I'd love to "engage in actively
implementing digitisation projects for the purposes of disseminating
cultural heritage, safeguarding historical artefacts, commercially
exploiting content to enable self-financing sustainable archives".  All
archivists would. But it's a tad difficult when we can't even get sufficient
support from our organisations for basics such as a room to work in,
shelves, boxes, p.c.s or printers, or enough staff/hours to even do the most
basic cataloguing on word files (data bases? Pictorial web-based images?
Don't make me laugh).

Yes, the perception that archives is unimportant won't change until we make
our collections more accessible.  But we can't do that because we have no
money to do so due to the perception of archives as unimportant.  Any
suggestions, Matthew?

Clare Cowling
RCOG and IALS Archivist

-----Original Message-----
From: Matthew Goldschmied [mailto:[log in to unmask]]
Sent: 15 April 2002 18:20
To: [log in to unmask]
Subject: How YOU are perceived


Dear all, who have participated in recent message string "How we are
perceived",

I formed a company 18 months ago and our business ideas rely upon the
skills and expertise of the archiving community, particularly those
curating and archiving collections of the visual arts community.  My
business partner and myself are both graduates from UCL and through our
research for our respective degrees, we developed an interest in the
availability (or lack) of visual resources from collections around the
world.  Some areas of study are catered for better than others but in
general there is a lot more that could be done to create access to archives
of all types.

In my own course of study (History of Art, with specialist courses in
Preservation, Conservation and Restoration 1996-1999) I researched many
themes such as; Art and Politics in Weimar and Nazi Germany, Renaissance
Portraiture, History and Analysis of Paint and I wrote my dissertation on a
comparison between the restoration of the mosaics of the Albert Memorial
and the mosaics of San Vitale in Ravenna.  In every course there lay new
challenges of research methodology and the sourcing of material
(particularly visual) given the diversity of subject matter and where
source material was located.

Having recourse to the extensive collections of London's Heritage Community
made life easier but if my studies were in a culturally less wealthy city
the problem would have been far more difficult to overcome.  If I could
have used electronic resources to find and view the relevant information I
could have saved hundreds of pounds, days-worth of time and most
importantly have spared the source material the potential dangers that are
raised by handling and removing the originals from the stability of their
storage environment.

A good example is the Print Collection at the British Museum where physical
access is severley restricted and only possible with a pre-arranged pass,
which fortunately we were given freely for the duration of our studies.
Once inside we had the opportunity to handle and to view all the Hogarths,
Gillrays and Newtons that we wanted yet always in the back of my mind (due
to my training in conservation etc.) was the fragility of the artefacts and
their long-term future.  In praise of the BM archiving and curatorial staff
there was always helpful advice on handling and locating the relevant
image.  Whilst this was a very useful resource I would say that 95% my
research could have been as fruitful using a digital version of the image
where the content of the image is available.  As mentioned the benefits of
digital access are many, most importantly the safeguarding of the artefact
for future generations.

This is probably not the average example of voluminous archives but the
theory is applicable to most collections of analogue material.  Since the
late 1990's the BM has made a small selection of images available on the
internet but not the more obscure material that I often needed in my degree
studies.  I worked for a time as a volunteer cataloguer for a photographic
collection of architectural subject matter and the most important thing
that I took away from the experience was that without the archivists and
keepers of the collection there would be no way at all for the general
public to have access to the material.  Access was gained by prior
appointment and viewing was obviously a 'hands-on' experience.  It is
the 'hands-on' experience that often causes the most problems and I am sure
that 95% of all viewings would have been as fruitful by using a digital
copy of the image.

Hopefully the point of my message has become clear that the cornerstone of
any collection is the material itself but to have access to the information
effectively it must first be archived and organised.  From this foundation
we can begin to concentrate on the long-term preservation of the material
without interrupting accessibility to it.  Even better than that we can
begin to make the material considerably easier to access using technology
and thus cement the importance of the role of archivist in the chain of
dissemination.  This in turn creates a virtuous spiral of creativity and
accessibility fuelled by the integrity of the information and imaginative
distribution of knowledge.

The government have recognised that this is the inevitable route to take
and my company seeks to become the bridge between the keepers of the
collections and the users of the collections who are always hungry for
more.  We are keen to find more curators who want to engage in actively
implementing digitisation projects for the purposes of disseminating
cultural heritage, safeguarding historical artefacts, commercially
exploiting content to enable self-financing sustainable archives.  In our
experience thusfar we have found that archivists are willing to listen to
our ideas yet they are reluctant to take them on or explore them further
with the decision-makers above them.

I used to think archivists were only bespectacled cardigan wearers who only
used 'quill and ink' but I've come to realise that they are an integral
part of the cultural heritage of the country.  If you concentrate on your
essential archiving work and wear what you want, let people like me wear
the suit and working together we can raise the profile of archiving from
exclusive square to virtuous spiral.  Anyone who cares what you wear is not
worth bothering about anyone who cares what you do as archivists is worth
worrying about.  Your role is integral to the future of our own and our
children's experiences of history and culture and there are people out
there who value what you do.  I subscribed to this mailing-list because I
care about your work and I find interesting ideas expressed through it
almost everyday.  If this is any indication of the quality and passion of
archiving in (predominantly) the UK then I see a very bright future for the
heritage community.

This is an outsiders perception of archivists.

If you want to discuss this further or find out how to create a self-
financing sustainable archiving program by exploiting the material through
various avenues of dissemination please continue the discussion on the list
or mail me directly.

best wishes to all,

Matthew Goldschmied