A powerpoint prepared by curator Kym Matthews about the History Room's collection and plans to digitise it for public access. An excellent case study into the work of a small regional museum. Supported by Break O' Day Council.
Art discovery view to future content and interface ifla lyon 20140820Janifer Gatenby
Outlines the content of Art Discovery Group Catalogue (a view of WorldCat) and outlines features of the new user interface. It also outlines other investigations
Assessing significance - an introduction to significance - Veronica Bullock of Significance International. Presented at the 2016 Community Heritage Grants Preservation and Collection Management Training Workshops.
Plenary talk delivered at the Rare Books & Manuscripts Preconference, American Library Association and Association of College & Research Libraries, Oakland, California, June 26, 2015
Art discovery view to future content and interface ifla lyon 20140820Janifer Gatenby
Outlines the content of Art Discovery Group Catalogue (a view of WorldCat) and outlines features of the new user interface. It also outlines other investigations
Assessing significance - an introduction to significance - Veronica Bullock of Significance International. Presented at the 2016 Community Heritage Grants Preservation and Collection Management Training Workshops.
Plenary talk delivered at the Rare Books & Manuscripts Preconference, American Library Association and Association of College & Research Libraries, Oakland, California, June 26, 2015
Tanya Szrajber, The British Museum Collection DatabaseAndrew Prescott
'The British Museum Collection Database: How to Create and Manage over 2,000,000 Records': seminar by Tanya Szrajber, Head of Documentation, The British Museum, to Department of Digital Humanities, King's College London, 20 November 2012
Digital Democratization of Art led by the Smithsonian’s Freer|SacklerCourtney OCallaghan
These slides are from a DigitalGov University event on January 27, 2015
Join Courtney OCallaghan as she talks about:
*The “democratization of art” Learn how museums, including the Smithsonian’s museums of Asian art, are expanding public access to their collections and focusing on the desires of global visitors, both in-gallery and online.
*Digital zero to sixty With a foundation of open access to collections, the Freer and Sackler now has the freedom to begin the rapid prototyping of digital resources. Learn what’s next.
*Digitizing the Smithsonian Learn about the process, pitfalls and payoffs of the first entirely digital Asian art collection in the world.
Capturing the visual in collections metadata / Victoria Webb (Wellcome Collec...CILIP MDG
The collections at Wellcome Collection are strong in visual culture, with over 250,000 prints, paintings, drawings, photographs, and objects. The collection also has a large ephemera collection, plus a considerable amount of visual material among the archives collection. The collections are currently catalogued in management systems for either the library or archives, and until recently there was no consistent approach to metadata creation. We have developed a Metadata Framework to provide a foundation for the cataloguing of our visual collections, to ensure consistency in the data, regardless of the system they are catalogued in. This will support our work now and will future proof the data should it move to a new library, archive, or museum system.
The Framework uses the approach of existing standards: CCO (Cataloguing Cultural Objects) from the VRA, mapping the ideas to the needs of Wellcome’s collections, and the requirements of Spectrum – ensuring our collections data is compliant for UK Museum Accreditation. Elements CDWA and DCRM(G) of were also incorporated. From this framework we are developing system specific cataloguing guidelines, suitable for different formats (currently MARC and ISADG). The paper will look at the creation of the Framework and the issues encountered, discussing consistency for new metadata, dealing with legacy data, the need for transparency when amending existing records, and incorporating evolving approaches to diversity and inclusion. Using examples from the collection to illustrate how it is helping us to showcase new acquisitions and re-discover our historical collections.
The Metadata Framework (https://docs.wellcomecollection.org/visual-material/metadata-framework/metadata-elements/technique) is a living document, developing as we work with our collections. I hope this presentation will spark further conversation; I would value discussions with others working with similar items and issues in their collections.
Paper presented at the CILIP Metadata and Discovery Group (MDG) Conference & UKCoR RDA Day (6th - 8th Sept 2023 at IET Austin Court, Birmingham).
A Student Guide to the NYPL Jerome Robbins Dance DivisionKatya Schapiro
A student guide to using the NYPL's Jerome Robbins Dance Division collection. Created as a presentation to Barnard College faculty, staff, and students April 13, 2011. (Not affiliated in any way with Barnard College or the New York Public Library)
Lydia Egunnike, Senior Conservator, Conservation Unit - Collection Preservation, State Library of Queensland presented at the M&GSQ State Conference 2011 on "A conservator's response to the South-East Queensland Flood".
IASA 2014 Conference - Cape Town, South Africa #iasa2014Karen Du Toit
Report back about attending the most recent International Association of Sound and Audiovisual Association Conference in Cape Town from 5 - 9 October 2014
Only possible to mention but a few of the papers that were read.
Information about the conference can be found here: http://2014.iasa-web.org/
Raj Kumar and I (from the Internet Archive), and Allison Vanderslice (from SF Heritage YP) gave a talk as part of the SF Architectural Heritage lecture series.
From the blurb:
"Come hear from the Internet Archive’s George Oates about how digital archiving works, see highlights from their San Francisco history collections, and learn about how these resources will influence the future of preservation. Perhaps even Heritage’s own collection could be digitized in the future…the possibilities are endless!"
http://www.sfheritage.org/upcoming_events/lecture-series/
Tanya Szrajber, The British Museum Collection DatabaseAndrew Prescott
'The British Museum Collection Database: How to Create and Manage over 2,000,000 Records': seminar by Tanya Szrajber, Head of Documentation, The British Museum, to Department of Digital Humanities, King's College London, 20 November 2012
Digital Democratization of Art led by the Smithsonian’s Freer|SacklerCourtney OCallaghan
These slides are from a DigitalGov University event on January 27, 2015
Join Courtney OCallaghan as she talks about:
*The “democratization of art” Learn how museums, including the Smithsonian’s museums of Asian art, are expanding public access to their collections and focusing on the desires of global visitors, both in-gallery and online.
*Digital zero to sixty With a foundation of open access to collections, the Freer and Sackler now has the freedom to begin the rapid prototyping of digital resources. Learn what’s next.
*Digitizing the Smithsonian Learn about the process, pitfalls and payoffs of the first entirely digital Asian art collection in the world.
Capturing the visual in collections metadata / Victoria Webb (Wellcome Collec...CILIP MDG
The collections at Wellcome Collection are strong in visual culture, with over 250,000 prints, paintings, drawings, photographs, and objects. The collection also has a large ephemera collection, plus a considerable amount of visual material among the archives collection. The collections are currently catalogued in management systems for either the library or archives, and until recently there was no consistent approach to metadata creation. We have developed a Metadata Framework to provide a foundation for the cataloguing of our visual collections, to ensure consistency in the data, regardless of the system they are catalogued in. This will support our work now and will future proof the data should it move to a new library, archive, or museum system.
The Framework uses the approach of existing standards: CCO (Cataloguing Cultural Objects) from the VRA, mapping the ideas to the needs of Wellcome’s collections, and the requirements of Spectrum – ensuring our collections data is compliant for UK Museum Accreditation. Elements CDWA and DCRM(G) of were also incorporated. From this framework we are developing system specific cataloguing guidelines, suitable for different formats (currently MARC and ISADG). The paper will look at the creation of the Framework and the issues encountered, discussing consistency for new metadata, dealing with legacy data, the need for transparency when amending existing records, and incorporating evolving approaches to diversity and inclusion. Using examples from the collection to illustrate how it is helping us to showcase new acquisitions and re-discover our historical collections.
The Metadata Framework (https://docs.wellcomecollection.org/visual-material/metadata-framework/metadata-elements/technique) is a living document, developing as we work with our collections. I hope this presentation will spark further conversation; I would value discussions with others working with similar items and issues in their collections.
Paper presented at the CILIP Metadata and Discovery Group (MDG) Conference & UKCoR RDA Day (6th - 8th Sept 2023 at IET Austin Court, Birmingham).
A Student Guide to the NYPL Jerome Robbins Dance DivisionKatya Schapiro
A student guide to using the NYPL's Jerome Robbins Dance Division collection. Created as a presentation to Barnard College faculty, staff, and students April 13, 2011. (Not affiliated in any way with Barnard College or the New York Public Library)
Lydia Egunnike, Senior Conservator, Conservation Unit - Collection Preservation, State Library of Queensland presented at the M&GSQ State Conference 2011 on "A conservator's response to the South-East Queensland Flood".
IASA 2014 Conference - Cape Town, South Africa #iasa2014Karen Du Toit
Report back about attending the most recent International Association of Sound and Audiovisual Association Conference in Cape Town from 5 - 9 October 2014
Only possible to mention but a few of the papers that were read.
Information about the conference can be found here: http://2014.iasa-web.org/
Raj Kumar and I (from the Internet Archive), and Allison Vanderslice (from SF Heritage YP) gave a talk as part of the SF Architectural Heritage lecture series.
From the blurb:
"Come hear from the Internet Archive’s George Oates about how digital archiving works, see highlights from their San Francisco history collections, and learn about how these resources will influence the future of preservation. Perhaps even Heritage’s own collection could be digitized in the future…the possibilities are endless!"
http://www.sfheritage.org/upcoming_events/lecture-series/
This tutorial offers a step-by-step guide on how to effectively use Pinterest. It covers the basics such as account creation and navigation, as well as advanced techniques including creating eye-catching pins and optimizing your profile. The tutorial also explores collaboration and networking on the platform. With visual illustrations and clear instructions, this tutorial will equip you with the skills to navigate Pinterest confidently and achieve your goals.
Boudoir photography, a genre that captures intimate and sensual images of individuals, has experienced significant transformation over the years, particularly in New York City (NYC). Known for its diversity and vibrant arts scene, NYC has been a hub for the evolution of various art forms, including boudoir photography. This article delves into the historical background, cultural significance, technological advancements, and the contemporary landscape of boudoir photography in NYC.
3. The St Helens History Room houses a social
history museum where there are over 1000
artifacts on display.
The St Helens History Room is part of the
Break O’Day Council and a curator is paid
for 14 hours per week. There is an associated
volunteer team currently numbering 15.
These are presented thematically to represent
the various stages of settlement in St Helens.
4.
5.
6.
7. The St Helens History Room recognises and
follows the Museums Australia code of
museum ethics and the National Standards
for Australian Museums and Galleries.
The St Helens History Room has a support
organisation called the Friends of the St Helens
History Room, with 60 financial members
currently.They are an independent incorporated
body, giving financial support by way of
membership and fundraising.
8.
9.
10.
11.
12.
13.
14.
15.
16. The St Helens History Room receives many
research requests for general and family history
from the general public. These are usually
random walk-ins. We also have requests from
authors and academics, both local and wider
across Tasmania and/or mainland Australia.
Our image archive is accessed for these
purposes and digital presentations (Smart TV)
and displays within the museum.
17.
18. There is an extensive photographic archive with
approximately 20,000 images. There is also a
Genealogical archive on settler families and a
general archive containing historical notes on
people, places and events relating to St Helens
in particular and generally that of Tasmania.
We have a professional agreement with the
Tasmanian State Library as we currently hold
the Burns Collection, of which they are the
owners. We maintain this collection on site and
regularly update their records regarding the
collection.
19. The Burns Collection includes a series of
photographic images taken of the St Helens
district and it’s changing landscape and other
places around Tasmania generally. The earliest
photo dates from 1860 - a view of Stanley.
Other old images include Weldborough’s first
house (1875), the schooner ‘St Helens’ in
Georges bay (1878) and a group outside the
Poimena Hotel taken in 1890. The collection is
made up of negatives ranging in size from
35mm to 80x140mm,prints both colour and
black and white from postcard size to A4,
33mm colour slides and 80x80 lantern slides.
23. There are some glass negatives, mainly in the
quarter plate size. The prints are kept in
archival folders according to subject matter and
the negatives, in the main, in archival albums.
The glass negatives are stored in specially
made boxes that keep each individual image
separate from the others. Glass lantern slides
are kept in wooden boxes with seperators.
The lantern slides have been scanned and
entered into Mosaic. There are around 583,
mainly in good condition,with a small
percentage damaged ie. cracked or chipped.
24.
25.
26. The negative collection is made up of several
individual collections. There are the Burns
collection (mainly black and white but also a
significant number of colour ones), the Dr Rae
collection, the Burn’s Family collection and a
series of miscellaneous albums.
The Burn’s collection contains approximately
20,000 35mm negatives, catalogued in
Filemaker Pro on PC (previously catalogued on
a Mac computer and later transferred to a PC
and filed in Microsoft Access - which had
limitations on data holding, which FileMaker Pro
has overcome).
27. The Rae collection is about 25-30% that of the Burns.
There is no catalogue of the Rae collection as most
images are unidentified (hopefully a shooting log or
index will surface eventually). The miscellaneous
collection is about 1500 in number and is in the process
of being digitised and where the subject matter is
known, will be catalogued in Mosaic.
Initially we focused on one collection, namely the
Burns, then moved on to the other collections,
including glass lantern slides of the
Ransom Family collection.
28. The St Helens History Room has a team of 2
volunteers who work on a weekly basis with the
photographic archive. One is a retired
professional photographer who worked for the
CSIRO in Victoria, the other is a retired
advertising professional who has also been a
photographer/designer with 25 years
in the industry.
29. Part of the digitised Aboriginal stone tools collection
30. What continues to be the biggest challenge is
ensuring the recording of data is accurate.
Having a plethora of volunteers working on the
cataloguing system can be problematic as
there are varying degrees of skills associated
with the inputting of data into the system.
Easy access of data has been a challenge in
the past, particularly transferring from one
platform (Apple) to another but this was
overcome with the suggestion of using
FileMaker Pro by our volunteer working within
the photographic archive.
31.
32.
33. SOFTWARE
Mosaic - The main software cataloguing system for
all collections.
FileMaker Pro - This was used to catalogue
the Burns photographic archive.
There were problems with the previous system (limitations on
data holding) and these were overcome by using
FileMaker Pro.
HARDWARE
PC storage facilities (Windows based)
with off-site backup.
2 Canon flatbed scanners.
1 Nikon negative/slide scanner.
34. DIGITAL ACCESS
As yet we have no facility for this. When research
requests are received, we do supply digital copies
via email. We are yet to upgrade our Mosaic
software so that significant items can be accessed
online.
OPPORTUNITIES
Expanded research and contacts from interest
generated by collections, the latest being a visit by
LaTrobe university academics for a paper they were
working on regarding the distribution
of Aboriginal artifacts across Tasmania.
35. Opening hours are 9am - 5pm 7 days a week,
except for Christmas Day and Good Friday.
St Helens History Room