CFP: Partnership Journal Special Issue: Think Twice: A Call to Reconsider Library and Information Science Theory and Practice @PartnershipJ

Call for Submissions: Partnership Journal Special Issue: Think Twice: A Call to Reconsider Library and Information Science Theory and Practice

We invite you to submit to our special theme Think Twice: A Call to Reconsider Library and Information Science Theory and Practice for peer-reviewed sections. Peer-reviewed submissions should be submitted to the appropriate section in accordance with the journal’s section policies.

Or, consider submitting to our non-peer-reviewed features section on Libraries and the Pandemic. Your submission could be on your library’s experience during the pandemic or the post-pandemic future of libraries.

Deadline for peer-reviewed sections: November 1, 2020
Deadline for non-peer-reviewed sections: December 15, 2020

PARTNERSHIP is the journal of “Partnership”, Canada’s national network of provincial and territorial library associations. Partnership promotes the exchange of ideas about libraries, librarianship, and information science among practitioners across all library sectors. We are a Canadian, open access journal publishing double-blind peer-reviewed research and editorially-reviewed articles and opinion pieces.

Questions can be directed to Dr. Norene Erickson, Editor-in-Chief.

CFP: Archives During Rebellions and Wars, from the age of Napoleon to the Cyber War Era

TITLE

Archives during rebellions and wars. From the age of Napoleon to the cyber war era

SCIENTIFIC COMMITTEE

Fabio Caffarena, Benedetto Luigi Compagnoni, Antonino De Francesco, Filippo De Vivo, Maria Pia Donato, Luciana Duranti, Pierluigi Feliciati, Andrea Giorgi, Leonardo Mineo, Marco Mondini, Stefano Morosini, Stefano Moscadelli, Raffele Pittella, Oliver Poncet, Stefano Vitali.

The Symposium will be held in Milan, Italy, at the State Archives.

DATES

2021 May 19 (9.30 a.m. – 5 p.m.)
2021 May 20 (10 a.m. – 5 p.m.)
2021 May 21 (9.30 a.m. – 1.30 p.m.)

DESCRIPTION

The title of this symposium makes reference to a paper presented on the 29th of November, 1914, at the School of Paleography, Diplomatics and Archival Science of the State Archives of Milan by Giovanni Vittani, who would become the director of that institution in 1920 until 1938. Clearly, a few months after the outbreak of the First World War, this subject was of great topical interest. Vittani discussed the heavy losses suffered by archives in Italy and abroad in the course of history, due to wars, revolutions and revolts. He concluded his speech stating that the only way of minimizing the destruction of archives, apart from international laws and sanctions, would be the development of a true “public interest”: only “when (archives) will be universally known for why they exist, that is, to everyone’s advantage, to the harm of no one, it will be inconceivable that anybody would think to endanger them on purpose”. But this was wishfull thinking, as the State Archives of Milan itself, in the summer of 1943, when Milan was heavily bombed, lost a large quantity of documents.

Archival preservation was always at risk during wars and rebellions, but during the age of Napoleon considerable innovations were introduced in this field, as in many others, and we are still today familiar with them. In earlier regimes, archives either were voluntarily destroyed, or became the spoils of war for practical reasons, such as using their information in order to rule new territories or, vice versa, to deprive enemies of the same information. From the beginning of the 19th century to the present day, new direct or indirect causes of danger for archives have developed. As shown in the book Archivio del mondo. Quando Napoleone confiscò la storia, by Maria Pia Donato, it was Napoleon who wanted to create a “great archives of the world” by transferring to Paris, the capital of the new Empire, documents from all of the occupied countries for the sole purpose of symbolizing the birth of a new universal history. From that time on, the historical and symbolical importance of archives has transformed them into political instruments for confirming or discrediting the legitimacy of wars and rebellions fought in the name of a national identity or an ideology.

Two hundred years after Napoleon’s death, the State Archives of Milan wishes to reflect on the theme of archives during wars and rebellions, aware of the fact that Vittani’s wish is still far from coming true, and that probably it will never come true. Wars of the third Millennium, which are also fought cybernetically, definitely refute the idea that archives are “to the advantage of all” and, above all, “of harm to no one”. Two centuries after the death of the man who dreamed about the creation of a great universal archives, colossal corporations have succeeded in collecting and managing an enormous bulk of data which, as the new “archives of the world”, may become powerful instruments for influencing people’s thought and actions, even to the point of fostering or stirring up new wars.

STRUCTURE

The symposium will be structured into 5 sessions, each one dedicated either to an historical period or to one of the themes listed below, depending on the proposals that will be submitted.

Each presentation will last 20 minutes, followed by a 5-minute period for questions and answers”.

SUBMISSIONS

The deadline for the submission of proposals is September 30th, 2020. Proposals will consist of an abstract, in English or Italian (2,000 characters maximum), and a curriculum vitae showing the speaker’s principal areas of expertise and research.

E-mail for proposals submission: convegnoasmi2021@gmail.com

Papers may be presented either in English or in Italian. For speakers who prefer to present in another language, a simultaneous translation will be provided, under the condition that the text of the paper be submitted well in advance of the event. However, an English or Italian translation of the paper will be required for publication in the Proceedings.

The deadline for the submission of the final text for publication in the proceedings is August 31st, 2021

THEMES

1 – Archives, wars, and diplomacy
– Management, transformation, and creation of archives before, during or after a war;
– How archivists and their profession change during war time;
– Archives of diplomacy.

2 – Secret archives and public archives
– Access to records and archives;
– Archives as instrument of power;
– Archives as instrument for exercising civil rights.

3 – Archives and “Empire”, Archives and “Nation”, Archives and “De-colonization”
– Archives as symbols of power;
– Archives as identity;
– Archives during crises, revolts and transitional periods.

4 – Archives as “Instruments” and Archives as “Monuments”
– The retention and/or disposition of archives in order to build an historical narrative;
– The construction of archives (collections of autographs, correspondence, letters, oral sources, diaries, etc.; community archives);
– Dismembered, dispersed, destroyed, migrated and removed archives / archives preserved deliberately or accidentally.

5 – Archives and technology
– Archives as technological products and instruments;
– Reliability and authenticity of archives in the era of cyber security and artificial intelligence;
– Data use and control.

CFP: Democratizing Knowledge: Examining Archives in the Post-custodial Era

Type: Call for Papers
Date: July 10, 2020
Location: New Jersey, United States
Subject Fields: American History / Studies, Archival Science, Cultural History / Studies, Digital Humanities, Library and Information Science
Call for Papers

Democratizing Knowledge: Examining Archives in the Post-custodial Era
November 7th, 2020 at Drew University in Madison, New Jersey

To acknowledge the archive as a construct is to understand that power, as Michel-Rolph Trouillot has argued, “is constitutive of the story.” Yet, for too long historians have operated as if the archive were a foregone conclusion, ignoring the ways in which history is a narrative shaped as profoundly by omission as by any material presence. The archiving of history rarely proceeds from the primary impact of events. Archives, rather, follow as a consequence of the “winning” of history, through processes which obscure the underlying social relations, preferencing one history over another. “Effective silencing,” Trouillot suggests, “does not require a conspiracy, nor even a political consensus. Its roots are structural.”

Trouillot is but one of a number of contemporary theorists, including Foucault and Derrida, who’ve challenged inherited archival practice, inspiring new approaches to the archive’s construction. The present post-custodial mode, for example, promises a more collaborative approach, giving voice to those previously silenced by institutional power. By shifting emphasis away from a centralized, physical archive towards digital repositories and archival networks constituted by social media and crowdsourcing, distance between the event and its commemoration collapses. Community access to and participation in the archive is prioritized, precluding institutional intervention.

The eighth annual Dean Hopper Conference seeks to bring into conversation historians, theorists, archivists and collection managers from across a range of disciplines to discuss past practice and imagine novel approaches to the archive. Thinking through the archive, broadly conceived, we ask the following: what is the future of archives? How might new archival practices foster more equitable distribution of resources? Should digital technology be more central to archives and material culture collections, rather than as a mere adjunct? What new risks threaten the production of history going forward? This conference is planned for Saturday, November 7th, 2020 at Drew University in Madison, New Jersey. In the event that we will be unable to meet in person, a virtual platform is planned.

Keynote Speakers

Megan Rossman is assistant professor of communications at Purchase College and an award-winning documentary filmmaker. Rossman’s films have screened at festivals including DOC NYC and Outfest. Her film Love Letter Rescue Squad won best student documentary in the Emerging Filmmakers Showcase at the Cannes Film Festival American Pavilion in 2017. Her first feature-length film The Archivettes, explores the founding and development of the Lesbian Herstory Archives, the largest collection of materials by and about lesbians. The project was awarded the prestigious Princess Grace Award.

Ariella Aïsha Azoulay is professor of modern culture and media at Brown University. Azoulay’s research and latest book, Potential History: Unlearning Imperialism (Verso, 2019), focus on the potential history of the archive, sovereignty, art, and human rights. Potential history, a concept and an approach that she has developed over the last decade, has far-reaching implications for the fields of political theory, archival formations, and photography studies. Her books include: Civil Imagination: The Political Ontology of Photography (Verso, 2012), and The Civil Contract of Photography (Zone Books, 2008).

Deadline & Submissions

We invite proposals on this theme from graduate students, scholars, and professionals across the humanities. Proposals for individual papers and panels are welcome. Additionally, proposals for undergraduate poster presentations, whether based on a faculty-directed project or individual research, are also encouraged. Please send a 250-word abstract or a proposed poster, as well as a brief biography to hopper@drew.edu by July 10th. For panel proposals, please submit a 200 word panel abstract in addition to individual paper abstracts.

Suggested topics may include, but are not limited to

History of archives and archival theory

Archives and the production of memory

Strengths and weaknesses of current archival practices

Identification and exploitation of narrative silences in the archive

Archival activism or the “interventionist” archivist

The future of digital archiving

“Alternative” archives (film, art, bodies, etc.)

Museums and archival practice

Public history and curation as archival practice

The social justice imperative in archival production

The archival processing of born-digital media

Archival networking and crowdsourcing

Archives of performance, oral history, music or sound, film, etc.

Landscape or architecture as archive

Contact Info:
Please send a 250-word abstract or a proposed poster, as well as a brief biography to hopper@drew.edu by July 10th. For panel proposals, please submit a 200 word panel abstract in addition to individual paper abstracts.

Contact Email: hopper@drew.edu

CFP-Archives Month Call for History@Work COVID-19 Crisis Response Pitches

12 JUNE 2020 – KRISTA MCCRACKEN, KRISTIN O’BRASSILL-KULFAN, AND NICOLE BELOLAN

2020 Archives Month Series, Archives, Covid-19, Libraries

As part of American Archives Month, for the second year in a row, History@Work will be running an October series dedicated to publicly-engaged work by archivists and librarians in the U.S. and abroad. This year, we are recruiting pitches related to the COVID-19 crisis. Do you want to share your thoughts and experiences with us about archives and public history as it relates to the work you have been doing surrounding the COVID-19 crisis?

Archivists are important advocates of public history. However, public historians who specialize in different areas may not be familiar with archivists’ efforts to decolonize archives, assist community members interested in maintaining their own collections, and other areas of critical practice. As such, this series will focus on archival and library practice and labor as well as archives and libraries as public history. Because the COVID-19 crisis has highlighted new challenges surrounding the use and maintenance of archives, we also welcome pitches from users of archives. We see this series as an opportunity to share information and forge connections among and between archivists, their publics, and other practicing public historians.

Original blog post pitches are welcomed on a range of topics as it relates to the COVID-19 crisis, including (but not limited to):

Using, accessing, and providing access to archives during a pandemic
Community-engaged archival practice in an era of social distancing
Archives, digital technology, equity, and outreach during a pandemic
Archival work as public history (including “how-to’s”)
Archives as vehicles for activism
Archives, diversity, and inclusion
Archival practices, policies, and procedures during a pandemic
Archival work to document COVID-19
Behind-the-scenes posts on archival labor and how it has changed (or not) during a pandemic
Reflections or connections to archives-related articles published in History@Work and The Public Historian

History@Work posts are between 800 and 1200 words. Post should be written in accessible language and avoid jargon; we prefer hyperlinks and citations integrated into the text over footnotes. We strongly prefer posts that include images. You can read more about our typical editorial process and style here: https://ncph.org/history-at-work/guidelines/. You can read the 2019 Archives Month posts here.

A sample of past History@Work posts that have featured archives include:

In addition, prospective authors may choose to respond to, or get inspiration from, this sample of articles about archives from The Public Historian:

Pitches for original posts, which should be between three and five sentences long and may include images, are due by Friday, July 10, 2020. First drafts for accepted pitches are due by Monday, August 10, 2020. All posts go through peer editing. Questions and pitches can be directed to guest editor and archivist Krista McCracken at krista.mccracken@gmail.com.

View the Word and PDF versions of this Call for Pitches, and please help us by circulating widely!

~Krista McCracken is a public historian and archivist at the Shingwauk Residential Schools Centre in Sault Ste. Marie, Ontario, as well as a member of the NCPH Board of Directors.

~Kristin O’Brassill-Kulfan is a public historian and scholar of early American social history at Rutgers University in New Brunswick, New Jersey, where she directs the undergraduate Public History Program.

~Nicole Belolan is the Co-Editor of The Public Historian and the Digital Media Editor for the National Council on Public History and is based at the Mid-Atlantic Regional Center for the Humanities (MARCH) at Rutgers in Camden, NJ.

CFP: The Moving Image

Special issue of The Moving Image journal (vol. 21, issue 1, Spring 2021)

Activating the Archive: Audio-Visual Collections as Communal Resources for Engagement and Change

Guest editors: Eef Masson and Giovanna Fossati

Access to audio-visual collections, while a longtime archival concern, gained momentum as a topic of debate in the first decade of this century. As tools for digitization gradually became available to (institutional) archives, practices of online video-sharing quickly shifted user expectations. Initially, practitioners reacted by highlighting not only the opportunities, but also the threats digital access posed. More recently, archival organizations have come to view such access as a core responsibility as well as a financial necessity – even as it continues to present legal, technological and ethical issues. In addition, they are more acutely aware that ensuring access is a complex task, because it not only involves making resources available, but also mediating them, so that they can acquire relevance for contemporary users. In recent years, this has resulted in a wide range of distribution, curation, and presentation practices, both on- and off-line.

Over time, those practices have called into question the choices that are made as items and collections get selected and framed. Concern has been expressed over who gets to make decisions, whose interests those decisions serve, and which biases they entail (e.g. who gets represented or excluded, and from whose perspective). Such questions in turn fueled broader debates about the
politics of archiving, centering among others on questions about agency (the role of archives as gatekeepers and the place of various archival ‘stakeholders’) and institutional legitimacy. Consequently, calls have been made for more participatory forms of archiving and the involvement of communities (especially underrepresented ones) in practices of collecting, preserving and making accessible or presenting moving images and sound. In addition, proposals have been made for ‘against the grain’, counter- and an-archival projects, among others with activist intent. Aside from challenging dominant archival paradigms, those offer opportunities for a more inclusive debate about access to audiovisual ‘heritage’, counterbalancing dominant, Western perspectives.

Tying in with such developments, this special issue of The Moving Image focuses on how audio-visual collections – established or emerging, institutional or more informal – are being activated, or re-activated: that is, made to engage new, contemporary audiences. The editors above all invite contributions that consider how, in the process of re-/activation, collections are turned into trulycommunal resources, and mobilized for the common good – whether by people who directly contribute to the activities of archival organisations or initiatives, or who operate from their peripheries. Of special interest here are projects that involve the reinterpretation, or re-appropriation, of archival moving images and sound in order to stimulate interest in, or engagement with, particular social and political causes.

As always, the journal will feature a combination of longer, analytical and/or critical pieces (peer-reviewed) and a number of forum essays that engage with relevant cases in a more informal manner. Also reviews of recent publications and events on related topics are welcome.

Possible contribution topics include (but are not limited to): ● (archival) moving images as a resource for citizen engagement and advocacy

archives, museums and distribution/presentation platforms (e.g. festivals, video-sharing
websites, etc.) as facilitators of engagement
community involvement in archival access and presentation, and ways of fostering it
activist approaches to the curation and presentation of archival moving images and sound
archival ‘activation’ in non-institutional and informal archives, and what formal archives can
learn from them
re-readings and reinterpretations of archival objects or collections, and their (contemporary)
political or civic potential
agency and resistance in or through (re)use of archival audio-visual collections
archival access and presentation as means for (re)building collections and/or re-historicising the past
the ethical (e.g. privacy) and legal (e.g. rights management) implications of reusing audio-visual records for socio-political purpose

Please send one-paragraph proposals for feature articles (double blind peer reviewed, between 4000
and 6000 words) and shorter, more informal forum pieces to e.l.masson@uva.nl and g.fossati@uva.nl
by 31 December 2019. Complete drafts will be due in mid-April 2020. The issue is to appear in the
Spring of 2021.

Visit here for more information about the journal. For access to previous special issues, check out the publisher’s archive.

CFP: “The Presence and Persistence of Stories,” National Council on Public History

“The Presence and Persistence of Stories”

Stories are the cornerstones of our relationship to each other and to the land. With each telling and re-telling, we reinforce relationships, we bridge past and present, and we lay foundations for the future. A single place might have many histories, it might have vibrant pasts distinct from our own, but through our stories, our memories, and our experiences, we become inextricably connected to that place. This conference celebrates stories and histories, and explicitly grounds them in the land of their telling.

At the dawn of NCPH’s fifth decade, this conference invites sessions that illuminate the ways stories of the past bring meaning to the present and that consider how narratives form and re-form through the ongoing nature of their interpretation. While the theme is particularly focused on Indigenous storytelling, the telling of under-told stories, and what it means to speak stories to future generations, we also hope to engage histories that reveal the dynamism and complexities of all communities, known and less-known.

View the full Call for Proposals, and see below for submission details.

CFP: The International Journal of the Inclusive Museum

The International Journal of the Inclusive Museum addresses the key question: How can the institution of the museum become more inclusive? The journal brings together academics, curators, museum and public administrators, cultural policy makers, and research students to engage in discussions about the historic character and future shape of the museum.

The International Journal of the Inclusive Museum is peer reviewed, supported by rigorous processes of criterion-referenced article ranking and qualitative commentary, ensuring that only intellectual work of the greatest substance and highest significance is published.

Read submission guidelines.

CFP: Collections and COVID-19

Articles are sought for a focus issue of the journal Collections which will consider collections and COVID-19. How have museums, archives, and libraries been impacted by COVID-19? What impact has COVID-19 had on collections, particularly?

In particular this call seeks contributions which address any of the following: institutional efforts at rapid response collecting; the intrinsic value of building collections during this historic time; the role and messaging of collections during the pandemic; the shift to online collection display as a way of providing opportunities for online engagement while institutions are not permitting visitors; the role of “essential staff” and their duties as related to collections; the financial impact of COVID-19 on collections; and other topics within the scope of “Collections and COVID-19”

For this issue, we are seeking articles, essays, and case studies of 2,000-3,000 words (8-12 pages double-spaced, plus notes and references). Authors should express their interest by submitting a 150-word abstract, anticipated article length, number of images, and any relevant information (such as context, short bio, pertinent URLs) to the guest editor carrie.meyer@unmc.edu and the journal editor jdgsh@rit.edu by Tuesday, June 30, 2020.

Notification of acceptance will be made by July 15, 2020, with the deadline for submission of final papers set for August 30, 2020 through the SAGE online submission portal. Publication is anticipated for volume 17 with an issue date of 2021.

For additional information or to receive samples of the journal, please contact the journal editor, Juilee Decker, jdgsh@rit.edu.

CFP: Visual Resources Association

The VRA invites you to submit proposals for papers, sessions, special interest/user groups, and workshops for the 2021 Conference program.

The VRA’s 2021 Annual Conference will be held in Chicago, IL from Tuesday, March 23th through Friday, March 26th, 2021 at the Westin, Michigan Avenue. We are exploring hybrid (in-person and online) conference options, so please consider ways you could present materials to both physical and virtual audiences.

About the VRA:

We are a multidisciplinary organization dedicated to furthering research and education in the field of image asset management within the educational, cultural heritage, and commercial environments. For more information on VRA: http://vraweb.org/.

Presenting at the VRA Conference provides you with the opportunity to see how your ideas, research, work, and passion connect to those of other dedicated professionals while building networks and friendships in an open, collaborative environment.

Presentation Types:

Individual Paper- A paper is an individual idea submission, which will be reviewed for possible grouping into a session. Your ideas, whether they come to us alone or in a group, are equally valued in the Board’s proposal and selection process.
Session – A session is typically a 60-minute moderated panel with 3 presenters, speaking for 15 to 18 minutes, followed by a brief facilitated question and answer period. If you feel your session topic requires more time, consider dividing it into two sessions, consisting of a Part I and a Part II.
SIG/SUG- A special interest/user group is a 60-minute informal, community -driven, facilitated group discussion on topics related to a specific segment of the VRA membership.
Workshop- A workshop is a 2, 4, or 8-hour workshop to develop skills and experience in the field of visual resources with hands-on activities.

All proposals are welcome, and if you have other conference ideas or suggestions that do not fit the conference proposal form, please reach out to the Vice President for Conference Program, Sara Schumacher at vpcp@vraweb.org.

To Apply:

The deadline for submissions is Monday, July 27, 2020. Program submissions received after this date will not be considered for the 2021 conference.

Preview the Paper, Sessions, Special Interest/User Groups Submission Form. Preview the Workshop Submission Form.

Submit your proposal here: https://www.surveymonkey.com/r/cfpvra2021.

All speakers/presenters must register for the conference and may register under the Conference Speaker rate for the full conference (same as member rate) or under the one-day rate. Speakers/Presenters may apply for Travel Awards through the VRA Travel Awards Committee or through select VRA Chapters.

CFP: Provenance

The Society of Georgia Archivists and Provenance editorial board are pleased to announce that they have moved to an open access model for the journal. All issues will be available online as soon as they are ready for publication, removing the one year embargo on content that had previously been in place.We hope this shift will better meet the needs of the profession and provide more timely research and commentary on the topics that matter most to the field. You can read the latest issue or browse earlier publications at: digitalcommons.kennesaw.edu/provenance.

Call for Papers

Provenance: The Journal of the Society of Georgia Archivists, a peer reviewed academic publication, seeks articles on archival theory and practice for the 2020 issue. Please note that the content of the journal is not limited to the state of Georgia, and articles of regional or national significance are welcome. First-time authors are especially encouraged to submit articles for consideration. Provenance is also interested in innovative and unique methods for presenting scholarly content. Please contact Heather Oswald if you would like to discuss an article idea or format.

Articles on archival topics outside of theory and practice which meet publication standards will also be considered. Typical papers should be a Word document, 10-20 pages, double spaced, and formatted according to the 17^th edition of the Chicago Manual of Style. Please review information for contributors: digitalcommons.kennesaw.edu/provenance/policies.html.

Articles are to be submitted utilizing Provenance’s online system: digitalcommons.kennesaw.edu/provenance.

For additional information contact Editor Heather Oswald at: provenance@soga.org. Deadline for contributions is July 15, 2020.

Gracy Award

Each year the SGA awards the Gracy Award, a $350 prize which recognizes a superior contribution to Provenance. Named for David B. Gracy II, founder and first editor of Georgia Archive, the award began in 1990 and is judged by the editorial board.

*Back issues of Provenance and Georgia Archive available online*

Table of Contents for volume 36, issue 1:

Articles

Participatory Archival Research and Development: The Born-Digital Access Initiative
Alison Clemens, Wendy Hagenmaier, Jessica Myerson, and Rachel Appel

Chain of Custody: Access and Control of State Archival Records in Public-Private Partnerships
Sarah Carlson

Case Study

Using Captions and Controlled Vocabulary to Describe Visual Materials as an Alternative to Digitization
Eric Willey

Reviews

Brown, Archival Futures
reviewed by Joshua Kitchens

Marshall, The Complete Guide to Personal Digital Archiving
reviewed by Erin Lawrimore

Ryan and Sampson, The No-Nonsense Guide to Born-Digital Content
reviewed by Pamela Nye

Cohen, Archive That, Comrade! Left Legacies and the Counter Culture of Remembrance
reviewed by Cheryl Oestreicher

Foscarini, MacNeil, Mak, and Oliver, Engaging with Records and Archives: Histories and Theories
reviewed by Martin T. Olliff

Abrams, Oral History Theory (Second Edition)
reviewed by Amanda Pellerin

McDade, Torn from Their Bindings: A Story of Art, Science, and the Pillaging of American University Libraries
reviewed by Kay Strahan

——————————
Heather Oswald
Manager of Public Services
Baker Library, Harvard Business School
Somerville MA

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