Collections & Archives this year, we started October by participating in #AskAnArchivist day on October 3, 2018, by staging a takeover of the FSU Libraries twitter feed, answering questions and participating in discussions that happened all over the Twittersphere. You can check out the hashtag #AskAnArchivist and the FSU Libraries twitter page to catch up on those tweets.

We had some celebration of the month here on the blog. We opened a new exhibit on protest in poetry, highlighted our Artist Book and Napoleon collections, shared a new digital collection available in our digital library, talked about our new records on FSU presidents, and looked for the spooky side of Special Collections for Halloween.

Special Collections & Archives hosted our first Open House for Archives Month this year for our faculty and staff here in FSU Libraries. We hope to grow this event in the coming years so more people on campus and in the community can come and see our collections and talk to us about our work.

Lastly, we also had our annual tradition of visiting Paul Dirac’s gravesite and cleaning the headstone. Dirac, a Nobel Prize-winning physicist, retired to Tallahassee and taught at FSU while he lived here. Upon his death, his papers and collections came here to FSU and is a cornerstone collection to our History of Science materials.

Cleaning Dirac's headstone at Roselawn Cemetery, October 30, 2018
Cleaning Dirac’s headstone at Roselawn Cemetery, October 30, 2018

 

Bohemian Rapsody por Jorge Palazon

Bohemian Rapsody
Jorge Palazon‏ @jorge_palazon

¿ Por qué la canción se titula “Bohemian Rhapsody”? – ¿por qué dura exactamente 5 minutos 55 segundos la canción? – ¿de qué trata realmente? – ¿por qué la película de estrena el 31 de octubre, víspera de Todos los Santos?

Si quieres saberlo, sigue leyendo…

La película se estrena el 31 de octubre pq el single se escuchó por 1a vez el 31 de octubre de 1975. Se titula así pq una “rapsodia” es una pieza musical libre compuesta en diferentes partes y temas donde parece q ninguna parte tiene relación con la otra. La palabra “rapsodia” proviene del griego y significa “partes ensambladas de una canción”. La palabra “bohemian” hace referencia a una región de la República Checa llamada Bohemia, lugar donde nació Fausto, el protagonista de la obra q lleva su nombre escrita x el dramaturgo y novelista Goethe.

En la obra de Goethe, Fausto era un anciano muy inteligente q sabía todo excepto el misterio de la vida. Al no comprenderlo decide envenenarse. Justo en ese instante suenan las campanas de la iglesia y sale a la calle. De vuelta a su habitación, se encuentra q hay un perro.

El animal se transforma en una especie de hombre. Se trata del diablo Mefistófeles. Éste, promete a Fausto vivir una vida plena y no ser desgraciado a cambio de su alma. Fausto accede, rejuvenece y se vuelve arrogante. Conoce a Gretchen y tienen un hijo. Su mujer e hijo fallecen.

Fausto viaja a través del tiempo y espacio y se siente poderoso. Al hacerse nuevamente viejo se siente desgraciado otra vez. Como no rompió el pacto con el diablo, los ángeles se disputan su alma. Esta obra es esencial para comprender Bohemian Rhapsody.

La canción habla del propio Freddie Mercury. Al ser una rapsodia nos encontramos con 7 partes diferentes: 1er y 2o acto A Capella 3er acto Balada 4o acto solo de guitarra 5o acto ópera 6o acto rock 7o acto “coda” o acto final La canción habla de un pobre chico q se cuestiona si

Esta vida es real o es su imaginación distorsionada la q vive otra realidad. Dice q aunq él deje de vivir, el viento seguirá soplando sin su existencia. Así q hace un trato con el diablo y vende su alma. Al tomar esta decisión, corre a contárselo a su madre y la dice…

Mamá, acabo de matar a un hombre, le puse una pistola en la cabeza y ahora está muerto. He tirado mi vida a la basura. Si no estoy de vuelta mañana sigue hacia adelante como si nada importara… Ese hombre q mata es a él mismo, al propio Freddie Mercury.

Si no cumple el pacto con el diablo, morirá inmediatamente. Se despide de sus seres queridos y su madre rompe a llorar, lágrimas y llanto desesperado q proviene de las notas de guitarra de Brian May. Freddie, asustado grita “mamá no quiero morir” y empieza la parte operística

Freddie se encuentra en un plano astral donde se ve a sí mismo: “I see a little silhoutte of a man” (veo la pequeña silueta de un hombre).. “scaramouche, vas a montar una disputa/pelea? Scaramouche es “escaramuza” una disputa entre ejércitos con jinetes a caballo (4 jinetes del

Apocalipsis del mal luchan contra las fuerzas del bien x el alma de Freddie) y sigue diciendo “Thunderbolt and lightning very very frightening me” (truenos y relámpagos me asustan demasiado). Esta frase aparece en la Biblia, exactamente en Job 37 cuando dice…

“the thunder and lightning frighten me: my heart pounds in my chest” (el trueno y el relámpago me asustan: mi corazón late en mi pecho). Su madre al verle tan asustado x la decisión q ha tomado su hijo, suplica lo salven del pacto con Mefistófeles. “Es sólo un pobre chico…

Perdona su vida de esta mostruosidad. Lo q viene fácil, fácil se va ¿le dejarás ir?” sus súplicas son escuchadas y los ángeles descienden para luchar contra las fuerzas del mal.” Bismillah (palabra árabe q significa “En el nombre de Dios”) es la 1a palabra q aparece en el libro sagrado de los musulmanes, el Corán. Así q el mismísimo Dios aparece y grita “no te abandonaremos, dejadle marchar”. Ante tal enfrentamiento entra las fuerzas del bien y del mal, Freddie teme x Ia vida de su madre y la dice “Mama mia, mama mia let me go” (madre, déjame marchar)

Vuelven a gritar desde el cielo q no van a abandonarle y Freddie grita “no, no, no, no, no” y dice “Belcebú (el Sr. de las Tinieblas) es posible q haya puesto un diablo contigo madre”. Freddie rinde aquí homenaje a Wolfgang Amadeus Mozart y Johann Sebastian Bach cuando canta… “Figaro, Magnifico” haciendo referencia a “Las Bodas de Figaro” de Mozart, considerada la mejor ópera de la historia, y al “Magnificat” de Bach. Termina la parte operística e irrumpe la parte más rockera. El diablo, colérico y traicionado x Freddie al no cumplir el pacto, le dice

Crees q puedes insultarme de esta manera? Crees q puedes acudir a mi para después abandonarme? Crees q puedes amarme y dejarme morir? Es estremecedor cómo el señor del mal se siente impotente ante un ser humano, ante el arrepentimiento y el amor. Perdida la batalla, el diablo…se marcha y se llega al último acto o “coda” donde Freddie está libre y esa sensación le reconforta. Suena el gong q cierra la canción. El gong es un instrumento utilizado en China y extremo oriente asiático para sanar a personas q están bajo los efectos de espíritus malignos 5:55 minutos dura. A Freddie le gustaba la astrología y el 555 en numerología está asociado con la muerte, no física, sino espiritual, el final de algo donde los ángeles te salvaguardarán. 555 está relacionado con Dios y lo divino, un final q dará comiendo a una nueva etapa.

Y la canción suena la víspera de los Santos x 1a vez. Una festividad llamada “Samhain” x los celtas para celebrar la transición y apertura al otro mundo. Los celtas creían q el mundo de los vivos y de los muertos estaban casi unidos, y el día de difuntos ambos mundos se unían

permitiendo que los espíritus transitaran al otro lado. Nada en Bohemian Rhapsody es casual. Todo está muy medido, trabajado y tiene un sentido q trasciende más allá de ser una simple canción. Ha sido votada a nivel mundial como la mejor canción de todos los tiempos.

Este tema supuso un cambio radical en Queenh como si realmente hubiera hecho un pacto con el diablo, les cambió la vida para siempre y los hizo inmortales.


por Jorge Palazon

Soprano Geraldine Farrar Pays Tribute to Her Teacher Lilli Lehmann

Lilli Lehmann by Julius Cornelius Schaarwächter in 1903.
(Johann Wolfgang Goethe-University Frankfurt am Main/Wikimedia Commons)

On December 10, 1939 opera and film star Geraldine Farrar took to the WQXR airwaves to celebrate her teacher, Lilli Lehmann. Next to her mother, Farrar says, the great soprano “was to exercise the most important influence in my musical career.” Farrar plays classical DJ and illustrates the singer’s career drawing on rare recordings of Lehmann that have survived as well as a number of her own discs to make her points. I should note, the above audio is a ‘reconstruction’ of that program based on the original Farrar broadcast narration with most of the 78 rpm disc recordings inserted afterward.  

Farrar wrote about the first meeting with her mentor in Geraldine Farrar, The Story of an American Singer published in 1916.

A signed Lilli Lehmann photo to Geraldine Farrar.
(From Farrar’s Autobiography)

“About this time I first met Madame Lilli Lehmann, to whose far-reaching influence I attribute much of the success which has come to me. I felt the need of the careful instruction of a master. Of course, the idol of music-loving Germany was then, as now, Lilli Lehmann. I wrote to her, asking if I could sing for her with the idea of becoming her pupil. There was no answer. Lilli, with her extensive correspondence and active life, was probably too busy to consider such a matter as a new pupil. Then my mother wrote. In reply came a very concise and businesslike communication. Yes, Lilli had received the letter from me, but, owing to my eccentric handwriting, had been unable to decipher it. My mother’s penmanship was clearer, and so Lilli wrote that she would be willing to hear me sing, without promising to accept me as her pupil, however.

“An appointment was made for us to call at half-past nine o’clock in the morning at her home in Grunewald, half an hour’s ride from Berlin, and, though the day was cold and wintry, my mother and I were there promptly on time.

“Beautiful Lilli Lehmann—stately and serene as a queen; with a wonderful personality which seemed naturally to dominate every presence in the room; past the meridian of life yet with an unbroken record of world achievement behind her; greatest living exponent of Mozart, of Brahms, of Liszt, of Wagner—what more can I say of her than that I approached her with the deference and respect which were her due? I was an eager and humble beginner; she of another generation. My desire to secure her as my instructor seemed almost presumptuous; yet, after hearing me sing, Lilli kindly consented to take me, and I am happy and proud to state that I have been her pupil at all times since that first meeting.

“Lilli insisted that I should essay one Wagnerian rôle. Under her direction I studied Elizabeth in “Tannhäuser,” and the night I made my first appearance in this rôle in Berlin was a memorable occasion for both of us. The entire royal family was present, and Lilli sat in a loge with my mother. I should explain that Lilli, who had been a notable member of the Royal Opera for many years prior to her American successes, had had differences with the direction of the Royal Opera during the years of her tremendous popularity in America, and had followed her own sweet will by remaining here several seasons without receiving the necessary permission from the Intendant to do so.”

 

Producción audiovisual y gestión integrada de archivos en teledifusión digital

Analizan la producción audiovisual y gestión integrada de archivos en teledifusión digital
http://udgtv.com/

fotografía: Canal 44

En el marco de la cuarta edición de TVMorfosis en Valencia, se realizó el programa paraanalizar la producción audiovisual y la gestión integrada de archivos en la teledifusión digital.

Durante su participación, el presidente de la Asociación de las Televisiones Educativas y Culturales Iberoamericanas (ATEI), Gabriel Torres Espinoza, señaló que los géneros televisivos más socorridos hoy son lo informativo-noticioso y por otra parte la ficción e instó a los canales públicos a tener y fortalecer programas informativos en la era de la información.

Gabriel Torres dijo que la teledifusión es un concepto amplio que tiene que ver con la transmisión de los contenidos en distintas plataformas y el consumo de los audiovisuales se ha transformado.

Destacó que el internet viene a la alza y la televisión tradicional lineal va ligeramente a la baja, según los estudios de audiencia.

Los que están dispuestos a cancelar un sistema de televisión de paga por un sistema OTT, con una plataforma bajo demanda son principalmente los jóvenes.

Gabriel Torres comentó que anteriormente se medía una parte cuantitativa de la audiencia, con el tradicional People Media Metter, pero ahora se mide en engagement.

César Martí señaló que la gente está creando contenidos y los medios públicos deben canalizar ese material y dijo que la TV del futuro debe ser creada por el usuario y solo se definirá en qué grado.

Por su parte, Fernando Moreira, presidente de la Asociación Brasileña de Televisiones Universitarias, habló sobre la importancia de la Inteligencia Artificial en los procesos de creación y clasificación de contenidos, y dijo que es importante aprovechar la tecnología para dar paso a procesos más creativos.

TVMorfosis se realiza del 29 al 31 de octubre en la Universidad de Valencia, en España.

Por Edgar Olivares González

 

Comité de Archivos del Ayuntamiento de Puebla 2018-2021

Se instaló el Comité de Archivos del Ayuntamiento de Puebla 2018-2021
http://pueblanoticias.com.mx/

Se mejorarán los procesos administrativos y de consulta archivística para buscar la digitalización de documentos históricos que datan desde la colonia



Puebla, Pue.- La titular de la Secretaría del Ayuntamiento de Puebla, Liza Elena Aceves López, instaló el Comité de Archivos del Ayuntamiento de Puebla en donde junto con el director del Archivo General Municipal de Puebla (AGMP), Manuel Alejandro Hernández Maimone, resaltaron la necesidad de mejorar los procesos de administración documental en todas las dependencias, lo que se traducirá en la mejora en la atención de académicos, investigadores, estudiantes y todo aquel consultante de material histórico; además de responder con mayor prontitud las solicitudes de transparencia y acceso a la información pública.


En el Salón de Protocolos del Palacio Municipal, Aceves López, en su calidad de presidenta honoraria, resaltó que la administración de la presidenta municipal Claudia Rivera Vivanco, concursará por recursos extraordinarios para digitalizar el AGMP, y así, su acervo pueda ser revisado en todo el mundo.


Añadió que se dignificará la labor del archivista, ya que se trata de personal sumamente capacitado con salarios no adecuados a la responsabilidad que conlleva la selección y manejo de documentos históricos.


“Tenemos que asumir que el archivo no solo es para los historiadores, es un insumo básico para la investigación y la conformación de una opinión pública sólida. Tenemos que ser promotores activos del acceso a la información, no queremos más libros producidos al amparo de documentos que fueron liberados después de 50 o 100 años. Queremos que el  análisis de lo que hace el gobierno se pueda hacer hoy o el día de mañana”, dijo.


Por su parte, Hernández Maimone explicó la importancia de acatar lo establecido por la Ley de Archivos del Estado de Puebla, la Ley de Transparencia y Acceso a la Información Pública del Estado de Puebla y el reglamento del AGMP.


Añadió que el acervo histórico, que abarca desde 1532 un año después de la fundación de la ciudad hasta la actualidad, es uno de los repositorios documentales más importante del país declarado por la UNESCO “Memoria del Mundo” por contar con una serie documental completa desde su origen y que adiciona un acervo colonial no solo de Puebla, sino de Tlaxcala, Oaxaca y Veracruz.


En este encuentro se estableció que el Comité de Archivos sesionará de manera bimestral, y participaron Oscar Alberto Irala Álvarez, Secretario Técnico del Comité de Archivos; la regidora María Teresa Ornelas Guerrero y María Teresa Petlacalco Moreno, ambas en su calidad de vocales del Comité de Archivos y Gabriel Montiel Morales, Comisario de la Contraloría.

La información reservada: ejemplo de como protegerla

Lecciones para proteger la información reservada
https://colombia2020.elespectador.com/

Bernd Florath, asesor de documentación de la antigua República Democrática Alemana. / 
Cristian Garavito


Cuando cayó el muro de Berlín, hace 29 años, grupos de ciudadanos custodiaron el edificio que contenía los archivos de inteligencia que recogió el Estado de Alemania del Este. Tenían la certeza de que en las montañas de expedientes, que suman cerca de 111 kilómetros de estanterías, se podrían encontrar los seguimientos que hacían los funcionarios de la Oficina del Servicio de Inteligencia del Estado a sus propios ciudadanos. Pasar la página de la guerra fría con la Alemania de los países aliados implicó revisar los documentos de la Stasi (Ministerio para la Seguridad del Estado).“Muchos querían que dejáramos callados los documentos porque lo que se conociera ahí iba a generar muertes. Por ejemplo, una de las grandes líderes de la oposición se dio cuenta de que su esposo era un espía”, sostuvo Bernd Florath, asesor de documentación de la Antigua República Democrática Alemana, durante su paso por Colombia. En diálogo con este medio, asegura que la participación ciudadana impidió la destrucción de los archivos que incluyen millones de fotografías, microfilms y diapositivas, miles de películas y videos, así como miles de grabaciones de audio.

¿De qué manera los ciudadanos protegieron los archivos?

En el otoño de 1989, en Alemania del Este, una mayoría silenciosa comenzó a seguir las proclamaciones de los pocos opositores políticos, quienes sabían exactamente que la prueba de los métodos para controlar y vigilar podría encontrarse en los archivos de la policía política comunista. Esa suposición era correcta. El Ministerio de Seguridad del Estado fue una combinación omnipotente de inteligencia, política, procesamiento y prisión especial. Sus actividades fueron completamente secretas y en ningún momento dio informes a las instituciones legislativas, ni siquiera confidenciales. En consecuencia, funcionó más allá de cualquier control legal. Pero la mayoría de sus actividades han sido archivadas internamente. Para cubrir su práctica, la seguridad ordenó en noviembre de 1989 destruir todos los registros en un principio sobre métodos ilegales incluso en condiciones autoritarias.

¿Cómo evitaron la destrucción?

Los ciudadanos comenzaron a ocupar la sede local de la policía política y finalmente se implementó la demanda del pueblo para disolver la Seguridad del Estado. Sus oficiales fueron despedidos en 1990.

¿Qué buscaban con esa intervención?

Al terminar las actividades de la Stasi por la Revolución de 1989/90, el primer objetivo de la gente era ciertamente detener esa actividad. Pero el segundo objetivo era recuperar la verdad sobre la actividad oculta de la policía secreta, la verdad sobre cómo estaba interfiriendo en la vida de todos, en sus círculos de amigos o incluso dentro de la propia familia. En resumen, la gente quería saber qué parte de su biografía fue hecha por ellos mismos y qué parte fue manipulada por la policía secreta.

Usted se ha referido al caso del poeta opositor Jürgen Fuchs como un caso emblemático. ¿Por qué?

Cuando Jürgen Fuchs se enfrentó a los registros que la policía secreta había archivado sobre él se sintió abrumado. La cantidad de 92 volúmenes con informes sobre cada detalle de su vida, la perfidia de los intentos que la política secreta hizo para destruir su personalidad. Los registros muestran incluso los momentos más íntimos de su vida. Desde que comenzó a criticar al régimen en público, a escribir lo que llamó “Klartext” (texto sin formato), lo trataron como un enemigo público, sus poemas se convirtieron en una cuestión de censura y, finalmente, fue expulsado de la universidad en 1975. El más famoso disidente de Alemania del Este, Robert Havemann, le dio refugio familiar en ese momento. Pero él estuvo a salvo en ese frágil refugio solo por 18 meses. En noviembre de 1976, la policía secreta lo sacó del automóvil de Robert Havemann y lo arrestó sin cargos ni abogado más de nueve meses. Amenazado por una sentencia de larga data, se vio obligado a abandonar el país.

Lea también: “Es casi imposible que se hayan perdido archivos del DAS”: director del Archivo General de la Nación

¿Qué pretendían con los seguimientos?

No era solo vigilancia. La Seguridad del Estado de Alemania Oriental trató de asesinarlo a él y a su hija menor de edad en Berlín occidental. Cuando comenzó a leer todos estos registros en 1991, se encontró en un “paisaje de mentiras”, poblado de agentes y snitches que se infiltraron en toda su vida. Especialmente para él, un maestro de palabras sencillas, la lectura de los archivos ha sido una pesadilla.

¿Por otro lado, cuentan con información que intentó ser destruida?

Sí, existen alrededor de 15.500 bolsas de papel, cajas, cartones y cajas que contienen documentos destrozados y triturados, que paso a paso están sujetos a reconstrucción y registro de archivos.

¿A qué problemas se enfrentaron para acceder a esa información?

Encontrar el equilibrio entre el acceso y la protección de datos privados siempre es un dilema. La mayoría de la información en los archivos es recopilada por la policía política a través de la violación de los derechos humanos, la destrucción de la privacidad y la negación ilimitada de los derechos personales, tanto de los ciudadanos de Alemania Oriental como de los extranjeros. Para ello, la promesa de dar a todos “su” archivo requiere un enorme esfuerzo en la preparación del acceso. Los oficiales de la autoridad tienen que revisar los archivos solicitados si hay información sobre terceros y para proteger esta información del acceso no autorizado. El marco legal para usar los archivos en nuestro archivo fue dado por el Parlamento Federal en 1991. Esto intentó equilibrar el acceso al archivo, por un lado, y la protección de la información personal sobre las víctimas, por el otro.

¿Cómo ha contribuido esa información a la reconciliación de Alemania?

La mayoría de las decisiones políticas del régimen comunista se han tomado en secreto. Para comprender las responsabilidades, los motivos y las consecuencias de esa política, la información oculta en los archivos de la policía secreta, así como la información en los archivos del partido y el gobierno, ha sido esencial para descubrir los mecanismos del poder comunista. Por otro lado, el acceso de cada ciudadano a la información secreta que la policía política recolectó sobre él o ella destruyó de la manera más significativa la presión que ejecutó en la vida de los ciudadanos. Cada vez que una exvíctima revisa los archivos de la policía política es un momento de victoria y rehabilitación.


Autor: Juan David Moreno Barreto / @judamoba



Conferencia “Archivos: Herencia de pasado, gestión de presente, compromiso de futuro"

El archivero de Girona disertó sobre la importancia de los archivos en Vicente López
http://www.infoban.com.ar/

El Cine York fue escenario para la conferencia organizada entre el municipio de Vicente López y la Comisión Documental de la Ciudad denominada “Archivos: Herencia de pasado, gestión de presente, compromiso de futuro”. La misma contó con la participación de los especialistas Emilio Raset, Leonardo Perina y Andrés Pak Linares. El cierre estuvo a cargo del reconocido “archivero de Girona” Joan Boadas.

El Presidente de la Comisión Pro-Museo Histórico y Archivo Documental de Vicente López, Carlos Constenla, señaló a este medio que “en nuestra procura de querer un museo histórico y documental trajimos al mejor archivero del mundo. El archivo de Girona es una maravilla y es fundamental conocer esa experiencia”.

“Boadas nos enseñó mucho para lograr nuestro objetivo de diseñar uno de los mejores archivos del mundo. Vamos a seguir tratando de procurar otras fuentes que nos permitan mejorar día a día” concluyó Constenla.

Boadas manifestó que “En Girona intentamos ser rigurosos con nuestros planteamientos. Una colectividad que no tenga sus documentos en un estado de organización aceptable no merece ser llamada civilización. Nuestro pasado nos define, los documentos son la materia y la memoria de las sociedades”.

Consultado por los nuevos soportes de registros respondió: “A nivel conceptual las cosas no cambian. El archivo es un documento que es producido a través de un soporte, el problema es saber como conservarlo. Nuestro trabajo es ser actores y no receptores cuando los documentos se crean. Tenemos que conocer cuales son los que merecen ser conservados y cuales no”.

Por último se refirió al proyecto del Museo de la ciudad: “El proyecto es imprescindible. Este es un municipio que necesita elementos que cohesionen a su comunidad. Es una población bien asentada y puede ser individualista por lo que es necesario recuperar el origen para dar ese sentido de pertenencia a quien reside”.

(InfoBAN) Publicada el 30/10/2018 | 08:55

Digitaliza sus documentos el El Archivo General del Palacio Nacional

Archivo General del Palacio Nacional digitaliza documentos
http://eldia.com.do/

Cristian Encarnación y personal del archivo en supervisión.
Cristian Encarnación y personal del archivo en supervisión.

SANTO DOMINGO.-El Archivo General del Palacio Nacional ha digitalizado este año 417,368 documentos, con lo que suma 5,704,524, ofreciendo así más facilidad a quienes requieren textos que recojan la historia de los gobiernos dominicanos desde 1930 hasta nuestros días.

El mismo está actualizado acorde a la Ley 481-08, de Archivos de la República Dominicana, y a los estándares internacionales, tanto en la parte física como digital.

Al finalizar este año, el Archivo General del Palacio Nacional, que cuenta con casi 13 millones de documentos, puede sobrepasar las 500 mil imágenes digitalizadas.

Cristian Encarnación, titular del archivo ubicado en la Casa de Gobierno, dijo que las 417,368 imágenes digitalizadas corresponden a los años 1995, 1996, 1997, 2003 y 2008.

“¿Porqué ese salto de los años siguientes?, porque esos documentos hubo que rescatarlos del fondo acumulado y todavía les damos el tratamiento y técnica archivística”, manifestó.

Investigaciones relevantes en el área de control de biodeterioro en material patrimonial

La lucha contra el biodeterioro
http://www.lavoz.com.ar/

La incorrecta manipulación de documentos es agente de deterioro / Foto de Agencia Córdoba Cultura

Yerko Andrés Quitral es biólogo y especialista en conservación de objetos de arte y patrimoniales. Para él, la conservación es la búsqueda de métodos para poder mantener la vida del objeto lo más perdurable posible.

“Ha desarrollado investigaciones relevantes en el área de control de biodeterioro en material patrimonial de origen orgánico, asociado a preservación y control ambientales de salas que contienen colecciones declaradas monumentos históricos y sitios arqueológicos”, dice en el inventario de su trayecto profesional, tan extenso que sería largo tedioso enumerar en esta ocasión.


Dentro de sus principales funciones, se destacan el “control de procesos infecciosos en material orgánico, papel, textil, restos arqueológicos, desarrollando técnicas particulares para la mantención de la estabilidad material en el tiempo en relación a estudios de conservación y preservación”, agrega su curriculum vitae.

El científico, nacido en Chile en 1979, es docente, investigador y autor de numerosas publicaciones. Su trayecto profesional también revela una vasta experiencia en el campo de la conservación, una disciplina relativamente nueva y que gana terreno en museos, archivos, bibliotecas y otros repositorios.

Yerko Andrés Quitral brinda en Córdoba unas jornadas de capacitación en Biodeterioro en Archivos y Bibliotecas. Estas jornadas tienen lugar en el Archivo Histórico de la Provincia de Córdoba y se llevan a cabo con el apoyo del Consejo Internacional de Archivos (ICA), en el marco del programa del Fondo Internacional de Desarrollo de Archivos (FIDA).

De interés general

El próximo viernes, Yerko Quitral disertará sobre Estado de preservación y conservación de depósitos en museos, archivos y bibliotecas, en base a una investigación que realizó en distintos países de América Latina. La disertación está dirigida a estudiantes, profesionales y público en general, y se realiza en el auditorio del Centro Cultural Córdoba, en avenida Poeta Lugones 401, con entrada libre y gratuita.

Biólogo de profesión, cierta vez visitó el depósito de un museo para acompañar a un amigo. Luego de observar las condiciones de conservación de los bienes allí depositados, nació su inquietud y dedicación por la perdurabilidad de los objetos patrimoniales en el tiempo.

Todos los objetos que integran la identidad cultural de un pueblo y que fueron fabricados con materia orgánica -el papel de un documento de archivo, el textil de una prenda de vestir-, están sometidos al implacable peso del deterioro. “Ese proceso de degradación biológica se llama biodeterioro y está asociado generalmente con objetos que son patrimoniales”, señala el científico.

“Hay muchos estudios en relación a los parámetros que actúan en el biodeterioro -continúa-, las variaciones en la humedad ambiente, la manipulación de las piezas y la falta de limpieza en los depósitos actúan como principales factores”. “Lo que ha sido degradado es imposible echarlo atrás, por lo que la única opción que le queda a los restauradores es detener la reacción química a través de métodos que tampoco resulten invasivos para la salud del restaurador”, advierte el especialista.

Una de esas alternativas es la anoxia y su propósito es erradicar la microvida en el objeto de significación cultural que se intenta preservar. “Se trata de una técnica desarrollada en Europa y Estados Unidos, que consiste en eliminar el oxigeno existente en una atmósfera controlada, que es de un 20 por ciento del total, y sustituirlo por nitrógeno gaseoso o argón, que elimina cualquier microorganismo que necesita del oxígeno para vivir”, explica Yerko Andrés Quitral.

La anoxia es una técnica costosa, que tiene otros usos como la eliminación de plagas en depósitos de semillas.


Archivos que fueron intervenidos en la Operación Tándem

Villarejo considera que las “sesgadas filtraciones” causan un “irreparable daño al interés nacional”
https://www.antena3.com/

José Villarejo considera que las grabaciones que se han publicado tienen la “clara intencionalidad de atacar a contrincantes políticos” y alerta del daño “irreparable al interés nacional” que están provocando.


El excomisario José Manuel Villarejo en una imagen de archivo. | EFE

El excomisario José Villarejo cree que las “sesgadas filtraciones” de sus grabaciones sobre “actividades privadas irrelevantes desde el punto de vista penal”, tienen la “clara intencionalidad de atacar a contrincantes políticos” y alerta del daño “irreparable al interés nacional” que están provocando.

El abogado de Villarejo, Antonio José García Cabrera, expone estas sospechas del excomisario en un comunicado en el que lamenta además que esas filtraciones -las últimas han afectado a la diputada del PP María Dolores de Cospedal– estén coincidiendo “con hitos decisivos” en la evaluación de la concesión de la libertad provisional a Villarejo, en prisión desde hace casi un año.

El letrado culpa de las filtraciones a los “responsables” de custodiar los archivos que le fueron intervenidos en la operación Tándem y señala que puede “conocerse perfectamente” quiénes han accedido a su contenido y quiénes, “previa edición, manipulación y acomodación a sus espurios intereses particulares, los han filtrado”. Por ello, explica el comunicado, la defensa de Villarejo solicitó al juez que lo intervenido fuera enviado “exclusivamente al CNI y que este organismo en exclusiva protegiera la información sensible para la seguridad del Estado y el interés nacional o la ajena a la causa que se investiga”.

Advierte de que con la “oleada de filtraciones” se pueda dejar al descubierto la seguridad de informadores, procedimientos o infraestructuras “que deberían mantenerse en secreto a riesgo de causar un daño irreparable al interés nacional”, advierte el letrado.

Y asegura que, con similares métodos a los conocidos, Villarejo consiguió “ganarse la confianza de terroristas de ETA, o de yihadistas, o de importantes narcotraficantes y traficantes de armas que fueron detenidos gracias a diversos métodos de infiltración”, precisa el abogado.

El portal Moncloa.com ha publicado esta semana diversos audios sobre conversaciones del marido de María Dolores de Cospedal, Ignacio López del Hierro, y el excomisario, así como grabaciones de la reunión que mantuvieron los tres en el despacho de la ex secretaria general del PP en julio de 2009, en la que trataron del caso Gürtel.

Working with the Napoleon Collection

A guest post by Brianna McLean, who currently works in Special Collections and the Heritage Museum.  She is a history graduate student working on her M.A. in Early Modern European History.

This semester, I have been working with our Rare Books Librarian, Rachel Duke, and learning about the Napoleon Collection here in Special Collections.  As a history graduate student studying Early Modern France, this collection has been extra rewarding to examine.  There are so many exciting pieces, such as Napoleon’s death mask, Eighteenth-century manuscripts, documents about France’s colonies and women during the time, newspapers, pamphlets, secondary scholarship on France, and more.  The best part is that all of these items are just waiting inside Strozier Library to be examined and studied.

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Napoleon’s Death Mask

The Napoleon Collection is particularly strong when it comes to Napoleon’s military campaigns and works by and about prominent French Revolutionary and military figures.  The collection includes works by Napoleon, Marie Antoinette, Robespierre, Marat, and more.  For me, the best part of this collection are the memoirs.  Memoirs are one of my favorite parts of history because you can learn so much about a person by what they wanted to portray to the public about themselves.  Some of the memoirs are even digitized in E-book form, available on databases like Hathi Trust if researchers want online access as well. But FSU has our own digital repository, Diginole, and some Napoleonic manuscripts are accessible there, such as this 1772 regiment list of revenues and expenses.

In 2018, Special Collections received an incredible donation to the Napoleon Collection: the Michael La Vean Collection.  This over-4000-book collection is the perfect addition to the Napoleon Collection because it adds new dimensions, such as an increase in women’s narratives.  Researchers may be interested in this collection because of its emphasis on gender studies, history of sex, European naval history, military uniforms, and the history of European royalty.  Currently, Special Collections is preparing to catalog the La Vean Collection to make it accessible to researchers.

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Walking through the La Vean Collection. 

When collections are donated, they are usually kept in the same order as the donor, or creator, gave them, until they can be ordered by call number.  As a library and museum assistant, I feel fortunate to be able to view the collection in its original order.  La Vean organized his collection topically into different subjects such as “Medieval,” “Vendee & French Civil War,” “Women General,” “Napoleon Family,” and “Naval,” among others.  This semester, I am learning about this collection and figuring out the most important items and what should be cataloged first.  Researchers are encouraged to visit Special Collections with any inquiries about the collection while it is being processed.

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More La Vean spines. 

This is just a small glimpse into our French Revolution Collections. If you are interested in seeing what the Napoleon Collection has to offer, please stop by Special Collections and visit the library catalog, setting “Strozier, Napoleon Collection” as your location.

 

 

 

Recollections From a Smoke-Filled Room: The Day Party Boss Meade Esposito Stepped Down

When Kings County Democratic Leader Meade Esposito stepped down from his post in January 1984, he held a farewell news conference with the local press corps, of which the above audio is an excerpt. It was a rare and somewhat upbeat gathering for reporters who had been covering the party boss for the last 16 years. As Village Voice columnist Wayne Barrett once wrote, “selecting a county leader happens once every decade or so. Incumbents have the power to hang on until they go to jail or die. And while in power, they influence the selection of every local and citywide office holder, especially judges.”

In August 1980 WNYC’s Tom Manning interviewed Esposito about his control of county delegates at the Democratic National Convention. The Brooklyn power broker, a title he scoffed at, also talked about his political instincts, Mayor Ed Koch’s anatomy and even his saving of marriages and building of a synagogue.

During his tenure, the gruff Esposito was known and feared for his streetwise approach to politics, heavy-handed tactics, and connection to organized crime figures. He was an ‘old school’ king-maker: a political fixer whose machine was fueled by loyalty, patronage and a quid pro quo system that resulted in a bevy of municipal corruption scandals and inquiries. It is likely that a 1983 investigation into his activities contributed to the announcement of his ‘retirement’ and this press conference, despite his arguments to the contrary. Four years later, Esposito was convicted in the Brooklyn Federal District Court of giving Congressman Mario Biaggi of the Bronx an unlawful gratuity of a luxury spa vacation in Florida.

New Film Examines the Public Life of Daniel Patrick Moynihan, Original PIDB Backer

A new film examines the intellectual, diplomatic, and political career of Daniel Patrick Moynihan (1927-2003), the United States Senator from New York, who in 1999 introduced the first bill to create the Public Interest Declassification Board (PIDB).  Enacted in December 2000, the PIDB legislation authorized one of 16 recommendations to improve access to government information presented in the final report of the Moynihan Commission on Protecting and Reducing Government Secrecy (March 1997).

In the arc of his life-long commitment to evidence-based policy, the film samples Senator Moynihan’s skepticism toward excessive government secrecy, underscoring his concern that policymakers too often ignore even the open facts that are critical for informed decision making in a democracy.  For example, during his first term in the Senate (1977-1982), Moynihan cited the already abundant evidence of economic inefficiency in Russian food production to debunk politicians who exaggerated the stability of the Soviet Union.

While scoffing at credulous politicians, Moynihan never shied from confronting undemocratic governments on moral grounds.  In the film, former Secretary of State Henry Kissinger recalls that as President Ford’s Ambassador to the United Nations, Moynihan defied more conventional diplomats by dramatically speaking before the UN General Assembly to denounce a notoriously anti-semitic resolution sponsored by the Ugandan dictator Idi Amen.  Kissinger’s State Department officials would have preferred a more quiet diplomacy.

Going back to Moynihan’s rise from a broken home in Manhattan’s Hell’s Kitchen, the film makes a persuasive case that the problem of poverty remained central to the policy initiatives that drove his career.  Moynihan arrived in Washington as an appointee to President John Kennedy’s Department of Labor under Secretary Arthur Goldberg. Serving as Assistant Secretary of Labor during President Lyndon Johnson’s “War on Poverty,” he focused on the links between poverty and racial inequality.

After teaching at Harvard, Moynihan made the rare transition from Johnson’s administration and academia to serve as President Richard Nixon’s Assistant for Domestic Policy, and Counselor to the President.  Although Congress failed to pass it, Moynihan drafted legislation that President Nixon supported to provide a guaranteed income to all Americans.  In 1970 he again left government for Harvard.

Moynihan’s diplomatic career began when he returned to public service as Nixon’s Ambassador to India in 1973, and continued with his appointment as Ambassador to the United Nations by President Ford in 1975.  First elected in 1977 to the United States Senate, he served four terms before retiring in 2001.

The film shows that Moynihan’s deep concerns about excessive government secrecy remained consistent with his long advocacy for evidence-based policy that would improve social conditions for the benefit of citizens under democratically elected governments.  The PIDB continues as part of his larger legacy, to implement the idea that by promoting transparency in government, democratic processes must also curtail the excesses of government.

Event: Moynihan (2018), directed by Joseph Dorman and Toby Perl Freilich, written by Joseph Dorman, and showing locally through November 1.  For showtimes, consult: AFI Silver Theatre and Culture Center, 8633 Colesville Road, Silver Spring, Maryland 20910.

 

 

Hugh Pickett fonds now available!

Thanks to the generous attendees of the Hugh Pickett Gala in 2017 and the Friends of the Vancouver City Archives, we are pleased to announce that the descriptions for the Hugh Pickett fonds are now available and searchable online.

Hugh Pickett was born and raised in Vancouver. His first job was as an usher at the Colonial Theatre in 1928 – he always had a love for show business. He later worked for Dingwall Cotts Steamship Co. and served in the Canadian Army as the secretary to Brigadier Langdon out of an office in the old Vancouver Hotel.

Portrait of Hugh Pickett in 1943 (from scrapbook). Reference code: AM1674-S8-F09

In 1950 Pickett, along with Holly Maxwell, took over Hilker Attractions and re-named it Famous Artists Ltd. Pickett was Company Manager from 1947 until 1964. Famous Artists Ltd. was “an artistic management enterprise dedicated to sponsoring appearances by artists and by ballet and theatre companies in Vancouver and Victoria.” Known as Vancouver’s impresario it is no surprise that Pickett’s records are peppered with names and photographs of local, national and international celebrities and artists.

George London, Holly Maxwell and Hugh Pickett in 1954. Reference code: AM1674-S9-F06- : 2014-089.0930

Famous Artists Ltd. was responsible for bringing big names to Vancouver such as Pink Floyd, Maria Callas, Vincent Price, Artur Rubinstein, John Prine, Lily Tomlin, Paul Anka, Leontyne Price, Mitzi Gaynor, Neil Young, The Supremes and hundreds more. Pickett played a key role in securing Vancouver’s spot on many international tours.

Ron McDougall, Leontyne Price and Hugh Pickett in 1975. Reference code: AM1674-S9-F01- : 2014-089.0690

During this time Pickett became heavily involved with Theatre Under the Stars and was the manager from 1952 until 1954. He also acted as the manager for Marlene Dietrich for 12 years in the 1960’s and 70’s.

Page from Pickett’s scrapbook from 1943 featuring Marlene Dietrich before he was her manager. Reference code: AM1674-S8-F07

The Hugh Pickett fonds documents Pickett’s professional career and personal life; his role as manager and co- owner of Famous Artists Ltd., his youth and travels in the 1940’s and his involvement with Theatre Under the Stars. The records include publicity materials, news clippings, scrapbooks and photographs that demonstrate his passion for the entertainment industry and his interest in and relationships with celebrities and artists. The fonds consists of a wide variety of records, such as correspondence, invoices, and financial reports; production records such as travel arrangements, artist requests and fees, stage layout designs and cast photographs; as well as promotional records, such as press releases, programs and press clippings.

Hugh Pickett seated at the Malkin Bowl for Theatre Under the Stars in 1956. Reference code: AM1674-S9-F06- : 2014-089.1003

The fonds has been arranged into nine series:

There were a few interesting and unexpected records in the Hugh Pickett fonds. One example is a number of tear sheets from British theatre companies starting in the year 1802, some of the oldest records at the City of Vancouver Archives.

British theatre tear sheet from 1802. Reference code: AM1674-S8-F16

Gaiety Theatre tear sheet from 1892. Reference code: AM1674-S8-F16

Another is his collection of scrapbooks documenting his youth, his work with the Spitfire Fund, his close friends and family, vacations and trips (local and international) and his time serving in the army. The scrapbooks contain some well composed photographs, ticket stubs, correspondence, writing, decorations and greeting cards.

Below are a few highlights from Pickett’s scrapbooks.

Scrapbook page documenting a trip to Savary Island. Reference code: AM1674-S8-F10

Drawing from Pickett’s scrapbook, possibly by Hugh Pickett. Reference code: AM1674-S8-F11

Page from Pickett’s scrapbook containing a Department of National Defence letter from 1943 certifying travel permission for Pickett, as well as a Tijuana, Mexico brochure. Reference code: AM1674-S8-F11

Scrapbook page featuring Elsa Maxwell of the Spitfire Fund. Reference code: AM1674-S8-F04

Scrapbook page with Spitfire Fund pins. Reference code: AM1674-S8-F04

Not only does the Hugh Pickett fonds offer a unique glimpse into the life of Impresario Hugh Pickett and the operations of Famous Artists Ltd., but also the artistic, political, theatrical and cultural landscape of Vancouver through the 1930’s until the early 2000’s. We invite you to come to the archives and have a look at these records. Our reading room staff would be happy to help you with your search. It is our goal to have a portion of the photographic content digitized and available online in the coming year.

We are very grateful to the Friends of the Vancouver City Archives, Bill Allman of Famous Artists and Gordon Boyd for their generous support in expediting the processing of these wonderful records. Our thanks go as well to Ron McDougall for his time and work assisting us with identifying individuals in over 300 photographs.

2018 Open Access Week Seeks “Equitable Foundations for Open Knowledge”

This week (October 22-28) marks the 10th annual Open Access Week, organized by the Scholarly Publishing and Academic Resources Coalition (SPARC) to promote collaboration between global research communities toward achieving Open Access (OA): free online access to scholarly publishing, and the international right to use and distribute scholarly research.

In May, the 2018 Open Access Week Advisory Committee announced this year’s theme as “Designing Equitable Foundations for Open Knowledge,” to encourage discussions about making information access less exclusionary, and how even open systems can “recreate or reinforce” inequalities.

The goals of OA broadly align with concrete objectives long advocated by PIDB, including:

  • The adoption of universal metadata requirements and standards for managing declassification, to help improve access to declassified historic records [PIDB White Paper, “The Importance of Technology in Classification and Declassification” (June 2016)].
  • Bringing greater uniformity, consistency, and efficiency to the declassification process, and such activities as the use of technology and interface with the public [Issue No. 5, PIDB Report to the President, Improving Declassification (December 2007)].
  • The adoption of a government-wide technology investment strategy for the management of classified information, to improve archival processing, description, and research outcomes [PIDB White Paper, “The Importance of Technology in Classification and Declassification” (June 2016)].
  • Prioritizing the declassification review of historically significant information (Issue No. 2, [PIDB Report to the President, Improving Declassification (December 2007)]
  • Expanding the uses and roles of historians and historical advisory boards [Issue No. 12, PIDB Report to the President, Improving Declassification (December 2007)]. For example, government historians research and publish important historical retrospectives that aid current and future researchers, scholars, and historians. The Department of State series Foreign Relations of the United States (FRUS) and the Office of the Secretary of Defense historical series should be continued and enhanced.

Access to government information is essential in a democracy; it supports transparency, and allows for informed decision-making by citizens.  Access to government information should be free and open, with equal access for all.

Together with the Open Access community, let’s all observe Open Access Week, as we continue working for innovation and modernization to expand appropriate information access and accountable government transparency into the future.

 

Ghostly Tales and Spooky Poems

One fine morning last week Tallahassee finally experienced its first yearly sign of fall (a slightly chilled breeze). You know what that means – it’s time to start chugging pumpkin spice flavored everything and devouring gratuitous amounts of candy corn! Those jack o’lanterns aren’t going to carve themselves folks, and Halloween is just around the corner. Meanwhile, we at Special Collections & Archives would like to celebrate by highlighting some of our more spooky stories and poems.


  • Fall of the House of Usher – Based on the classic Edgar Allan Poe short story of the same name, this beautiful graphic novel features the work of P. Craig Russell, an award-winning illustrator and the first openly gay, mainstream comic book artist. Comic-book fans should also check out our Will Eisner collection of comic books and graphic novels. Those who enjoy Poe (or music) may also be interested in the opera version of this story, available via Special Collections and in the Allen Music Library


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  • Witch Poems – No Halloween celebration would be complete without witches. This book highlights eighteen poems about witches, penned by various authors and accompanied by chillingly impressive illustrations from decorated artist Trina Hyman. Poetry lovers might also enjoy another book from our collection, featured as this article’s cover image, called Nightmares: Poems to Trouble Your Sleep. Speaking of witches, don’t forget to check out our works on Scottish History and Witchcraft.


If these ghostly tales and spooky poems don’t scare you enough, then come on down to the Special Collections for a tour and we’ll show you our creepy clown statues. Just a fair warning – they tend to move around when no one’s looking.

 

Arthur Rubinstein in Conversation with WQXR’s Abram Chasins

To celebrate the 150th anniversary of Chopin’s birth in 1810, WQXR Music Director Abram Chasins hosted a special broadcast with piano great Arthur Rubinstein on February 2, 1960. In this broadcast, the maestro speaks about his return to Poland the previous year after an absence of 21 years, which prompts Chasins to run some tape of New York Times foreign correspondent Abe Rosenthal recounting Rubinstein’s 1959 reception in Warsaw.

Rubinstein returns to the mic with more thoughts on Chopin, claiming that ‘we would be 90 percent poorer’ without the composer, whose work, he says, ‘elicits magic from the piano.’ Rubinstein believes the public listens more naturally to Chopin, and he himself feels more in harmony with Chopin than with any other musician, calling the composer the driving force of Polish resistance over the years.

WQXR Music Director Abram Chasins.
(WQXR Archive Collections)

Chasins then cues up examples of Rubinstein’s interpretation of Chopin through the following commercially released pieces: The Ballade in G minor; some Mazurkas; the Barcarolle; some Preludes; and the Polonaise in F Sharp Minor.

Special thanks to Seth B. Winner Studios for the digitization and access to this broadcast!

 

 

 

 

 

 

Records Transfer from the State Archives of Florida: FSU Presidential Files

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Files transferred from the State Archives.

This post is part of our series celebrating American Archives Month. Special Collections & Archives also did a Twitter Takeover of the @fsulibraries feed for #AskAnArchivist day so be sure to check out those conversations. 

The State Archives of Florida serves as the Record Center for Florida State University, meaning they hold our non-current records according to state law, and then either destroy them or retain them if they have historic value. Before Heritage & University Archives got its start, many records made their way there that would normally have been kept on campus. Last December, the State Archives transferred 330 linear feet of records back into FSU’s custody. Included in these collections are files from various University Presidential administrations, such as Edward Conradi, Stanley Marshall, and Bernard Sliger. These records contain correspondence from various administrators and community members to the Office of the President, files on campus committees, and material from meeting with statewide groups.

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Florida State University Office of the President: Talbot “Sandy” D’Alemberte Subject Files, Box 5

Other collections we received include the files of the Office of the Executive Vice President’s Administration Files from 1973-1976, Bob E. Leach’s Speech Files, and files on several of FSU’s Doctoral Programs. These collections have been especially helpful for understanding how the university functioned at any given time, how many of our campus organizations were formed, and the progress of many campus initiatives. For example, in the Office of the President: Stanley Marshall Administrative Files, we found the university’s plan to implement Affirmative Action. Throughout the subsequent Presidents’ files, we see updates on the status of Affirmative Action on campus.

Affirmative Action
Documents found in the Florida State University Office of the President: Stanley Marshall Administration Files, Box 3

These collections are not processed but are available to the public to view. If you are interested in viewing these collections, please contact Sandra Varry the Heritage & University Archivist to arrange a visit.

PIDB Member Alissa Starzak, Tech Reps Find Digital Solutions for Election Security

On October 16, 2018, PIDB Member Alissa Starzak joined a discussion on government and tech industry efforts to achieve election security, with panelists Matthew Rhoades, of the Aspen Institute’s Cybersecurity and Technology Program, Ethan Chumley of Microsoft’s Defending Democracy Program, and Jay Kaplan, the CEO and Co-Founder of the cybersecurity firm Synack.  Ms. Starzak spoke on the panel as the Head of Public Policy for Cloudflare, a web performance and security company.

Introducing the topic, Department of Homeland Security (DHS) official Christopher Krebs applauded how Information Sharing and Analysis Centers (ISACs) facilitate the growth in information sharing and cooperation between DHS and state election commissions.  As non-profit, member-driven organizations of critical infrastructure owners and operators with a focus on election security, ISACs in 50 states and 13 counties currently provide incident reporting from state and local partners to DHS that simply did not exist before the 2016 election.

In addition to the sector-specific ISACs, individual tech firms now offer pro bono services and innovative tools that mitigate cyber threats to state and local election officials.  For example, Mr. Kaplan explained how Synack provides vulnerability identification to state and local officials by crowdsourcing a network of hackers “to get the bad guys.”  Ms. Starzak added that in the Alabama special election of 2017, Cloudflare had provided free services to secure Alabama’s election website, and now offers the same support to all state and local election websites for the November 2018 elections and beyond.

Cooperation on election security between DHS and the state and local governments through sector-specific ISACs, augmented by the application of digital solutions through collaboration with innovative tech companies, illustrates the potential of information sharing and IT modernization long advocated by the PIDB (see PIDB White Paper: The Importance of Technology in Classification and Declassification). The modernization of classification and declassification processes and legacy systems through interagency cooperation that PIDB continues to recommend could well benefit from the model of cybersecurity initiatives discussed by Ms. Starzak and her colleagues.

The panel on “Security & Democracy: A discussion about tech and government collaboration on elections security” was held at the Microsoft Innovation & Policy Center in Washington, DC, on October 16, 2018. The discussion will be available on C-SPAN.

The WQXR String Quartet

A commercial WQXR String Quartet LP issued in the 1950s
(WQXR Archive Collections)

The excellent recording (above) of the WQXR String Quartet performing in the radio studio on May 13, 1951 came to us recently via Ebay. The ensemble opens with Haydn’s Quartet in G major Opus 54, No. 1. It is followed the first two movements of  Brahms’ Quartet in A minor Opus 51, No. 2. They conclude the program with the third and fourth movements of the work.

There was a station string quartet mentioned as early as 1940, however, the best known group was brought together by Hugo Fiorato in the Spring of 1947.  It featured Fiorato and Harry Glickman on violin, Harvey Shapiro, cello, and Jack Braunstein, viola. The quartet performed regularly at the station for 16 years.  By mid-1963, however, the station could no longer afford to underwrite the group. The ensemble recorded two commercial albums for Polymusic Records. The first included Mihaud’s String Quartet and Turina’s La Oración del Torero.  The second album (pictured above) had César Franck’s String Quartet. The New York Times Music Critic, Harold C. Schoenberg wrote,  “The ensemble of the WQXR Quartet is something to admire, as is the perfection of their intonation.”

The WQXR String Quartet, February 25, 1961, playing Boccherini’s Piano Quintet, No. 6 with Jasha Zayde at the keyboard and Dvorak’s American Quartet.

WQXR String Quartet album issued in France.
(WQXR Archive Collections)

 

Honoring First Lady Laura Bush

Last night the National Archives Foundation presented our Records of Achievement Award to former First Lady Laura Bush.  The award is an annual tribute recognizing individuals who have made a significant impact upon the public’s understanding of the United States and its history.  The accomplishments of the awardees reflects the Foundation’s mission by highlighting stories found in the billions of documents, photographs, maps, films, and recordings in the National Archives to bring a fuller understanding of our national experience.

Photograph of Laura Bush receiving Records of Achievement Award
Laura Bush receives National Archives Foundation 2018 Records of Achievement Award
L to R: National Archives Executive Director Patrick Madden, Archivist of the United States David Ferriero, former First Lady Laura Bush, Journalist and author Cokie Roberts, National Archives Foundation Chairman Jim Blanchard. Photo courtesy of the National Archives Foundation.

My remarks from last night’s ceremony:

I’m delighted to recognize a fellow librarian! And you may be surprised to learn how much we have in common: we studied for our Masters in Library Science at the same time, relocated to Washington for Executive branch positions on Pennsylvania Avenue, and both proudly champion our nation’s history.

But in all seriousness, First Lady Laura Bush’s unwavering support of civic literacy, her passion for education, and her unyielding commitment to the empowerment of women make her both an obvious choice for this award, and for the launch of our women’s vote centennial celebration.

Laura Bush has been an educator, a librarian, the First Lady of Texas, the First Lady of the United States, and a global advocate through the George W. Bush Presidential Center. The common thread linking her life’s work together is this intrinsic love of learning that she continues to share with the world.

Laura Bush’s educational work through the Bush Center in programs such as Middle School Matters, the School Leadership Initiative, Advancing Accountability in Education, and of course, my favorite––your Foundation for America’s Libraries––all demonstrate a commitment and passion for ensuring a literate society. This mission was what President Franklin D. Roosevelt had in mind when he created the National Archives, a mission which continues to be vital to our democracy.

Laura Bush said “We must prepare our children and grandchildren with the tools they need to be informed, engaged citizens who care about individual liberty and democracy. We must teach them history. We must insist they understand the government they are blessed to live under. We must teach our children to listen, to show empathy, to show civility in the face of disagreement, and to overcome malice and hate. And we must model the behavior ourselves.”

At the National Archives, we work to provide students of all ages with the tools they need to understand history and become active participants in our government. We recently launched a civic education webpage to make our education initiatives accessible to parents, teachers, and students. DocsTeach, our online tool for teaching with documents, features more than 10,500 primary source documents and interactive activities for teachers and students. We make history fun with sleepovers in the Rotunda upstairs with themes such as space exploration and Native Americans. And we host a wide variety of educational programs across the country throughout the year.

We would not be here tonight if it wasn’t for our partner, the National Archives Foundation, helping the National Archives reach an ever-larger and more diverse audience. Together, we make civic literacy a reality. With the support of the Foundation and generous benefactors like you, we celebrated our annual 4th of July Reading of the Declaration on the steps of this building. We hosted two widely popular National Archives sleepovers. And we will launch our next exhibit “Rightfully Hers” this March on the 19th Amendment and women’s right to vote in the Lawrence F. O’Brien Gallery.

Tonight, we celebrate this shared vision between Laura Bush and the National Archives family. Through the work of the former First Lady, the National Archives, and the National Archives Foundation, we’re striving for a nation in which all children have the same love of learning that drove Laura Bush to pursue her dreams and make the world a better place.

Thank you for joining us this evening as we celebrate our public-private partnership with the Foundation and pay tribute to Laura Bush.

2010 Olympic Torch Relay Photographs Now Available

The Archives is pleased to announce that over twelve thousand photographs from the 2010 Olympic Torch Relay (OTR) – showing virtually every torchbearer that participated in the relay – have been processed and are now accessible through our online database. These photographs are part of the Vancouver Organizing Committee for the 2010 Olympic and Paralympic Winter Games (VANOC) fonds, donated in 2010, and may be used for any fair dealing purpose.

The Olympic Torch Relay Route

The OTR took place from October 30, 2009 to February 12, 2010. Beginning in Victoria BC, it covered more than 45,000 km across all thirteen provinces and territories before returning to Vancouver 106 days later. Over 12,000 people carried the torch across Canada.

The relay was extensively documented in photographs and video from multiple cameras. As part of their donation, VANOC transferred over 316,000 OTR digital photographs (totaling 1.9 terabytes). These were grouped by relay day, and each day was further broken down into subdirectories that collected highlights of the day to be sent to the OTR’s corporate sponsors, and selections to be used by VANOC for promoting the relay and the games.

Day 006, torchbearer no. 038, Abel T, November 4, 2009. Reference Code (file): AM1550-S07-F006-:

The photographs in this series come from each day’s “TB” (torchbearer) folder. VANOC copied a photo of each torchbearer that participated in that day’s relay into the day’s TB folder. Almost every torchbearer is represented in this series (although there are some torchbearers – including the first torchbearer on day 1 – for which no photos were available).  There are 12,470 images in this series, but these represent only a small percentage of the OTR photos.

Day 050, torchbearer no. 053, Paul C – Toronto, Dec 18, 2009. Reference Code (file): AM1550-S07-F050-:

The Olympic Bid Corporation records and VANOC’s analogue records were processed and made available a few years ago, but the torchbearer photographs are the first born-digital records series processed from the VANOC records. Although this series is over 33GB, it represents only a small fraction of the approximately 25TB of born digital records received from VANOC since the conclusion of the Games.

Day 076, torchbearer no. 042, Karina M – Vegreville, January 13, 2010. Reference Code (file): AM1550-S07-F050-:

There were a number of reasons that this particular series was chosen as the first series of born-digital records to be processed from the VANOC donation. This project was intended to test our digital preservation capacity – specifically, the ability to ingest large numbers of files and automatically upload access copies and descriptive metadata to our online database (powered by software called Access to Memory, or AtoM for short). The torchbearer photos fulfilled a number of criteria that we were looking for in a test case. The overall arrangement structure was simple, making it easy to structure what are called Submission Information Packages (SIPs) so that they corresponded to logical descriptive units. The content type was uniform, reducing the number of variables that would need to be considered when deciding on a processing configuration, and the number of variables that would need to be considered when troubleshooting inevitable problems. The total size was  large enough that it would test the scalability of our digital preservation system, but small enough that it could be completed in a reasonable amount of time, and wouldn’t be overly problematic to troubleshoot when things went wrong. Finally, the content had a strong connection with the Canadian public. There are thousands of photos of Canadians participating in the OTR, and literally millions of people will have a connection to at least one person appearing in the photos.

Day 104, torchbearer no. 174, Stephanie S – North Vancouver, February 10, 2010. Reference Code (file): AM1550-S07-F104-:

The original drives received from VANOC were backed up as soon as we received them in 2010. These were later transferred to the Archives’ network storage. This was not straightforward. The original images were created in a Mac environment. The Archives digital preservation system, Archivematica, is primarily Linux-based, and the City network where the storage is mounted is Windows-based. The main difficulty encountered was namespace conflicts among the different operating system environments. This necessitated writing some scripts to resolve the conflicts, and to track and log changes made to the file and directory names.

 

Day 106, torchbearer no. 018, Arnold S – Vancouver, February 12, 2010. Reference Code (file): AM1550-S07-F106-:

We discovered that VANOC had helpfully embedded some descriptive metadata in most of the photos about the name of the torchbearer and the segment of the relay. Usually just the torchbearer’s first name and last initial were present; though some had the full name (and others had no name, only the torchbearer number). Frustratingly, there were inconsistencies in fields used to store this metadata, making it impossible to automate the extraction of the metadata to use in the archival descriptions.  We extracted the metadata from the images using exiftool, and exported it to a csv file. The descriptive metadata was collected from the various fields that it appeared in and used to create descriptive titles for the images; this was packaged with the SIPs as a csv file that Archivematica could send to AtoM, so that AtoM could create archival descriptions when  the  access copies were uploaded.

There were 102 SIPs, each corresponding to a single day of the torch relay (although OTR spanned 106 days, four of those were rest days). Each SIP contained a file about the provenance of the SIP’s contents, a file documenting the original directory structure that the SIP contents were copied from, a descriptive metadata file used to populate the AtoM descriptions, and the photos themselves – as few as 8 (day 21), and as many as 270 (day 49).

Directory structure of SIPs, ready for processing through Archivematica

It took approximately 60 hours, spaced across two weeks, to run all 102 SIPs through Archivematica and upload the images and descriptions into AtoM. Here’s an example of the Archivematica dashboard that shows the various microservices that run on each SIP. These microservices carry out such actions as creating integrity checksums, file format identification and validation, metadata extraction and format migration and normalization. Collectively, these actions help ensure that the source images remain authentic and accessible over time.

Archivematica dashboard showing various microservices running

If you are interested in learning more about the nuts and bolts of how Archivematica works, we wrote about it back in 2012.

Here is a sample item-level description in AtoM with the access copy attached. The data in the physical description field tells you that the original record is the product of digital photography, that it was born digital. If the description field said something like “1 photograph : b&w acetate negative,” you would know that the digital image was the product of the Archives’ digitization program – a scan of an analogue record. Note also, that the original source image is a jpg file. That is the file format of the digital image received from VANOC, and there is no other version (such as a .tif or raw camera file) available. If you click on the image and agree to fair dealing use, you will be presented with a larger jpg, an exact copy of the original source image.

Item level description in AtoM showing physical description of original digital file and rights information

This was a successful project that validated our procedures and workflow. We are looking forward to building upon this success. There are still more files from the OTR that need to be preserved and made accessible. These include the torchbearer photos from the Paralympic Torch Relay which took place from March 4-12, 2010, VANOC and sponsor selected photos from the OTR, and the OTR video footage. Each of these record series shares some similarities with the torchbearer photos, but will have its own unique challenges. We anticipate making many more VANOC records available in the coming months.

Poetry in Protest, a new Exhibit in Strozier Library

Poetry in Protest

Poetry can be a powerful tool for eliciting emotion and is frequently used to express dissent or advocate for change. FSU Special Collections & Archives’ latest exhibition, “Poetry in Protest,” explores the genres, tactics, and voices of poets that write against the existing world and imagine societal revolution.

As a means of delving into the subject, the exhibition begins with poet Michael Rothenberg’s work in developing the global event 100 Thousand Poets for Change, where poets around the world read in support of “Peace, Justice, and Sustainability.” While some of the materials on display are explicitly poetry responding to some aspect of the status quo, others are less direct in their means of protest. Poetry containing eroticism that is transgressive push back against societal norms of sex and love; works written in dialects or languages of the oppressed insist upon the existence of those voices in the world.

The selections from FSU Libraries’ Special Collections encompass nearly 2,500 years of poetical dissent, including Sappho, William Wordsworth, Gwendolyn Brooks, Allen Ginsberg, Amiri Baraka, Tupac Shakur, and many more. Materials from the Michael Rothenberg Collection are on display for the first time since their recent acquisition as well.

Stop by this Fall and take a tour of some of the greatest voices of protest poetry in history through this exhibition of items from FSU’s Special Collections & Archives. This exhibit is located in the Exhibit Room on the first floor of Strozier Library. It is open Monday to Thursday, 10am to 6pm and on Fridays from 10am to 5:30pm.

Girl’s Own Paper

This post is part of our series celebrating American Archives Month. Last week, Special Collections & Archives did a Twitter Takeover of the @fsulibraries feed for #AskAnArchivist day so be sure to check out those conversations. 

The Digital Library Center has been busy loading material into DigiNole, and one of the most recent additions is the Girl’s Own Paper. Written for young girls and women and published in the United Kingdom from 1880 to the 1950s, the primary content of these papers consist of educational articles, fashion advice editorials, poetry, and fictional stories. 

Though hundreds of years old, much of the content found in this collection is still relevant today. The theory and instructional methods for learning guitar, for example, haven’t changed much after all these years. Each issue also includes beautiful illustrations to accompany the textual content as seen in the lesson below.

Page from The Girl's Own Paper Volume 2, Issue 61. February 26, 1881 [See original object]
Page from The Girl’s Own Paper Volume 2, Issue 61. February 26, 1881 [See original object]

Several volumes have already been added to DigiNole and more will be uploaded until the collection is complete. The existing issues of Girl’s Own Annual and Girl’s Own Paper can be found here.

We are working hard to get the entire collection uploaded for users to access and are still early in the process of digitizing this set of material. To reduce the strain on our internal storage servers, this collection is being digitized at about 4 volumes per batch. Once a batch is successfully uploaded, we purge those images from our servers to make room for new images and we then start working on the next set of volumes.

We’ve got a long way to go, so check back often to see what new material we’re adding to this charming collection!

Merging Time: Past & Present Combined

Merging Time, an exhibit created by the students of Langara College’s Professional Photography program, has returned to the Archives gallery space. It is an exhibit that merges a photograph from the Archives holdings with a newly-shot image of the same scene. This year, there are nineteen of these past-and-present combined images adorning the gallery walls.

Archives photograph selected by Luc Frost for the Merging Time exhibit. Hastings Street looking towards Cambie Street intersection, ca. 1913. Reference code: AM1376-: CVA 220-10

Digital composite by Luc Frost incorporating Archives image AM1376-: CVA 220-10

The creation of the merged images may look effortless and seamless, but don’t be fooled. The first challenge for these students is finding the locations from which the original photographs were shot. Getting a new shot with their dSLR cameras from the same perspective can be tricky, as buildings, construction, or other barriers that didn’t exist in the past may block or obscure today’s views of the original scenes. Even the height of the original photographer can make getting a similar shot a challenge.

Archives photograph selected by Kessa McGowan for Merging Time exhibit. Interior of St.Paul’s Church on Jervis Street, 1910. Reference code: AM54-S4-: Ch P47.2

Once suitable present-day shots have been taken, they are manipulated to match the focal length and angle of the original photographs. Through this editing process, the students choose what parts of the two images to blend and merge. The results are an insightful and fascinating look into how Vancouver’s landscape has shifted, or stayed the same over time.

Digital composite by Kessa McGowan incorporating Archives image AM54-S4-: Ch P47.2

This year’s selection of original photographs date from 1900 to 1948, and include downtown buildings and streets, churches, English Bay, and the Lions Gate Bridge.

The Archives Gallery is open to the public 9 am to 5 pm, Monday through Friday. Merging Time will be showcased until the end of February. The images are also available on Flickr.

Celebrating American Archives Month

Standing midway between the White House and the U.S. Capitol, the National Archives building at 700 Pennsylvania Avenue is as impressive today as when it opened in 1935. Surrounded by seventy-two Corinthian columns, each over 50 feet high, it is among the most popular photo backdrops for tourists.

National Archives Building
Photograph of the southeast corner of the National Archives Building in Washington, DC. Photo by Jeff Reed

As we celebrate Archives month, however, I thought it appropriate to draw some attention to the words inscribed in large letters on the east side of the building:

THIS BUILDING HOLDS IN TRUST THE RECORDS OF OUR NATIONAL LIFE AND SYMBOLIZES OUR FAITH IN THE PERMANENCY OF OUR NATIONAL INSTITUTIONS

It is important that we never lose sight of the trusted role that nonpartisan government archivists – at the federal, state and local level – play in ensuring the permanence of our democratic institutions.

Since 2006, the American archival community, including the Society of American Archivists (SAA), the Council of State Archivists (COSA), and hundreds of individual repositories, has celebrated American Archives Month every October.

At NARA, we use this month to publicize our agency mission and priceless records and to raise awareness of the value of archives and archivists. We take this opportunity to celebrate the breadth of our holdings and locations and to connect American citizens with the records that document our democracy in action. Today the National Archives cares for 15 billion sheets of paper, 43 million photographs, miles and miles of video and film, and billions of electronic records. Like many of our archival colleagues at state and local levels, we face similar challenges of increasing volumes of electronic records—the fastest growing record form, while also undergoing budget and staffing constraints. We each have an indispensable role as the caretakers of the past and preservers of the future.

American Archives Month is a collaborative effort by archives at all levels to highlight the importance of historical materials of enduring value, and efforts to preserve and provide public access to them. To that end, I am proud of the leadership of our National Historical Publications and Records Commission who continue to support innovative research and discovery through our grants program. This program enables enhanced access to research content around the nation, funding projects and supporting initiatives to preserve and make archival collections more accessible to the public, support research and development, and improve access to state and local records.

Records temporarily stored in National Archives Building, 1937
Photograph of Food Administration Records Temporarily Being Stored in Tiers 16-18 in the National Archives Building, 8/17/1937. National Archives Identifier 12168492

The National Archives strives to be a trusted independent agency, providing access to the archival record of the United States on an equal basis to everyone according to the rules laid out primarily in the Presidential Records Act, the Federal Records Act, and the Freedom of Information Act. In fact, the law that established NARA as an independent agency in 1985 states that “The Archivist shall be appointed without regard to political affiliations and solely on the basis of professional qualifications required to perform the duties and responsibilities of the office of Archivist.”

NARA’s position is not unique. Every state has a State Archivist, and many towns and cities have municipal archivists. The importance of independent archives at all levels of government is critical to the trust of the country in its history, and the ability of the archives to provide reliable trustworthy evidence of the actions of the past. Every government archivist must be allowed to do his or her job free of political pressure so that the archival record can speak freely, and so the archives can continue to function as the trusted repository of the actions of government.

As we celebrate and recognize the important role of all levels of archives in our democracy, I invite you to participate in our American Archives Month celebration. See our Twitter #AskAnArchivist chats, read our blog posts, and celebrate our agency’s invaluable holdings and the innumerable ways we connect the American public with their stories.

I am very proud of the work of our staff at the National Archives every day. I will continue to defend the principle of nonpartisan government archives, independent and therefore trusted, so that archives can continue to be the trusted brokers of history as they are today. I wish you a fulfilling, uplifting, educational, and productive American Archives Month.

Former PIDB Member Steven Garfinkel passes

Former PIDB member and ISOO Director Steven Garfinkel (1945-2018), died on September 24, 2018, aged 73.

Garfinkel entered government service with a distinguished academic record, after attending both George Washington University and its Law School as a Trustee Scholar. In 1970, he received his J.D. (with honors, Law Review), three years after receiving his B.A. (with distinction, PBK).

Following law school, Garfinkel served for almost 10 years in the Office of General Counsel of the General Services Administration (GSA), which in the 1970s still managed the National Archives as the National Archives and Records Service (NARS). His positions in that office included chief counsel for NARS, chief counsel for information and privacy, and chief counsel for civil rights.

In 1974, while serving in GSA’s Office of General Counsel, and in the wake of President Richard M. Nixon’s resignation, Garfinkel participated in drafting the Presidential Recordings and Materials Preservation Act (PRMPA), which placed records relating to the abuse of governmental power by President Nixon and White House staff under custody of the National Archives to process for public access.

In May 1980, President Jimmy Carter appointed Garfinkel to serve as ISOO’s second director, succeeding Michael Blouin, who in 1978 served in the founding of ISOO.  In 1984, after Congress established the National Archives and Records Administration (NARA) as an independent agency, Garfinkel continued as ISOO Director until he stepped down in December 2001.

As Director of ISOO, Garfinkel played a critical role in drafting Executive Order 12958, which established the first requirements for the automatic declassification of national security information, issued by President Bill Clinton, on April 17, 1995.  At that time, Garfinkel said, “The big thing about the new executive order is that the burden has shifted 180° in terms of maintaining the classified status of information.” In the past, in order to declassify information, an agency had to commit resources to the process of document review. “Now,” he stressed, “if an agency does nothing, information will be declassified.”

Garfinkel continued in public service even as he departed ISOO.  From 2000 to 2006, he chaired the Nazi War Crimes and Japanese Imperial Government Records Interagency Working Group (IWG), the vast declassification initiative to implement the Nazi War Crimes Disclosure Act of 1998.  Under Garfinkel’s agile stewardship, this landmark effort became the largest congressionally-mandated, single-subject declassification effort in history.

The records publicly released shed important historical light on the Holocaust and other war crimes – as well as the U.S. Government’s involvement with war criminals during the Cold War – while furthering Garfinkel’s lifelong goal of greater government transparency.  “Historians, political scientists, journalists, novelist, students, and other researchers will use the records the IWG has brought to light for many decades to come,” wrote Garfinkel in the IWG final report, which demonstrated “that disaster does not befall America when intelligence agencies declassify old intelligence operations records.”

From 2004 to 2008, appointed by President George W. Bush, he served a four-year term as a PIDB Member, contributing to the PIDB Report to the President on Improving Declassification (2007).

In 2004, Garfinkel received a master’s degree in teaching from Towson University.  After retiring from government, he followed his passion to teach history and government to high school students in Montgomery County, Maryland.

In the scope of his activities, and the focus of his commitment to public service, Garfinkel remains an inspiration to the PIDB staff.  Even as we lament his passing, we celebrate his legacy in supporting PIDB’s mandate and in advancing the work of ISOO.

 

Artist Books Collection Continues to Grow

This post kicks off a month of posts celebrating American Archives Month. Yesterday, Special Collections & Archives did a Twitter Takeover of the @fsulibraries feed for #AskAnArchivist day so be sure to check out those conversations. 

This post is written by Melissa Quarles, Special Collections & Archives’ new graduate assistant. You’ll be hearing more from her over the next year but today she highlights our artists’ books.

For the past two years, Florida State University (FSU) has been steadily growing its collection of artists’ books, which are currently housed in Special Collections & Archives. These unique works blur the boundaries between art and literature, encouraging readers to question How Books Work and what they mean to each of us. Anne Evenhaugen, the head librarian at the Smithsonian’s American Art and Portrait Gallery Library, describes artists’ books as “a medium of artistic expression that uses the form or function of ‘book’ as inspiration. It is the artistic initiative seen in the illustration, choice of materials, creation process, layout and design that makes it an art object.” The difference between a regular book and an artist’s book is determined primarily by the creator’s intentional treatment and presentation of the materials.

A few earlier posts highlighted new and interesting artists’ books in our collection. The books we house encompass a wide range of genres, forms, and topics. We have several books that feature poetry, such as Indra’s Net by Bea Nettles. This beautifully marbled paper scroll features a poem by Grace Nettles (the artist’s mother) printed over a spider web design. Attached to the inside of the lid, a small silver bell rings to evoke the memories described in the text. The original poem, from a book called Corners, can be found in our collection as well.

Artists’ books are often multi-sensory experiences. Music for Teacups, a joint venture by Melissa Haviland and David Colagiovanni, is part of a larger project “investigating the destructive moment of a breaking piece of family tableware to highlight family dynamics, upbringing, inheritance, etiquette, and issues of class. ‘Music for Teacups’… rhythmically dissects the poetic moment of a falling and breaking teacup as it sounds during its last second as a complete object.” (description from Haviland’s website). The work consists of an accordion fold booklet of cut-outs shaped like teacups, as well as a 45rpm record of the accompanying music. However, since we have no playback equipment, patrons who wish to listen to the piece are directed to this sample video (from Colagiovanni’s website).

Many of our artists’ books offer political and social commentary or center on issues such as human rights. One such work is Bitter Chocolate by Julie Chen. The book itself is shaped like a large bar of chocolate, which unfolds like a Jacob’s ladder. Each panel is connected by magnets, so that they can be unfolded to reveal four different sides. The unique tactile and structural aspects of the piece are a staple feature of Chen’s work, but the content is equally compelling. Two of the sides narrate a story about the mythical Mayan chocolate goddess, “Cacao Woman.” The goddess rejoices in the widespread love of chocolate among humans, but also laments the chocolate industry’s reliance on forced child labor, abuse, and trafficking. The other two sides feature the author’s personal memories and experiences with chocolate, as well as facts about its production worldwide.

FSU students, alumni, visitors, and the general public are invited to visit Special Collections & Archives and check out our rich collection of artist books. Patrons may also wish to explore how to make their own art books. Many of our works include explanations of the printing and construction processes, and we even have books designed to elicit inspiration for budding artists. FSU also has its own publisher, the Small Craft Advisory Press. Other resources, articles, books, and artist websites are listed below.

Resources:

Articles/Books:

Artists:

Indra_01
Chocolate_02

Bad Children of History #36: Curtains Are Not For Wiping

Oh how we’ve missed the Bad Children of History! We recently cataloged a book that’s part of our Wetmore Collection, and contains dozens of delinquents and ill-mannered imps: La Civilité Puérile et Honnête, an etiquette book for children with illustrations by Louis-Maurice Boutet de Monvel.

Boutet de Monvel’s illustrations aptly capture the sneakiness and hilarity of childhood, as well as the joy of hanging out at the seaside with miniature pizza peels.

IMG_1338

(Etiquette hot tip: don’t bury your friends’ heads in the sand.)

The “what not to do” images are priceless.

IMG_1318

“It wasn’t me.”

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“Agh, I dropped my Twinkies!”

This book’s children are naughty, and snotty.


They’re wiggly and squiggly.

 



They’re rude and crude.


We love the action shots.

IMG_1337IMG_1341IMG_1342

We also love the recommendation about bread-licking in the “table manners” section.

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Periodicals from the BC Gay and Lesbian Archives collection now available!

Back in May we announced that longtime LGBTQ2+ community archivist and activist Ron Dutton had donated his entire collection, known as the BC Gay and Lesbian Archives, to the City of Vancouver Archives.

Since then, we’ve been hard at work getting the collection processed and available to researchers. Subject files have been available since the summer, and we’re delighted to announce that the Periodicals series is now fully processed and available in the Reading Room. The series contains a broad range of titles ranging from community magazines and newspapers to newsletters, activity and event guides, comics and zines, representing a diverse spectrum of LGBTQ2+ experiences.

Detail from back cover of an issue of Faggo Punk & Queer Zine, 2000. Reference code: AM1675-S2-F536

The earliest publications in the Periodicals series date from the 1950s and were all published in the United States by early LGBTQ2+ rights organizations. Titles include The Mattachine Review (published by the Mattachine Society), One (published by ONE, Inc.), and The Ladder (published by the Daughters of Bilitis).

Issues of the Mattachine Review (AM1675-S2-F369), One (AM1675-S2-F104), and The Ladder (AM1675-S2-F185)

Publications pertaining to LGBTQ2+ life in Vancouver begin with ASK newsletter, published in Vancouver by the Association for Social Knowledge (ASK). Formed in 1964, ASK was one of the earliest LGBTQ2+ organizations in Canada.

September 1964 issue of ASK newsletter, published in Vancouver. Reference code: AM1675-S2-F209

Many more Vancouver publications emerge in the 1970s, including Gay Tide, published by the Gay Alliance Toward Equality (GATE), as well as newsletters from the Society for Political Action for Gay People (SPAG) and the Metropolitan Community Church of Vancouver.

A highlight of the series is a near-full run of Angles, a community newspaper focusing on Vancouver LGBTQ2+ life launched in 1983. Angles was published by the Vancouver Gay Community Centre Society, now Qmunity.

1985 issues of Angles. Reference code: AM1675-S2-F002

The series also includes a number of zines and comics published independently in Vancouver and beyond.

Daisy Gets Erotik zine, 1996-2002. Reference code: AM1675-S2-F550

Ink Me : A Zine By and For Queer Asian Women. Reference code: AM1675-S2-F579

Oh… : a comic quarterly for her, because it’s time, 1992. Oh… was published in Victoria, BC. Reference code: AM1675-S2-F537

We are thrilled to have all 8.4 metres of periodicals described and available to view in the Reading Room. As always, Reading Room staff are happy to help you narrow down your search. Please pay us a visit and dive in!