JISC

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Negatives blog

It’s taken 2 years and 4 months, but we have finally finished scanning all of the black and white 60-series negatives of objects in the collection. I say ‘we’, but Felicity and I probably only did about 5% of the scanning – the other 95% was done by a brilliant and extremely dedicated team of volunteers. In total, we’ve worked our way through 23 boxes of negatives to do a whopping 10265 scans!

The project started back in February 2012 as a short project funded by JISC (Joint Information Systems Committee), with the aim of digitising 3500 negatives. Working on the principle that a black and white image is infinitely better than no image, we rapidly realised that this was a brilliant way of adding images to the catalogue (as taking new photographs is very time-consuming and expensive). So we decided to just carry on, with the aid of our volunteers, until we’d done all of the negatives of objects.

Not only have we finished all of the scanning, we have also added all of these negatives to Adlib, our catalogue, and they are all available to view online (either through Adlib or Enterprise). This is thanks to one tireless volunteer, Carl, who has spent week after week after tedious week copying and pasting links. This project has made a huge difference to the percentage of our object records which now have an image attached.

So I’d like to say an enormous thank you to Alex, Anna, Anne, Anne, Becca, Beth, Carl, Charlotte, Christina, David, Diana, Doug, Emily, Emma, George, Josh, Juliet, Megan, Nina, Pablo, Phoebe, Rebecca, Steve, Stuart and Tom. THANK YOU!!!!!

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Bulk upload

Since February last year we’ve had a team of volunteers working on digitising our old black and white negatives. This was initially part of the JISC project, but we’ve been carrying on the project as it’s a great way to get images for the catalogue without having to take new photographs (which are very expensive and time consuming). We’ve now scanned about 7100 negatives, of which 6100 have been uploaded to the catalogue this week! There are still another 10 boxes of negatives to scan (23 in total), but we’re past the halfway mark.

In addition to the negatives, we also scanned the documentation in the accession files for 150 objects as part of the JISC project. This totalled nearly 2100 scans, and these too have now been uploaded to the catalogue.

And all of the scanning I did for the basketry collection, which included Dorothy Wright’s ‘Catalogue of baskets’ forms and transcripts of an interview with Jack Rowsell, the last Devon splint basketmaker, and slides of Jack making the baskets, have also been uploaded.

So do take a look at our online catalogue and let us know what you think!

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Volunteers have been making the headlines over the past six weeks at the Olympic and Paralympic Games, with everyone saying that it was the volunteers who made London 2012 such a success. So I thought I’d take the opportunity to celebrate some of the volunteers at MERL who have been helping us on the A Sense of Place project, and say thank you for their help.

Like many museums, MERL relies heavily on volunteers to help us get everything done. We have a wide range of volunteers at MERL – from students at the University, to special interest groups and local residents – and the University of Reading Museums and Special Collections Service (which includes MERL) was recently awarded the Investing in Volunteers Standard from Volunteer England. Click here to find out more about volunteering at MERL.

Our project office is always bustling with volunteers. As well as regular volunteers who come in once or twice a week for an extended period of time, we also have interns who work with us more intensely for a shorter period of time, and work experience students who are with us for just a day or two. Different volunteers help us on different parts of the project.

Team Latitude/Longitude

Ron and Carl are our longitude-and-latitude-looker-uppers. When we add a new place to our thesaurus, we also have to add the latitude and longitude so that it can be pinned to a map. At the start of the project we were taking our lats/longs from the Getty Thesaurus of Geographic Names but, as well as not listing many smaller places, we discovered that Getty wasn’t always very accurate with its coordinates. Since that discovery, Ron and Carl have dedicated a few hours a week to looking up places in GoogleMaps to find their coordinates. Carl also helps us track down the lats/longs of more specific places, like historic farms.

Team Polehead

Christina heads up ‘Team Polehead’.

Christina has been volunteering at MERL for over a year and she is at the heart of Team Polehead. Following on from cataloguing the Shickle Collection, we’ve been trying to catalogue the rest of the poleheads (we have over 900 in total). Christina has taken on this task and is fast becoming an expert in all things polehead – she’s already done 280 out of 380 in the Allen Collection. She’s also been training up other volunteers to help her, which is a big help to me.

Team Negatives

As well as being a tour guide and doing volunteering in other parts of the Museum, David helps us with scanning one morning a week.

The majority of our volunteers have been working away since February on digitising our old black and white negatives. This was initially for the JISC project but, having met the target of 3750 scans, they’ve carried on. They’ve now done over 4800 scans of the 60 series negatives and 775 of the 35 series negatives. We’re hoping that they won’t mind carrying on, as it’s a great way to get images for Adlib without having to take new photographs (which are very expensive and time consuming). Team Negatives includes Stuart, Emma, Steve, Anna, Nina, David and Josh.

Interns

Matthew, one of the interns who has been helping us for two days a week for the past six weeks.

Over the past six weeks we’ve had two interns from the archives working with us part time. Matthew and George have done various things to help us – a bit of negative scanning, some new photography, some transcribing, some polehead cataloguing etc. Matthew has also been scanning two folders of correspondence from the 1930s between Harold John Massingham and Mr Greening, a master carpenter from Winchcombe in Gloucestershire.

 

Thank you volunteers!!! We really do appreciate your hard work!

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Things have come a long way since my first blog post back in February about what we do in our work at MERL. No longer do we spend our days solidly cataloguing! In fact, it sometimes feels that a week goes by with hardly any cataloguing at all. So I thought I’d write a bit about some of the other things that we’ve been doing.

JISC Project

We’re working on a joint digitisation project with University College London, funded by the Joint Information Systems Committee (JISC), as part of Object Based Learning 4 Higher Education (OBL4HE). We’re digitising two things – 60mm negatives of objects in the collection, and documentation relating to 150 selected objects. This involves scanning and some basic editing in Photoshop. Our target is to digitise about 3500 negatives, and we’ve already done 3150, but we’re hoping to carry on and see how far we get – there are 23 boxes of these negatives in the archives, and we’re only on Number 7! We have a wonderful team of volunteers who have done most of the work on the negatives – Felicity and I only spend two or three hours each a week on it. If you’d like to get involved, take a look at our Volunteering page. Felicity and I started scanning the documentation last week and have already scanned 370 documents for 47 objects (there’s often a big chunk of letters and forms in each object file). Have a look at the OBL4HE blog to find out more about.

Me posing for my scanning negatives shot. It's actually quite a relaxing task.

Tour Guiding

MERL offers guided tours to visitors on Wednesday afternoons and weekends, so we’ve taken up the opportunity to be trained as tour guides. As well as practising the general museum tour we’ve also developed a project-focussed ‘Sense of Place’ tour which draws out connections between the displays and the work that we’re doing. We’ve already given our tour twice, but still need a bit more practise.

Felicity posing for her tour guide training shot. Here she's highlighting the regional differences in wagon design.

Bucklebury

As mentioned in earlier posts, we’re working with the Bucklebury History Group on various aspects of the project. Danielle has been enhancing the catalogue records for objects from Bucklebury, concentrating at the moment on the Wells Collection. Harry Wells was a handle maker working in Bucklebury for about forty years until 1950, and we have lots of his tools. I’ve been scanning the Collier Collection of glass plate negatives of Bucklebury. Phillip Osborne Collier was a commercial photographer and postcard publisher working in Reading from 1905. We have around 6000 glass plate negatives of photographs he took in Berkshire, Hampshire and Oxfordshire. The Bucklebury photographs were taken 1905–1960s – they’re beautiful and we’re hoping that the members of the History Group can help us pinpoint more exactly where they were taken. The History Group visited MERL a couple of weeks ago and we’re off to Bucklebury tomorrow for a guided tour to help us get to grips with its geography – there’s  Bucklebury, Upper Bucklebury, Bucklebury Common, Chapel Row, The Slade and numerous other places – and we need to understand how they fit together in order to catalogue them properly. Bucklebury History Group will be at the MERL Village Fete on Saturday 9 June, and Felicity, Danielle and I will be scanning photos of Bucklebury which could be uploaded to Historypin, so do bring any along if you have them. We’ll also be scanning your royal photographs to add to Historypin’s ‘Pinning the Queen’s History‘ page so bring those along too.

General work

We’re also getting to have a go at other curatorial tasks. This includes editing label text for our new exhibition, Our Sporting Life, which runs until 16 September, responding to enquiries, looking into possible acquisitions for the Museum, and supervising visits from researchers and interested groups. Felicity has signed up for various technical training courses as she’s rapidly becoming our technical whizzkid.

And finally…

And finally, we are still doing a bit of cataloguing, although at a considerably reduced rate. Danielle is focussing on Bucklebury objects, Felicity is cataloguing objects from particular cases which can be linked to QR codes and I’m happily cataloguing baskets.

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Our office decoration - complete with counties and unitary authorities.

MERL has a sizeable collection of rural craft objects, both finished items and the tools needed to make them. The craft collections are one of the things that first attracted me to the Museum, and my first visit to MERL was to interview the former Keeper, Roy Brigden, about craft and intangible heritage in museums for my Museum Studies dissertation (ultimately I wrote it about craft as intangible heritage in the UK). This means that I’m always on the look out to do things at MERL connected with the craft collections.

Here in the Sense of Place project office we’re using the word ‘mapping’ quite a lot. Work is being carried out on Adlib this afternoon, which means no cataloguing, so I thought it would be a good opportunity to write a post about mapping – and will do so in the context of craft. It’s a bit of a stream-of-consciousness post so apologies if it jumps from here to there!

Our project is called ‘A Sense of Place’ – it clearly has something to do with places, with geography. As you’re no doubt aware, we’re enhancing the Museum’s catalogue with information about place – where the objects in the collection were made, used and collected – so that we can ultimately plot them on a map. This will enable us to ‘see’ where our objects have come from. This forms part of the work we’re doing with Historypin and trialling in Bucklebury, Berkshire. Plotting our collections in this way will not only provide visitors with new ways to search the collections but will also enable us, the Museum, to see the geographical spread of our objects and identify places from which we have many/few/no objects. This also has the potential to feed into MERL’s acquisitions and disposals policies – we may want to acquire objects from areas in England that aren’t currently very well represented, or we may question why we have objects from other countries (such as an Israeli ard) when we are the Museum of English Rural Life.

MERL's Israeli ard (61/3/1-3). Incidentally, this is one of the 60 series of black and white negatives that are being scanned by a team of volunteers for the JISC digitisation project that Felicity and I are also working on.

Although we tend to think of mapping (and maps) in a geographical context, it isn’t all about plotting places on maps and connecting things/ideas to places. Mapping has different meanings in different fields (this is where I now struggle to explain them, but you can see that they’re not to do with geography/maps in the conventional sense). In computer programming you can ‘map’ drives and software so that you can have access to them from different places, in maths ‘mapping’ is another word for ‘function’, you can ‘map out’ or plan your future and you can make something well known or ‘put it on the map’. It’s not all about geography.

In my life outside MERL, I’m a trustee of the Heritage Crafts Association (HCA), the advocacy body for traditional heritage crafts. It aims to support and promote traditional crafts as a fundamental part of our living heritage in the UK and ensure that those craft skills are carried on into the future. As part of my work for the HCA I sit on the steering group of a ‘mapping’ project commissioned by the Department of Business, Innovation and Skills and run by Creative and Cultural Skills. This piece of research seeks to ‘map’ the occupations, skills and economic contribution of the heritage craft sector in England. So this project is about gaining a deeper understanding, building a better a picture, understanding the size/shape/form/spread etc. rather than looking at craft in terms of place or in a geographical sense. I do hope, however, that the final report will include some regional analysis so that we can understand how the craft sector differs across the country.

Back to more conventional ‘mapping’, I really would like to see the traditional crafts of the UK plotted on a map. The HCA does have a craft map showing where traditional craftspeople are across the country, but I’d like a map to show the multitude of crafts which are strongly tied to particular areas, be it saddle making in Walsall, shoe making in Northampton, cutlery in Sheffield, willow basket making in Somerset, straw plaiting and hat making in Bedfordshire, chair bodging in High Wycombe etc. – the list goes on. There’s a good blog about regional crafts here. This relationship between place and craft has developed for all sorts of reasons – the materials available, the natural landscape, the ways of living, the development of industry – and understanding where something comes from is key to understanding why that thing is the way it is. This is not only true of the crafts, but is also true of other groups of objects we have at MERL, such as ploughs and wagons, the design of which is informed by the type of soil and the terrain of the areas in which they were used.

The HCA's map of traditional craftspeople - available on the HCA website (www.heritagecrafts.org.uk)

I feel that the UK is quite behind in making that link between craft and place. Last summer I went to Japan for a few weeks (having studied Japanese at university and visited several times) with the idea of travelling around and looking at traditional crafts as I went. I did start to blog about it, and would definitely like to see more in the future. Japan has been preserving its intangible cultural heritage since the 1950s and they really look after their traditional crafts, with an Association for the Promotion of Traditional Craft Industries, a Centre for Traditional Crafts (renamed Japan Traditional Crafts Aoyama Square), a Folk Crafts Museum, craft museums in most prefectures, a Living National Treasures scheme etc. I started my journey with a visit to the Centre for Traditional Crafts in Tokyo and picked up a fantastic map of Japan with all of the regional crafts plotted on it. It was the first time I’d seen anything like it and I thought it was brilliant. Once you start to know where a craft comes from, you can begin to understand why it developed there. I recently saw something similar on the BBC’s ‘Our Food’ programme which plotted local foods on a map of the UK, and the programme explored the relationship between place and food. Maps like these can really help us start to think about things in new ways – by ‘seeing’ that relationship with place represented on a map, we realise that relationship exists and can begin to understand and explore it.

A screenshot from BBC2's 'Our Food' programme (http://www.bbc.co.uk/iplayer/episode/b01fkcdp/sign/Our_Food_Norfolk)

In my spare time (there doesn’t seem to be much of it left) I’ve started compiling a list so that I can create one of these maps myself – any contributions are very welcome! And in my work time, I’m hoping to explore that relationship with place in the basket collections.

The Team has now divvied up some of the different strands of the Sense of Place project and we are moving our focus away from chronological cataloguing to concentrate on testing various uses for the enhanced catalogue. In our chronological cataloguing, I’m part way through 1955 while Felicity is working on 1956, and we do hope to make it out of the 1950s by the end of the year. Danielle will be concentrating on our work with Bucklebury History Group and Historypin, while Felicity will look at the use of QR codes and augmented reality as ways of accessing information about the displays in the Museum. I’m a bit more of a technophobe and am going to be looking at using the ‘exhibitions tool’ on Adlib, which will hopefully allow us to pull out information from our enhanced catalogue records to produce an online exhibition. I’m hoping to put together an exhibition on regional baskets as I’m quite a fan – I used baskets as a case study craft for my dissertation. I think MERL has about 425 baskets in the collection. My plan is to catalogue them, map them in the traditional geographic sense so that I can see where they’ve all come from), and then explore the relationship between the baskets and those places. This is still very much in the pipeline but I’m really excited about it! I will, of course, continue to contribute to the Bucklebury efforts.

And I haven’t forgotten that I still need to blog about the Massingham Collection that was part of my 1951 cataloguing. I want to find out a bit more about Massingham before I attempt to write anything so his book, ‘Country Relics’, is on my (ever-growing) reading list.

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