La segunda entrega de FCo viene con novedades, el proyecto Paisajes Inestables aportara material y serán editores de entregas. Con ello colaboran en esta forma sencilla de compartir conocimientos que no aspira a tener crédito universitario ni de cualquier tipo. El crédito existe cuando se comparte no cuando se comercia con él.
web: http://morfia.net/dni/wordpress/?p=3223
http://archivisticaysociedad.blogspot.com.es/2012/09/armenian-national-archive-will-publish.html?m=1
Armenian National Archive will publish digitized materials on Armenian Genocide in Internet
09:56, 25 September, 2012YEREVAN, SEPTEMBER 25, ARMENPRESS: The Armenian National Archive carries out digitalization of the Archive’s documents and creation of an electronic database. In 2013 the administration of the Archive intends to make the important Armenian Genocide-related documents available in the Internet. To get acquainted with the digitalization works process and the programs implemented by the National Archive of Armenia, Armenpress’s correspondent interviewed the Director of the Armenian National Archive Amatuni Virabyan.- In what stage the digitalization works of the National Archive are and how many materials have been digitized by now?- By the result of the first semester of the year 2012 54,299 pages of documents have been digitized. In general, 112,669 pages of documents have been digitized by now. By the way, after the digitalization some documents, related to the Armenian Genocide and having propagandistic importance, will be published in the Internet. Due to the powerful equipment, obtained in 2011, the process of documents’ digitalization has become more efficient. 50,370 pages of documents have been digitized. For comparison, I would like to mention that by 2010 only 8,000 pages of documents in paper carrier had been digitized.- How does the digitalization process of the films and photos go?- Concerning the cinema-, photo-, phono-documents, due to the digitalization equipment, obtained from France, we have already digitized 2,013 documentaries. The digitalization process of the Armenian production feature films is carried out according to the agreement signed with Armenfilm Movie Studio, in the framework of which 415 movies will be digitized. The National Archive of Armenia intends to digitize the Armenian movies of the Soviet time, which are currently preserved in Mosfilm Film Studio. At present we can announce that all the issues of the Soviet Armenia documentaries of 1940-1982 have been digitized. 3,742 photo storage units have been digitized by now, which were on glass base. The process is very laborious and demands professional skills. 1,519 phono-documents have been digitized, including the recordings of the National Assembly sessions of 1989-1997. Every year the National Archive of Armenia is supplemented with new documents, which conditions the continuation of the documents’ digitalization process.- What programs do you plan to implement next year?- In 2013 it is intended to establish the optimization program of the territorial subdivisions of the Archive and begin its implementation, as well as establish an internal computer network between the Archive and the territorial subdivisions, publish the Archive’s documents related to the Armenian Genocide dated to its 100th anniversary, translate them into foreign languages and continue the digitalization process.- What problems does the Armenian National Archive have?- One of the problems of the National Archive, demanding urgent settlement, is the upgrading of the computer equipment, installation of ventilation system in the archive depositories of the territorial subdivisions, implementation of waterproofing works in the underground archive depositories and other technical upgrades.Interviewed by Hakob Vardanyanhttp://armenpress.am/eng/news/694114/armenian-national-archive-will-publish-digitized-materials-on-armenian-genocide-in-internet.html
http://www.haaretz.com/news/world/no-buyers-for-goebbels-archive-in-u-s-auction.premium-1.467710 No buyers for Goebbels archive in U.S. auction Archive of documents belonging to Nazi propaganda minister Joseph Goebbels include love letters, articles he wrote in school and poetry. By Ofer Aderet | Oct.02, 2012 | 7:44 AMSome of the Goebells letters, whcih failed to sell at auction. Photo by Alexander AutographsText size Comments (0) Print Page Send to friend Share on Facebook Share on Twitter ShareTHIS STORY IS BYOfer AderetRELATED TAGSNaziHolocaustIn this 1938 file photo, Nazi propaganda minister Dr. Joseph Goebbels speaks to members of the National Socialist party. Photo by APAn archive of documents belonging to Nazi propaganda minister Joseph Goebbels, including love letters, remained unsold at a U.S. auction Monday. Only one bid was made for the papers, by phone, but it was lower than the opening price of $200,000 set by the auction house.Bill Panagopulos, president of Alexander Historical Auctions in Connecticut, told Haaretz last night that he was very disappointed that the archive did not sell. «Marilyn Monroe’s skirt sold for $1.2 million, and the ruby slippers from the Wizard of Oz sold for twice what this archive would have sold for. History is so easily forgotten, especially when it is distasteful,» he said.The auction house presented Goebbels’ papers as the most important collection of documents from World War II ever offered for auction, and that it could offer invaluable insights into Goebbels’s mind. The papers include documents dating from before the war, among them letters from family and friends, articles he wrote in school, love letters, sketches, poetry and academic materials.Panagopulos said he was concerned that the archive would now be broken up and sold to small collectors and dealers throughout the world. However, he said he would try to sell the archive at a lower price.»Despite the worldwide publicity it received, the public has determined that it is worth less than a pair of shoes. Speaking as a historian, I am truly saddened,» Panagopulos said.Last year, Alexander Historical Auctions sold the journals of Josef Mengele, the «angel of death» from Auschwitz. They were purchased by an American Jew, who said he would display them around the world.
http://cultura.elpais.com/cultura/2012/09/30/actualidad/1349030528_752132.html
Cuando fue creado, en 1908, el FBI (bautizado entonces como BOI) disponía de 34 agentes especiales. El principal objeto de sus investigaciones fue una constelación de células anarquistas que, en 1920, perpetraron un atentado en Wall Street que causó 38 muertos y unos 400 heridos. Hoy, el FBI cuenta con 35.000 hombres y mujeres, un presupuesto de 8.000 millones de dólares (6.211 millones de euros) y es parte de una titánica red de agencias de inteligencia y espionaje que constituyen un elemento ineludible para comprender el poder estadounidense. “Información es poder. Información secreta es poder secreto. Un arma formidable”, observa Tim Weiner, periodista de The New York Times, premio Pulitzer y autor de Enemigos. Una historia del FBI (Debate). “Por eso J. Edgar Hoover, que es el artífice del moderno estado vigilante, duró tanto [dirigió el FBI cuatro décadas]. Por eso vivimos en la sombra del mundo que creó. Vivimos en la era de J. Edgar Hoover: la era de la vigilancia total”, afirma en Madrid.Weiner calcula que actualmente en EE UU casi medio millón de personas trabaja en las agencias de inteligencia y espionaje. “La CIA tiene unos 25.000 empleados; la Agencia de Seguridad Nacional, más de 100.000. En total hay 16 organismos, y su presupuesto ronda los 100.000 millones de dólares [un 7% del PIB español]”, dice el periodista, que cubre información de los servicios secretos desde hace más de dos décadas.El actual tamaño del sector es, en buena medida, una consecuencia del 11-S. Un tremendo shock colectivo “que llevó, en nombre de la seguridad, a una gran compresión de las libertades civiles”, comenta Weiner. “La historia del FBI es precisamente la historia del conflicto que, en una sociedad democrática, surge entre la necesidad de seguridad y el respeto de las libertades civiles”. El libro de Weiner indaga minuciosamente en los detalles de ese gran pulso a lo largo de un siglo.Weiner calcula que actualmente en EE UU casi medio millón de personas trabaja en las agencias de inteligencia y espionajeViento Estelar, un gigantesco plan para controlar el tráfico de telecomunicaciones de la Administración de George Bush tras el 11-S, representa uno de los ejemplos más escalofriantes de esa pugna. En aras de prevenir nuevos ataques de Al Qaeda, la Casa Blanca impulsó ese enorme programa de escuchas sin autorización judicial sobre ciudadanos estadounidenses. Las agencias de inteligencia recopilaron una cantidad descomunal de datos. El FBI, según indica Weiner, tiene almacenados 700 millones de archivos y fichados a 1,1 millones de sospechosos de terrorismo.“Lo paradójico es que precisamente el FBI, una institución que en un siglo de historia ha pisoteado muchas veces la ley, haya contribuido a frenar esos excesos”, explica Weiner. “Su actual director, Robert Mueller, se opuso a Bush y consiguió frenar Viento Estelar en 2004. La llegada de Obama ha contribuido a cambiar las cosas y ahora la situación no es perfecta, pero va mucho mejor”.Tras las décadas de caza a anarquistas, primero, y comunistas, después, el 11-S ha forzado al FBI a redirigir sus esfuerzos hacia la actividad antiterrorista. “El ataque cogió al FBI muy desprevenido y desprestigiado. En las décadas previas había sido gravemente penetrado por rusos y chinos; había malgastado muchas energías en los noventa para seguir una falsa pista que era una trampa de Pekín —según la cual, Bill Clinton y sus colaboradores habrían sido corrompidos por dinero chino—; su red informática estaba en un estado lamentable; además, no disponía de un número suficiente de empleados que hablaran lenguas clave”, dice el autor.El gran esfuerzo tras el 11-S ha cambiado las cosas. “Sin duda sigue habiendo muchos fallos; duplicaciones entre agencias; tantas buenas pistas perdidas… pero hay un dato innegable: no nos han vuelto a atacar en nuestro territorio”, argumenta Weiner. “Esto tiene una gran importancia. Si nos golpearan otra vez como en el 11-S, creo que el sistema democrático estadounidense no sobreviviría tal y como lo conocemos. Habría enormes impulsos para recortar libertades en aras de una mayor seguridad”.A diferencia de especulaciones frecuentes en la prensa, lo que más teme el FBI no es un ataque terrorista con armas biológicas o con bombas con material radiactivo. “Mueller [el director del FBI] dice que lo que realmente le quita el sueño de noche es la posibilidad de un ciberataque múltiple que golpee las redes eléctricas de grandes ciudades y los sistemas informáticos que gestionan sus principales servicios, como el abastecimiento de agua y los transportes”, relata Weiner. “Un ataque semejante convertiría las ciudades golpeadas en urbes de la Edad Media durante varios días. Cundiría el pánico, y el temor a que se tratara del paso previo a un ataque convencional empeoraría todo. ¿Se desplegaría el Ejército en las calles de Nueva York para mantener el orden? ¿Se dictaría la ley marcial? Todo dependería de la fortaleza de los principios democráticos del presidente de turno…”.
http://archivesinfo.blogspot.com.es/2012/09/what-is-information-teaching.html?m=1
What is Information? Teaching Information Skills to High School Students
So much to say…only one blog post. For now.For the past month, I have been settling into a new role as an information specialist at a local high school. It has been a tremendous experience and I want to share as much as I can of it with you while respecting the sanctity of the classroom and student experiences. My goal is to explain how I am approaching certain issues; how archives can fit into the role of a teacher-librarian; why an archivist/librarian can be a good fit for a high school…and other related issues.On a path to boost student research skills, I have been working with freshmen English teachers and administration to evaluate the research skills of incoming freshmen. This past week, we had all freshmen classes take an assessment that is considered a standard in this area. (The test shall remain nameless.) It’s focus is on particular research skills. It asks questions about things such as Boolean searching, MLA format, etc. etc. I immediately follow the test by teaching a class about information during the second half of the period.The «No hunting» sign in this photo has perplexed me for a year, but I haven’t done any research on it. A student told me that his neighbor, who is in his seventies, said there was no hunting in NH during the 40s. I knew the student was on to something. His information got me excited to find out more and I’ve called the NH Fish and Game Department to try to get some historical information about hunting in our state.Mrs. Mannon: «What did you think of that test?»Students: «It was okay… It was hard… Mmmm, I don’t know.»Mrs. Mannon: «Was it boring to you? Because I thought it was very boring and I have a Master’s in this subject. It’s okay for you to think it was boring.»Students: «Yes! Yes! It was boring!»Mrs. Mannon: «Ok. Good. Now we’re getting somewhere because my job is to show you that this is not a boring topic. Information is fun! The library is all about information and I want you all to feel welcome here and use this as a place to stretch your mind.»I have been amazed at the response. I even have had applause at the end of my classes – seven 45 minute sessions in total this week. 2 or 3 more to come next week. First, my introduction to information session talks about my diverse background. Where do information professionals work? Students have no idea that librarians work beyond their schools and public libraries. We’ve talked about librarians and archivists in museums, law firms, science centers, government roles… I have shown pictures of the beautiful spaces I have had the pleasure of working in such as the Museum of Fine Arts, Boston, the Historical Society in Winchester, Massachusetts, and Lexington Massachusetts town hall vaults. I aim to get students to think about information beyond the school and to open their eyes to a world of information beyond their own community.What is information? What is an information resource? How do we learn about it? «What are you interested in because there is information attached to EVERYTHING?» Here I introduce the idea of primary and secondary sources and unwritten information. We talked about archivists versus librarians. We talked about using experts as a resource and the value of social media to connect with experts. We talked about looking for the source of articles and contacting authors if appropriate to dig deeper. I brought in my box of archives antique shop finds and passed around diaries, photos, ephemera and more. («This is my favorite part!» and they really seem to wait on the edges of their seats in anticipation.)We’ve talked about good information versus bad information. I have shown two short commercials from the current presidential campaign to make the point that quotes out of context tell us nothing. We need to find the source and do a little research to know if we are getting good or bad information.I’ve discussed communities and how information is all about communities. What do we have in common? (all members of same school, live in NH, etc.) What is different about us? (different families, different interests, etc.) What information is attached to our communities? How does this information get recorded and passed down so that the next generation can use it to build a better society? How does our information relate to other communities? How do we fit into this world? Again, what are you interested in? «Use this space to learn about it. Use this space to learn how to learn about it. We are even going to start our own school archives to document our own community.» (Five students have signed up to do that, so far.)Then, and only then… (that’s cliche, I know, but it’s important. Students should get excited about information before discussing Boolean for goodness sakes!) I give the students a tour of the library to talk about the tools we use. We look at the PACs, reference section, circulating books, the circulation desk, our computers with Internet access and proprietary databases. We discuss the Dewey Decimal system (and I may have even let my dislike of it creep in..a little bit. It’s okay to want to make things better. No method is perfect. We have the opportunity to better things for our own needs while still understanding the value of the standard way of doing things.) We may discuss Boolean at some point. Not yet.I’m fired up. The kids seem to be fired up. Information is fun. My theory? Begin with that. The skills will come. The applause confirmed that for me. I think that the students will come back for more and I can’t wait to share more.[In case you are reading this… thanks students for sharing information with me. We have so much to learn from each other and this will be a great school year!]melissa mannon at 7:04 AM
“I see us as being in the art business. Art, entertainment, and mobile sculpture, which coincidentally, also happens to provide transportation.” –Bob Lutz, General Motors Company, Former Vice ChairmanIn a world of commercialism, political upheaval, and uncertain economic systems, how does creativity fit into our lives? In a bold move, noted regional flagship Plains Art Museum poses an answer—we embrace the 21st century skills we find embodied in the visual arts: creativity, collaboration, critical thinking, and communication. Through a matrix of gallery and studio experiences, public programs, community projects, and artist-led initiatives, a socially engaged art museum can provide an environment to garner and grow our 21st century skills while providing a catalytic site that combines arts and community development.Propelled by this vision, in late September Plains Art Museum will open the Katherine Kilbourne Burgum Center for Creativity. Located directly west of the Museum, this 25,500 square foot expansion is a multipurpose arts facility offering classes for the entire community, as well as studio and exhibition space for learning, discussion, and display of creative work. It will focus on developing people’s potential for deeper learning and problem solving through 21st century skills.In a unique partnership, Fargo Public Schools will serve as a cornerstone client in the Center. At least 5,000 additional Kindergarten through fifth grade students will visit each year for gallery and studio learning, increasing the total number of students served to nearly 10,000. After its first year open, the Museum plans to expand school participation to 16,000 students annually, including other area school districts. Additionally, the Museum’s Creative Actions: Selections from the Permanent Collection exhibit will be the foundation for the visual art curriculum in Fargo Public Schools this year and will be utilized as a framework to build curriculum and scholarly research in art and art education for the entire region.As part of the Grand Opening, Plains Art Museum will present nine new exhibitions, including:Ice Music: Paul D. Miller / DJ Spooky Our Treasures: Highlights from the Minnesota Museum of American Art Creative Actions: Selections from the Permanent Collection The Artist’s Studio: Robert Kurkowski Fargo-Moorhead Visual Artists Studio Crawl Preview A Creative Life: Honoring Charles Beck Graffiti 101: The Foundation of Street Art Hand Picked: An Art = Food Installation by Su Legatt Playful Pollinators: An Outreach Project with Madison Elementary SchoolAdditionally, the Museum will host two artists-in-residence in October: renowned artist, musician, deejay, writer, and thinker Paul D. Miller, known as DJ Spooky that Subliminal Kid; and noted Minneapolis-based photographer Wing Young Huie. This 6.4 million dollar campaign, containing major extension and renovation, the commissioning of James Rosenquist’s North Dakota Mural, and a 2 million dollar endowment, was funded by more than 225 donors who contributed gifts ranging from 5 USD to 1 million USD. About Plains Art MuseumPlains Art Museum is a nonprofit, regional fine arts museum accredited by the American Association of Museums with significantly expanded programming through the Katherine Kilbourne Burgum Center of Creativity which opened fall 2012. Museum programs are made possible, in part, by major funding from members of the Museum, The FUNd at Plains Art Museum, the cities of Fargo, Moorhead and West Fargo through The Arts Partnership, The McKnight Foundation, the Minnesota State Arts Board through an appropriation by the Minnesota State Legislature, the North Dakota Council on the Arts through an appropriation by the North Dakota State Legislature and a grant from the National Endowment for the Arts. More information is available at 701 232 3821 or at plainsart.org.