On the liberation movements archive at Fort hare

RT @MziwamadodaKond: On the liberation movements archive at Fort hare – Opinions – Archival Platform http://t.co/5kK0SFOA via @the_archive

In 1992, the Centre for Cultural Studies which started as a Centre for Xhosa Literature, attached to the faculty of Arts at University of Fort Hare, took the initiative through the office of the Vice Chancellor of the time Professor Bengu to approach the Liberation Movements and their leaders about apossibility of the liberation movements to deposit their liberation archival material to University of Fort Hare. The Liberation Movements of South Africa including the ANC, PAC, AZAPO/BCM, NUM were approached with the objective to engage them on the ideaof seeing University of Fort Hare as a “rightful custodian of the Liberation Movements Archives…”( S.M.E. Bengu, 1992)

Sigue leyendo «On the liberation movements archive at Fort hare»

Share

Artículo: DNA: a future preservation format for audio?

DNA: a future preservation format for audio?

http://playback.ning.com/profiles/blogs/dna-a-future-preservation-format-for-audio

It’s easy to get excited about the idea of encoding information in single molecules, which seems to be the ultimate end of the miniaturization that has been driving the electronics industry. But it’s also easy to forget that we’ve been beaten there—by a few billion years. The chemical information present in biomolecules was critical to the origin of life and probably dates back to whatever interesting chemical reactions preceded it.

It’s only within the past few decades, however, that humans have learned to speak DNA. Even then, it took a while to develop the technology needed to synthesize and determine the sequence of large populations of molecules. But we’re there now, and people have started experimenting with putting binary data in biological form. Now, a new study has confirmed the flexibility of the approach by encoding everything from an MP3 to the decoding algorithm into fragments of DNA. The cost analysis done by the authors suggest that the technology may soon be suitable for decade-scale storage, provided current trends continue. Sigue leyendo «Artículo: DNA: a future preservation format for audio?»

Share

Artículo: DNA: a future preservation format for audio?

DNA: a future preservation format for audio? http://playback.ning.com/profiles/blogs/dna-a-future-preservation-format-for-audio Scientists from the European Bioinformatics Institute in UK and Agilent Technologies in USA have encoded digital files on synthesized DNA…

Share

Artículo: Lost and Found Again: Photos of African-Americans on the Plains | New at the Smithsonian

Lost and Found Again: Photos of African-Americans on the Plains | New at the Smithsonian

http://www.smithsonianmag.com/arts-culture/smithsonian-institution/Lost-and-Found-Again-Photo-of-African-Americans-on-the-Plains-187954481.html
Douglas Keister has spent the past four decades traveling the country to photograph subjects as varied as architecture, folk art and cemeteries. Over the years, as he moved from his hometown of Lincoln, Nebraska, to several different cities in California, he carted around a heavy box of 280 antique glass-plate negatives that he’d bought when he was 17 from a friend who’d found them at a garage sale. “I thought, ‘Why the heck am I keeping these things?’” he says.Then, in 1999, Keister’s mother sent him an article she’d seen in the Lincoln Journal Star saying historians in Lincoln had unearthed a few dozen glass negatives that featured portraits of the city’s small African-American population from the 1910s and ’20s, an era from which few other photos survived. Keister compared the images with his negatives, and “I just thought, ‘Wow,’” he says. “The style of the pictures, the backdrops used—they looked the exact same.” Almost by accident, he realized, he had conserved a rare glimpse into the everyday lives of an African-American community on the Great Plains.Now Keister, who is 64 and lives in Chico, California, is donating 60 large-scale prints made from his collection for display in a permanent home—the National Museum of African American History and Culture, under construction and due to open on the National Mall in 2015. “They speak to a time and a place where African-Americans were treated as second-class citizens but lived their lives with dignity,” says curator Michèle Gates Moresi. “You can read about it and hear people talk about it, but to actually see the images is something entirely different.”Determining exactly who those people were—and what skilled hand took their photographs—has taken significant detective work. After Keister read the Journal Star article, he took his negatives back to Lincoln and showed them to local historian Ed Zimmer, who was surprised to see how many there were. Together, they set out to identify the mystery photographer. “We took some wrong turns,” Zimmer says, but their search led them to a 94-year-old Lincolnite named Ruth Folley. “She went and got her box of family photos, and one of them matched ours, and she just said, ‘Well, Mr. Johnny Johnson took all of these.’” Her assertion was confirmed when Zimmer turned up a vintage print with a signature in the corner: John Johnson.Through census records, Zimmer discovered that Johnson was born in Lincoln in 1879 to Harrison Johnson, an escaped slave and Civil War veteran, and his wife, Margaret. After graduating from high school and briefly attending the University of Nebraska (where he played football), Johnson found work in one of the few realms open to African-Americans at the time: manual labor. “He was a janitor and a drayman,” says Zimmer, “but also a very prolific and talented community photographer.” From roughly 1910 to 1925, he took as many as 500 photographs using a bulky view camera and flash powder. Some appear to have been commissioned portraits, while others feature co-workers, family and friends, and yet others convey Johnson’s personal interests—construction sites and local architecture.As they scrutinized the portraits, Keister and Zimmer began to see something else emerge: an untold story of what historians call the new negro movement. Following World War I, African-American writers, musicians, artists and academics across the country sought to promote confidence, dignity and self-expression—a movement that would blossom into the Harlem Renaissance. Johnson’s portraits, they realized, were part of the same intellectual current. His subjects were formally posed and dressed in their best, and they often held books to show that they were educated. “Up until then, many photos of African-Americans showed the plight of the poor,” Keister says. “These photos are elevating. They’re ennobling.”Read more: http://www.smithsonianmag.com/arts-culture/smithsonian-institution/Lost-and-Found-Again-Photo-of-African-Americans-on-the-Plains-187954481.html#ixzz2J0oAJ56A Follow us: @SmithsonianMag on Twitter

Share

Very Seinfeld: A Museum Exhibit about Visiting Museum Exhibits | Around The Mall

http://blogs.smithsonianmag.com/aroundthemall/2013/01/very-seinfeld-a-museum-exhibit-about-visiting-museum-exhibits/

Imagine walking in the footsteps of an artist visiting an art gallery. Are you feeling inspiration or intimidation? And what would you think if you happened upon an unguarded guard bored and asleep at his post?The Smithsonian’s Archives of American Art, which collects the sketchbooks, letters, financial records and other ephemera documenting the lives of American artists, answers some of these questions in its new show, “A Day at the Museum,” which opened recently at the Lawrence A Fleischman Gallery.Curator Mary Savig says that the multifaceted exhibit sheds light not only on the lives of the artists, but also on museums themselves—how they’ve evolved over time, as well as their roles as artistic incubators, educating and opening minds to art, history and culture. But before you dash away, alarmed by the didactic, consider some of the tales revealed here.In one oral history interview, Conceptual artist Eleanor Antin recalls her childhood visits to the Museum of Modern Art in the 1940s. “I used to pick one picture. I’d look around seriously and I’d pick one picture that I would just study,” she says. “I’d look at other things, too, but I’d spend much of my time that day in front of that picture. I remember those [pictures] in great detail, because I really looked at them very deeply and with great pleasure.”Sculptor Lee Bontecou also visited New York City museums in her youth. She tells the story of being stunned by a Van Gogh exhibit that she saw with her mother at the Metropolitan Museum of Art. “Both of us were bowled over. It was incredible,” she says in her oral history recording. “We both just held hands and went through the whole thing.”Pioneering light artist Dan Flavin, who worked at the American Museum of Natural History in the 1960s, wrote to one of the museum’s curators saying the museum’s exhibits inspired the early designs of his art. And it was collage artist Romare Bearden who visited Italy’s Museo Della Conservatori in the 1950s and found all of its guards fast asleep. “Anyone could have walked away with the whole museum,” he wrote to a mentor.One document reveals that New York’s American Museum of Natural History, now one of the world’s most respected museums, was a bit more carnival than cultural when it opened. Painter Jervis McEntee wrote in his diary after a visit in 1877 that he enjoyed seeing a fat woman and a tattooed man.“In a lot of ways, museum-going has changed,” Savig says, “so we want to show people the things that are the same or why things are different.”The exhibit collects not only letters by famous artists, but diary entries, sketches from museum visits, and photos of the famous and digerati visiting museums. Other recorded stories delight us with the memories of special visits. In total, around 50 documents and recordings from the past two centuries are featured.The main goal, Savig says, is to show how the range and depth of American art reflect the variety of experiences a person, artist or otherwise, might have at a museum: “Some people have fun going to see exhibitions with their children or their parents, and some people are just there to study, because they’re students, some people are guards. We really wanted to show a variety of experiences at museums, because that’s what our visitors will have.”Savig encourages visitors to share their experiences, too.“A Day at the Museum”—the museum exhibit about visiting museum exhibits—is open until June 2, 2013. The exhibit has its own hash tag, #DayAtTheMuseum, and a Flickr page on which museum-goers can post photos their trips to museums around the world. Check out some of the shared photos below.

Share

Recuperando materiales de Culturas de archivo. Bolletín nº 1, EL REPERTORI ICONOGRÀFIC D’ART ESPANYOL: ANÀLISI DE LES IMATGES QUE DOCUMENTEN LA COMUNITAT VALENCIANA

por Pilar Blesa y Alícia Cornet

ORIGEN DEL FONS

El Repertori Iconogràfic d’Art Espanyol es va crear per donar suport als grans esdeveniments artístics internacionals que va viure Barcelona al principi del segle XX.

L’any 1913 es va plantejar la celebració d’una Exposició d’Indústries Elèctriques, la futura Exposició Internacional de 1929, promoguda pels empresaris del sector. Durant el període de preparació d’aquest certamen, que en principi havia de tenir lloc l’any 1917, la Junta Directiva de l’Exposició va proposar a la Junta de Museus de Barcelona l’organització d’una important exposició d’art espanyol, posteriorment anomenada “El Arte en España”, que havia de mostrar obres representatives de tots els períodes i de totes les tipologies artístiques de la geografia peninsular.1

Per a dur a terme una exposició d’aquestes característiques, calia una selecció del patrimoni històric i artístic del país i per fer-la, la Junta Directiva de l’Exposició d’Electricitat proposà un previ i ingent recull fotogràfic del patrimoni espanyol. Sigue leyendo «Recuperando materiales de Culturas de archivo. Bolletín nº 1, EL REPERTORI ICONOGRÀFIC D’ART ESPANYOL: ANÀLISI DE LES IMATGES QUE DOCUMENTEN LA COMUNITAT VALENCIANA»

Share

Recuperando material del proyecto Culturas de archivo. Bolletín nº 1. Desmontaje documental

Eugeni Bonet

Película de montaje es la formulación más habitual en las lenguas latinas para aquella clase de película basada sustancialmente, si no enteramente, en un material preexistente, de archivo u otra procedencia, reutilizado para generar un nuevo discurso. Utilizo deliberadamente la palabra “película”, en lugar de la forma culta film (preferida por los estudiosos más escrupulosos de la práctica cinematográfica propiamente dicha), porque actualmente dicha definición ha de abarcar diversos soportes, contextos y tránsitos. No solamente entre los medios sobradamente entreconexos hoy del cine, la televisión y el vídeo, sino también en lo que concierne a los sistemas multimedia, donde película (en inglés, movie) designa todo contenido que se ampara en una secuencia de imágenes en movimiento, sea en un disco digital compacto o en la intangibilidad de la red. Y es que, justamente, las culturas y los cultivos archivistas hallan, desde hace unos años, una nueva extensión en dichos medios o metamedios. Sigue leyendo «Recuperando material del proyecto Culturas de archivo. Bolletín nº 1. Desmontaje documental»

Share

Recuperando material del proyecto Culturas de archivo. Bolletín nº 1. Archivo General de la Guerra Civil Española: la Sección Político-Social

por Miguel Ángel Jaramillo

Esta Sección se formó con la documentación incautada a todo tipo de organizaciones y personas favorables a la causa republicana, organizándose en “series”, la mayor parte de las mismas definidas por su procedencia geográfica, pero también por materias, como Prensa y Propaganda, o por titularidad de archivos, caso de documentación particular.

Las fotografías que en unas y otras aparecieron, no recibieron siempre el mismo tratamiento. La mayor parte se reunieron para formar una gran colección, que en cierta forma es la serie Fotografías, ver galería de documentos pero también se respetaron algunas agrupaciones preexistentes, separándolas o no, según los casos, del resto de la documentación con que fueron incautadas.Entre estas últimas destacan unas pequeñas colecciones que permanecieron identificadas por su procedencia, aunque nunca se describió su contenido. Son las siguientes: la de la Revista de Aeronáutica, la de Leopold Peril, la del PCE Sector Oeste, Madrid, (periódico Alianza), las de las AUS, o las placas con escenas de niños evacuados de Bilbao a Francia e Inglaterra. Existen, en último lugar, fotografías, aisladas o en grupo, que continúan integradas entre la documentación de la que formaban parte, caso de las del Pabellón Español en la Exposición Internacional de París, 1937, incluidas en PS Madrid, las de la Asociación de Amigos de la Unión Soviética, en PS Barcelona, o las que aparecen en la “Documentación particular”. Sigue leyendo «Recuperando material del proyecto Culturas de archivo. Bolletín nº 1. Archivo General de la Guerra Civil Española: la Sección Político-Social»

Share

RECOVERING ARCHIVE CULTURES MATERIAL: BULLETIN Nº 1, Documentary démontage

Eugeni Bonet

A “montage movie” is the more normal expression used in romance languages applied to that kind of motion picture based largely, if not entirely, on pre-existing footage, extracts from archives or some other source, and reused to create a new discourse. I deliberately refer to the word “movie”, as opposed to the more highbrow “film” (preferred by the more conscientious scholars of cinema in the strictest sense), because that definition today has to encompass a series of media, contexts and transfers. Not only amongst those manifestly interconnected, as are cinema, television and video, but also insofar as multimedia systems are concerned, where movie caters for all content that is vehicled by a sequence of moving images, whether it be on a digital disk or through the intangibility of the net. For it is, precisely, that archival cultures and sources have, for many years now, encountered a new extension in those media or metamedia. Sigue leyendo «RECOVERING ARCHIVE CULTURES MATERIAL: BULLETIN Nº 1, Documentary démontage»

Share