New Issue: Archival Science

Archival Science Volume 24, Issue 2
June 2024
Special Issue: Dignity by Design: Pathways to Participatory Recordkeeping Systems
Issue Editors: Elliot Freeman, Violet Hamence-Davies, Joanne Evans
(partial open access)

Dignity by design: pathways to participatory recordkeeping systems
Elliot Freeman, Violet Hamence-Davies, Joanne Evans

Returning love to Ancestors captured in the archives: Indigenous wellbeing, sovereignty and archival sovereignty
Kirsten Thorpe

Beyond access: (re)designing archival guides for changing landscapes
Mike Jones, Rebe Taylor

Archival dignity, colonial records and community narratives
Jeannette A. Bastian, Stanley H. Griffin

Caring records: professional insights into child-centered case note recording
Martine HawkesJoanne EvansBarbara Reed

The need for a participatory recordkeeping system for children and young people placed in residential care homes: the case of Sweden
Proscovia Svard, Sheila Zimic

Designing recordkeeping systems for transitional justice and peace: ‘on the ground’ experiences and practices relating to organizations supporting conflict-affected peoples
Victoria Lemieux, Amber Gallant, Niloufar Vahid-Massoudi

The perpetual twilight of records: consentful recordkeeping as moral defence
Gregory Rolan, Antonina Lewis

New Issue: American Archivist

American Archivist 87.1 (Spring/Summer 2024)
Table of Contents

(Review access here)

From the Editor

Presidential Address

Theodore Calvin Pease Award Essay

Articles

Perspectives

Reviews

CFP: 2025 Midwest Archives Conference

The Midwest Archives Conference will hold its 2025 Annual Meeting on April 10-12, 2025 at the Hilton Minneapolis Hotel in Minneapolis, Minnesota. Minneapolis is one half of the “Twin Cities” along with the state capitol, St. Paul. Minneapolis is known for its lakes and parks, as well as the Mississippi River, which runs through both downtowns. We plan to roll out our best “Minnesota Nice” to welcome you to the land of 10,000 Lakes.

In keeping with Minnesota’s famous love for sharing a good hotdish at family and community tables, the Program Committee invites session proposals touching on the theme “Serving it Up.” Join us as we explore how archivists preserve the histories and stories of communities we serve, reach across the table and collaborate, use new technologies to update policies and practices to serve up accessible collections, and stretch budgets and resources to find creative solutions to archival issues.  

The Program Committee encourages submissions from newer professionals, first-time presenters, and colleagues from non-academic institutions.  MAC membership is not required. Presenters may submit more than one proposal but may present only one session OR poster.

With an eye toward clear takeaways that can be broadly applied, possible areas of focus include but are not limited to: 

  • Areas of growth in archival theory, technology, and practice
  • Approaches to collecting, outreach, reference, and instruction 
  • Managing born-digital records and analog digitization standards and preservation
  • Practical workflows for accessioning, appraisal, processing, preservation, deaccessioning, and cataloging
  • Workplace considerations including workload expectations, avoiding burnout, managing relationships, and non-traditional career paths 
  • Leadership and management roles in policy making, supervising, advocacy 
  • Promoting inclusivity, accessibility, and diversity in the workplace, collections, and archival practices
  • Community archiving approaches and practices
  • Stretching resources and budgets in innovative and practical ways
  • Advocating for funding
  • Facility issues such as space constraints, environmental stewardship, and renovations/moves
  • Impact of AI on archives 

The Program Committee will also consider proposals not related to this theme or that fall outside these areas of focus. 

Possible Session Types

  • Standard Presentation: Two to four speakers present on a common theme. May include a moderator to guide discussion and/or introduce speakers and theme.
  • Open Forum: Topical discussion with moderator leading discussion with everyone present. May include additional moderator(s) to direct breakout conversations.
  • Roundtable Discussion: Three or four participants make very brief remarks, then discuss a topic together. Includes a moderator to steer the discussion.
  • PechaKucha: Each presentation consists of 20 slides or images displayed for 20 seconds each, with comment. Each presentation lasts 6 minutes and 40 seconds.
  • Lightning Talks: Like PechaKucha, but without a set format. May or may not include slides or images. Presentations may be from 3 to 10 minutes long, with the time allotted depending on the number of presenters.
  • Debate: Moderator announces the topic, and two individuals debate. May include more than one topic and additional debaters.

In January 2025, there will be a separate call for poster proposals as well as a call for pop-up sessions for less traditional session types or time-sensitive topics.

Possible Session Lengths

60 minutes and 90 minutes. Please be mindful of your number of presenters and session type when indicating the preferred session length.

Speaker Representation

The Program Committee seeks a diverse slate of presenters representing a variety of personal and institutional backgrounds, perspectives, and voices. We seek to foster a culture of inclusion in the MAC program and encourage submissions from anyone interested in presenting, including students, new professionals, first-time presenters, and those from allied professions. In order to facilitate and promote inclusion, the proposal submission form will ask voluntary questions about presenters’ past presentation experiences as well as some demographic information.

To facilitate collaboration among those brainstorming session ideas, the Program Committee encourages use of the MAC Facebook page and this spreadsheet for brainstorming session proposal ideas.

Proposal Evaluation

The Program Committee will evaluate all proposals submitted by the deadline using the following criteria:

  • Quality and clarity of the session abstract;
  • Thoroughness of content and sufficient speakers to address all relevant aspects of the topic;
  • Originality of proposed topic;
  • Diversity of presenters and viewpoints;
  • Appropriateness of proposed format for session content.

All proposals will be considered in the context of the overall structure of the meeting and the availability of time slots for proposed sessions. You can preview a PDF of the proposal form here.

All individuals involved in an accepted proposal must sign a presenter agreement.

Proposal Submission

The deadline for submitting session proposals for the 2025 MAC Annual Meeting is August 30, 2024, at 5 p.m. CST. Use the Call for Proposals form to submit your proposal.

If you have any questions about the proposal process, please contact the 2025 Program Committee Co-Chairs, Shae Rafferty (shae.rafferty@wayne.edu) and Amy Lisinski (lisinskia@archmil.org). 

Reissued Call for Artists, Writers, and Academics: “Creative Responses to Holocaust Materialities” – A special issue of Holocaust Studies: A Journal of Culture and History

Holocaust Studies has given the editors permission to include creative work for the first time in the journal. 

In this special issue, we aim to further examine the ‘material turn’ of Holocaust studies through the lens of creative practices, which remains an understudied area of this movement. As Marianne Hirsch (2019) notes: “Commemorative artistic practices can themselves function as the connective tissue between divergent but related histories of violence and their transmission across generations. The arts offer a fruitful platform to practise the openness and responsiveness that allow such connections to emerge for the postgenerations”. Our scope includes contemporaneous and non-contemporaneous artistic, cultural, and literary works, established by those with and without a direct connection to this history. We are particularly keen to include contributions from creative writers and artists experimenting with and reflecting critically on their own creative processes, working, for instance, with line, genre, textiles, objects, images, or sound as an ephemeral artefact; and from critics showing how survivors or their descendants have represented the Holocaust through these materialities. One theme might be re-purposing, repackaging or even ‘recycling’ of materials: a material intended for one purpose which has been used or examined for other ends. Another concern might be the role of creativity in the phenomenology of viewing and interpreting historical materialities, or of creativity in the  effort to recover, or reconstruct, lost or stolen objects. A perennial concern is the researcher-artist’s role in relation to the archive.

Abstracts should be no more than 300 words, with a short biography (150 words max). Please send your proposals (or any questions) via email to: holocaustmaterialities@gmail.com by 1st September 2024 (extended submission date). We expect final submission of the journal issue to be in 2025.

If you are submitting creative work, please specify in your abstract how many images and approximate word count for any creative writing you expect to include as part of your final submission .

Normal word count for the journal’s critical essay submissions is 8-12k. For creative work, your final submission should include at least 2K words of critical reflection on your creative practice/contextual information. For the creative element, there is no minimum word count; however, the 12k word limit remains. 

The following approximate guidelines might be useful: 1 image = 250-500 words. 50 lines of poetry = 1,000 words.

Contact Information

Hannah Wilson and Jay Prosser

Contact Email

holocaustmaterialities@gmail.com

CFP: THE MOVING IMAGE – Call for Special Issue 26.1 “Accessibility in moving image archives”

In July of 1990, the Americans with Disabilities Act of 1990 (ADA) was signed. The intention of the act was to prohibit discrimination based on disability status. This special issue of The Moving Image is situated around the theme of archival accessibility to coincide with the 35th anniversary of the signing of the ADA. Even 35 years later, representation of people with disabilities in moving image archives is low both in the literature and in employment. The goal of this special issue is to reflect on the relationship between disability and moving image archives. How is disability represented in moving image collections? Where has there been growth? What inclusion efforts still need to be made to create accessible moving image archives for users and archivists?

Themes include (but are not limited to):

  • Accessibility barriers in moving image archival education and training
  • Disability representation in community archives vs institutional archives
  • Accessible collections for users
  • Disability representation in collections material
  • (In)accessible archival spaces and universal design
  • Equitable hiring practises
  • Web accessibility
  • Accessible programming and curation
  • Health hazards in moving image archives
  • Archival accessibility “post-Pandemic” and the growth of remote work
  • Moving image archives and mental health
  • Ableism in moving image archives

Note: There is a particular interest in articles written from the perspective of those with lived experience of disability, chronic illness, and/or neurodiversity. 

Types of Submissions:

  • Feature articles: Double-blind peer reviewed research papers, 4,000 – 6,000 words
  • Forum pieces: Shorter, less formal pieces, including interviews and “notes from the field” discussing case studies on single institutions or archivists’ own work, such as specific projects or policy initiatives, 2,000 – 3,000 words
  • Reviews: reviews of recent books, media (e.g., DVDs, Blu-Rays), conferences, film festivals, and exhibitions, 700 – 1,000 words

Submission guidelines

 Please send initial proposals and final submissions to special issue editor Michael Marlatt (marlattm@yorku.ca) and CCjournal editor Devin Orgeron at editor@themovingimage.org.

Proposals are due by October 31, 2024, and should include: (1) a 250-word abstract, (2) four key words, (3) a 100-word bio of the author(s), (4) the type of paper you would like to write (e.g. feature article). Proposal review will be completed by mid-November 2024.

Completed manuscripts will be due for editorial review by May 31, 2025. All manuscripts should be submitted as a Microsoft Word email attachment, double-spaced throughout, using 12-point type with 1-inch margins, following the 17th edition of the Chicago Manual of Style.

Contact Information

Special issue editor Michael Marlatt can be reached for questions and feedback at marlattm@yorku.ca

Contact Information

Michael Marlatt 

Contact Email

marlattm@yorku.ca

URL

THE MOVING IMAGE – Call for Special Issue 26.1 “Accessibility in moving image archives”

New Issue: IFLA Journal

IFLA Journal- Volume: 50, Number: 2 (June 2024)
(select articles open access)

Editorial
Libraries as Catalysts for Knowledge, Technology, and Social Resilience

Original Articles
Understanding US library diplomacy practices in the 21st century
Randolf Mariano

AI-generated content tools and students’ critical thinking: Insights from a Chinese university
Xiaozhu Zou, Ping Su, Lexing Li, and Ping Fu

Librarians’ role in the preservation and dissemination of indigenous knowledge
Josiline Chigwada and Patrick Ngulube

Professional qualifications, accreditation, and certification in library and information science schools: A global perspective
Fatih Oguz, Chris Cunningham, Núria Bautista-Puig, and Tiago Emmanuel Nunes Braga

Impact of multimedia on academic information literacy instruction in libraries
Hozefa Ramgadwala

Knowledge management for climate change in South Africa: A proposed strategy
Madeleine C Fombad

Exploring the research domains, gender gap and labour market perspectives of doctoral research in library and information science in India
Mallikarjun Dora, K Kanagasabai, Lavji N Zala, and Raj Kishor Kampa

When a disaster strikes: Are libraries in the Philippines ready?
Daryl L Superio, Joseph M Yap, Jufel Ma Lourdes Sebial-Guinanao, and Roilingel P Calilung

Research data management in selected East African libraries: A survey
A Subaveerapandiyan and Jeremiah E Ugwulebo

Information competency assessment of undergraduates: A Pakistani perspective
Naha Irfan, Muhammad Rafiq, and Muhammad Arif

Redefining academic library work: Telecommuting potential in post-COVID Ghana
Wilhemina Odarkor Ofori

The current state of academic librarians’ continuing professional development and the roles of continuing professional development providers in Thailand
Chutima Sacchanand, Nilobon Wimolsittichai, Orapan Kankonsue, and Wararak Pattanakiatpong

Effect of humble leadership on knowledge sharing, change and ethnicity in Iranian public libraries
Mahshid Eltemasi and Samira Arami

Musical score representation and retrieval in digital environments
Jéssica Beatriz Tolare, Mariângela Spotti Lopes Fujita, and Fabiano Ferreira de Castro

CFP: Contested/ing (Art) Histories: Memory Through Visual and Material Culture-Association for Art History

CFP: Contested/ing (Art) Histories: Memory Through Visual and Material Culture-Association for Art History, UK 

Online conference for PhD students

Keynote Speaker: 
Tanvi Mishra, Independent Photo Editor, Curator, and Writer 

Thematic Focus:
Traditional historical narratives often present a singular perspective, neglecting the multifaceted nature of the past. This approach overlooks the contested nature of history, where various experiences vie for recognition. “Contested/ing (Art) Histories: Memory Through Visual and Material Culture” delves into this complexity, exploring how visual art and material objects act as sites of memory, memorialisation, and remembrance.

This conference seeks to explore how visual and material culture shape our understanding of the past. This call encourages critical engagement with diverse perspectives, ethical considerations, and the potential of artistic interventions to challenge dominant historical narratives from post-colonial and de-colonial perspectives.

The key questions addressed by this conference include: 

● How do diverse perspectives and experiences influence historical narratives within the arts? 
● How can visual and material culture challenge or reinforce dominant historical accounts? 
● What are the ethical considerations in using and interpreting visual and material culture for historical research? 
● In what ways can artistic interventions act as sites for memory-making and contesting official narratives? 
● How do we tend to the silences and gaps in official narratives?

Who is this for? 

This year’s Global New Voices invites proposals from PhD students in any stage of their research, exploring the theme over any historical period or geographic region. We welcome submissions from international scholars and practice-researchers to open a dynamic discussion about the similarities, divergences and interconnectivity of contested histories taking place around the world. We particularly welcome talks which integrate digital technologies with the featured themes.

We invite proposals in any of the following three formats: 

● 15-minute paper presentations: Papers focusing on the idea of contested histories through material or visual thinking in a wide variety of contexts. 
● Pecha Kucha presentations: 20 images with a limited time (20 seconds) commentary on each slide. The aim is a swift, visually-led presentation that is succinct and powerful. 
● Curatorial and artist showcase: Artists, curators, and image-makers to share their practice – this consists of approximately 5-10 minutes of viewing the work (shared online) followed by discussion and constructive feedback. We welcome submission from artists and curators working in any medium which contains a strong visual element. 

Potential themes are outlined below, but we encourage experimental and novel approaches: 

● Colonial and postcolonial experiences in visual art and museum collections 
● Gender and sexuality in Orientalist representations 
● Gender-based violence in Colonial or post-Colonial settings 
● Indigenous perspectives and histories 
● The role of digital technologies in shaping historical narratives 
● The ethics of collecting and exhibiting objects with contested histories 
● The use of visual and material culture in memory activism 
● Legacy of Empire in all its forms 
● Colonialism and civil wars in visual culture 
● Experiences of incarceration or/and silencing 
● Visual renditions related to the question: who owns the past? 
● Objects as carriers of memory 
● Silenced and unsilenced narratives

When and where will this conference take place? 

Online, ensuring an international platform for inclusive, enriching, and creative discussion.  This year, the conference will take place over a day, Thursday 7 November 2024, with coffee and lunch breaks for down-time. 

How to apply and when is the deadline? 

Proposals and abstracts of no more than 250 words, along with a 100-word biography, should be sent to globalnewvoices2024@gmail.com by 11:59 pm GMT on Sunday 1 September 2024. Notifications of acceptance and rejection will be sent out by Monday 16 September. 

Please let us know in the email subject if you are proposing a paper, a Pecha Kucha, or curatorial and artist showcase. 

Please state which country / time zones you will be participating from to facilitate our programming. 

Finally, please indicate whether you agree for your session to be recorded. We will be uploading the conference (or as much as is feasible), to the AAH YouTube channel. 

For more information, contact the organisers: Dr. Alia Soliman, Sean Cham, and Olivia Garro at globalnewvoices2024@gmail.com
https://forarthistory.org.uk/events/cfp-global-new-voices-2024-contested-ing-art-histories-memory-through-visual-and-material-culture/

Contact Information

Online conference for PhD students

Conference Date: Thursday 7 November, 2024

Deadline: Sunday 1 September 2024

Contact Email

globalnewvoices2024@gmail.com

URL

https://forarthistory.org.uk/events/cfp-global-new-voices-2024-contested-ing-ar…

Call for Proposal: The Material Text in Latin America – 2025 College Art Association Annual Conference session

This session, sponsored by the Bibliographical Society of America, will explore textual artifacts that have originated or been adapted for use in one or more Latin American cultures. The interplay between cultures, including relationships between different Latin American cultures or between Latin American and other cultures, will be a particular focus. Papers that address any period up to 1914 will be prioritized. A variety of media will be considered, including painted pottery, carved stucco, coins and other metalwork, engraved stone, and manuscripts or printed materials. Examples include the use and reuse of items bearing Indigenous or European script; the reinterpretation of imagery from elsewhere to illustrate Latin American texts; the early European historiography of indigenous Latin American ideographs and pictographs. While attending to the specificity of local traditions, the session will consider the significance of these textual artifacts in intercultural and historiographic perspective. The geographical definition of “Latin America” is open.

Contact Information
Send proposals (title and 250-word maximum abstract) and your CV by 29 August 2024 to Jeanne-Marie Musto, Librarian, New York Public Library, and Bibliographical Society of America liaison to the College Art Association.

Contact Email
musto.jeannemarie@gmail.com
URL
https://caa.confex.com/caa/2025/cfp.cgi

G.L.A.M. Bookworms discussion

Miami Dade College’s Wolfson Archives invites everyone to join the next G.L.A.M. Bookworms discussion:

THE BOOK OF LOST NAMES by Kristin Harmel
Tuesday, Aug. 27, 2024, 7pm
via Zoom

[The next discussion (we’re switching things up a bit): 
THE VAULTS by Toby Ball
Wednesday, Dec. 11, 2024, 7pm
via Zoom]

Please share with anyone who might be interested-​all are welcome to join the book club!

Please let me know if you have any questions: lkramer1@mdc.edu.

Regards,
Ms. Lou Ellen Kramer
Archives Manager
Miami Dade College

Call for Pitches/Contributions: The Recipes Project Special Edition – “Images as/and Recipes”

We are currently accepting pitches for contributions to our Fall 2024 series on the theme ‘Images as/and Recipes.’

Sometimes seeing is better than telling. With a renewed interest in DIY, recipes are everywhere. Instagram and Pinterest are full of recipes for quince jam, herbal remedies, and step-by-step instructions for dyeing old clothes to update your wardrobe with an eye to being environmentally conscious. Many, if not all, of these recipes are visual. But while sharing recipes on social media is new, using images to share makers’ knowledge is not.

For hundreds of years, images have been used to craft stories around recipes, and these images tell us as much about topics like nationalism or family lore as they do about the intricacies of any given recipe. Turning the physical act of making into a visual record requires interpretation and can often serve more than one goal. Artists often chose to omit descriptive text in their visual renderings, assuming the images can speak for themselves. And as scholars like Pamela Smith, Wendy Wall, and Erin O’Conner have reminded us, recipes are not straightforward records; they are full of assumptions, omissions, and expectations. This series builds on this work by considering how images function for and as recipes.

Because recipes are so flexible, the genre has been used to share food culture, medicinal practices, and craft techniques, but it has also been put to more political or artistic means, like satirical prints from the eighteenth century that portray ‘recipes for Culloden’ or ‘a recipe to be a good wife’ or contemporary artists who have looked to recipes to share both practical recipes for making fried eggs and more conceptual ‘recipes for success.’ Recipes that utilize images can also bring ideas of race, gender, and class to the surface, both supporting and subverting cultural norms. 

Images ‘work’ in ways that are both similar to and diverge from written recipes. How and why authors and artists choose to include images in their recipes or translate their recipes into images can and should be critiqued and analysed. 

We are looking for original research topics as well as pieces on pedagogy and museum and archival collections. We welcome contributions from art historians, material culture scholars, anthropologists, historians, literary scholars, archivists, curators, artists, and those with a professional background in recreation and reconstruction. Please send a brief pitch (2 or 3-sentences) as well as an abbreviated CV to the series editors Alexandra Macdonald (ammacdonald@wm.edu) and Melissa Reynolds (m.reynolds1@tcu.edu) any time before 15 September 2024. The theme is purposefully broadly defined to bring an interdisciplinary group of authors together and we are particularly interested in works that take an innovative approach to the topic. If you have any questions about the theme and how your work could fit within the special issue, please get in touch by email. Accepted proposals will be invited to join the quarterly volume on ‘Images as/and Recipes.’ For full instructions and more detailed information on length and image requirements please see Open Call for Contributors [https://recipes.hypotheses.org/open-call-for-contributors

Examples of Potential Topics (not exhaustive): 

  • Recipes and advertising
  • Recipes and satire 
  • Visual storytelling and recipes 
  • Reconstructing recipes (hands-on practice)
  • Craft recipes 
  • Recipes and childhood
  • Recipes and social media 
  • Recipes and the senses
  • Gender, race, and class in recipes
  • Text-image relationships