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The Materiality of the Archive is the first volume to bring together a range of methodological approaches to the materiality of archives, as a framework for their engagement, analysis and interpretation.Focusing on the archives of creative practices, the book reaches between and across existing bodies of knowledge in this field, including material culture, art history and literary studies, unified by an interest in archives as material deposits and aggregations, in both analogue and digital forms, as well as the material encounter. Connecting a breadth of disciplinary interests in the archive with expanding discourses in materiality, contributors address the potential of a material engagement to animate archival content. Analysing the systems, processes and actions that constitute the shapes, forms and structures in which individual archival objects accumulate, and the underpinnings which may hold them in place as an archival body, the book considers ways in which the inexorable move to the digital affects traditional theories of the physical archival object. It also considers how stewardship practices such as description and metadata creation can accommodate these changes.The Materiality of the Archive unifies theory and practice and brings together professional and academic perspectives. The book is essential reading for academics, researchers and postgraduate students working in the fields of archive studies, museology, art history and material culture.

Michael Moss on Archives brings together selected outputs from an internationally renowned archival scholar, who explored the theory and practice of archives and records management.Comprising a selection of 11 of Moss'most significant archival writings, the book demonstrates the development of his thinking in archival theory and practice over the past 20 years. Michael Moss was a towering figure in modern archival writing and was able to push the boundaries of the discipline, notably with his analysis of how modern governments create records and his speculations about the future of the archive in the digital world. Bringing together in one place Moss'most significant writings, alongside a comprehensive bibliography, this book documents a significant contribution to British and international archival theory and practice. Each essay is preceded by a critical introduction, written by a leading archival scholar, assessing the piece and setting it in a wider archival or historical context, while an overall introduction by the editors provides biographical information and describes the development of Michael's archival thinking.Michael Moss on Archives will be of interest to scholars and students engaged in the study of archival science, library and information science, history, digital humanities, and media studies. It should also be of interest to professionals who work in archives and records management.

Producing the Archival Body draws on theoretical and practical research conducted within US and Canadian archives, along with critical and cultural theory, to examine the everyday lived experiences of archivists and records creators that are often overlooked during archival and media production. Expanding on the author's previous work, which engaged archival and queer theories to develop the Queer/ed Archival Methodology that intervenes in traditional archival practices, the book invites readers interested in humanistic inquiry to re-consider how archives are defined, understood, deployed, and accessed to produce subjects. Arguing that archives and bodies are mutually constitutive and developing a keen focus on the body and embodiment alongside archival theory, the author introduces new understandings of archival bodies. Contributing to recent disciplinary moves that offer a more transdisciplinary emphasis, Lee interrogates how power circulates and is deployed in archival contexts in order to build critical understandings of how deeply archives influence and shape the production of knowledges and human subjectivities. Producing the Archival Body will be essential reading for academics and students engaged in the study of archival studies, library and information science, gender and women's studies, anthropology, history, digital humanities, and media studies. It should also be of great interest to practitioners working in and with archives

What constitutes an archive in architecture? What forms does it take? What epistemology does it perform? What kind of craft is archiving? Crafting History provides answers and offers insights on the ontological granularity of the archive and its relationship with architecture as a complex enterprise that starts and ends much beyond the act of building or the life of a creator. In this book we learn how objects are processed and catalogued, how a classification scheme is produced, how models and drawings are preserved, and how born-digital material battles time and technology obsolescence. We follow the work of conservators, librarians, cataloguers, digital archivists, museum technicians, curators, and architects, and we capture archiving in its mundane and practical course. Based on ethnographic observation at the Canadian Centre for Architecture and interviews with a range of practitioners, including Álvaro Siza and Peter Eisenman, Albena Yaneva traces archiving through the daily work and care of all its participants, scrutinizing their variable ontology, scale, and politics. Yaneva addresses the strategies practicing architects employ to envisage an archive-based future and tells a story about how architectural collections are crafted so as to form the epistemological basis of architectural history.

Il libro raccoglie alcune riflessioni e soprattutto esperienze affrontate nel corso degli anni, durante il viaggio (che ancora continua) dell'autore nel mondo degli archivi. Ci si riferisce in particolare al tema dell'archivio storico novecentesco, sia tradizionale (cartaceo/analogico), sia digitale, compreso il cosiddetto archivio ibrido. E ogni volta la richiesta iniziale è stata sempre la stessa: spiegare che cos'è un archivio e perché l'archivio. Temi non di poco conto che riguardano gli archivi, l'archivistica e gli archivisti, valutati da diversi punti di vista, pratici e teorici. Il filo rosso è quello che dà sostanza al titolo: rendere l'archivio libero dagli angusti spazi di una sua rappresentazione asettica e per diversi aspetti sterile e proporne invece un'immagine più complessa, importante, significativa, anche eversiva, nella prospettiva di un suo riconosciuto valore reale e concreto. Insomma una guida teorico-pratica – come recita il sottotitolo –, che vorrebbe essere, per quanto possibile, perspicace, efficace e rigorosa.

Dass „insgemein die Archiven wie ein vergrabener Schatz verborgen liegen', bedauert das Zedler'sche Universal-Lexikon 1732 und begründet die mangelnde Außenwirksamkeit harsch mit dem Misstrauen der Obrigkeit bzw. der Faulheit der Archivare. Heute scheint sich in vielen Archiven ein anderer Umgang etabliert zu haben: Dinge, die lange Zeit verborgen waren, von Kostbarkeiten bis zu Kuriosa, werden verstärkt einer breiteren Öffentlichkeit vorgestellt. Auch der Forschung erschließen sich neue Zugänge zu den Materialien. Der dritte Band der Reihe'Literatur und Archiv'wendet sich in einem übergreifenden Dialog zwischen Fachwissenschaften und Praxis, Theorie und Management, Fragen der Zugänglichkeit, Repräsentation und Dissemination des institutionell verwahrten kulturellen Erbes zu.

How digital networks and services bring the issues of archives out of the realm of institutions and into the lives of everyday users Archives have become a nexus in the wake of the digital turn. Electronic files, search engines, video sites, and media player libraries make the concepts of “archival” and “retrieval” practically synonymous with the experience of interconnected computing. Archives today are the center of much attention but few agendas. Can archives inform the redistribution of power and resources when the concept of the public library as an institution makes knowledge and culture accessible to all members of society regardless of social or economic status? This book sets out to show that archives need our active support and continuing engagement. This volume offers three distinct perspectives on the present status of archives that are at once in disagreement and solidarity with each other, from contributors whose backgrounds cut across the theory–practice divide. Is the increasing digital storage of knowledge pushing us toward a turning point in its democratization? Can archives fulfill their paradoxical potential as utopian sites in which the analog and the digital, the past and future, and remembrance and forgetting commingle? Is there a downside to the present-day impulse toward total preservation?

This issue of the journal and its sister (14.03) bring together sixteen contributions from scholars from a variety of perspectives around the topic of Women & Collections. As noted in the introduction to 14.03, the articles present the work of independent scholars, researchers, and practitioners alongside those situated in academy as well as others engaged in work at collecting institutions. Contributors hail from the United States, England, Wales, Italy, and Egypt, thereby bringing together the work from three continents.

L'utilisation des archives hors de leur lieu traditionnel qu'est la salle de lecture et hors de l'action des archivistes impose un renouvellement de la pensée archivistique traditionnellement centrée sur le moment de production des documents. Considérer les archives comme objet historique depuis leur exploitation artistique en prenant appui sur le matérialisme historique de Walter Benjamin conduit à revisiter l'archivistique. Ce réexamen passe d'abord par une historicisation des archives et de l'archivistique, ensuite par une réflexion autour de la notion d'archive à partir de la relation des archives avec la mémoire et la connaissance du passé et, enfin, par l'analyse de démarches artistiques mettant les archives en œuvre qui éclaire d'un jour nouveau les conditions d'existence des archives (matérialité, authenticité, lacune). Cet ouvrage propose tout à la fois une histoire de l'archivistique, une réflexion épistémologique autour de la notion d'archive et des outils méthodologiques pour l'étude des archives comme objet social.

This issue of the journal and its sister (14.04) brings together sixteen contributions from scholars from a variety of perspectives around the topic of Women & Collections. The articles present the work of independent scholars, researchers, and practitioners alongside those situated in academy as well as others engaged in work at collecting institutions including the Getty, Natural History Museum (London), Imperial War Museums, Liverpool Museums, and National Museum Wales. Contributors hail from the United States, England, Wales, Italy, and Egypt, thereby bringing together the work from three continents.

(Summer/Fall 2017) Editor Juilee Decker's introduction to the issue is followed by four articles covering: collections care informed by Native American perspectives (Jennifer Shannon); teaching historical research methods with archives as a test bed (Margot Note); historical markers, signage, and public programming online (Yun Shun Susie Chung); and building and managing a digital repository (Rebecca Bakker and Kelley Rowan). Fifteen book reviews covering a range of topics—from museums and innovation, collections and collecting practices, special collections, constructions of knowledge, and digital rights management and digital repositories. Reviews were prepared by Whitney Baker, Kirsten Belisle, Lee Andrew Hilyer, Mike Jones, Alexandra Libbey, Hannah Marsh, Margot Note, Yumi Ohira, Laura Osterhout, Laurel Racine, Ben Rawlins, Deborah Rose Van Horn, and Heather A. Wade.

Archives are considered to be collections of administrative, legal, commercial and other records or the actual place where they are located. They have become ubiquitous in the modern world, but emerged not much later than the invention of writing. Following Foucault, who first used the word archive in a metaphorical sense as'the general system of the formation and transformation of statements'in his'Archaeology of Knowledge'(1969), postmodern theorists have tried to exploit the potential of this concept and initiated the'archival turn'. In recent years, however, archives have attracted the attention of anthropologists and historians of different denominations regarding them as historical objects and'grounding'them again in real institutions. The papers in this volume explore the complex topic of the archive in a historical, systematic and comparative context and view it in the broader context of manuscript cultures by addressing questions like how, by whom and for which purpose were archival records produced, and if they differ from literary manuscripts regarding materials, formats, and producers (scribes).

Within the past 15 years, the field of archival studies around the world has experienced unprecedented growth and archival studies graduate education programs today have among the highest enrollments in any information field. During the same period, there has also been unparalleled expansion and innovation in the diversity of methods and theories being applied in archival scholarship. Global in scope, Research in the Archival Multiverse compiles critical and reflective essays across a wide range of emerging research areas and interests in archival studies with the aim of providing current and future archival academics with a text addressing possible methods and theoretical frameworks that have been and might be used in archival scholarship. More than a collation of research methods for handy reference, this volume advocates for reflexive research practice as a means by which to lay bare the fuzziness and messiness of research. Whereas research in the form of published research papers and juried conference presentations provide a view of the study framed in terms of research questions and findings, reflexive research practice reveals the context of the study and chains of situations, choices, and decisions that influence the trajectories of the studies themselves. Such elucidations from the position of the researcher are instructive for others, who may be inspired to apply or adapt the method for their own research. (Series:?Social Informatics) [Subject: Research Studies]

With new technologies and additional goals driving their institutions, archives are changing drastically. This book shows how the foundations of archival practice can be brought forward to adapt to new environments—while adhering to the key principles of preservation and access.Archives of all types are experiencing a resurgence, evolving to meet new environments (digital and physical) and new priorities. To meet those changes, professional archivist education programs—now one of the more active segments of LIS schools—are proliferating as well. This book identifies core archival theories and approaches and how those interact with major issues and trends in the field. The essays explore the progression of archival thinking today, discussing the nature of archives in light of present-day roles for archivists and archival institutions in the preservation of documentary heritage. Examining new conceptualizations and emerging frameworks through the lenses of core archival practice and theory, the book covers core foundational topics, such as the nature of archives, the ruling concept of provenance, and the principal functions of archivists, discussing each in the context of current and future environments and priorities. Several new essays on topics of central importance not treated in the first edition are included, such as digital preservation and the influence of new technologies on institutional programs that facilitate archival access, advocacy, and outreach; the changing legal context of archives and archival work; and the archival collections of private persons and organizations. Readers will also learn how communities of various kinds intersect with the archival mission and how other disciplines'perspectives on archives can open new avenues.

(Spring 2017) This issue of the journal is themed with a focus on Storytelling: Oral Histories, Archives, and Museums. Articles address methods, case studies, and theoretical approaches taken by museum and archives professionals including librarians, archivists, curators, technologists, researchers, scholars, and students. Authors include: Colleen Bradley-Sanders; Ren Harman, Tarryn Abrahams, Andrew Kulak, David Cline, Adrienne Serra, Ellen Boggs, Shannon Larkin, Jessie Rogers, Ashley Stant, Quinn Warnick, and Katrina Powell; Keith Huxen; David Kunian; Uta Larkey; Janet Butler Munch; Benjamin Ridgeway and Olivia Guntarik; Marco Robinson, Farrah Gafford Cambrice, and Phyllis Earles; Natalie Underberg-Goode; and Ruth Wainman.

(Winter 2017) This issue of the journal features a note from the editor, two articles, four book reviews, and supplemental material. In “Silent Legacy: The Story of Vasily Konovalenko's Gem-Carving Sculptures,” Stephen E. Nash and Frances Alley Kruger examine Russian artist the life and work of Vasily Konovalenko (1929-1989), as well as the unusual circumstances that led to the two exhibitions, their role in Konovalenko's relative obscurity, and a recent resurgence of interest. In “Exploring the Concept of a ‘Legacy'Collection: A Study on German WWI Paper Textiles at the National Museum of American History,” Kathleen King questions the value of keeping objects that no longer support the current mission statement of a museum by using a collection of surplus German military objects composed of woven paper from the First World War in the Smithsonian National Museum of American History as a case study. Jessica Williams reviews Introduction to Metadata, edited by Murtha Baca. Anna Heineman reviews Uncertain Images: Museums and the Work of Photographs, edited by Elizabeth Edwards and Sigrid Lien. Hannah Marsh reviews House of Lost Worlds: Dinosaurs, Dynasties, & the Story of Life on Earth, by Richard Conniff. Margot Note reviews Museums, Ethics and Cultural Heritage, edited by Bernice L. Murphy. Additional content includes listing and information about six additions to the Editorial Board of the journal and a call for papers.

Performance in the digital age has undergone a radical shift in which a once ephemeral art form can now be relived, replayed and repeated. Until now, much scholarship has been devoted to the nature of live performance in the digital age; Documenting Performance is the first book to provide a collection of key writings about the process of documenting performance, focused not on questions of liveness or the artistic qualities of documents, but rather on the professional approaches to recovering, preserving and disseminating knowledge of live performance.Through its four-part structure, the volume introduces readers to important writings by international practitioners and scholars on:• the contemporary context for documenting performance• processes of documenting performance• documenting bodies in motion• documenting to createIn each, chapters examine the ways performance is documented and the issues arising out of the process of documenting performance. While theorists have argued that performance becomes something else whenever it is documented, the writings reveal how the documents themselves cannot be regarded simply as incomplete remains from live events. The methods for preserving and managing them over time, ensuring easy access of such materials in systematic archives and collections, requires professional attention in its own right. Through the process of documenting performance, artists acquire a different perspective on their own work, audiences can recall specific images and sounds for works they have witnessed in person, and others who did not see the original work can trace the memories of particular events, or use them to gain an understanding of something that would otherwise remain unknown to them and their peers.

Collections: A Journal for Museum and Archives Professionals'is a multi-disciplinary peer-reviewed journal dedicated to the discussion of all aspects of handling, preserving, researching, and organizing collections. Curators, archivists, collections managers, preparators, registrars, educators, students, and others contribute.

How the archive evolved to include new technologies, practices, and media, and how it became the apparatus through which we map the everyday.In Archive Everything, Gabriella Giannachi traces the evolution of the archive into the apparatus through which we map the everyday. The archive, traditionally a body of documents or a site for the preservation of documents, changed over the centuries to encompass, often concurrently, a broad but interrelated number of practices not traditionally considered as archival. Archives now consist of not only documents and sites but also artworks, installations, museums, social media platforms, and mediated and mixed reality environments. Giannachi tracks the evolution of these diverse archival practices across the centuries. Archives today offer a multiplicity of viewing platforms to replay the past, capture the present, and map our presence. Giannachi uses archaeological practices to explore all the layers of the archive, analyzing Lynn Hershman Leeson's!Women Art Revolution project, a digital archive of feminist artists. She considers the archive as a memory laboratory, with case studies that include visitors'encounters with archival materials in the Jewish Museum in Berlin. She discusses the importance of participatory archiving, examining the “multimedia roadshow” Digital Diaspora Family Reunion as an example. She explores the use of the archive in works that express the relationship between ourselves and our environment, citing Andy Warhol and Ant Farm, among others. And she looks at the transmission of the archive through the body in performance, bioart, and database artworks, closing with a detailed analysis of Lynn Hershman Leeson's Infinity Engine.

'Collections: A Journal for Museum and Archives Professionals'is a multi-disciplinary peer-reviewed journal dedicated to the discussion of all aspects of handling, preserving, researching, and organizing collections. Curators, archivists, collections managers, preparators, registrars, educators, students, and others contribute.

The'archive'is often viewed as a collection of historical documents that records and orders information about people, places and events. This view nevertheless obscures a crucial point: the archive, whilst subject to the vagaries of time and history, can also determine the future. This point has gained urgency in modern-day North Africa and the Middle East where the archive has come to the fore as a site of social, historical, theoretical, and political contestation. Dissonant Archives is the first book to consider the ways in which contemporary artists from the Middle East and North Africa - including Emily Jacir, Walid Raad, Jananne Al Ani, Basel Abbas and Ruanne Abou-Rahme, Mariam Ghani, Zineb Sedira, and Akram Zaatari - are utilizing and disrupting the function of the archive and, in so doing, highlighting a systemic, perhaps irrevocable, crisis in institutional and state-ordained archiving across the region. In exploring and producing archives, be they alternative, interrogative or fictional, these artists are not simply questioning the authenticity, authority or authorship of the archive; rather, they are unlocking its regenerative, radical potential.The result provides essential insights into the nexus between art and politics in the contemporary Middle East.

'Collections: A Journal for Museum and Archives Professionals'is a multi-disciplinary peer-reviewed journal dedicated to the discussion of all aspects of handling, preserving, researching, and organizing collections. Curators, archivists, collections managers, preparators, registrars, educators, students, and others contribute.

Like most of Wolfgang Ernst's work, Das Rumoren der Archiv explored the concept of archival and media theory from a current cultural digital context. Ernst challenges the traditional perspective of the cultural heritage institution and how it relied on media for creating, storing and disseminating digital information. Archives have a place in a digital society, and the archivist's role will be more increasingly vital in the future. As Ernst points out, his work will show a way out of the archive, away from the notion that the era of archive is coming to an end. Here is the long-awaited English translation of this seminal work exploring cultural heritage before the archives, throughout history, and from today into the future.Ernst work emphasized a need to recognize media as a method for capturing and preserving our collective cultural identity. It is vital that archivists promoted a greater awareness of how media technology augmented the creation, management, and dissemination of digital content.

The digital age has witnessed the development of a new kind of archive: immaterial, “living and moving,” largely user-generated, and conceived for managing a wide variety of audio-visual materials, besides traditional films and videos. The first part of this anthology investigates the ways in which media forms like web-documentaries, video art and digital art, web series, amateur productions, and also mobile films can be stored and preserved withinthe new digital repositories. The second part focuses on archival and preservation practices of the video game. This approach understands the archive not simply as a “memory box,” but as a fully contemporary practice that locates new media objects in the present and acknowledges their changing cultural and social configurations. The democratic, often immaterial, living, mobile nature of contemporary archives forces us to question whether or not the traditional notion of “the archive” still has a heuristic value. Or if it would be perhaps better to reject any “conventional” idea of archive and embrace the notion of anarchive.

'Collections: A Journal for Museum and Archives Professionals'is a multi-disciplinary peer-reviewed journal dedicated to the discussion of all aspects of handling, preserving, researching, and organizing collections. Curators, archivists, collections managers, preparators, registrars, educators, students, and others contribute.

Not only does the library have a long and complex history and politics, but it has an ambivalent presence in Western culture – both a site of positive knowledge and a site of error, confusion, and loss. Nevertheless, in literary studies and in the humanities, including book history, the figure of the library remains in many senses under-researched. This collection brings together established and up-and-coming researchers from a number of practices – literary and cultural studies, gender studies, book history, philosophy, visual culture, and contemporary art –with an effective historical sweep ranging from the time of Sumer to the present day.In the context of the rise of archive studies, this book attends specifically and meta-critically to the figure of the library as a particular archival form, considering the traits that constitute (or fail to constitute) the library as institution or idea, and questions its relations to other accumulative modes, such as the archive in its traditional sense, the museum, or the filmic or digital archive. Across their diversity, and in addition to their international standard of research and writing, each chapter is unified by commitment to analyzing the complex cultural politics of the library form.

'Collections: A Journal for Museum and Archives Professionals'is a multi-disciplinary peer-reviewed journal dedicated to the discussion of all aspects of handling, preserving, researching, and organizing collections. Curators, archivists, collections managers, preparators, registrars, educators, students, and others contribute.

'Collections: A Journal for Museum and Archives Professionals'is a multi-disciplinary peer-reviewed journal dedicated to the discussion of all aspects of handling, preserving, researching, and organizing collections. Curators, archivists, collections managers, preparators, registrars, educators, students, and others contribute.

Scrapbooks, Snapshots and Memorabilia: Hidden Archives of Performance asks the questions: What constitutes an archive? What is worthy of being archived? And who decides? Performances are ephemeral, so archival questions of selection and appraisal determine which performances will be remembered by history and which will not. The essays in this collection each explore a different facet of the ephemerality of performance, and the traces it leaves behind: from photographic stills of actors or sets; draft scripts and production notes, theatre programs and reviews; the language used to evoke the experience of watching a dance; to the memories contained within a site which has been used for a site-specific performance. Each of the contributors to Scrapbooks, Snapshots and Memorabilia employs pertinent case studies to reveal performances that are so often ‘hidden'from the authoritative archival view; for example, those by women, indigenous people, amateurs and working people, and those outside metropolitan centres. In this way, they build a powerful argument for reconsidering – or at the very least, broadening – notions of what the performance archive can be.

'Collections: A Journal for Museum and Archives Professionals'is a multi-disciplinary peer-reviewed journal dedicated to the discussion of all aspects of handling, preserving, researching, and organizing collections. Curators, archivists, collections managers, preparators, registrars, educators, students, and others contribute.

'Collections: A Journal for Museum and Archives Professionals'is a multi-disciplinary peer-reviewed journal dedicated to the discussion of all aspects of handling, preserving, researching, and organizing collections. Curators, archivists, collections managers, preparators, registrars, educators, students, and others contribute.

'Collections: A Journal for Museum and Archives Professionals'is a multi-disciplinary peer-reviewed journal dedicated to the discussion of all aspects of handling, preserving, researching, and organizing collections. Curators, archivists, collections managers, preparators, registrars, educators, students, and others contribute.

'Collections: A Journal for Museum and Archives Professionals'is a multi-disciplinary peer-reviewed journal dedicated to the discussion of all aspects of handling, preserving, researching, and organizing collections. Curators, archivists, collections managers, preparators, registrars, educators, students, and others contribute.

A Letter from the EditorJuilee DeckerArticlesRussel Wright and Handicraft: Transnational Collecting PracticesJennifer WayThe Anatomy of the New Jewish Museum, Munich: Traces of the Past and PresentCarol SalusKE EMu and the Future for Natural History CollectionsMaría Consuelo Sendino Evaluation of Gender Representation of Museum Collection Positions in the United StatesMeghan E. BeverungBook ReviewsCollege and University Archives: Readings in Theory and Practiceedited by Christopher J. Prom and Ellen D. SwainReviewed by Amanda Bahr-EvolaMaking Digital Cultures: Access, Interactivity, and Authenticityby Martin HandReviewed by Katharine K. Liu

'Collections: A Journal for Museum and Archives Professionals'is a multi-disciplinary peer-reviewed journal dedicated to the discussion of all aspects of handling, preserving, researching, and organizing collections. Curators, archivists, collections managers, preparators, registrars, educators, students, and others contribute.

In Personal Archives and a New Archival Calling: Readings, Reflections and Ruminations, Richard J. Cox argues that personal archives might be assuming a new importance in society. As the technical means for creating, maintaining, and using documents are improving and becoming more cost-effective, individuals and families are seeking to preserve their old documents, especially traditional paper forms, as a connection to a past that may seem to be in risk of being of being swallowed up in the immense digital gadgetry in our Internet Age. There is a reversal to other technologies as well, such as leather bound journals and fountain pens, by some individuals resisting or protesting the increasingly digital world they reside in. Behind these very different approaches are similar impulses, and, these divergent paths raise identical questions about the role and purpose of traditional archives dating back two centuries and more. Personal recordkeeping raises a remarkable array of issues and concerns about records and their preservation, public or collective memory, the mission of professional records managers and archivists, the nature of the role of the institutional archives, and the function of the individual citizen as their own archivist. Archivists need to develop a new partnership with the public, and the public needs to learn from the archivists the essentials of preserving documentary materials. We are on the cusp of seeing a new kind of archival future, and whether this is good or bad depends on how well archivists equip citizen archivists.

'Collections: A Journal for Museum and Archives Professionals'is a multi-disciplinary peer-reviewed journal dedicated to the discussion of all aspects of handling, preserving, researching, and organizing collections. Curators, archivists, collections managers, preparators, registrars, educators, students, and others contribute.

Collections: A Journal for Museum and Archives Professionals'is a multi-disciplinary peer-reviewed journal dedicated to the discussion of all aspects of handling, preserving, researching, and organizing collections. Curators, archivists, collections managers, preparators, registrars, educators, students, and others contribute.

This collection of essays breaks new ground in archival studies in the UK where professional archival texts have traditionally concentrated on the how, not the why, of archival work. Studies of the theoretical role of, for example, the archive and the text or the archive and political power, have meanwhile been undertaken in other academic disciplines where there is an established forum for the discussion of related issues. This book invites the archivist to join that arena of debate, whilst appealing to all those interested in archives from other disciplines; the authors encourage archivists to step away from the practicalities of keeping archives to consider what it is they actually do in the cultural context of the early 21st century. The wider context of technological innovation and the internet form the backdrop to this collection. The book explores change and continuity in the archival paradigm, the textual nature of archives and asks if views of manuscripts and personal papers are changing; it looks at specific developments in community archives, at concepts of identity and culture in archives and it presents the fruits of innovative studies of users of archives. Taken together, these essays, written by leading experts in the field, provide a new understanding of the role of the archive today.

Letter from the PublisherLetter from the New Editor ArticlesPopular 20th Century Office Reprographic Processes—A Guide to Identification and PreservationJennifer Hain TeperThe Collection and Exhibition of In Situ Historic BuildingsYun Shun Susie ChungThe Process and Meaning of Collecting Ethnographic TextilesSara B. Marcketti, Jennifer Yurchisin, and Susan J. TorntoreRehabilitating Old Archaeology Collections with GISJodie A. O'GormanOpinionThe Invisibility of Collections Care WorkKiersten F. LathamBook ReviewThings Great and Small: Collections Management Policiesby John E. Simmonsreviewed by Paisley Cato

'Collections: A Journal for Museum and Archives Professionals'is a multi-disciplinary peer-reviewed journal dedicated to the discussion of all aspects of handling, preserving, researching, and organizing collections. Curators, archivists, collections managers, preparators, registrars, educators, students, and others contribute.

'Collections: A Journal for Museum and Archives Professionals'is a multi-disciplinary peer-reviewed journal dedicated to the discussion of all aspects of handling, preserving, researching, and organizing collections. Curators, archivists, collections managers, preparators, registrars, educators, students, and others contribute.

Editor's ForewordOpinion:Collection Care Training Opportunities: Campbell Center for Historic Preservation StudiesKathy A. Cyr and Herschell B. ParkerArticles:Growth and Development of the Conservation Profession: A Matter of DegreesStephen L. Williams North American Graduate-level Education in Preventive ConservationCatharine A. Hawks, Bruno P. Pouliot, and Stephen L. WilliamsTeaching Risk Management of Collections InternationallyC. Antomarchi, A. Brokerhof, S. Michalski, I. Verger, and R.R. WallerSurveying Archival Collections and Increasing Public Access: A Practical Case Study in NebraskaThomas M. Mooney and Traci J. RobisonBook Review:Creating Connections: Museums and the Public Understanding of Current Research, edited by David Chittendon, Graham Farmelo, and Bruce LewensteinJohn Shane

'Collections: A Journal for Museum and Archives Professionals'is a multi-disciplinary peer-reviewed journal dedicated to the discussion of all aspects of handling, preserving, researching, and organizing collections. Curators, archivists, collections managers, preparators, registrars, educators, students, and others contribute.

'Collections: A Journal for Museum and Archives Professionals'is a multi-disciplinary peer-reviewed journal dedicated to the discussion of all aspects of handling, preserving, researching, and organizing collections. Curators, archivists, collections managers, preparators, registrars, educators, students, and others contribute.