Pub Date : 2024-01-19DOI: 10.1177/15501906231220972
J. Walthew, Andrea Lipps, Wendy Rogers
As the national design collection of the United States, Cooper Hewitt, Smithsonian Design Museum in New York City is dedicated to historical and contemporary design with a collection of over 215,000 objects. Since its founding in 1897 as the Cooper Union Museum for the Arts of Decoration, its collection departments have been defined taxonomically by materials. In 2022, the museum created a new collecting department for the first time in its history, acknowledging that Digital collections represent a separate “material.” The introduction of a Digital department stakes a claim that digital design is itself a separate discipline with its own needs of collections management, curation, and conservation. Digital design as both process and product is now pervasive throughout design fields and the collection will continue to grow as the museum strives to represent contemporary design practice. While the museum’s early digital collecting came from a lineage of graphic design and typography, this article discusses the challenges inherent in developing new taxonomies, typologies, classifications, and collections management and preservation processes.
作为美国的国家设计收藏馆，位于纽约市的史密森尼设计博物馆库珀休伊特（Cooper Hewitt）专门收藏历史和当代设计作品，藏品超过 215,000 件。自 1897 年作为库珀装饰艺术博物馆（Cooper Union Museum for the Arts of Decoration）成立以来，其收藏部门一直按照材料分类法进行定义。2022 年，博物馆在其历史上首次设立了一个新的收藏部门，承认数字藏品是一种独立的 "材料"。数字部门的设立表明，数字设计本身就是一门独立的学科，有其自身的藏品管理、策展和保护需求。作为过程和产品的数字设计现在已经渗透到设计领域的各个角落，随着博物馆努力代表当代设计实践，数字收藏将继续增长。博物馆早期的数字收藏来自平面设计和排版，本文将讨论在开发新的分类法、类型学、分类以及收藏管理和保存过程中所面临的挑战。
{"title":"Defining Digital Design in the National Collection","authors":"J. Walthew, Andrea Lipps, Wendy Rogers","doi":"10.1177/15501906231220972","DOIUrl":"https://doi.org/10.1177/15501906231220972","url":null,"abstract":"As the national design collection of the United States, Cooper Hewitt, Smithsonian Design Museum in New York City is dedicated to historical and contemporary design with a collection of over 215,000 objects. Since its founding in 1897 as the Cooper Union Museum for the Arts of Decoration, its collection departments have been defined taxonomically by materials. In 2022, the museum created a new collecting department for the first time in its history, acknowledging that Digital collections represent a separate “material.” The introduction of a Digital department stakes a claim that digital design is itself a separate discipline with its own needs of collections management, curation, and conservation. Digital design as both process and product is now pervasive throughout design fields and the collection will continue to grow as the museum strives to represent contemporary design practice. While the museum’s early digital collecting came from a lineage of graphic design and typography, this article discusses the challenges inherent in developing new taxonomies, typologies, classifications, and collections management and preservation processes.","PeriodicalId":422403,"journal":{"name":"Collections: A Journal for Museum and Archives Professionals","volume":"90 16","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139612925","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-01-19DOI: 10.1177/15501906231220976
Zoe Screti
Marginalia have been created by many varied readers across the centuries, transforming texts into personal artifacts and offering valuable insights into many varied socio-cultural contexts and communities. However, the tendency to record marginalia only where it pertains to bibliographical data has often privileged some voices over others, skewing the historical narrative available to researchers using archive and special collections catalogs. This article explores the importance of recording marginalia (both its presence and its function) in catalog entries in order to allow traditionally marginalized voices to be heard. It provides a brief overview of projects using marginalia to tell unheard stories of marginalized figures challenging authority before questioning the reluctance of catalogers to include detailed descriptions of marginalia, concluding by offering some recommendations as to how marginalia could be cataloged to better represent the myriad of voices as yet unheard.
{"title":"Finding the Marginal in Marginalia: The Importance of Including Marginalia Descriptions in Catalog Entries","authors":"Zoe Screti","doi":"10.1177/15501906231220976","DOIUrl":"https://doi.org/10.1177/15501906231220976","url":null,"abstract":"Marginalia have been created by many varied readers across the centuries, transforming texts into personal artifacts and offering valuable insights into many varied socio-cultural contexts and communities. However, the tendency to record marginalia only where it pertains to bibliographical data has often privileged some voices over others, skewing the historical narrative available to researchers using archive and special collections catalogs. This article explores the importance of recording marginalia (both its presence and its function) in catalog entries in order to allow traditionally marginalized voices to be heard. It provides a brief overview of projects using marginalia to tell unheard stories of marginalized figures challenging authority before questioning the reluctance of catalogers to include detailed descriptions of marginalia, concluding by offering some recommendations as to how marginalia could be cataloged to better represent the myriad of voices as yet unheard.","PeriodicalId":422403,"journal":{"name":"Collections: A Journal for Museum and Archives Professionals","volume":"45 17","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139611868","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-01-11DOI: 10.1177/15501906231220974
Tehmina Goskar
This article shares the approaches, research and consequences of catalog-centered historical research at the Museum of Cornish Life, a result of the author’s Art Fund Headley Fellowship in 2022. It argues that museums are inherently forgetful institutions that avoid and often do not preserve their own history. If museums are to think and do things differently, particularly when employing decolonial approaches, they must start with reconstructing and understanding their own institutional and documentation ancestry. In the absence of an organized institutional archive the author turned to using critical close readings of both the historic and current collections catalogs to reconstruct patterns of curatorial preference, language, terminology, and classification use, and their impact on collections making. This research, coupled with piecing together scattered fragments from newspapers and surviving correspondence, led to the start of a major long-term effort to create a new museum knowledge base in the form of a digital archive to preserve the multiple voices and influences of the museum and its collections.
{"title":"Museums Will Forget: Critical Approaches to Catalog-Centered Historical Research","authors":"Tehmina Goskar","doi":"10.1177/15501906231220974","DOIUrl":"https://doi.org/10.1177/15501906231220974","url":null,"abstract":"This article shares the approaches, research and consequences of catalog-centered historical research at the Museum of Cornish Life, a result of the author’s Art Fund Headley Fellowship in 2022. It argues that museums are inherently forgetful institutions that avoid and often do not preserve their own history. If museums are to think and do things differently, particularly when employing decolonial approaches, they must start with reconstructing and understanding their own institutional and documentation ancestry. In the absence of an organized institutional archive the author turned to using critical close readings of both the historic and current collections catalogs to reconstruct patterns of curatorial preference, language, terminology, and classification use, and their impact on collections making. This research, coupled with piecing together scattered fragments from newspapers and surviving correspondence, led to the start of a major long-term effort to create a new museum knowledge base in the form of a digital archive to preserve the multiple voices and influences of the museum and its collections.","PeriodicalId":422403,"journal":{"name":"Collections: A Journal for Museum and Archives Professionals","volume":" 3","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139626778","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-01-11DOI: 10.1177/15501906231220971
Tom Drysdale
The special approaches to cataloging architectural drawings that were developed in the analog era of printed catalogs have persisted for over half a century. But the growth of digital technology in more recent years has created new challenges and opportunities for custodians of architectural drawings that have yet to be fully explored. This article examines traditional approaches to cataloging architectural drawings in the United Kingdom, including the highly influential system developed at the Royal Institute of British Architects in the 1970s, alongside recent literature and examples of modern finding aids to reveal the impact that digital technology has had on the practice of archival description, together with the possibilities that new technology offers for presentation and access to online descriptions. By highlighting the key developments in digital cataloging and relating them to the medium of architectural drawings, this article will enable custodians of architectural collections to ensure that their catalogs are fit for purpose in the digital age.
{"title":"Cataloging Architectural Drawings: Challenges and Opportunities in the Digital Age","authors":"Tom Drysdale","doi":"10.1177/15501906231220971","DOIUrl":"https://doi.org/10.1177/15501906231220971","url":null,"abstract":"The special approaches to cataloging architectural drawings that were developed in the analog era of printed catalogs have persisted for over half a century. But the growth of digital technology in more recent years has created new challenges and opportunities for custodians of architectural drawings that have yet to be fully explored. This article examines traditional approaches to cataloging architectural drawings in the United Kingdom, including the highly influential system developed at the Royal Institute of British Architects in the 1970s, alongside recent literature and examples of modern finding aids to reveal the impact that digital technology has had on the practice of archival description, together with the possibilities that new technology offers for presentation and access to online descriptions. By highlighting the key developments in digital cataloging and relating them to the medium of architectural drawings, this article will enable custodians of architectural collections to ensure that their catalogs are fit for purpose in the digital age.","PeriodicalId":422403,"journal":{"name":"Collections: A Journal for Museum and Archives Professionals","volume":"30 25","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139534513","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-07-26DOI: 10.1177/15501906231189210
Karen Urbec
In 2020, as part of a National Endowment for the Humanities Coronavirus Aid, Relief, and Economic Security Act (CARES) grant, Vizcaya Museum and Gardens curatorial staff digitized Estate Manager Frank Landon McGinnis’s daily 1922 diary. In addition to being a unique primary source and an interesting research puzzle, this diary also provides a look into the daily workings of a significant estate during the height of its active years. This case study will: share the digitization standards and workflows of this project, analyze the data found in the diary, and also consider the archival silences that exist in all archives and the impact a diary of this type can have on our historic understanding of an era.
{"title":"Exploring Archival Silences: A 1922 Estate Manager’s Diary Offers a New Voice From the Archives at Vizcaya Museum and Gardens","authors":"Karen Urbec","doi":"10.1177/15501906231189210","DOIUrl":"https://doi.org/10.1177/15501906231189210","url":null,"abstract":"In 2020, as part of a National Endowment for the Humanities Coronavirus Aid, Relief, and Economic Security Act (CARES) grant, Vizcaya Museum and Gardens curatorial staff digitized Estate Manager Frank Landon McGinnis’s daily 1922 diary. In addition to being a unique primary source and an interesting research puzzle, this diary also provides a look into the daily workings of a significant estate during the height of its active years. This case study will: share the digitization standards and workflows of this project, analyze the data found in the diary, and also consider the archival silences that exist in all archives and the impact a diary of this type can have on our historic understanding of an era.","PeriodicalId":422403,"journal":{"name":"Collections: A Journal for Museum and Archives Professionals","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123303051","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-07-25DOI: 10.1177/15501906231189209
Ajay Rajaram, P. Fiset, R. Fraser
Medical museums around the world have many specimens of historical and teaching value in their collections. Some of these are bones that have been prepared to illustrate normal anatomy. Others consist of organs preserved in liquid fixative (“wet” specimens) and mounted in glass or plexiglass containers that demonstrate the pathology of disease. Digitization of these specimens has the advantage of making them available for viewing by more students or website visitors than is possible in the museum itself. Photogrammetry is one method for doing this that enables the reconstruction of high-quality 3D models using standard specimen photographs. However, although relatively easy to perform on bones, its use with “wet” objects is more difficult and special steps are required to achieve optimal results. Using specimens from the Sir William Osler aortic aneurysm collection at the Maude Abbott Medical Museum, we developed a relatively simple and cost-effective photogrammetry process that gave good reconstructions of most specimens. We expect that future developments, such as the use of artificial intelligence-based techniques, may improve this result.
{"title":"Photogrammetry of “Wet” Pathology Museum Specimens: A Pilot Project","authors":"Ajay Rajaram, P. Fiset, R. Fraser","doi":"10.1177/15501906231189209","DOIUrl":"https://doi.org/10.1177/15501906231189209","url":null,"abstract":"Medical museums around the world have many specimens of historical and teaching value in their collections. Some of these are bones that have been prepared to illustrate normal anatomy. Others consist of organs preserved in liquid fixative (“wet” specimens) and mounted in glass or plexiglass containers that demonstrate the pathology of disease. Digitization of these specimens has the advantage of making them available for viewing by more students or website visitors than is possible in the museum itself. Photogrammetry is one method for doing this that enables the reconstruction of high-quality 3D models using standard specimen photographs. However, although relatively easy to perform on bones, its use with “wet” objects is more difficult and special steps are required to achieve optimal results. Using specimens from the Sir William Osler aortic aneurysm collection at the Maude Abbott Medical Museum, we developed a relatively simple and cost-effective photogrammetry process that gave good reconstructions of most specimens. We expect that future developments, such as the use of artificial intelligence-based techniques, may improve this result.","PeriodicalId":422403,"journal":{"name":"Collections: A Journal for Museum and Archives Professionals","volume":"80 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116372933","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-07-23DOI: 10.1177/15501906231189216
Perminus Matiure
This article focuses on the preservation of the tangible material culture of the Shona traditional music legacy. It reports on how the author collected and deposited the Shona tangible materials used during both sacred and secular contexts. For this research, an applied action research methodology was employed together with ethnography. Ethnographic fieldwork was conducted in Hwedza, Chikomba, Bhuhera, and Gweru, and the applied action approach informed the preservation of tangible materials. The findings indicated that the paradigm shift in religious belief, rural-to-urban migration, and modern technology are threatening the sustenance of the Shona traditional materials and that there is a need to protect them before they disappear. As a mitigative measure, the author collected some musical instruments and traditional objects and deposited them in a local departmental music archive at a university in Zimbabwe. It is therefore recommended that more collections be done to safeguard the vulnerable music heritage of the Shona.
{"title":"Preserving the Tangible Material Culture of the Shona Traditional Music Legacy: An Applied Ethnomusicological Report","authors":"Perminus Matiure","doi":"10.1177/15501906231189216","DOIUrl":"https://doi.org/10.1177/15501906231189216","url":null,"abstract":"This article focuses on the preservation of the tangible material culture of the Shona traditional music legacy. It reports on how the author collected and deposited the Shona tangible materials used during both sacred and secular contexts. For this research, an applied action research methodology was employed together with ethnography. Ethnographic fieldwork was conducted in Hwedza, Chikomba, Bhuhera, and Gweru, and the applied action approach informed the preservation of tangible materials. The findings indicated that the paradigm shift in religious belief, rural-to-urban migration, and modern technology are threatening the sustenance of the Shona traditional materials and that there is a need to protect them before they disappear. As a mitigative measure, the author collected some musical instruments and traditional objects and deposited them in a local departmental music archive at a university in Zimbabwe. It is therefore recommended that more collections be done to safeguard the vulnerable music heritage of the Shona.","PeriodicalId":422403,"journal":{"name":"Collections: A Journal for Museum and Archives Professionals","volume":"509 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133564257","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-07-14DOI: 10.1177/15501906231187156
S. Jensen, Meta Lier Hansen, Lærke Maria Andersen Funder
Over the last few decades, the concepts of significance, contextuality and polysemy in museum collections have been repeatedly discussed within the international museum field. In this article, we develop and discuss a methodology for operationalizing these concepts in practical collection work. By collaborating with different communities in assigning meaning to collections, we combine the significance assessment of museum collections with citizen science. Through a number of experiments, we explore collaborations between museums and different communities and find that significance assessment as citizen science adds new perspectives to and creates co-ownership of museum collections and thereby democratizes the museums as public institutions.
{"title":"Significance Assessment as Citizen Science: A Collaborative Methodology for Developing the Significance of Our Collections?","authors":"S. Jensen, Meta Lier Hansen, Lærke Maria Andersen Funder","doi":"10.1177/15501906231187156","DOIUrl":"https://doi.org/10.1177/15501906231187156","url":null,"abstract":"Over the last few decades, the concepts of significance, contextuality and polysemy in museum collections have been repeatedly discussed within the international museum field. In this article, we develop and discuss a methodology for operationalizing these concepts in practical collection work. By collaborating with different communities in assigning meaning to collections, we combine the significance assessment of museum collections with citizen science. Through a number of experiments, we explore collaborations between museums and different communities and find that significance assessment as citizen science adds new perspectives to and creates co-ownership of museum collections and thereby democratizes the museums as public institutions.","PeriodicalId":422403,"journal":{"name":"Collections: A Journal for Museum and Archives Professionals","volume":"8 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128048290","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-10-12DOI: 10.1177/15501906221130535
Laura Briscoe, Mare Nazaire, J. R. Allen, J. Baker, Aliya Donnell Davenport, Janet Mansaray, Carol Ann McCormick, McKenna Santiago Coyle, Michaela Schmull
The natural history collections community has made significant strides in the past decade in the digitization of their holdings. Digitization has made the data and corresponding images of collections publicly available to researchers, students, and the public. Data and images are served online by institutions’ local databases, and regional, national, and international aggregators. One challenging aspect in digitizing natural history collections is the presence of offensive language, such as racial slurs in collection and location data. We present findings from a community survey and analysis of data from relevant aggregators to assess the presence of and approach to offensive language in collections data. We also suggest initial guidelines for data warning statements and disclaimers and transcription guidelines to help preserve historical integrity of data while also supporting inclusive and safe workspaces. Please note that in writing about offensive terms found in natural history collections, we use and refer to offensive terms and include images of labels and documents to provide examples.
{"title":"Shining Light on Labels in the Dark: Guidelines for Offensive Collections Materials","authors":"Laura Briscoe, Mare Nazaire, J. R. Allen, J. Baker, Aliya Donnell Davenport, Janet Mansaray, Carol Ann McCormick, McKenna Santiago Coyle, Michaela Schmull","doi":"10.1177/15501906221130535","DOIUrl":"https://doi.org/10.1177/15501906221130535","url":null,"abstract":"The natural history collections community has made significant strides in the past decade in the digitization of their holdings. Digitization has made the data and corresponding images of collections publicly available to researchers, students, and the public. Data and images are served online by institutions’ local databases, and regional, national, and international aggregators. One challenging aspect in digitizing natural history collections is the presence of offensive language, such as racial slurs in collection and location data. We present findings from a community survey and analysis of data from relevant aggregators to assess the presence of and approach to offensive language in collections data. We also suggest initial guidelines for data warning statements and disclaimers and transcription guidelines to help preserve historical integrity of data while also supporting inclusive and safe workspaces. Please note that in writing about offensive terms found in natural history collections, we use and refer to offensive terms and include images of labels and documents to provide examples.","PeriodicalId":422403,"journal":{"name":"Collections: A Journal for Museum and Archives Professionals","volume":"16 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-10-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121737079","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-10-12DOI: 10.1177/15501906221130534
G. Boden
In this article, I attempt to trace and reflect on how and what knowledge emerged when I discussed historical artifacts with members of the community of origin. The information coming up during our collaborative work sessions does not easily fit into existing standard categories of collection databases. Rather than issues such as protagonists, dates, locations, etc. of photo shoots, or materials, methods of production and uses, etc. of objects, our conversations were about relations between people, life circumstances, uncertainties, legitimate informants, and social meanings. The emergent knowledge, as I argue, did not simply reflect different concerns or perspectives of community members as compared to those of scholars and provided for in database fields but was co-produced from all participants’ prior knowledges through concerted doings. Without presenting a ready-made solution, I further argue that we need to find ways of accommodating references into our collection databases revealing authors and ways of knowledge production.
{"title":"Whose Information? What Knowledge? Collaborative Work and a Plea for Referenced Collection Databases","authors":"G. Boden","doi":"10.1177/15501906221130534","DOIUrl":"https://doi.org/10.1177/15501906221130534","url":null,"abstract":"In this article, I attempt to trace and reflect on how and what knowledge emerged when I discussed historical artifacts with members of the community of origin. The information coming up during our collaborative work sessions does not easily fit into existing standard categories of collection databases. Rather than issues such as protagonists, dates, locations, etc. of photo shoots, or materials, methods of production and uses, etc. of objects, our conversations were about relations between people, life circumstances, uncertainties, legitimate informants, and social meanings. The emergent knowledge, as I argue, did not simply reflect different concerns or perspectives of community members as compared to those of scholars and provided for in database fields but was co-produced from all participants’ prior knowledges through concerted doings. Without presenting a ready-made solution, I further argue that we need to find ways of accommodating references into our collection databases revealing authors and ways of knowledge production.","PeriodicalId":422403,"journal":{"name":"Collections: A Journal for Museum and Archives Professionals","volume":"18 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-10-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129401162","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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