///FINAL PROJECT///

For the final project, I am organizing and digitizing a portion of the photography collection at the Elisabet Ney Museum. Since I work there, I am already familiar with the museum’s archives and accession records. The downside is that none of these items have been digitized, and on top of that, many of the photographs have not been assigned an accession number.

Therefore, my goal is to establish a method for organizing the photographs into a digital database, which will also consist of Ney's sculptures and personal effects. In addition, each photograph will get a new accession number which will link it to a file on the computer and a file in the archive. Once the accession number is assigned, it will be entered with the metadata, onto an Excel spreadsheet. In the future, when the museum begins to utilize PastPerfect, all of the metadata and scanned images will then be uploaded into this program.

Since, this is going to be an ongoing project, my main objective is to understand the benefits or failures to my approach. That way, I can amend any flaws in this system and improve the initiatives that I am putting forth. While these guidelines will represent my own hypothetical approach, I believe they will benefit the organization of the collection, or at the very least, provoke discussion for new methodologies.

///Digital Humanities///

Listed below, are several links on different projects being conducted within the field of "digital humanities". These articles were featured in the New York Times from a series on "how digital tools are changing scholarship in history, literature and the arts". As institutions are now establishing methods of collecting and presenting archives to the public, they must evaluate viewer interpretation. Most of these materials are being presented as digital images through online repositories and interactive websites. This raises the question: Does this format provides an accurate representation of the actual items?

Digital reproductions, when available online, make collection materials more accessible to the public. While this is definitely beneficial, it should be noted that tangible experiences are still essential to the viewer's response. As a museum worker, I believe it would be unfortunate if the public resorted to viewing collections exclusively online. I do support the use of digitization, but it should also entice people to conduct observations in person.

While many digital archives allow viewers to observe rare items, some also provide opportunities for individual responses. Many institutions are now by-passing scholarly input by asking the public to offer their own analysis. By presenting documents online, many museums and colleges are engaging people in the practice of transcribing historical documents. Even though this is a public process, some scholars worry that many individuals will not be adept at 'decoding" all of the text. There is also concern that viewers might miss the conceptual significance of this material. According to Bevis, " the fear is that statistical measures could overshadow the meaning and interpretation". While this may be true, it is important to note that these projects are being presented as endeavors based on subjective readings. Therefore, the purpose revolves around open participation, which allows anyone to take on the role of a historian.

1) http://www.nytimes.com/2010/11/17/arts/17digital.html
2) http://artsbeat.blogs.nytimes.com/2010/11/17/from-ancient-rome-to-a-valley-in-virginia-more-digital-humanities-projects/
3) http://www.nytimes.com/2010/12/04/books/04victorian.html
4) http://www.nytimes.com/2010/12/28/books/28transcribe.html?ref=patriciacohen

///STORYTELLING THROUGH DIGITAL ARCHIVES///

http://scottmccloud.com/

Scott McCloud's numerous books, along with his website, offer a unique perspective on developing stories through visual literacy. I believe many of these same techniques could be applied to the organization of archives. Especially, since he tackles issues regarding the presentation of sequential events and the use of objects within narrative structures. In addition, these methods could be used to display digital history projects by utilizing web based formats.

///MY HISTORY OF DIGITIZATION///

While studying visual art throughout high school, I became accustomed to documenting my own artwork through digitization. By understanding how to capture my own images, I was able to present digital portfolios for professional and creative endeavors. In addition, I learned how to showcase my work through a blog that I established on line. This has since provided me with a unique venue, while allowing me to represent my own creative processes and interests.

As a visual thinker, I have always had a profound attachment to pictorial representations of people, events, and places. By referencing the past through documentary aids, these experiences can be brought back to life. Since working at the Elisabet Ney Museum, I have gained even more appreciation for the accumulation of these materials. Each item that enters the collection provides a missing piece to Ney's extensive narrative. Without visual aids, many museum patrons would never recognize the significance of certain aspects of Ney's legacy.

Since I am a graduate student in the Art Education Department, (with a focus in museum education) I would like to become more adept at capturing and presenting historic narratives. While preservation standards are important within collection practices, I still recognize the need for organizational aspects. As our society adjusts to new advances in technology, museum educators must be prepared to adopt these same methodologies. Through my involvement in this class, I want to become more efficient at creating digital archives that are accessible to the public. My goal is to eventually become a better storyteller through the presentation of visual information.