Now known as "The Railway Archives", the archives of the Australian Railway Historical Society, NSW began as an informal repository of photographs and official material collected by enthusiasts to help document the operations of the railways. Over time, this collection has grown to over 2 million documents, including 1 million images. Over thirty years of mostly volunteer labour has been invested in digitising and cataloguing the collection. However, the collection has only been accessible through in-person visits until recently and archival practices and collection management have been deficient in some areas. This paper will describe the experience of a non-archive professional in operating and transforming a community-based archive. This experience includes building improvements, implementation of a collection management system, and how online access and archives practices have been improved.
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Until very recently, public institutional archives have been unable to include the voices of women and minorities in archival theory and daily practice. Archives reflect in their organization and mechanisms those of the traditional power relationship. For many years, community-based archives have substituted the institutional archives inaction on this point. So, at first, relationship with the archival institution starts from mistrust. Fortunately, the situation has evolved through the years and the numerous studies carried out on the subject have contributed not only to normalize relations, but have also led to new opportunities for collaboration, learning and exchange between the two areas and in both directions.This presentation tries to approach different points of interest about the dialectic process that is established between institutional archives and community-based archives while looking for the lost memory of the LGBTQ+ community in both. It wonders about the genesis of these documentary collections and the differences in the treatment and projection. We’ll pay attention to some examples of good practices in national and municipal archives. All that dialogue is materialized defining an intersectionality program to be run at a small municipal archive to engage with local LGBTQ+ community specially in two directions: recovering the memory of aged LGBTQ+ people, and transmitting a sense of historical continuity to younger generations. To do that we propose different actions and tools, such as the design and implementation of inclusive archival policies; reparative archival description tools; or the interaction with LGBTQ+ community through social media archival projects.
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Official documents may be expected to have a degree of consistency in terminology as regards the names of particular aspects of its operation. There may be a progression from one 'name' to the next but once changes it would be expected that the older be relegated to the past. It is proposed to show how terms once used continue with its successors. This will be illustrated with examples from official by-laws and publication by and within the New South Wales Government Railways.
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In 2022 we have technologies available to us that make collaborating with international colleagues easier than ever before. Over the last two years, repeated lockdowns and the closure of international borders have meant that international travel has not been an option and conferences have moved online. We have had to rely solely on virtual meetings and communications in order to work with archivists from around the world. During this time the Society of American Archivists’ Technical Subcommittee on Encoded Archival Standards (TS-EAS) has been carrying out a major revision of the Encoded Archival Context – Corporate Bodies, Persons and Families (EAC-CPF) standard.
TS-EAS maintains the Encoded Archival Description (EAD) and Encoded Archival Context – Corporate Bodies, Persons and Families (EAC-CPF) encoding standards. While it is a committee of the Society of American Archivists, TS-EAS has a remit to include international members. This provides opportunities to capture a diverse range on input from a variety of international practices in the work carried out. The committee also aims to engage broadly outside its membership, giving archivists and information professionals the chance to shape and improve these standards.
This presentation will introduce the work undertaken by TS-EAS and look at some of the challenges of collaborating with archival colleagues internationally to maintain these standards. It will also discuss the opportunities to get involved with updating, developing and improving standards so that they work for everyone and are influenced by real-world examples from archives all over the world.
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This is no new issue - how do we effectively communicate with our IT colleagues? The same words between IT and Records Management can have fundamentally different definitions - archiving is a very good example! Records Management staff at Monash University decided to try something that connects us all - TV and movies. Through short 10-15 minute podcasts, Records Management staff showcase different TV shows, movies, and the occasional documentary, linking the common themes of the program back to records management fundamentals and real life examples of projects, programs etc. experienced across the university.
This has been found to be a lighthearted way to introduce some basic concepts, and further explore some of the combined issues we and IT face, including access, preservation and cybersecurity.
This lightning talk will cover some of the programs we've discussed, as well as the easy programs we've used to create and publish the podcasts. The all important lessons learnt will also be shared.
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During the first few decades of the twentieth century there was a mass exodus of Australian female artists travelling abroad to further their artistic training. Leaving Bendigo for Paris at age 36, Agnes Goodsir was one of these artists. Goodsir would spend the forty years building a successful career in portraiture across England and France, never returning to permanently live in Australia. Her longest residence was a top floor apartment on the Left Bank, which she shared with her partner Rachel Dunn. An American expatriate pianist, Dunn was most frequently the subject of Goodsir’s tender, intimate, and quietly radical portraits. When Goodsir passed away in 1939 mere months before the Second World War, Dunn inherited these along with the entirety of Goodsir’s estate. Through grief and war Dunn felt keenly her responsibility as sole inheritor, firmly believing that Goodsir’s work should be returned to her country of birth where one day she might be recognised and celebrated. This sheer determination is why dozens of Goodsir’s works sat, dormant and waiting, in Australian collections, until her eventual “rediscovery” in the 1990s.
Dunn’s actions while bearing the entire weight of Goodsir’s posthumous reputation signals her engagement in what Melanie Micir defines as an intimate archival act, common with female creatives from this period when one partner is left behind after the other dies. The intimate archivist bears the sole weight of her partner’s interpretation and legacy, knowing that those who have the capacity to interpret said information may be generations in the future. This paper examines the chronically overlooked figure of Dunn in Goodsir’s narrative, not simply as subject or muse but in the crucial role as archivist of Goodsir’s artistic legacy. Through interweaving archival theory with biographical details, this paper illuminates the fragments of Goodsir and Dunn’s shared lives in conjunction with Goodsir’s art. By tracing these administrative echoes we can recognise Dunn’s actions not as those of passive coincidence, but as the key figure in the assemblage and distribution of Goodsir’s work and reputation. Fundamentally, this paper explores a new archival significance in Goodsir’s artistic preoccupation with Dunn. More than just the archivist of Goodsir’s work, Dunn steps into the role as intimate archivist of their own intertwined, equalised partnership.
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