Entre les archives, telles que définies par l’archivistique, et l’archive comme concept, tel qu’utilisé en dehors de la discipline, il existe un écart sémantique, conceptuel et théorique. D’un côté, les archives représentent des rassemblements documentaires issus des activités d’une personne ou d’un organisme ; de l’autre, il est question d’un outil conceptuel permettant d’exprimer une variété d’idées liées à l’histoire ou à la mémoire. Toutefois, cet intervalle entre archives et archive est particulièrement fertile. C’est dans cet espace que les utilisateurs non traditionnels des archives, comme les cinéastes de réemploi (dont les œuvres sont constituées d’images en mouvement préexistantes), trouvent leur inspiration. À travers leurs mises en récit, ces derniers montrent ce qui n’est pas visible dans les archives. De la décomposition des matières filmiques, aux dynamiques de pouvoir derrière le geste d’archivage et leurs récits tacites, en passant par les émotions et l’affect véhiculés par les documents, les œuvres nous confrontent à une double dimension inarchivée (ce qui n’est pas archivé) et inarchivable (ce qui ne peut pas être archivé), qui est constitutive de ce que sont les archives et de comment elles se construisent. En étudiant les archives qui constituent les œuvres de réemploi à partir de leur exploitation, c’est-à-dire leurs diverses utilisations et l’ensemble de leurs utilisations potentielles, il est possible de catégoriser ce qui se trouve dans l’inarchivé et l’inarchivable. Ainsi, trois principales modalités émergent des analyses : l’absence, qui relève de la lacune, du fragment et de l’incomplétude ; l’interdit qui se manifeste dans les archives comme traces matérielles ; et l’invisible qui participe de ce qui ne se montre pas. Ces trois catégories relèvent d’un impensé archivistique, c’est-à-dire d’un état de la discipline qui reflète l’inconcevabilité ou l’omission, volontaire ou non, de certains de ses aspects théoriques ou pratiques. C’est en investissant l’impensé, en étudiant l’archivistique à partir des pratiques en marges, qu’il est possible renouveler les discours sur la discipline. / Between archives, as defined by archival science, and the archive as a concept used outside of the discipline, there is a semantic, conceptual and theoretical gap. On one side archives represent the documentary by-product of human activity retained for their long-term value. On the other the archive has become a conceptual and critical tool to address a variety of ideas linked to memory and history. However, this interval between archives and archive is particularly fertile. In this space, nontraditional archives users, such as found footage filmmakers (whose works consist in reusing pre-existing footage) find inspiration. Through the narratives of their work, they show what is not always visible in archives. From the decomposition of film stock to the power dynamics behind archiving and its tacit narratives, through emotions and affect conveyed by records, the artworks confront us with a double unarchived and unarchivable dimension (what is not archived and what cannot be archived), constituent of how archives are created. Studying the archives that are part of found footage works through their usage (exploitation), namely their uses and potentials uses, it is possible to categorize the composition of the unarchived and the unarchivable. Three main divisions emerge from this analysis: the absence, linked to gaps, fragments and incompleteness; the forbidden that manifests in archives as material traces; the invisible that takes part in what is not shown. These three categories have to do with an unconceived (impensé): a state of the archival field reflecting the intentional or unintentional inconceivability or omission of some of its theoretical or practical aspects. In investing in the unconceived, in other words studying archival science from practices on the margins, it is possible to renew ideas and discourses inside the discipline.

Nature as a record  The aim of this study is to investigate how places in nature can fit into the description of a record and how nature itself can be seen as an archive. Many people have close relationships to places in nature and it's clear that immaterial cultural heritage is embedded in nature all around us.  In this essay we look at small examples like a tree or a stone with a special relationship to a person but also at nature as a whole. We ask the questions: can nature be seen as an archive? How can a widened archival concept include places in nature? And can this benefit a larger representation in the archives? We investigate how nature can be a subject as opposed to an object that cannot be taken out of its original environment. Therefore a tree or a stone should be archived in the context where it originated.  In previous research of living archives, researchers focus on how the archive can see to the needs of indigenous people around the world, as they investigate how cultural heritage embedded in the landscape can be preserved in archival terms. For this study we have done interviews with five people within the Sami indigenous community in Sweden, asking them about their personal relationship to a place in the natural environment and how this connection is related to personal and cultural history and heritage. The result of these interviews have been used to analyse how a place in nature can fit into an archival concept and how personal relationships to nature touches on values like identity, language, knowledge trading, cultural heritage places and history. The questions are raised through the lens of archival theory and phenomenology, as how archives can be seen as in constant change. The questions touches on many aspects in both archival science, cultural heritage, indigenous representation, climate changes and the colonial heritage of the archives.

Ce mémoire explore le concept de diffusion des archives à l’ère du Web 2.0. Dans le contexte nord-américain, la diffusion en archivistique englobe les aspects de promotion, de mise en valeur et de communication des archives. Le Web 2.0 offre un potentiel très intéressant pour la diffusion d’archives. Ce moyen de diffusion est défini comme étant un ensemble de principes et de technologies qui crée et facilite l’interaction entre plusieurs individus. Peu d’études ont été menées sur la diffusion des archives à l’ère du Web 2.0, c’est pourquoi notre recherche s’est intéressée à un milieu qui a intégré le Web 2.0 afin d’instaurer un dialogue avec ses usagers, connus et potentiels, pour exploiter ses archives et augmenter sa visibilité, soit le Musée McCord. Dans cette étude de cas simple certains membres du personnel du Musée McCord ont été rencontrés, afin de découvrir les motivations de l’institution à se lancer dans l’utilisation d’outils issus de ces technologies. De plus, l’étude a permis d’observer quels outils ont été choisis, comment et pourquoi. Ensuite, les avantages et les désavantages de cette nouvelle utilisation ont été mis en lumière. Enfin, les étapes de la mise en place d’outils du Web 2.0 sont exposées. / This master thesis explores the concept of archival dissemination in the Web 2.0 era. In the North American context, dissemination from an archival perspective includes the promotion, valorization and communication of archives. Web 2.0 represents new and interesting opportunites for dissemination as it facilitates interactions among individuals. As few studies examined this question, we were interested in studying an organisation where Web 2.0 platforms had been integrated to establish a dialog with their known and potential users, in order to enhance the exploitation of their archives as well as to increase their visibility. In this case study of the McCord Museum of Canadian History, we interviewed members of the personnel involved in the implementation of Web 2.0 platforms to discover the motivations behind the adoption of those technologies, as well as to describe the selected tools and the way they were implemented. The advantages and disadvantages of these new dissemination plateforms were highlighted. In conclusion, we propose guidelines to successfully implement Web 2.0 tools.

There are few museums in the western half of the United States that provide an opportunity to educate the public about the history of mental health care. Recently, a mental health museum and archive of artifacts, photographs, and documents was established on the grounds of Patton State Hospital in Highland, California. The purpose of this paper is to reflect on the establishment of this museum and archive and to provide an account of the 125 year history of Patton State Hospital. Understanding the history of Patton provides an opportunity to understand the history of mental health care in the United States from the late 19th century to the present. The establishment of this museum and archive became a joint initiative between Patton and California State University, San Bernardino’s History Department in January 2014. The museum and archive are meant to provide an educational venue that will increase awareness of the plight of the mentally ill, decrease stigmatization of those afflicted with mental illness, and further efforts to improve the care of patients through preservation and display of the artifacts, photographs, and documents related to Patton’s history. The goal of this paper is to assist future public historians with the design and establishment of a museum and/or archive, be it related to mental health history or to projects with other themes, and to provide information to other mental health facilities that wish to establish their own museums.

Ce mémoire explore le concept de diffusion des archives à l’ère du Web 2.0. Dans le contexte nord-américain, la diffusion en archivistique englobe les aspects de promotion, de mise en valeur et de communication des archives. Le Web 2.0 offre un potentiel très intéressant pour la diffusion d’archives. Ce moyen de diffusion est défini comme étant un ensemble de principes et de technologies qui crée et facilite l’interaction entre plusieurs individus. Peu d’études ont été menées sur la diffusion des archives à l’ère du Web 2.0, c’est pourquoi notre recherche s’est intéressée à un milieu qui a intégré le Web 2.0 afin d’instaurer un dialogue avec ses usagers, connus et potentiels, pour exploiter ses archives et augmenter sa visibilité, soit le Musée McCord. Dans cette étude de cas simple certains membres du personnel du Musée McCord ont été rencontrés, afin de découvrir les motivations de l’institution à se lancer dans l’utilisation d’outils issus de ces technologies. De plus, l’étude a permis d’observer quels outils ont été choisis, comment et pourquoi. Ensuite, les avantages et les désavantages de cette nouvelle utilisation ont été mis en lumière. Enfin, les étapes de la mise en place d’outils du Web 2.0 sont exposées. / This master thesis explores the concept of archival dissemination in the Web 2.0 era. In the North American context, dissemination from an archival perspective includes the promotion, valorization and communication of archives. Web 2.0 represents new and interesting opportunites for dissemination as it facilitates interactions among individuals. As few studies examined this question, we were interested in studying an organisation where Web 2.0 platforms had been integrated to establish a dialog with their known and potential users, in order to enhance the exploitation of their archives as well as to increase their visibility. In this case study of the McCord Museum of Canadian History, we interviewed members of the personnel involved in the implementation of Web 2.0 platforms to discover the motivations behind the adoption of those technologies, as well as to describe the selected tools and the way they were implemented. The advantages and disadvantages of these new dissemination plateforms were highlighted. In conclusion, we propose guidelines to successfully implement Web 2.0 tools.

Submitted by Rafael Simone Nharreluga (rafalluga@yahoo.com.br) on 2015-01-07T18:25:19Z No. of bitstreams: 1 Tese Nharreluga_Final.pdf: 2421507 bytes, checksum: 96eb054be02a9ed995e812073edf49e4 (MD5) / Approved for entry into archive by Rafael Aguiar (rafael.aguiar@fgv.br) on 2015-02-02T18:10:47Z (GMT) No. of bitstreams: 1 Tese Nharreluga_Final.pdf: 2421507 bytes, checksum: 96eb054be02a9ed995e812073edf49e4 (MD5) / Approved for entry into archive by Marcia Bacha (marcia.bacha@fgv.br) on 2015-02-05T11:52:10Z (GMT) No. of bitstreams: 1 Tese Nharreluga_Final.pdf: 2421507 bytes, checksum: 96eb054be02a9ed995e812073edf49e4 (MD5) / Made available in DSpace on 2015-02-05T11:52:56Z (GMT). No. of bitstreams: 1 Tese Nharreluga_Final.pdf: 2421507 bytes, checksum: 96eb054be02a9ed995e812073edf49e4 (MD5) Previous issue date: 2014-12-19 / This thesis aims to understand the Mozambique Historical Archives (MHA) as a place of archival information and of state action in Mozambique, analysing its historical configuration process and the implications of this process on national archival context and relation with the post-colonial project of nation, particularly between 1975 and 2010. Based on the vision of the enlarged state in Gramsci and on theory of state as relation in Poulantzas the thesis maps the theoretical dimension of state, in which power is based on information. This approach based on the theoretical conception of the state as a field of information consolidates a fundamental conceptual frame to understand the Mozambican state and its historical building process. The same approach led the study of historic character in the analysis of the processes of constitution and provision of public archives, built into the circle of MHA’s configuration within the historical process of state-building in Mozambique in its various networks of interactions, involving various social actors, whether in administrative-political or archival universe itself. It was found a change in the course of MHA and its mission in Mozambique, which helped to redefine the historical process of memory-building and national identity via archives, within the process of building of a politically acceptable archival order, begun in 1975 and reinforced in the 2000th years. / Esta tese tem como objetivo compreender o Arquivo Histórico de Moçambique (AHM) como lugar de informação arquivística e de ação do Estado em Moçambique, analisando o processo histórico de sua configuração, tendo em conta as implicações desse processo no cenário arquivístico nacional e relação com o projeto pós-colonial de nação, particularmente entre 1975 e 2010. Com base na visão do Estado ampliado em Gramsci e na teoria do Estado como relação em Poulantzas a tese mapeia a dimensão teórica do Estado, cujo poder baseia-se em informação. Esta abordagem, baseada na concepção teórica do Estado como campo de informação, consolida um quadro conceitual fundamental para o entendimento do Estado moçambicano e seu processo histórico de construção. A mesma abordagem conduziu o estudo de caráter histórico na análise dos processos de constituição e disponibilização de arquivos públicos, constituídos no quadro da configuração do AHM dentro do processo histórico de construção do Estado neste país em suas várias redes de interações, envolvendo diversos atores sociais, seja no universo político-administrativo ou arquivístico em si. Constatou-se uma mudança na trajetória do AHM, redefinindo o processo histórico de construção da memória e da identidade nacional através dos arquivos, dentro do processo de construção de uma ordem arquivística politicamente aceite, iniciado em 1975 e consolidado nos anos 2000.

As it is obvious from the title of the graduate work "Antonín Markus, the archivist of the town of Třeboň, and Zdeněk Wirth, the arthistorian - analysis and selective edition of the common correspondence, the authoress primary intended to prepare the analysis and elaboration of the edition of the unique epistular collection, which covers almost a half of century of the mutual friendship and cooperation of the two important representatives of the Czech cultural scene of the first and the beginning of the second half of the 20th century. The editated correspondence is a part of the personal inheritances of the both mentioned men which is saved in the State region archive in Třeboň (Antonín Markus) and in the Institute of the history of art of the Academy of sciences of the Czech republic (Zdeněk Wirth).The first part of the diploma work brings the general essay on the correspondence as an object of the scientist´s interest and the survey of the authors of the certain works on the edition analysis of correspondence of the various personalities. Next chapter introduces the used sources and special literature which the authoress used. The life stories of Antonín Markus, the longtime archivist of the Třeboň Schwarzenberg´s archive, and Zdeněk Wirth, our eminent arthistorian and organizator of the monument preservation, are presented in the individual biographies. Next part of the work shows the analysis of the correspondence from the view of the condition and amount, kind of communication, frequence of answering and the outer look of the individual documents, which is ensembled with the topic analysis of it´s content. The commented selected edition is followed by the editing notice and the name index. Other part brings of course the list of sources and used literature. The end of the diploma work includes the visual enclosures which suitably enrich the written part.

This study was written with the aim to shed light on which strategies were employed by all 26 Swedish municipal archives in the Stockholm region to attract users to the archives at the time of writing. This was done by asking questions about archive-based teaching and learning via survey to municipal archivists, analyzing the webpages of the municipal archives for information about making the cultural heritage available in non-traditional active ways, and studying the ”archival regulations” or ”archival guidelines” which specify archival management and responsibilities on the municipal level. The results show that archives in most cases are understaffed and that archive-based teaching and learning has a low priority in the municipal archives, even though in most of the cases the archival regulations specify an obligation to actively promote usage of the material in cultural and scientific contexts. The study doesn’t find a link between obligations specified in the documents and municipal commitment to making the archival material available in abovementioned non-traditional ways. The study sums up the current archive-based teaching and learning strategies for the examined archives based on the above sources. The author of the study hopes that the results will provide fuel for the discussion regarding municipal archives and the role they should play in making the cultural heritage available to the public.