Their call is not to dispense with standardization, but rather to create space for a liberatoryĪpproach which engages creatively the many dangers of standardization. To draw out the implications of their analysis for endeavours-irrespective of the architectures being used - to define, and Specific architectures and including only oblique references to descriptive standardization. In these sections of the essay their concern is with descriptive architecture, the analysis covering a number of Thereafter they offer a deconstruction of these questions and of the answers commonly The exploration begins with an interrogation of the traditional and ever-valid questions of the whatĪnd the why of archival description. Of being made, and that the stories of their making are parts of bigger stories understandable only in the ever-changing broaderĬontexts of society. Their shared conviction is that records are always in the process The authors of this essay, coming from very different traditions and modes of archival discourse, explore together archivalĭescription as a field of archival thinking and practice. © 2015, Association of Canadian Archivists. Also considered are the various roles an archivist must take on in order to make personal archives available for future research. By speculating about how an archivist would attempt to deal with the “ordered clutter” of Marker’s archives through research, observation, and archival methodology, the author explores key questions surrounding provenance, original order, and arrangement and description in the digital realm. Through a review of archival literature, the author draws upon issues common to the arrangement and description of personal archives, and creates linkages between these issues and Marker’s own work, specifically his film Sans soleil, and Sei Shonagon’s The Pillow Book, one of the literary references in the film. Chris Marker, the French multimedia artist who left his archives to the Cinémathèque française in Paris, is the starting point and thread of this discussion. This article explores how an archivist dealing with the personal archives of an artist might be informed by that artist’s work in arranging and describing the fonds.
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