Posts Tagged ‘Sarah Rhodes’

Allsorts Online 09 on the Web

The Collections Australia Network (CAN) has posted six videos from the Allsorts Online 09 Forum in Adelaide for the benefit of those people who were not able to travel the distance. Science communicator Susannah Elliot talks about how cultural institutions can use history to look at contemporary issues. Gavin Artz explains how the arts can benefit from the disruptive digital revolution from the perspective of the Australian Network for Art and Technology (ANAT). Gavin Bannerman offers wild and entertaining stories about a mobile hairdressing salon in Cape York from the State Library’s Q150 digital storytelling project.

The presentations are a snapshot into some of the innovative projects happening in the sector. The panel discussion at the end of the forum was a terrific debate as to where the sector is going. It questioned whether institutions should become broadcasters or whether their role should remain as collectors and preservers of history. This is an issue the National Film and Sound Archive now faces as it relaunches its website Australian Screen Online. Allsorts Online 09 was hosted in collaboration with the State Library of South Australia and the Australian Network for Art and Technology (ANAT). Here are some photos on Flickr of the event. State Library of NSW’s Ellen Forsyth uses Twitter as a note-taking device. The Twitter hashtag for the forum was #Allsorts09.


AusStage: Collective Intelligence and Data Visualisation for Performing Arts eResearch

Dr Jonathan Bollen: Senior Lecturer, School of Humanities, Flinders University
AusStage is the Australian hub for research on live performance, linking researchers in universities, industry and government. It stimulates smart information use, promotes collaboration on innovative methodologies, and integrates access to collections. AusStage is extending its infrastructure to harness collective intelligence, to visualise the knowledge embedded in the AusStage database, and to deliver next-generation tools and services for information analysis, while continuing to populate the database with comprehensive coverage of live performance in Australia.

Jonathan plays a leading role in coordinating research for the AusStage project, with particular interests in data visualisation. He is co-author of Men at Play: Masculinities in Australian Theatre since the 1950s (with Adrian Kiernander and Bruce Parr, Rodopi 2008). His research on gender, sexuality and performance has been published in The Drama Review, Social Semiotics and Australasian Drama Studies.


Disruptive Digital

Gavin Artz, CEO, Australian Network for Arts and Technology (ANAT)
Gavin Artz’s experience in business management ranges from multi-national companies, to not-forprofit community organisations. His diverse background spans arts and commerce – with a BA in Politics; Double Bass and Composition Studies at the Sydney Conservatorium of Music; a Graduate Certificate in Business Management; and he is now completing his MBA. After working as a professional musician for many years, Gavin is currently pursuing creativity in business management with a focus on governance and strategy.


Digital Storytelling: Storylines – Q150 Digital Stories

Gavin Bannerman: Oral History and Digital Storytelling Coordinator, State Library of Queensland
Storylines is the State Library of Queensland’s digital storytelling project to capture the people, places and events that make up Queensland in its 150th year. Hear about the challenges of interviewing aboard moving steam trains, trying to contact travelling hairdressers in Cape York and making the outcomes accessible to the public.

Gavin has commissioned, created, acquired, registered, documented and made accessible oral histories and digital stories that relate to SLQ’s strategic objective of capturing “Queensland Memory.” Gavin is trained as an archivist, receiving a Graduate Diploma in Records Management and Archives from Curtin University. He has been involved with arranging and describing archival material, training cultural organisation staff in image digitisation, and consulting with Aboriginal and Torres Strait Islander communities regarding cultural clearance for images in SLQ’s collection.


Open Access: Conquering Copyright

Jessica Coates, Project Manager, Creative Commons Australia and the Creative Commons Clinic, Queensland University of Technology
Navigating the ins and out of copyright law can often be the most costly and difficult part of providing open access to a collection. Jessica will talk about what can and is being done by collecting institutions worldwide to share their collections and engage with audiences in the digital era – legally.

Jessica examines the legal mechanisms that encourage innovation in the creative industries, and promote and track the implementation of the international open content licensing movement, Creative Commons, in Australia. Prior to working for the Clinic, Jessica spent most of the last decade as a copyright and communications policy officer with the Commonwealth Department of Communications, Information Technology and the Arts (DCITA).


Web 2.0 and Social Media: Collections, Flickr and the Media

Jenny Scott, Content Services Librarian, State Library of South Australia
In her presentation Jenny describes the process by which she brought a small private collection to the attention of a nation. The collection of photos and documents that could have easily been lost or discarded over the previous 60 years became the foundation of a Web 2.0 project that gained front page media attention.

Jenny is implementing the State Library’s presence on Flickr. After completing an Associate Diploma in Photography in the early 1980s Jenny operated her own commercial photography business at Port Adelaide. In 1993 she graduated BA in History and Politics from Adelaide University and in 1994 Graduate Diploma in Library and Information Management from the University of South Australia. After three years as an archivist with State Records of South Australia in 2000 she moved to the State Library of South Australia to take up the position of Curator Pictorial Collection.


Building Relationships with Media to Promote Research

Susannah Elliot, CEO Science Media Centre, Adelaide
Mention the word science to a senior editor and you’ll see them shift uncomfortably and look around for an excuse to get away from you. But talk to them about the dust storms in Sydney, why there are more mosquitoes this year, the science of Taser guns or even the bizarre mating habits of redback spiders and you’ll have their interest.

The reason for this is that those outside the realm of science and research still see it as an academic pursuit of little relevance to their daily lives. This talk is about making research the topic of media interest by making it relevant to the current debates and the breaking news with which we’re all consumed.

Susannah works with the news media to inject more evidence-based science into public discourse. Prior to this she spent more than five years in Stockholm, Sweden, as director of communications for the International Geosphere-Biosphere Programme (IGBP), an international network of scientists studying global environmental change. In the 1990s Susannah managed the Centre for Science Communication at UTS, where she helped establish the successful Horizons of Science series of media roundtables and was involved in numerous other initiatives such as Science in the Pub and Science in the Bush.

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Seeing the Two Worlds: Dr Joe Gumbula

The University of Sydney Archives has taken a leading role in the research, interpretation and access rights of Indigenous material in Australia. The university’s first Indigenous Research Fellow Yolngu Elder Dr Joseph Gumbula worked with academic Dr Aaron Corn to research photographs taken in the 1920s and 1930s in north-eastern Arnhem Land. The images were taken during the early settlement of the Miliŋinbi (Milingimbi) community by anthropologist William Lloyd Warner in 1927-29 and the missionary T.T. Webb from 1926-1939. Dr Gumbula also looked at records created by Professor AP Elkin and Dr Annie Margaret McArthur of Miliŋinbi (Milingimbi) and Galiwin’ku (Elcho Island).



In this video, Dr Gumbula and University Reference Archivist Julia Mant talk about the Yolngu-led project that was started with an Australian Research Council grant in 2007. It covers how access rights to the university archive collection were determined – categorising the photographs into garma, dhuni and ngarra access groups according to Yolngu way. Dr Gumbula reflects on how the consultation process with the Yolngu elders, whose family are depicted in the images, has had a significant impact on the community. Not only has the project had a profound impact on him personally, but it has created opportunities for a better understanding between the two worlds.

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Miliŋinbi (Milingimbi) and Galiwin’ku (Elcho Island), North-Eastern Arnhem Land

The Macleay Museum is currently hosting the exhibition Makarr-garma: Aboriginal Collections from a Yolŋu Perspective. Guest curator Dr Gumbula shares his understanding of Aboriginal artefacts in the Macleay Museum from the Yolngu perspective. The exhibition at the University of Sydney charts the course of a day using objects, artworks and natural history specimens, historical and contemporary photographs, sound and light. It will run until 15 May 2010.

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The Gumbula Project team, Julia Mant (far left), Dr Joe Gumbula and Dr Aaron Corn (centre)

Further reading
Matjabala Mali’ Buku-Ruŋanmaram: implications for archives and access in Arnhem Land

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Allsorts09: Collecting sector and media partnerships



Commercialising publicly-owned content. Feeding cultural heritage collections into the news cycle. Profiling the eccentricities of curators. Sharing collections with ABC Online. Cultural collectors as producers and broadcasters. The ideas discussed in the Allsorts Online 09 panel discussion, in Adelaide last week, challenged conventions and offered new perspectives on how the cultural sector operates. Allsorts09 drew on different media, arts and academic practices to start thinking about the future of the collecting sector in new ways. The sector will be able to contribute to Australia’s National Cultural Policy through the Government’s current public consultation process.


Chris Winter (ABC Innovation), Sandra McEwen (Powerhouse Museum) and Angelina Russo (Swinburne University). Photography by Tasmanian Museum and Art Gallery Social Media Co-ordinator Brent Blackburn

Swinburne University academic Angelina Russo opened the discussion on the future of cultural institutions by focusing on the connections between broadcasters and the collecting sector. She suggested the future of the museum will be as publisher and broadcaster. Curators will become commissioning editors. Ms Russo cited four examples where relationships have been built between media organisations and cultural organisations.

*Smithsonian Channel set up with an online television channel with Showtime Networks to capitalise on it extensive collection.
*Who Do You Think You Are? BBC and SBS broadcast archival material into living rooms about the family history of celebrities. This brought amateur genealogists back into the collecting sector as they researched their own histories. Who Do You Think You Are? strengthened the relationship between museums, archives, the offical sponsor Ancestry.com and the BBC and SBS.
*Origins of Australian Football website looked at the history of AFL using the State Library of Victoria collection. The library used a major celebrity (AFL) to push content out and then drew on people’s curiosities to bring the audience back in.
*Te Papa and the Colossal Squid. Te Papa filmed the public defrosting of the squid donated to the museum frozen using a web cam. Discovery Channel was invited to make a documentary and TV journalists were also present. Te Papa web team blogged, tweeted answering an active respoionse from the international scientist community. This built strong public interest in the lead-up to the exhibition over the next six months. The exhibition was tied in with public lectures, a children’s programme and an online 3-D game involving building your own squid.

The Allsorts09 panellists were: Susannah Elliot from the Science Media Centre suggested a Sarah Keith (SBS), Ingrid Mason (Collections Australia Network), Sandra McEwen (Powerhouse Museum), Fee Plumley (Australia Council), Angelina Russo (Swinburne University) and Chris Winter (ABC Innovation).

ABC Innovation Manager New Services Chris Winter has been actively working to remove the boundaries between the collecting sector and the national broadcaster. He believes collecting institutions like the Powerhouse Museum and State Library of NSW see the ABC as an attractive platform to showcase its material through projects like Sydney Sidetracks. Mr Winter also looked at the changing way broadcasters present stories. Four Corners, for example, airs its documentary on ABC1 while repackaging it for the web with timelines, maps, edits and behind-the-scenes interviews. These different formats attract different age groups. Ms Russo agreed that broadcasters and the collecting sector are natural partners. They need to support each other but do not necessarily need to collaborate. She also identified republishing and repurposing as the next point of tension.

SBS National Manager Client Solutions Sarah Keith agreed with Mr Winter that broadcasters have become a content delivery business and can no longer afford to look at themselves as producing television and web material separately. SBS focuses on content and audience as an overall brand approach. SBS no longer has a Director of Television and a Director of Online but it has a Director of Content. This wholistic approach operates in the advertising department where the SBS sales team sells across platforms. They look at which audiences SBS needs to connect with and who they want to partner with.

The cultural sector is going through an identity crisis, says Collections Australia Network National Project Manager Ingrid Mason, who believes cultural institutions need to ‘get to grips with what they are actually supposed to be doing’ onsite and online. They should be drawing on skills used in the media, the arts and academia to achieve its core function. The blurring lines between these sectors is a necessary function for success, Ms Mason says.

The role of Web 2.0 in the collecting sector has increasingly significant in the last few years. Creative Commons Clinic Project Manager Jessica Coates remembered only a couple of years ago people were worried that posted comments would undermine a curator’s authority. Now conversation has come a long way. A speaker in the audience articulated the importance of museums positioning themselves as an authorative figure in the education system as students needed trusted sources.

Arts Council Digital Programs Officer Fee Plumley stressed that people find their own trusted sources. ‘We find an aggregator that provides reliable information. We are all experts in something. The didactic approach of only one expert is outmoded. It is great that we all get to be experts in one field,’ Ms Plumely said. She also emphasised that as more people participate in the online environment, traditional sources will be more highly valued. People will want to pay for high resolution photographs as more low resolution photographs are seen on the Internet.

Museums take authority very seriously, says the Powerhouse Museum’s Prinicpal Curator Sandra McEwen. There is a need to maintain boundaries yet museums realise people are learning in different ways and so they need to deliver truth in an entertaining way. The ABC has come to realise the way news has to be delivered is based on social capital. There is tension between social capital and maintaining the brand, says Mr Winter.

Science Media Centre Chief Executive Officer Susannah Elliot’s is wary of the blurring lines and news services maintaining credibility. Lobby groups infiltrating the news broadcast process. Ms Elliot stressed the need to ensure separation between lobby and evidence-based information.

Allsorts Online 09 ended with some exciting possibilties for future partnerships and collaborations with the collecting sector and the media. Both entities need to have a conversation with its audiences and both draw on archives to share and preserve cultural heritage. Web 2.0 has made way for an exciting future and a new way of looking at collections.

Sarah Rhodes

Top image caption: High heeled shoe on tricycle, `Liquorice Allsorts’, designed by Ross Wallace, used in `Parade of Icons’ Sydney 2000 Olympic Games Closing Ceremony, Sydney 2000. Collection: Powerhouse Museum, Sydney. Part of the Sydney 2000 Games Collection. Gift of the New South Wales Government, 2001.

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Revealing the Arts: a snapshot


The biggest problem the arts community faces is that it is not part of the political or social agenda, the head of ABC TV Kim Dalton said at the Revealing the Arts conference yesterday. He expressed his frustration at how the sector was not being taken seriously while the Federal Government pledged $4.7 billion to the National Broadband Network, $22 billion in “nation building infrastructure spending” and $3.1 billion over four years on innovation. Mr Dalton invited all arts organisations to work with the ABC and the Australia Council to lobby the Government and put the arts back on the agenda.

Mr Dalton saw the ABC as a laboratory for creative projects. It has the branding and platforms to be the ideal partner for creating new work and attracting new audiences. He believed the feeling in the room was that there finally was an acceptance of the digital era as a platform in its own right rather than it just being a marketing tool. The ABC was ready to collaborate and partner with the arts community to explore this new medium.

The ABC and Australia Council hosted Revealing the Arts to enable the arts community to engage in ‘creative conversations and solutions for the digital era’. The two-day conference embraced a Web 2.0 philosophy with host and ABC journalist Virginia Trioli involving the audience and Twitterers in a dialogue with panellists after each keynote speaker’s address. A live webcast encouraged the public to answer questions ranging from ‘Show Me Your Arts’, ‘Show Me How’, ‘Who owns Your Arts’, ‘Get ‘Em While They’re Young’ and ‘Show Me the Money’.

Michael Lynch, who has just returned from an eight year reign over the South Bank Centre theatre venues in London, and is now an ABC board director, says it is time for arts institutions to engage differently with governments. No longer can they rely on governments to come up with legislation and funding. The arts need to be more proactive and ‘push and pull governments to work for arts institutions’.

Wollongong University Head of Music and Drama Sarah Miller believed that it was time to build relationships across all platforms and ‘give up the silos’. Physical TV co-founder Richard James Allen agreed it was time for traditional and new media to be seen as their own categories and and to allow the bridge between both to have a place as well.

After intensive and often heated discussion around the lack of representation of artists in the room, whether there should be open-access or copyright is a legitimate income stream, the conference concluded with Australia Council CEO Kathy Keele and Mr Dalton drafting a to do list they could work on together to create a better environment for artists to work in the digital era.

The three main themes discussed througout Revealing the Arts were:
• Co-operation and partnership
• Sharing rights and access
• Digital world exists in own right with own set of values and potential

As the conversation invariably came back to the issue of rights, Ms Keele believed the Australia Council and its arts community needed to work to create better conditions for artists working in the digital era. How can the public access the nation’s archives and collections? Can an artist use these archives in their artwork? How do artists’s protect themselves? Rights training for arts organsations and fostering stronger relationships between arts organisations and artists was also a priority.

In an Australian first, the ABC launched its raw news footage of the Brisbane Zombie Walk under a Creative Commons licence onto its collaborative website Pool. The ABC has embraced the Govt 2.0 movement of sharing its resources by licensing its raw news footage under a Creative Commons licence.

The ABC has also just launched its arts portal ABC Arts.

Sarah Rhodes

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Lawrence Hargrave: Digital storytelling using archives

CAN created this digital story ‘Lawrence Hargrave – Pioneer, Inventor, Adventurer’ for the archivists, at the Voyaging Together conference in Brisbane last week, as an alternate ways to present collection material. The six minute video maps material primarily from the Powerhouse Museum archives. It shows that while Lawrence Hargrave spent much of his time in Sydney developing the underlying principles used in aviation today, he corresponded with the cultural elite from Europe to North America. Google Earth helps tell a multi-layered story about Hargrave – a gentleman and brilliant scientist whose public life was firmly set within the Republic of Letters and a private man whose senstitive and passionate personality caused him to be described by Ruth Park in The Companion Guide to Sydney (1973) as ‘the crank with a kite’.



Bringing a letter to life by placing it in the context of a digital story, alongside photographs and objects from other collections, sparked a lot of interest. Archivists and digital storytellers both research and analyse content but take very different paths in the interpretive process.

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‘Not So Innocent Objects’ bring new collections to CAN

The Collections Australia Network is successfully building its national collection database through the development of thematic online stories. The first project, Not So Innocent Objects, has been made into a two-part series and uploaded onto YouTube. The Not So Innocent Objects video was shown during the National Public Galleries Summit, in Townsville last month, to demonstrate how online collections can facilitate relationships across the sector. The connection between the glass plate negative of the crime scene where 12 year-old Alma Tirtschke was murdered, and Charles Blackman’s ‘Fleeing Schoolgirl’ is a perfect example of how galleries, libraries, archives and museums can work together to tell a story.


Forensic glass plate negative showing where 12-year-old Alma Tirtschke was murdered in Gun Alley, near Little Collins Street in 1921, Victoria Police Museum.


Charles Blackman, ‘Fleeing Schoolgirl’, Print, planographic, 1953, National Gallery of Australia. The ‘Schoolgirl’ series was inspired by the murder of Alma Tirtschke.

Goulburn Regional Art Gallery director Jane Cush approached Ingrid Mason immediately after the viewing asking how the gallery’s collection could be uploaded to CAN. Since then we have collected their catalogue and uploaded it to our database. More about that next week.



While the project inspired many collecting institutions to upload part of their collection to CAN for the first time, Zac Lambert uploaded the second stage of The Rocks Discovery Museum collection. It now has more than 4000 objects online and is only accessible through CAN. State Records NSW also built on its existing collection.

Please welcome the following collections to the CAN online database:
Mackay Regional Library, Queensland
Victoria Police Museum, Victoria
Justice and Police Museum, Sydney, New South Wales
Australian Federal Police Museum, Australian Capital Territory
Queen Victoria Museum and Art Gallery, Launceston, Tasmania
(These collections cannot be accessed online anywhere else except through CAN.)

Take a look at the CAN Partners who have built on their existing collections:
The Rocks Discovery Museum, Sydney, NSW
State Records NSW, Sydney, NSW

Email Sarah Rhodes if you would like to take part in a thematic story project.

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‘Sticking your neck out: leaders in different fields’ – Ingrid Mason

Last week Sarah Rhodes and I attended the Fourth National Public Galleries Summit Raise Your Voice organised by Museum and Gallery Services, Queensland in partnership with industry bodies from Australia and New Zealand. I understand that recordings from the sessions will become available online soon on the M&GSQ website – which is a great move. In conversation with some of the attendees and through listening to the presentations on regional projects it became clear that leadership in the galleries sector is thriving, particularly at a regional level. Leadership can be an individual, it can often take just one person to make a difference, leadership can also be a group of driven practitioners. The galleries sector in Queensland are demonstrating the power of collaboration and this cohesiveness is reflected in part in the development of a travelling exhibition – Twelve Degrees of Latitude.

Toowoomba Regional Art Gallery.

Alasdair MACINTYRE. The artist in society 1.01, 2004. Polymer clay, plastic, rubber, cardboard, wood, paper and synthetic polymer paint. 140.0 x 46.0 x 28.0 cm. Collection: Toowoomba Regional Art Gallery.

 

An initiative of Museum and Gallery Services Queensland, this landmark exhibition was launched at Perc Tucker Regional Gallery in Townsville as a part of the Summit and celebrations for Queensland’s 150th year. Curated by Bettina MacAulay and Brett Adlington it features artworks from 27 regional and university galleries across Queensland. The power of shared interest, the careful planning and problem solving is fuelled by the shared enthusiasm of the participants in making it happen; in the exhibition itself, its travelling programme and the array of artworks. The gallery visitors who take in the exhibition and attend gallery events and/or educational programmes will draw all kinds of value from this: art for art’s sake, art as a means of accessing history, art representing the diverse gallery collections, art as a stimulus for creativity, galleries as cultural spaces, etc.

Lisa Sassella, National Gallery of Victoria

Lisa Sassella, National Gallery of Victoria

 

A Summit workshop I attended was run by Lisa Sassella from the National Gallery of Victoria. Lisa talked about the market segmentation of visitors and participants in gallery exhibitions and events and shared her knowledge of the NGV’s audience. What was fabulous about this session was the openness and interest Lisa showed in sharing information and in talking about her understanding of the breakdown of a gallery audience (the NGV’s that is) and how that may, or may not, differ to that of a museum, or another gallery. CAN hopes to profile Lisa at some point – Lisa’s an active and interested practitioner in the galleries sector and in her own way a leader in her field. This is what I mean about leadership coming in many forms and clusters in the field; by development officers, outreach coordinators, curators and marketing managers… and that’s just those that work in or allied to public access galleries. Leadership may be professionally related, that is, exploring new concepts or theories, or phenomena in a domain… or… it may be about stimulating social change and/or breaking with convention or patterns of the past.

CAN website put through the Shredder 1.0

CAN website put through the Shredder 1.0

 

On the afternoon session of day two chaired by David Cranswick from d/Lux/MediaArts, four new media artists talked about their works and what challenges and issues arise from working in galleries and being new media artists. All of the artists talked about taking risks with their work and how important it was to leave themselves open to their own discovery processes and to work in collaboration with galleries when they were installing their works. These artists were frank about their concerns about relinquishing care and control of their artworks and how their artworks were experienced. Mari Velonaki talked about a work of hers that required people to eat apples in front of an art work and how much to her surprise exhibition goers didn’t eat the apples but took them away instead. I wondered why that might have been and mused that perhaps the long held traditions of “NO FOOD” in galleries might have been one reason – and – that there are good reasons not to eat apples or, in the case of Stella Brennan, take a spa, in traditional gallery spaces but that doesn’t mean you can’t break with convention and take a few risks.

 

Leadership is about sticking your neck(s) out, taking risks and seeing what happens. What I came away from the Summit with was a very good understanding that the gallery sector has an incredible level of talent and expertise in visual literacy and I look forward to seeing that energy and enthusiasm reflected in more gallery collections going up online.

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Not So Innocent Objects: a digital story

Not So Innocent Objects is a five-minute video threading stories about seemingly ordinary objects together to reveal their dark and often emotionally-charged nature. The Collections Australia Network invited Victoria Police Museum Public Programs Curator Kate Spinks to develop a concept based on the theme of ‘crime and punishment’. She came up with the concept Not So Innocent Objects to illustrate that collections often comprise of unremarkable objects with intriguing stories.

 

 

CAN Outreach wanted to start a project that actively worked with institutions of all sizes to upload their collections to the national heritage collection database. Once Kate sent through the working concept and five objects from the Victoria Police Museum collection, CAN invited nine other institutions to submit material. This project enabled CAN to collaborate with galleries, libraries, archives and museums. The video showcases a small selection of the 50 items sourced from the ten organisations. A Google Earth tour will also be made over the next few days to explore the full collection of the not so innocent objects uploaded to CAN. It can be seen on the collectionsaustralia YouTube channel.

 

The participating institutions are the Justice and Police Museum (Sydney), State Records NSW (Sydney), The Rocks Discovery Museum (Sydney), Mackay Regional Library (Queensland), Queen Victoria Museum and Art Gallery (Launceston), National Gallery of Australia (Canberra), Australian Federal Police Museum (Canberra), Museum of Old and New Art (Hobart), National Museum of Australia (Canberra) and the Victoria Police Museum (Melbourne).

 

CAN made this movie using the free software – iMovie and Google Earth. The Powerhouse Museum’s creative media training suite Thinkspace recorded the voiceover but this can be also done using the free software Audacity and the microphone on your computer.

 

CAN is now working with the National Museum of Australia senior curator Richard Reid in sourcing success stories about Irish professionals in Australia. This project will help the National Museum of Australia source material for its Irish in Australia exhibition to open on St Patrick’s Day 2010. More importantly, it will help institutions of all sizes to promote their own collections. Once the Irish professionals story has been posted on YouTube in early October, institutions participating in the project will be able to embed the video into their own websites or play it in their exhibition space alongside the items they have submitted to CAN.

 

For more information on how to be part of the CAN digital stories projects, email Sarah Rhodes.

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Blowing one’s trumpet and trumpeting success/failure..?

 
What is trumpeted and valued differs between people, communities and cultures.

No Trumpeting, Please!

No Trumpeting, Please!

 
CAN is running a survey on outreach to see what kind of outreach activities CAN Partners and collection sector participants want and value. We are learning what outreach has worked, what isn’t seen of value, what will be of value, and sometimes why it is of value. This feedback is very informative and is useful for planning and targeting CAN’s outreach. So how does this relate to trumpets and what does this have to do with a Clint Eastwood movie?

 

Good-Bad-Ugly

Good-Bad-Ugly

 
This constructive feedback is critical and I’d like to thank those survey participants for their time in providing it and invite more of you to complete the survey. We want the good, the bad and the ugly… and we’re ok with hearing what you do and don’t want or value… so trumpet away.

 
Luckily, on occasion there are pluses to these processes of consultation… last week Sarah received some very positive feedback from a practitioner in WA that looks after a private collection, that she followed up because of rich nature of her feedback.

 
“what I like very much about what you are doing, is the emails you send with links to information that is both educational and interesting. I also like that topics are often about things that I don’t have the time to research, but after reading about, I may decide to utilise at a later stage in my workplace. Thank you and keep up the good work – we’ll be digitised yet!!!”

 
In effect we in CAN are trumpeting this success by sharing it with you, but also, we are aware that there are many practitioners in the sector that need help getting to the point of making the collections available online. So comments like this… are really helpful reminders of where outreach energies can be targeted and there is still plenty of work to do.

 
We aim to get out a summary of the feedback at a later stage.

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