Mondays,
12:30-4:30 PM, room 639, Spring 2004
Instructor: Howard
Besser
Office hours: Mondays 4:30-6:30, and by appointment
History and Culture of
Museums, Archives,
and other Repositories H72.1801
Syllabus 7.7
(latest version of syllabus
always
at
http://www.miap.hosting.nyu.edu/program/04spring/museums-syllabus.html)
On a macro level, this course examines the different types of
institutions
that collect moving image material. It explains how cultural
institutions
differ from one another, and from other institutions that collect and
manage
moving image collections(including corporate institutions). It also
examines
why certain types of material are not collected by any institutions. On
a micro level, the course examines what the various departments within
a collecting institution do. Students will learn about missions and
ethics,
as well as about accessioning, budgeting, and fundraising. Aspects of
project
management and handling competing interests within the organization
will
also be covered. The course also looks at the history of moving image
archives
and related organizations. Includes visits to NYC museums,
archives,
and libraries.
This is a seminar, with emphasis on readings and class discussions.
Jan 26 Theory & Concepts
Assignments due before class:
Read:
Besser, Howard. (2004) "The
Museum-Library-Archive." In Feb 2004 report to Canadian
Heritage
Information Network (forthcoming)
Topics covered:
-
Introduction to entire class
-
Characteristics of Libraries, Archives,
Historical
Societies, History Museums, Science Museums, Art Museums, etc. and how
their different missions and roles affect what they collect, how they
organize
it, and preservation policies
-
Film: Alain Resnais' Toutes les Memoirs du
Monde
-
Assignment due Feb 9: Write-ups of visits to cultural heritage
organizations
Current Events
-
Museum
Finds Lewis and Clark Artifact, Lost for Century, NY Times, Jan 21,
2004
-
An
Unexpected
Artifact, NY Times editorial, Jan 22, 2004
-
Along
Public Trail, a Church Recounts Its History, NY Times, Jan 23, 2004
-
Smithsonian's
Chief Admits Endangered-Bird Violations, NY Times, Jan 24, 2004
-
The
Tyranny of Copyright?, Robert S Boynton, NY Times Magazine, Jan 25,
2004
Feb 2 Histories of Libraries, Museums, & Archives
Assignments due before class:
Read:
O'Toole, James. (1990) "The History of the
Archives
Profession." In Understanding Archives and Manuscripts. Chicago:
Society
of American Archivists., pp. 27-47
Steedman, Carolyn. Dust: The Archive and Cultural
History.
New Brunswick, N.J.: Rutgers University Press, 2002, pages ix-xi and
1-16
Microcosms. Cabinets
of Curiosity: Sites of Knowledge
New York Public Library (2002). History
of Cabinets of Curiosities, and Prominent
Figures and Cabinets in the History of Wunderkammern --follow
links (The Public's Treasures: A Cabinet of Curiosities from The New
York
Public Library)
Walker Art Center. Wunderkammern,
Cabinets of Curiosity, and Memory Palaces
Hein, Hilde S. "Museum Typology" in The Museum in Transition:
A Philosophical Perspective. Washington: Smithsonian Institution
Press,
2000, pp 17-36.
Evans, Jessica. "Nation and Representation'" in Boswell, David
and
Jessica Evans eds. Representing the Nation: A Reader: Histories,
Heritage
and Museums. New York: Routledge, 1999, pp 1-8
Innes, H.A. (1995) "Media in Ancient Empires." In Communication
in
History: Technology, Culture, Societ. D. Crowley and P. Heyer,
eds. White Plains, NY : Longman Publishers.
McCluhan, M. (1964) "The Written Word: An Eye for An Ear." In
Understanding
Media: The Extensions of Man. (pp. 84-90) New York:
Mentor.
O'Donnell, James. (1998) Avatars of the Word: From Papyrus to
Cyberspace.
Cambridge, MA : Harvard University Press. (see
selections on website)
Ong, Walter. (1982) "Print, Space, and Closure." In Orality and
Literacy
(pp. 117-138) New York : Methuen.
Drucker, Johanna. "The Codex and Its Variations." The Century of
Artists'
Books. New York: Granary Books, 1997. 121-59
Shuman, Bruce A. (1992) "A Brief History of Information
Issues",
in Foundations and Issues in Library and Information Science,
Englewood,
CO: Libraries Unlimited, pp 8-25
Feather, John. (1994) The Information Society: A Study
ofContiuity
and Change. London : Library Association Publishing.
-
pp. 9-25 "The Historical Dimension: From Print to
Script."
-
pp. 26-35 "Mass Media and New Technolgy."
-
pp. 35-60 "The Information Marketplace."
Buckland, Michael. (1997) What
is a Document?", Journal of the American Society for
Information
Science 48 (9), pp. 804-809
Bush, Vannevar.(1945) As
We May Think, Atlantic Monthly 176, July, pp.101-108
Buckland, Michael. Emanuel
Goldberg, Electronic Document Retrieval, And Vannevar Bush's Memex,
Journal of the American Society for Information Science 43, no. 4 (May
1992): 284-29
Baker, Nicholson. (1996) The Projector." in The Size of
Thoughts.
New York: Random House, pp. 36-50
Mann, Sarah Ziebell. "The Evolution of American Moving Image
Preservation:
Defining the Preservation Landscape (1967-1977)", The Moving Image 1:2
(Fall 2001), pp 1-20
Rosen, Robert. "The UCLA Film and Television Archive: A
Retrospective
Look, The Moving Image 2:2 (Fall 2002)
Optional
-
Houston, Penelope. Keepers of the Frame: The Film Archives
-
Clanchy, M.T. (1994) "Looking back from the Invention of
Printing."?
Quarterly
Journal of the Library of Congress 39(3), pp. 309-32.
-
Hay, Denis. (1967) "Fiat Lux." In John Carter and Percy H. Muir, Printing
and the Mind of Man (pp. xv-[xxiv]). London : Casell and
Co.
-
Belk, Russell W. "A Brief History of
Collecting," in
Collecting in Consumer Society. New York: Routledge, 1995, pages 22-64
-
Pearce, Susan M. "Collecting Processes," in On
Collecting:
An Investigation into collecting in the European tradition . New
York:
Routledge, 1995, pages 3-35
-
Pearce, Susan M. "Collecting in Time" in On
Collecting:
An Investigation into collecting in the European tradition. New
York:
Routledge, 1995 pages 235-254
Current Events
-
All
Shook Up Over Cutting and Selling of Elvis Tape, NY Times, Jan 28,
2004
-
Art Institute of Chicago Appoints Courtauld
Chief Its
New Director, NY Times, Jan 22, 2004
-
A
Director for the Whitney’s New Age , NY Times, Jan 29, 2004
-
"Stockholm: Conflict over 'Mein Kampf'" in Arts
Brief, NY Times, Jan 27, 2004
-
Abuse
Case Revisited, Cloudier Than Ever, NY Times, Jan 27, 2004
-
Music
Royalties Rise, Even as CD Sales Fall, NY Times, Jan 26, 2004
-
Pixar
Sees End to Its Disney Partnership, NY Times, Jan 30, 2004; and Pixar
to Find Its Own Way as Disney Partnership Ends, NY Times, Jan 31,
2004
-
Thomas
G. Stockham Jr., 70, Digital Pioneer, Dies, NY Times, Jan 31, 2004
-
ART/ARCHITECTURE;
If the Museum Itself Is an Artwork, What About the Art Inside? NY
Times,
Jan 25, 2004
Topics covered:
DVD on Library of Congress
video on Paul Otlet -- The Man Who
Wanted
to Classify the World
What is the history of cultural institutions?
How are their histories similar and different?
How do their histories shape what an
institution
collects, how they organize their collection, and how they provide
access
to it?
Western civilization has relied heavily on
surviving
written accounts to interpret the past. How has that affected how
we see various groups that didn't have the capability to create written
accounts, or to make sure that those accounts persist over time?
Can we do more justice to those groups by studying artifacts rather
tahn
written accounts?
Is history objective?
Museums and Libraries assert systematic
organizations
upon their works, and to some degree, all knowledge. What effects
does this have outside the walls of these intsitutions? Are there
both positive and negative effects?
Following Suzanne Briet's assertions (as cited
by
Buckland), does an object have documental properties merely by moving
it
into a collecting institution? Does everything collected by an
institution
automatically have documental properties? Do objects outside
collecting
institutions have documental properties before they enter that
institution?
Archives
How is the origin of writing tied to the origins of
record-keeping?
If an Archive is a set of records from the past, gathered for a
particular
purpose, how can archivists serve people who want to use those records
for a completely different purpose?
Are 2 people doing research on similar topics in the same archive
bound
to reach the same conclusion?
How should archivists react to revisionist histories written based
upon
records in their collections?
What is the background/history of Archives? Why were the
objects
in them collected? Who or what were the collections supposed to
serve?
Discuss Foucault's statement that the archive is "the system that
establishes
statements as events and things".
With the rise of postmodernism in the 1990s, the rift between
social
and cultural historians became a wide gulf. How did one of these
groups try to assert their legitimacy?
What do Derrida and Foucault each have to say about the archive as
a
symbol or form of power?
Steedman (discussing Derrida discussing Freud) says "The archive
is
a record of the past, at the same time as it points to the
future."
Discuss this.
Museums
What were several of the immediate ancestors of museums?
How did
they differ from museums (in terms of: collection, orientation,
organization,
who they were for, what stories they told, ...)
Museums are sometimes focused on objects that are unique, and
other
times on objects that are universal. How are these two foci
different?
And can the same museum be focused on both at the same time?
What type of museum may have the following words used in relation
to
it: elite, connoisseurship, stuffiness, taste, reverence? Are
these
accurate? Can these terms be applied to other types of collecting
institutions?
What type of museum may have the following words used in relation
to
it: experience, discovery, participatory, hands-on, interactive,
dialog?
Are objects important to this type of museum? What is this
museum's
focus of attention?
Hein says that both History Museums and Museums of Industry &
Technology
only use the objects in their collections as support for interpretation
of human history. Is that an adequate assessment? And if
so,
how does that change the role of the object and descriptive information
about it?
Hein claims that History Museums "inhabit the ambiguous ground
between
objectivity and subjectivity, where cognition and feeling, fact and
value,
intermingle." She says that there is a politics to how these
objects
are represented, and that a museum's choice of a narrative perspective
"is a complex judgment, arising out of political, economic, aesthetic,
and practical considerations". She contends that, using objects
as
a means to an end rather than as the end itself, and incorporating them
into theatrical stagings of recreated moments of history is a fairer
way
than imposing meaning on object description. Do you agree or
disagree
with her, and why?
Hein makes both sociological and semiotic arguments. She
says
that "museums are part of a socio-cultural system that creates and
disseminates
value", that museums act to confer identity, and that the museum
propagates
a system of mutual reification of subjects and objects. She also
says that the museum's role is to fix a particular type of encoded
meaning
into objects, and says that the museum is part of "a signifying system
that mediates objective reality." Do you agree with her
assessment?
And if it is true, how does a museum operate in a postmodern society of
multiple interpretations?
Disciplines such as art history, anthropology, and geology arose
around
the same time as museums. Is there any relationship?
What role did museums play in defining the bounds of a subset of
knowledge
and how it should be organized and viewed? What is the
relationship
between museums and a cannon in a particular discipline?
Jessica Evans quotes Carol Duncan and Alan Wallach saying, "The
princely
gallery spoke for and about the prince. The visitor was meant to
be impressed by the prince's virtue, taste and wealth.... But now the
state,
as an abstract entity replaces the king as host. This change
redefines
the visitor. He is no longer the subordinate of a prince or
lord.
Now is he addressed as a citizen and therefore a shareholder in the
state".
Discuss this.
Museums came to prominence around the same time that nation-states
did.
Is there a relationship? What does Jessica Evans say about
museums
and the narrative of nationhood?
Hein claims tht Bourdieu argues that "the objective of art
museums
is not to induce the love of art in everyone, but to underwrite
existing
cultural distinctions by 'naturlizing' a stratified culture, so that
'cultured
people can believe in barbarism and persuade the barbarians of their
own
barbarity'". Do you think that this is a fair assessment of art
museums?
Hein quotes George Brown Goode, one of the Smithsonian's early
curators
as contending that the museum is "a collection of instructive labels,
each
illustrated by a well-selected specimen". Is this idea that the
organization
and description is more important than the object itself -- is this
true
for all types of collecting institutions? Is it true for any?
Under what circumstances should museums be more concerned with
objects,
and when should they be more concerned with experiences? As
experience-based
exhibits become more interactive and audiences become "doers" rather
than
mere "viewers", will that increase pressure for all types of culture to
become more interactive? How might this effect conventional
cinema
and television?
Libraries
When did the library world discover that their domain included
more
than written material? What roles did Suzanne Briet and Paul
Otlet
play in librarianship and documentation?
Information technologists trace the conceptual origin of today's
internet
world to Vannevar Bush and his writing about the hypothetical
"memex".
Did these ideas really originate with Bush? What does this say
about
history and myth?
Feb 9 Types of Institutions and
departments/functions
within them
Assignments due before class:
Reports from visits to cultural institutions
Read:
-
Burcaw, G. Ellis (1975). "Registration and Cataloging", in Introduction
to Museum Work, Nashville: American Assn for State & Local
History,
pp 84-92
-
Burcaw, G. Ellis (1975). "Care of Collections", in Introduction
to Museum Work, Nashville: American Assn for State & Local
History,
pp 93-99
-
Burcaw, G. Ellis (1975). "Visitors and Interpretation", in Introduction
to Museum Work, Nashville: American Assn for State & Local
History,
pp 135-141
-
Burcaw, G. Ellis (1975). "Education and Activities", in Introduction
to Museum Work, Nashville: American Assn for State & Local
History,
pp 142-145
-
Burcaw, G. Ellis (1975). "Collecting Theory: General and Science
Museums", in Introduction to Museum Work, Nashville: American
Assn
for State & Local History, pp 47-53
-
Burcaw, G. Ellis (1975). "Collecting Theory: History Museums", in
Introduction
to Museum Work, Nashville: American Assn for State & Local
History,
pp 54-63
-
Burcaw, G. Ellis (1975). "Collecting Theory: Art Museums", in Introduction
to Museum Work, Nashville: American Assn for State & Local
History,
pp 64-83
-
Malaro, Marie C. ((2002). "Legal and Ethical Foundations of
Museum
Collecting Policies" in Lipinski, Tomas (ed.) Libraries, Museums,
and
Archives: Legal Issues and Ethical Challenges in the New Information Era,
Lantham, MD: Scarcrow, pp 69-82
-
Gates, Jean Key (1990). "Municipal Public Libraries", in Introduction
to Librarianship, 3rd Edition, NY: Neal Schuman, pp 139-152
-
Gates, Jean Key (1990). "School Library Media Centers", in Introduction
to Librarianship, 3rd Edition, NY: Neal Schuman, pp 153-170
-
Gates, Jean Key (1990). "Academic Libraries", in Introduction
to Librarianship, 3rd Edition, NY: Neal Schuman, pp 171-186
-
Gates, Jean Key (1990). "Research Libraries", in Introduction
to Librarianship, 3rd Edition, NY: Neal Schuman, pp 187-194
-
Gates, Jean Key (1990). "Special Libraries", in Introduction
to
Librarianship, 3rd Edition, NY: Neal Schuman, pp 195-200
-
Optional
Currrent Events:
So
Many Films, but Only a Few Are Treasures, NY Times, Feb 5, 2004
Superbowl half-time -- Should it be
preserved?
In raw form? What kinds of things should be censored in
preservation
efforts?
When
a Search Engine Isn't Enough, Call a Librarian, NY Times, Feb 5,
2004
Artist's
Heirs Sue Amsterdam Over 14 Works, NY Times, Feb 3, 2004
"Huntington Hartford's Archive" in Arts
Briefing, NY Times, Feb 5, 2004
Toil,
Tears and Sweat in Brooklyn, NY Times, Feb 6, 2004
Let's
All Gather Round the Screen, NY Times, Feb 5, 2004
For
Better HDTV Displays, It's All About the Chip, NY Times, Feb 5, 2004
The
Pornography Industry vs. Digital Pirates, NY Times, Feb 8, 2004
Investigators
Raid Offices of Kazaa in Australia, NY Times, Feb 7, 2004
Topics covered:
-
1:00-1:30 Organization and Functions
of NYU
Library Departments, Guest Dr. Michael Stoller, Director of
Collections
& Research Services, NYU Libraries
-
Reports from Assignment #1: Visit to Cultural
Institutions
-
Report from Howard's visit to Florida
Moving Image Archive, Miami-Dade Public Library, and Miami Historical
Museum
(including Bus Tour video)
-
Warning: no class next week, and meet at
Donnell
Library the following week
-
How does the type of library (research,
public, school)
or type of museum (history, science, art) affect its policies on
collection
development, organizing, providing access, and preservation?
-
What are the different departments within
any type
of cultural institution, and how do they relate to one another?
Feb 23* Ethics & Values--Mona Jimenez
Assignments due before class:
-
Important Note: Class will meet at 12:45 in Donnel Library
Media
Center (20 W. 53rd St, betwn 5th and 6th, directly across from closed
MOMA)
-
Read:
-
Read about the Donnell
Library Media Center
-
A
Code of Ethics for Archivists with Commentary
-
AIC
Code of Ethics and Standards of Practice (American Institute for
the
Conservation of Artistic and Historic Works)
-
Brooks, Connie, "Videotape Preservation:
Ethical Considerations",
Playback:
A Preservation Primer for Video, p. 18-24. On reserve in Bobst
Library
and study center.
-
Why Ethics?" in Marie Malaro, Museum
Governance:
Mission, Ethics, Policy, pages 16-21
-
Edmondson, Ray. "You Only Live Once: On Being
a Troublemaking
Professional", The Moving Image 2:1 (Spring 2002), pp
175-183
-
International Federation of Film Archives
(FIAF)Code
of Ethics ,
-
Kurin, Richard. "Brokering Culture" in Reflections of a Culture
Broker:
A View From the Smithsonian. Washington, D.C.: Smithsonian
Institution
Press, 1997, pp 12-26
-
Kurin, Richard. "Exhibiting the Enola Gaye" in Reflections of a
Culture
Broker: A View From the Smithsonian. Washington, D.C.: Smithsonian
Institution Press, 1997, pp 71-82
-
Krug, Judith ((2002). "Censorship and Controversial Materials in
Museums, Libraries, and Archives" in Lipinski, Tomas (ed.) Libraries,
Museums, and Archives: Legal Issues and Ethical Challenges in the New
Information
Era, Lantham, MD: Scarcrow, pp 59-68
-
Lipinski, Tomas A.. ((2002). "Legal aIssues Involved in the
Privacy
Rights of Patrons in 'Public' Libraries and Archives" in Lipinski,
Tomas
(ed.) Libraries, Museums, and Archives: Legal Issues and Ethical
Challenges
in the New Information Era, Lantham, MD: Scarcrow, pp 95-112
Topics covered:
-
1-hour tour of Donnell Library Media Center by Marie Nesthus, then back
to our classroom
-
Deciding on who chooses which
book to report on for the midterm assignment
-
A Higher Standard, 10-minute video by American Assn of
Museums,
as part of their Accreditation Resource Kit
-
How do politics affect cultural heritage institutions as they
strive
to serve new audiences? (the Enola Gay incident?)
-
What are ethical considerations are
fundamental to
our work as moving image archiving and preservation specialists?
Mar 1 Job Roles within Cultural
Institutions,
Professionalism--Antonia Lant
Assignments due before class:
-
Warning: Next week's class meets at AMNH
-
Read:
- Look closely at Weblinks
for Professional Organizations
-
The
Society of American Archivists: Description and Brief History
-
So
You Want to Be an Archivist: An Overview of the Archival Profession
-
Definitions
Of Conservation Terminology
-
American
Library Association Preservation Policy 2001
-
Magliozzi, Ronald. "Film Archiving as a
Profession:
An Interview with Eileen Bowser", The Moving Image 3:1
(Spring
2003), pp 132-146
-
Edmondson, Ray. A
philosophy of audiovisual archiving . General Information
Programme
and UNISIST. United Nations Educational, Scientific and Cultural
Organization.
Paris, June 1998 ()
-
"Jane R. Glaser with Artemis A. Zenetou, "Museum
Professional
Positions: Qualifications, Duties, and Responsibilities," Museums:
A
Place to Work: Planning Museum Careers (London; New York:
Routledge,
1996), 65-125
-
Libbie Rifkin, "Association/Value:
Creative Collaborations in the Library ", RBM: A Journal of
Rare
Books, Manuscripts, and Cultural Heritage, 2:2
-
Harris, Roma M. (1992) "Pressing for change within: The
professionalization
movement." Librarianship: The Erosion of a Woman's Profession,
pp. 3-21. Norwood, NJ: Ablex..
-
Maack, Mary Niles. (1997) "Toward a New Model of the Information
Professions:
Embracing Empowerment." Journal of Education for Library and
Information
Science 38, pp. 283-302.
-
Iverson, Sandy (1998/99) Librarianship
and Resistence, Progressive Librarian 15.
-
California Library Association. (1992) California Intellectual
Freedom
Handbook: A Manual for California Librarians. Sacramento, CA:
California
Library Association, pp. 1-11.
-
Kadie, C.M. (1996) "Applying Library Intellectual Freedom Principles to
Public and Academic Computers." In R. Kling (ed.), Computerization
and Controversy: Value Conflicts and Social Choices (2nd
ed.), pp. 569-579. San Diego, CA:Academic Press.
-
Clement, A. (1996) "Considering Privacy in the Development of
Multimedia
Communications." In R, Kling (ed.) Computerization and
Controversy:
Value Conflicts and Social Choices.(2nd ed.) (pp
907-931)
San Diego CA : Academic Press.
-
Weil, Stephen E. "In Pursuit of a Profession: The status of
museum
work in America" in Rethinking the Museum and Other Meditations.
Washington, D.C. : Smithsonian Institution Press, 1990, pp 73-94
-
Changes
-
Besser, Howard. (1997) The
Transformation of the Museum and the way it's Perceived,in
Katherine
Jones-Garmil (ed.), The Wired Museum, Washington: American
Association
of Museums, 1997, pages 153-169
-
Besser, Howard. (1997) The
Changing Role of Photographic Collections with the Advent of
Digitization,in
Katherine Jones-Garmil (ed.), The Wired Museum, Washington:
American
Association of Museums, pp. 115-127
-
Besser, Howard.(1994) Fast
Forward: The Future of Moving Image Collections, in Gary
Handman(ed.),
Video
Collection Management and Development: A Multi-type Library Perspective,
Westport, CT: Greenwood, pp. 411-426 (online version only
available
from UCLA workstations)
-
Hein, Hilde S. "Introduction: From Object to Experience" in The
Museum in Transition: A Philosophical Perspective. Washington:
Smithsonian
Institution Press, 2000, pp 1-16.
-
Weil, Stephen E. "Rethinking the Museum: An Emerging New
Paradigm"
in Rethinking the Museum and Other Meditations. Washington,
D.C.
: Smithsonian Institution Press, 1990, pp 57-72
-
Hudson, Kenneth. "Attempts to define 'Museum'" in Boswell, David
and Jessica Evans eds. Representing the Nation: A Reader:
Histories,
Heritage and Museums. New York: Routledge, 1999, pp 371-379
-
Macdonald, Sharon and Roger Silverstone. "Rewriting the Museum's
Fictions: Taxonomies, stories, and readers'" in Boswell, David and
Jessica
Evans eds. Representing the Nation: A Reader: Histories, Heritage
and
Museums. New York: Routledge, 1999, pp 421-434
-
Gates, Jean Key (1990). "Appendix II: Guides for Professional
Performance",
in Introduction to Librarianship, 3rd Edition, NY: Neal
Schuman,
pp 215-222
-
Optional
- Roud, Richard. A Passion for Films: Henri Langlois and
the Cinémathèque
Française, Baltimore and London: The Johns Hopkins
University
Press, 1999 (read review)
Topics covered:
-
Philadelphia Stories: A Collection of
Pivotal Museum
Memories, 60 minute video by American Association of Museums
-
Report on InterPARES meeting
-
Report
from Hollywood
-
Discussion of Final Projects
-
What are the basic guiding principles of
conservation/preservation
coming from different professions and/or communities? How were they
shaped?
-
How have they been utilized and/or affected
by moving
image and recorded sound materials, through such factors as multiple
copies,
"born digital" formats, and changing definitions of appropriate
archival
mediums?
-
What are some of the issues that the
archive, conservation,
library and independent preservation communities are addressing with
regard
to moving image and sound preservation?
-
What are the role(s) of a moving image
specialist
in relation to other professionals caring for moving images and sound
collections?
-
Ray Edmundson, in A
philosophy of audiovisual archiving, proposes that moving image
archiving
is evolving as a synthesis of other archiving and preservation
practices.
What are the pros and cons of such an approach? What would be aspects
of
this synthesis from various professions?
-
Where do "de facto" archives - those
organizations
with important materials but untrained as preservationists - fit?
-
What is the role of producers in
preservation practice?
-
How do the mission, goals, history, other activities, etc., of
various
repositories affect how moving images and sound are preserved and
accessed?
-
What are the roles of different professionals in each type of
institution?
-
What type of Professionalism is associated
with each
type of role & each institution
-
How has the role of collecting institutions
changed
as more and more people have started taking photographs of everyday
life?
How might changes in popular attitude towards this media effect
expectations
on collecting institutions? How will collecting institutions handle
personal
archives that no longer are only paper? And how will this all change
even
more as the number of home video cameras and digital editing vastly
increases?
-
What is the impact of appraisal and
selection (or
the lack thereof) on what gets preserved?
Mar 8 Visit to American Museum of Natural History
Meet promptly at 1PM at the staff entrance of the American
Museum of Natural History (79th St & Central Park
West,
below ground entrance); Barbara Mathe will be guiding us
Assignments due before class:
-
Review the website for American Museum
of
Natural History
-
Have instructor approve of your final project topic
-
Warning: no class next week, but directed
readings
(book reports) for March 29
Mar 22 Case Study of Museum Film Cataloging,
Organization,
and Description
Guest Speaker -- Jon Gartenberg
Assignments due before class:
-
Read:
- Magliozzi, Ronald. "Film Archiving as a
Profession:
An Interview with Eileen Bowser", The Moving Image 3:1
(Spring
2003), pp 132-146
Topics covered:
Mar 29 Philosophies and Roles of Cultural Institutions & How
they
differ
Assignments due before class:
-
Student Reports: Theoretical, Philosophica., Social, Political Issues
--
Each student will report on the
book they read, and lead a class discussion on the issues raised in
that book
-
Lubar, Steven and W. David Kingery ed. History From Things: Essays
on
Material Culture. Washington: Smithsonian Institution Press,
1993.
(Pamela Smith)
-
Rosenzweig, Roy and David Thelen eds. The Presence of the Past:
Popular
Uses of History in American Life. New York: Columbia University
Press,
1998. (Margaret Mello)
-
Kurin, Richard. Reflections of a Culture Broker: A View From the
Smithsonian.
Washington, D.C.: Smithsonian Institution Press, 1997. (Jeff Martin)
-
Kirshenblatt-Gimblett, Barbara. Destination Culture : Tourism,
Museums,
and Heritage. Berkeley: University of California Press, 1998. (Huiming
Yu)
-
Weil, Stephen E. Making Museums Matter. Washington: Smithsonian
Institution Press, 2002. (Tanisha Jones)
-
Steedman, Carolyn. Dust: The Archive and Cultural History. New
Brunswick,
N.J.: Rutgers University Press, 2002. (Irene Taylor)
-
Read:
-
Douglas, Mary. (1986) "Institutions Cannot
Have Minds
of Their Own." In How Institutions Think. Syracuse, NY:
Syracuse
University Press, pp 9-19
-
Jean Baudrillard's "The System of Collecting."
In John
Elsner and Roger Cardinal, eds., Cultures of Collecting, pp.
7-24.
London: Reaktion, 1994, translated by Roger Cardinal.
-
Bourdieu, Pierre. (1993)"The Field of Cultural Production." In The
Field of Cultural Production. New York : Columbia University
Press.
1993, pp. 29-73.
-
Barbara Kirshenblatt-Gimblett "Objects of Ethnography" in
Kirshenblatt-Gimblett,
Barbara. Destination Culture : Tourism, Museums, and Heritage.
Berkeley:
University of California Press, 1998, pages 17-78 [preferably not the
version
in Ivan Karp and Steven Lavine (eds.) Exhibiting Cultures:
The
Poetics and Politics of Museum Display, Washington: Smithsonian
Press,
1991, pp 386-443]
-
Weil, Stephen E. "The Proper Business of the Museum: Ideas or
Things?"
in Rethinking the Museum and Other Meditations. Washington,
D.C.
: Smithsonian Institution Press, 1990, pp 43-56
-
Prown, Jules David. "The Truth of Material Culture: History or
Fiction?"
in Lubar, Steven and W. David Kingery ed. History From Things:
Essays
on Material Culture. Washington: Smithsonian Institution Press,
1993,
pp 1-19
-
Shuman, Bruce A. (1992) "Libraries and information in
Society",
in Foundations and Issues in Library and Information Science,
Englewood,
CO: Libraries Unlimited, pp 1-7
-
Shuman, Bruce A. (1992) "General Issues for Libraries and
Inormation
Centers", in Foundations and Issues in Library and Information
Science,
Englewood, CO: Libraries Unlimited, pp 26-42
-
Orphan Film Symposium. What
is an Orphan Film? plus these 1999 Orphans Symposium
papers:
-
Optional
-
Putnam, Robert (1995) Bowling
Alone: America's Declining Social Capital, Journal of Democracy
6:1, Jan 1995, 65-78
-
Lievrouw, L.A. (1994) "Information Resources and Democracy:
Understanding
the Paradox." Journal of the American Society for Information
Science,
45(6), July, pp. 350-357.
-
Marita Sturken and Lisa Cartwright in
Practices of
Looking: An Introduction to Visual Culture (Oxford University
Press,
2001)
-
Benjamin, Walter. "Unpacking My Library:
A Talk about
Book Collecting." Illuminations. Ed. and intro. by Hannah
Arendt.
Trans. Harry Zohn. New York: Schocken Books, 1969, pp 59-67
-
Benjamin, Walter. "The Work of Art in the Age of Mechanical
Reproduction"
Illuminations.
Ed. and intro. by Hannah Arendt. Trans. Harry Zohn. New York: Schocken
Books, 1969, pp 217-251
-
John Berger. Ways of Seeing , New
York: Viking,
1972
Topics covered:
-
Why do we collect?
-
Extensive
questions to ponder
-
Issues of evidence and authenticity
-
Issues of representation
-
Who collects what? for whom? and
why? How do
collections define their collectors? How have museums influenced
colonialism, nationalism, and taxonomies (categories) of
knowledge?
What kinds of interdependence exists between institutions of collecting
and certain methodological goals of art history and anthropology?
How can we learn to read exhibits critically? What is a
"rhetoric"or
"poetics" of display? Why do people keep personal collections of
objects? How do ethnicities and genders appear--or disappear--in
museum contexts? How do museums also function to support a local
community memory and history? How do artists view museums as
social
institutions? How can we imagine collecting practices and museums
in the future? How can the history of collecting be read as an
interdisciplinary
intellectual practice?
-
Why do we need museums? What
should they
look like? Why do we collect things? What kinds of museums and
collections
might we have in the future? What role might electronic media
play
in the rethinking of the museum? Would changes in museum
practice
necessitate changes in the disciplines of art history and
anthropology?
-
How are moving images and sound part of
the larger
visual culture and ways of looking and seeing? How does our
understanding
of visual culture impact our role in moving image archiving and
preservation?
-
Who attributes value to a work, and under
what circumstances?
How does one deal with the different values that different communities
may have towards any particular set of works?
-
Are there ethical considerations in
format conversions
(e.g., film colorization, pan-and-scan?)
-
Continutation of discussion from previous
week
-
What will be the orphans in media other
than film
(video, new media, electronic art, conceptual art, web-based works,
games,
etc.)?
-
Who shoud take responsibility for Orphan
films, videos,
new media?
-
Discussion of Final Projects
Apr 12 Processes: Budgeting, Fundraising, Project Management
Guest Speaker -- Sarah Himmelfarb
Assignments due before class:
-
Read:
- "Controlled Collecting: Drafting a Collection
Management
Policy" in Marie Malaro, Museum Governance: Mission, Ethics, Policy
, pages 43-49
.
Topics covered:
You will learn to:
-
define projects you may want to do in your professional workplace
-
work up budgets and workplans
-
argue the importance of their projects to others in their organization
-
do public relations outside your organization
-
find external funding sources (grants, wealthy donors, their own
income-generating
activities, more innovative sources, ...)
-
find volunteers and work with them
-
manage projects once you receive funding
Apr 19* ???xxxxxxx
Assignments due before class:
Topics covered:
Apr 26 The Future: How do things change in a
digital
world?
Assignments due before class:
-
View video Into the Future: On the
Preservation
of Knowledge in the Digital Age. Available at the Bobst Library and in
the Film Study Center.
-
Read:
Jorge Luis Borges, The
Library of Babel , from Labyrinths (or The Book
of
Sand) (see
review )
Besser, Howard. (1998) The
Shape of the 21st Century Library, in Milton Wolf et. al.
(eds.),
Information
Imagineering: Meeting at the Interface, Chicago: American Library
Association,
pp. 133-146
Besser, Howard.(1995) From
Internet to Information Superhighway, in James Brook and Iain
A.Boal
(eds.),
Resisting the Virtual Life: The Culture and Politics of
Information,
San Francisco: City Lights, pp. 59-70.
Besser, Howard. (1994) "Movies-on-demand
May Significantly Change the Internet",
ASIS Bulletin 20
(7), Oct/Nov, pp. 15-17
Anne J. Gilliland-Swetland. Enduring
Paradigm, New Opportunities: The Value of the Archival Perspective in
the
Digital Environment , Council on Library & Information
Resources,
pub89, pp 1-16 [document pages 1-16, not Acrobat pages 1-16]
Steve Dietz, Howard Besser, Kati Geber. The
Virtual Museum: The Next Generation. Feb 2004 report
to
Canadian Heritage Information Network
Borgman, Christine.(2000) The
Premise and Promise of a Global Information Infrastructure. First
Monday, 5:8, August 2000
Woodbury, Marsha ((2002). "The Fight of the Century? Informatiion
Ethics versus E-Commerce" in Lipinski, Tomas (ed.) Libraries,
Museums,
and Archives: Legal Issues and Ethical Challenges in the New
Information
Era, Lantham, MD: Scarcrow, pp 177-192
Besser, Howard (June 2002). Commodification
of Culture Harms Creators, The Information Commons, New Technology,
and the Future of Libraries, vol 1, issue 1, American Library
Association
Readings on the InterPARES
2 project
National Digital
Information
Infrastructure and Preservation Program
Topics covered:
-
Report on FIAF meeting
-
How do reformatting and multiple formats of
the same
work change how we look at a work? (e.g., are videos the same as films?
Are digital photographs the same as analog photos?)
-
Is there a social context to viewing an
object? (is
viewing a video at home the same as viewing a film in a theater? Is
viewing
a mural on a screen the same as viewing it in-situ?)
May 3 Final Classroom Presentations
Assignments due before class:
-
Be prepared to present your final project to the
rest
of the class
Topics covered:
-
Final Individual presentations
Major Assignments
Visit Cultural Institutions:
Visit at least 2 cultural institutions for at least 45 minutes
each.
In each institution, observe what people do there: what they look at,
what
they consult or read, who they talk with, how much time they spend with
artifacts, how long they stay in one place, etc. Note what time
of
day and day of week you visited, and hypothesize how things might be
different
at different times. Compare what happens in each of the places
you
visit. Write a 2-5 page paper with your observations, and present
this in class.
Lead a short class discussion based on readings:
Read one book (from
list). Sumarize the ideas in an oral class presentation
(approximately
10 minutes), and then lead a 15 minute class discussion on the issues
you've
raised.
Individual Final Project -- student choice, but must be
related
to something covered during the semester: A major term
project.
Topic must be approved by the instructors by March 8. Must be presented
in class during the last class session. Here are a few examples:
-
Write a paper comparing and contrasting the differences btwn 2 types of
institutions (eg. A public library and a state Historical Archive), and
how institutional differences affect moving image archival practice
(acquisition,
cataloging, access, restoration, ...)
-
Compare how a film or video collection in one type of institution might
be handled differently or similarly to an identical collection residing
in a different type of institution.
-
Examine the history of a particular institution with a moving image
collection.
Look at what kinds of elements shaped it into what it is today.
Pay
particular attention to the type of organization and mission, how the
division
of labor changed over time due to individual skills or institutional
focus,
the effects of changes in the outside field, and external social and
political
effects.
-
Work with a local cultural institution to scope out a project that they
want to do. Produce a project plan and a budget. Examine
possible
funding agencies. Write a grant proposal, ...
-
Plan an exhibition series for historic moving image material. Plan a
publicity
campaign, coordinate with tie-in activities or events, figure out a
workable
budget, determine how to use volunteers, ...
-
Due dates -- Topic approval Mar 8; present in class and turn in written
version May 3