Arlis hidden collections

After an MA in English in the mid 90s, I worked as a freelance writer and editor and ended up accidentally specialising in publications related to libraries, special collections and digitisation projects across the country.

The most rewarding contract was a commission to produce a book about the incredible special collections at the University of Sussex, which include the Mass Observation archive and the papers of Virginia Woolf. The research involved plenty of hands-on experience of digging through boxes and reading unpublished letters by extraordinary people. Unfortunately, funding for these sorts of projects dried up around this time, so a career re-think was required.

I wrote my dissertation on the future of special collections and this post came up a few months after I qualified. It was good timing. Every day is dictated by the enquiries and visitors that come in no two are alike and whatever is happening in the wider College. But most days involve a careful balance of front-of-house service provision and research support with the hidden demands of cataloguing images, managing loans and digitising documents. On one day last week, for example, I went from exploring boxes of old negatives with researchers in the morning to presenting on our new image library at lunchtime followed by an afternoon meeting with a publisher about a book proposal inspired by one of our collections.

Abraham Werner was an 18th-century geologist who tried to define the core colours found in minerals and we have the expanded second edition in which his successor, Patrick Syme, identified animal, vegetable and mineral equivalents for a set of hand-coloured samples.

In conversation with…

The samples little painted squares are glued into a matrix so you can read across to see, for example, that no. Like lots of colour-mapping projects, what could have been seen as a mad folly turns into an oddly profound achievement.

The first edition of ARK number 34 The issue was composed of satirical and scabrous photo-montages and had a strong anti-war message. One of the montages was a cheeky image of Princess Margaret in a bikini and as soon as the College management caught sight of the published version, they ordered it to be destroyed.

A bowdlerised version eventually came out but was poorly received and all but disowned by the editor. Strange enquiries are always good.

arlis hidden collections

They drive you into the darkest corners of the collections and press the material into new uses. Our students are a constant source of inspiration in this regard. I enjoyed working with some of them a while back to try to establish if there had ever been a secret society at the College a difficult thing to prove, for obvious reasons. They had the inspired idea of creating a fictitious archive of documents purporting to record the activities of a group of occultist students at the turn of the last century, led by the visionary artist and RCA alumnus Austin Osman Spare.This year is the 50 th anniversary of ARLIS so we want to focus some of the discussion on ARLIS itself and also on some very important current issues and practices, so we have decided to call out for papers and presentations that fit the following themes:.

Therefore we invite proposals from those engaged with any aspect of arts librarianship or archival practice and from all career stages including students, emerging professionals and non-professionals and those working in related fields.

We welcome contributions from scholars, artists and makers, activists and thinkers as well as cross-disciplinary proposals of relevance to the profession. The format of the conference will include full presentations, shorter lightning talks and workshops. Presentations — Full presentations will be half an hour in length and include time for questions.

Presentations will be grouped within the conference themes. They are an opportunity to share learning through doing and discussion. Please include in the proposal a clear plan of how the workshop will be delivered, any equipment that will be required and how this will be provided and what you hope the participants to gain from taking part.

Posters — We are delighted to be offering poster presentations this year, as an alternative to full presentations and workshops. Standard conference display boards size A0 will be available and poster presenters are encouraged to prepare visual poster representations of their innovation or research, in keeping with the conference theme.

Time will be allocated for delegates to view posters and there will be prizes awarded in this category of presentations. Lightning Talks — must be no more than 10 minutes and consisting of no more than 10 slides. Topics might include new projects, ideas, research or a case study able to be adequately introduced in a short space of time. The minute time limit will be enforced and will be followed by an opportunity for questions. Lightning talks are a good opportunity for those new to conference presentations such as those presenting dissertation research, and can also be a forum for experimentation and testing ideas.

Whilst fitting within the conference themes would be preferable, lightning talks can cover different topics if relevant to contemporary art librarianship. All proposals must be submitted by email to Ann Cameron a. The Conference Working Party may suggest amendments to proposals and are keen to offer guidance and support to potential presenters. Please note: All expenses, including registration for the conference, travel, accommodations, etc.

Fees for the conference are yet to be set but effort will be made to make an affordable concessionary rate for current students and unwaged individuals. Submissions will be reviewed by the Conference Working Party according to the following selection criteria:. While proposals will be judged on their own merit, considerations of fit with the range of other proposals will help us deliver a varied, coherent and dynamic conference.

If a paper has previously been delivered elsewhere the version presented at ARLIS UK and Ireland must significantly differ from the earlier version.Because when I first heard of a reading room, it sounded like a great place to spend time, and I was always intrigued about collections: what do they tell us, what stories do they hold? An opportunity arose to work on the census records way back in We were working on data and indexing, cross-referencing with original documents.

I then worked in digital preservation and alongside our conservators. I was privileged to see so much technical work going on with physical and digital documents. I worked as an assistant and communications officer, promoting and sharing this work through PR, press and events.

I built further skills in digital preservation and became a web archivist in I gathered and archived websites across government in partnership with wider collecting institutions including the British Library, Wellcome, National Library of Wales, National Library of Scotland and the European Web Archive.

I qualified inand now have a wide ranging role to support development of collections held in many places, mostly beyond what we describe as the established archive sector. This is where I get to meet so many people and so many collections.

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As Collection Development Manager, my focus is mainly on collections outside of The National Archives, held in many places by organisations, groups and individuals. As part of this work I am particularly interested in working with organisations who have a diverse outlook and portfolio to ensure that the future record truly represents all communities.

I try to balance my approach, so that in each case the archive collections are supported and sustained over time. A large part of my work involves advising people on good practice in caring for their collections, and providing ideas for development, partnerships and funding. Though most likely, I will be on an advisory visit to a small organisation or group, with their own archive collection, which they know is important, but also needs targeted advice and action to make it safe, well understood and usable now and in the future.

This is a famous case, though it was surprising and at times very poignant to go back to the original documents, and then to work on the performance. The case itself and the retelling of the story raised important issues of sexuality, identity and justice. What was surprising is to have these very direct stories first hand, hidden stories from a famous case, though giving new insights when retold in a performance.

We collect official records of UK government, which does restrict our wider collecting. But it does give us some rich and often unexpected collections. As my role focusses on collections held beyond our organisation, I thought about what I would like to see collected elsewhere. I would love to see a popular music collection be acquired somewhere really accessible, like a major national, regional or specialist archive.

The Rolling Stones, for example, have their own major archive collections, which were used to great effect at the recent exhibition at the Saatchi Gallery, and then went over to New York, which is fantastic. This is of course a tricky question as there are so many.

The Special Collections Handbook: new edition

My favourite artist is Kurt Jackson, and I did get to meet him and his family team. I was in awe! Keeping with the Cornwall theme, I would have liked to have met Barbara Hepworth, as she was a Yorkshire lass who moved to Cornwall and enjoyed great success with her sculpture.

She drew inspiration from the landscape and people around her.

arlis hidden collections

We are fortunate to have a rich seam of her correspondence in public and private hands. What I found from this is that she was incredibly generous, in her donations of public art, particularly in St Ives, but also to individuals. At art exhibitions in St Ives, Barbara Hepworth would find out which artists needed a bit of help financially and purchase their work, as a collector, and also to give them a bit of support.

Archivists are some of the most dedicated and creative people you will meet. We need to be able to make the best use of often limited resources. You will need to love collections of many kinds. You will need to love boxes, folders and order in a digital and physical sense. You will need to love working with people of many cultures and interests. And that I think is the best thing about it.

These are really important networks for sharing ideas, skills and support. They help to sustain very important collections looked after by very dedicated people and help their often limited resources to go further.My friends sister loves to ride me. Cheating wife that i fucked. Sister with ass towards hidden camera. Hidden cam of a Mom getting herself off. Very painfull anal on my girl friend. Real amateur. Stepsister cums with legs wide spread. Hot wife on real hidden cam.

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Me-Fucking my wife on tip of bed until she cums during our vacation in 4 min Dosa - MOV 69 sec Bullettooth - 1. Cheater fucked by lover 14 min Empireman99 - The program is generously supported by The Andrew W. In JanuaryThe Andrew W. Mellon Foundation awarded CLIR funding to support three years of grant competitions for this program, in, and Notifications for the final round will be issued by September 2, View the Applicant Resources page for more information and resources related to the application process.

For further information, contact CLIR at hiddencollections clir. The program occasionally sends announcements and news about this program and the Recordings at Risk program by e-mail; if you would like to be added to our distribution list, please click here.

The program is designed to maximize its impact on the creation and dissemination of new knowledge as a public good. The program supports projects that make digitized sources easily discoverable and accessible alongside related materials, including materials held by other collecting institutions as well as those held within the home institution. The program promotes best practices for ensuring the long-term availability and discoverability of digital files created through digitization.

The program ensures that digitized content will be made available to the public as easily and completely as possible, given ethical and legal constraints.

Reviewer feedback issued; some applicants invited to advance. Applicants notified of awards; public announcement follows. Collections proposed for digitization may be in any format or relevant to any subject.

Any standards, technologies, or tools may be applied, so long as they lead to the creation of digitized content and web-accessible metadata. All materials proposed for digitization must be owned and held by eligible institutions in the United States or Canada; the materials themselves must also be located in the United States or Canada.

Any combination of the above institutions may apply to undertake a collaborative, multi-institution project. Generally speaking, to be eligible for this program applicants must be recognized by the Internal Revenue Service as tax-exempt under one of the following:. Grants may be made to government units and their agencies or instrumentalities not organized under IRS Section c 3, provided that collecting and disseminating scholarly and cultural resources are among the primary functions of the unit and grant funds will be used for charitable purposes within the scope of the Digitizing Hidden Collections program.

We recommend that government units wishing to apply for the Digitizing Hidden Collections grant contact us at hiddencollections clir. Indian tribes, Alaska native villages, regional corporations, and village corporations are eligible to apply for funding through this program.

A list of eligible entities is available from the Bureau of Indian Affairs, except for the recognized Alaska native villages, regional corporations, and village corporations, which should refer to applicable provisions in the Alaska Native Claims Settlement Act, referenced above.

To receive funding through this program, all grant recipients are required to adhere to the following stipulations:. Digitizing Hidden Special Collections.

Submit an application by March 31 May 20, Check out previous Digitizing Hidden Collections recipients. Image credits: Digitizing Hidden Collections Recipients. View Funded Projects.

Connect with us Email: hiddencollections clir. Update: March 17, After careful consideration and consultation with many of our applicants over the past week, we have decided to extend the initial application deadline to May 20, Please see the Applicant Resources page for further details.

arlis hidden collections

Core Values. The Digitizing Hidden Collections program coheres around these six core values:.

arlis hidden collections

The program promotes strategic partnerships rather than duplication of capacity and effort. May Award Limits. Eligibility Collections Collections proposed for digitization may be in any format or relevant to any subject. Institution locations The applicant institution s must be located in the United States or in an associated entity, e.

CLIR accepts proposals for collaborative projects that include partnerships between U.The goal of the Minerals Data and Information Rescue in Alaska MDIRA or Minerals Data at Risk project is to recover and make easily available the full body of Alaska mineral information through a coordinated system that provides efficient access or guides to all mineral related files, documents, and physical samples held in the public domain.

The Special Collections Handbook: new edition

This body of information includes geologic framework data now out of print as well as data collections from agency and private sector geologists that was never published, geophysical data, state and federal mining claim information, geochemical data sets, and M. SC and Ph. Much information has become less and less available to the public, industry, and government agencies that generated it. Out-of-print government publications are lost through the attrition of unreturned loans or theft.

Voluminous files of analytical data that are hard to use or hard to access are ignored in spite of their relevance and value because professionals do not have the time to recover them and convert them to digital format.

Databases have been improved by standardizing and making available many geologic datasets. Collected by Juneau Mineral Information Center, arranged by location, source, or subject. Format: High resolution jpg.

Anchorage Tyonek Area. Beach Sands Bristol Bay.

ARLIS/UK & Ireland 2019 call for papers

Beach Sands Gulf of Alaska. Brooks Range Chromite Deposits. Cook Inlet Transport Routes. Fairbanks District. Fairbanks Townships. Geology of Seward Peninsula. Girdwood District. Kateel River Meridian Townships. Lomen Brothers Maps.

Mcgrath Townships. Northern Wrangell Mts. North Pacific Aerial Survey of Ak. Power Creek Project. Selawik National Park. Seward Peninsula Land Use. SW Alaska Mercury Deposits. Tangle Lakes and Sourdough Campground. The files contain information on occurrences, deposits, mines and processing facilities. Most of the information in the MAS files from Juneau is now available online at the links below. Both the digital files and the paper files are arranged by quadrangle or mining district.This new edition from Alison Cullingford, Special Collections Librarian at the University of Bradford, is a practical day-to-day companion covering all aspects of special collections work.

Working with special collections can vary dramatically from preserving a single rare book to managing and digitizing vast mixed-media archives, yet the role of the information professional is always critical in tapping into the potential of these collections, protecting their legacy and bringing them to the attention of the wider public.

This book offers up-to-date guidance which pulls together insights from best practice across the heritage sector to build innovative, co-operative and questioning mind-sets that will help them to cope in turbulent times.

Highlights of the new edition include coverage of new standards and concepts including unique and distinctive collections UDCs ; discussion of the major changes to laws affecting special collections; exploration of new trends in research including the rise of digital humanities, open access, the impact agenda and the REF; and consideration of impact and indicators, digitization and new skills frameworks from CILIP Rare Books and Special Collections Group and ACRL Rare Books and Manuscripts Section.

Alison Cullingford is Special Collections Librarian at the University of Bradford, where she is responsible for over collections of modern archives and rare books. The service was the first English university to achieve Archive Accreditation.

An active member of the CILIP Rare Books and Special Collections Group and many other sector groups, Alison also regularly presents at conferences, blogs and tweets on the importance of the special collections librarian.


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