June 2012

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Anyone who has followed the Sense of Place blog since day 1 back in February will recall that I mentioned working with Historypin, a website which encourages communities to share images of their locality by ‘pinning’ them to virtual maps.

I also explained that one of the aims of the Sense of Place project is to work with Historypin in finding a method of also pinning MERL object collection data onto these maps, to provide them with an enhanced geographical context.

Although it appears that we have gone a little quiet on this front, we have been making steady progress behind the scenes and are pleased to announce that we now have our very own ‘History pinner in Residence,’ Rebekkah Abraham.  Rebekkah is the Historypin Content Manager for We Are What We Do and currently has the pleasure of travelling out to Reading every so often to work alongside the Sense of Place team at MERL.  We are very pleased to be working with her too.

She is now busily working away on the technicalities of exporting data from our object cataloguing system, Adlib, through to Historypin, to ensure that information from the relevant fields is transferred successfully providing as much information as possible for the user.  This will include the object name, a brief description and history, the maker and production date where applicable.  These exports will mean that when updates or amendments are made to our records, they are automatically updated in Historypin.

This project presents a new challenge for Rebekkah and Historypin as the website is currently only designed to upload photographs and their related information, which means some development is required.  However, once this is achieved, there will hopefully be scope for many other museums from around the world to plot their collections geographically in a similar way.

A visible development of this work is now available to explore in the form of a MERL Historypin ‘channel’ which holds everything from the MERL collections which has been uploaded so far.  Do take a look as its far better to grasp what Historypin is capable of by trying it out, rather me rambling on about it in a blog post!

For a number of reasons, which have been mentioned in several previous blog posts, the village of Bucklebury in Berkshire has been identified as an ideal location to begin plotting photographic and object content to on Historypin via this channel.  This will then allow us to have a defined geographical area which we can try-out various Historypin functionality with.  These could be tours, collections, stories and potentially a mobile phone app, which will highlight the rich collections that the museum is lucky to own, originating from Bucklebury.

Bucklebury also has a thriving History Group and they now have their own channel too.  This means that they can begin to upload the many images which they have collected over the years, making them more accessible to anyone who is interested.  They already have some beautiful photographs from the 1953 Coronation celebrations which took place in the village.
Of course, there are some problems for us to iron out.  These things are never as straight forward as you might imagine. Many of the objects in the MERL collection have multiple places associated with them (where they are made, used, acquired etc) and representing this complex biography is one of the objectives of the project.  We still need to work out how this will work in practice when they are plotted to a map, ensuring we do not end up confusing researchers and other interested parties further.

Historypin also currently works by plotting photographs in a location and at a specific historic date.  Many of the objects in the collection have no or very little information regarding the date they were made or used and it would be difficult to add this data to such a large selection of objects accurately, within the constraints of this project.

Nevertheless, it feels exciting to be able to share some progress with you, which you can actually have a look at and explore further!

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In the absence of a ‘Blue Peter’ style counter, I am confined to a mere blog post to let you know that we have now catalogued over 5000 records!  Next target: 6000.

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Many of you will no doubt already know that it was Open Farm Sunday yesterday. Along with friends and family I made a somewhat last minute plan to visit one of the places participating in this scheme. The site in question was Sandy Lane Farm, near Tiddington, Oxfordshire. Here we enjoyed a tour by tractor and a series of talks delivered by the farmer, Charles Bennett, as well as indulging in the obligatory cup of tea and slice of cake. There was also much more on offer and, all in all, our visit provided us not only with a great afternoon’s entertainment but also proved to be highly informative.

Charles Bennett explains his potato crop

Charles Bennett explains his potato crop

It struck me during the afternoon that there is really no substitute for a genuine ‘onsite’ sense of place. In other words, for me at least, being ‘in’ a place is always going to be more powerful and enlightening than being at a remove. Even the very best interpretation in the world cannot replace the multi-sensory feeling and direct material engagement of actually being there, in a place where rural lives both did and still do play out. In a similar and more obvious vein, a muddy and oily Ferguson tractor that kids can clamber on and pretend to drive is always going to win out over the sanitised but sacrosanct TE20 that we have on display at MERL. On the flip side of this, jumping around in the hay – as my kids and those of my friends did yesterday – is not going to explain how meadows were managed in the past, or enlighten them as to the people or technologies involved in hay production past or present. It takes intervention and an interpretive voice, whether this be the onsite words of the farmer or the gallery-based musings of a curator.

Jumping in the hay

Playing in the hay at Sandy Lane Farm

Simple as these observations may seem, I think they raise significant questions for museums, most of whose collections are inherently connected with a whole series of other places. So, the next step on from this Project and its process of re-connecting museum-held things to original contexts of manufacture, use, and collection has to be one of deepening contextualisation. It has to be a process of engagement with the people now in (or once from)  these original contexts. It has to be a process of reaching out to the rural people whose heritage is housed and represented in the Museum. It has to be an invitation to members of these ‘source communities’ to help MERL (and by proxy the wider public) to better understand the rich depth and complexity of rural history as a whole. It has to deliver inventive and creative mechanisms through which to communciate how the seemingly static holdings of the gallery and store actually connect to a whole host of dynamic and vibrant external sites and places, where rural life continues apace.

Thanks to all at Sandy Lane Farm for a great day out and a very nice cup of tea, for giving me food for thought and a fun way to exacerbate my hayfever (yes, I am a farmer’s son who suffers from hayfever!). Oh, and I checked the database and MERL has only one artefact from Tiddington, this being a type of chain used to hold restless cattle that dates to the mid-19th century. Mr and Mrs Bennett and their family appeared to dabble in farming pretty much everything but cattle. However, I still think it would still be interesting to hear what their thoughts are on this object and on the ways in which life in Tiddington has changed since the 1840s when this object was made, the interwar period when it was first acquired by H. J. Massingham, and 1951 when it came to Reading.

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For those of you who don’t get up early in order to think about rural places and ponder countryside issues, you may have missed our very own Greta Bertram (Sense of Place Project Officer) on this morning’s edition of the BBC Radio 4 series Farming Today. Don’t worry though, you can still listen to her interview online.

As a Trustee of the Heritage Crafts Association, Greta’s interests within the Sense of Place project are increasingly centred on the diversity of  intangible heritage represented by the material holdings at MERL and how these skills may be seen to link to the places where such crafts first emerged or are still maintained in the present day. In her interview Greta hints at the potential for renewed vigour within the extant networks of regional craft skills.

As the project develops Greta will hopefully develop some of these ideas and issues and bring them to bear on the mapping of MERL’s historical holdings.

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Since we’ve gone a bit quiet about our progress on the cataloguing front recently, I thought I would let you know how we’ve been getting on over the past month or so.  We have slowed down somewhat as other aspects of the project start to pick up pace, but our current total sits at just above 4,500 records.  Initially progressing chronologically, we have worked through the records from 1951, when the Museum was founded, to 1954 in full, and have also completed parts of 1955 and 1956.  More recently, though, our focus has shifted to other areas of the collection.  Greta has been working her way through the Museum’s collection of baskets (about which I think she is planning a separate post), whilst Danielle and I have been completing the objects in the collection from the Berkshire village of Bucklebury, in preparation for our work with Historypin.

There are between 300 and 350 objects from Bucklebury in the collection.  It is hard to give a more precise figure, because more information becomes available as we work our way through the records.  We have just one object record file for objects from the Hedges Foundry, for example, but this actually relates to 26 individual wooden patterns.  In addition to the objects from the Hedges Foundry, which was situated in Bucklebury Village, much of the rest of the material comes from the bowl turner George Lailey and the handle maker Harry Wells.

I spoke in a previous post, Cataloguing ‘place’, about our geographical hierarchy, which is largely based on the Getty Thesaurus of Geographic Names, with a few alterations and additions.  In the case of the Bucklebury material, we have decided to add still further levels of detail into our hierarchy.  This reflects the fact that we are in a sense using Bucklebury as a trial area, exploring some of the ways in which this approach can be implemented in collaboration with local communities, and we want to make our hierarchy as relevant as possible to their understanding of ‘place’ in Bucklebury.  Of course, in order to do this, we had to get a good grip on how ‘Bucklebury’ works, which was one of the main reasons for our visit a few weeks ago.

The church gate lantern in Bucklebury Village, made at the Foundry

When we first met the Bucklebury History Group, I naïvely asked ‘So, how exactly is Bucklebury laid out?’  My question was met with knowing smiles.  We had a look at a huge map of the parish, and immediately saw part of the problem, which Danielle also described in her earlier post, The Bucklebury Experience.  Bucklebury Village itself, situated on the banks of the River Pang, is actually quite small.  Upper Bucklebury, where many of the more modern houses are situated, is up to two miles away down narrow country lanes, in the middle of the Common.  A further hamlet, Chapel Row, sits to the eastern edge of the Lower Common.  A smaller hamlet, The Slade, sits on the western edge of the Upper Common.  And then, dotted in between, are other clusters of houses, each with distinct names and identities, but all considered to be a part of ‘Bucklebury’.  These include Turner’s Green, where Lailey’s workshop was situated, Byles Green, Miles’s Green, Workhouse Green, and the grandly named hamlet of ‘Scotland’.

Knowing this, it seemed insufficient to give ‘Bucklebury’ just one listing in the hierarchy.  Besides, the given latitude and longitude on the Getty Thesaurus was situated in a somewhat obscure spot in a field in the parish, which hardly seemed to reflect the complexity of the village’s geography.  Our tour of Bucklebury was incredibly useful.  Physically walking and driving around and between the places in Bucklebury gave us a far better understanding of the place than simply looking at a map.  Obviously this approach is impossible on a larger scale, but for the purposes of our work with the Bucklebury History Group and Historypin, it was invaluable.  The hierarchy we have come up with will hopefully enable the collections to be pinned to the map with as much accuracy as possible, reflecting the level of information we have about places in Bucklebury. 

One of two ancient fish ponds on the Lower Common

The broadest ‘Bucklebury’ thesaurus term in our hierarchy relates to everything within the parish boundary.  At a lower level, we list the larger distinct places: ‘Bucklebury Village [Bucklebury]’, ‘Chapel Row [Bucklebury]’, ‘Bucklebury Common [Bucklebury]’ and ‘Upper Bucklebury [Bucklebury]’.  Some hamlets, such as ‘Bushnells Green [Bucklebury]’ are also listed at this level because they are isolated within the parish, but other hamlets, such as Turner’s Green are first linked to bigger places with which they are associated.  For example, Turner’s Green is situated on the Common, so is listed as ‘Turner’s Green [Bucklebury Common [Bucklebury]]’.  The essence of our approach is to include as much detail as possible, so that we can find the precise latitude and longitude for distinct villages, hamlets, and even houses, which will ultimately enable the collections to be mapped as accurately as possible to the places with which they are associated.  It does feel as though we might have picked the most complicated village in England to use as a case study, but perhaps I am just expecting (or even hoping for) a logical simplicity that simply doesn’t reflect the realities of place.

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