International Telemetering Conference Proceedings / October 26-29, 1992 / Town and Country Hotel and Convention Center, San Diego, California / Modern telemetry systems collect large quantities of data at high rates of speed. To support near real-time analysis of this data, a sophisticated data archival system is required. If the data is to be analyzed during the test, it must be available via computer-accessible peripheral devices. The use of computer-compatible media permits powerful “instant- replay-type” functions to be implemented, allowing the user to search for events, blow-up time segments, or alter playback rates. Using computer-compatible media also implies inexpensive COTS devices with an “industry standard” interface and direct media compatibility with host processing systems. This paper discusses the design and implementation of a board-level archive subsystem developed by Veda Systems, Incorporated.

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Within fine art practice the archive is referred to and drawn on by artists in many different ways, including referencing processes of collection and accumulation to create new work and engaging with documents to create narratives that contest mainstream histories. This practice based research sheds light on the backstage of archival engagement and knowledge production processes. Following the trajectory of a single artist’s encounter with a particular institutional archive, The Baring Archive, and the onward encounters this precipitates, this thesis explores how knowledge is negotiated and archival authority sustained, at the intersection of multiple forces; by human actors coming into contact with documents under particular conditions, localities, habits, protocols, exchanges, loyalties, emotions, personalities and more. Rooted in embedded art practice, the research articulates a series of performative experiments undertaken in The Baring Archive to reveal the conventions underpinning knowledge production in this instance, focusing on the relationship between the artist (as archive user) and the archivist. The research evolves iteratively to test whether these normative roles and agencies can be reformulated to shift patterns of narrative control concerning The Baring Archive away from the archivist as a gatekeeper or privileged interpreter to other interpreters, with the aim of democratising processes of knowledge production. Through testing out different devices for keeping archival interpretation open, the research arrives at a formulation for distributed authorship, and an understanding of how positionality affects the knowledge production process. The research finally identifies how findings relating to archival dynamics can be applied to effect a redistribution of power in artistic practice more generally, in situations where artists are working with participants or audiences to create narratives at the intersection of events and documents.

This thesis presents a study of a novel approach for supporting students in text based electronic conferencing. It describes the development of a concept known as the Virtual Participant. An initial prototype was developed which was tested on the Open University Business School MBA course on Creative Management. The Virtual Participant first presented itself to the users as Uncle Bulgaria. a metaphor for collecting and recycling important information. The Virtual Participant approach is to store the discussions students have had in previous years that the course has run. and to retrieve those discussions at a time most appropriate to helping the students studying this year. It was never intended to provide 'the answer' but rather examples of similar discussions on similar topics. Uncle Bulgaria interacted with the students over a period of 16 weeks. during which time the students prepared two assignments and completed the first half of the course. The information gained from the students' interactions with the system and their feedback to a questionnaire survey was then fed back into a second prototype' which was again tested on the same course. In the second study the system was known to the students as the Active Archive. an active component of an archive of past student discussions. Through cross year comparisons it was possible to evaluate the improvements made between the Active Archive and Uncle Bulgaria systems. The Active Archive interacted with the students on a much larger scale than Uncle Bulgaria had. but with no increased negative impact. The second study provided examples where the Active Archive stimulated discussion amongst the students and vicarious learning could be said to have taken place. Taking the lessons learned from these two studies a number of guidelines for the development of such systems have been produced and are described and discussed.

The aim of this thesis in Archival Science was to explore the concept of electronic archives and the challenges that might be encountered when attempting to move archives into a new digital age, as well as having a closer look at the term e-archive itself. Another aim was to explore how the OAIS reference model works in practice.To explore these questions I decided to do a case study on E-Arkiv Stockholm, a functioning e-archive. I decided to do a study on several documents that were created throughout the project, these included documents related to the planning of the archive, as well as the final report. My reason for this method was that these docu-ments came straight from reality and would give a clear and unbiased view of the project and it’s many aspects.Examination of the documents showed that the OAIS reference model and its concepts had been the foun-dation of much of the planning. Thoughts and planning on the matter of digital preservation are also based in the model, with a focus on migration and conversion of digital material as a means to ensure it’s lasting existence, as well as keeping a close eye on the technical development of both hardware and software. I also reached the con-clusion that the concept and term e-archive is not so much about re-inventing archival policies and theory as it is about keeping true to already existing practices in a new digital environment. With a special focus on preserva-tion, as digital preservation might, both now and in the future, prove to be much more of a challenge then the preservation of more traditional media.This is a one-year masters thesis in archival science.

DSpace is a joint development project of the Massachusetts Institute of Technology Libraries and Hewlett-Packard Company. Its mission is to establish a library service to capture, distribute, and preserve the digital, intellectual output of the MIT community. We are developing a software platform for long-term digital content storage and preservation, and implementing this platform as a service of the Libraries.

This dissertation responds to the archival turn in critical theory by examining a relation between queerness, performance and the archive. In it I explore institutional archives and the metaphors of the archive as it operates in the academy, while focusing particularly on the way in which queerness may come to be archived. Throughout I use the analytic of performance. This work builds on and extends from crucial work in Queer studies, Performance Studies and Archival Studies. As such it asks what has been said and what we can say with these givens to offer what sociologist Avery Gordon has called “transformative recognition” (1997, 8). The project contributes to knowledge a mode of inquiry I create and deploy which queerly addresses current theory and practice, asking that we move beyond to consider new forms of care with such material. Among its original moves are being first to critically explore the John Sex archive, as well as the work of artists Taylor Mac, Mitch & Parry and Christa Holka. In the project, I also employ a methodological framework of the promise following the work of Shoshana Felman (2003). Throughout the chapters, case studies explore central notions to the archive: preservation, history, affect (desire) and community (lifeworlds). In writing the case studies my methods take off from ethnography as well as Performance Studies. In the end, the project is not conceived of as an archive; per se. Instead it tracks key movements of inquiry into archival practice and the situatedness of queerness in relation to such practices, as evidenced in performance, in both the theatrical and anthropological connotations of the term. I have conceived of and track three types of bodies through the dissertation: inquiring bodies, queer bodies and archival bodies. The inquiring body becomes the catalyst for archival intervention.

Visual identity can be understood as the result of the application of graphic design methods aimed at inter-brand differentiation, which paradoxically is leading to “homogenizing identities” (Bell, 2004). The globalization of visual identity is a phenomenon that can be observed not only among global brands competing with each other, but also in locally specific heritage brands that relinquish distinctive elements of their identity to resemble the global. In many cases, their specificities end up being distorted, blurred, or lost, and the richness of what is historically and culturally unique about them is often misinterpreted, neglected, or even discarded. By showing what can be lost with regards to historical and cultural memory within a brand’s imagery, this thesis questions the significance of archives to locally specific brands claiming symbolic and cultural relevance. It shows how can graphic designers can contribute to the preservation of cultural diversity through visual identity. To address the loss of cultural memory as well as the globalization of visual identity, this study draws on visual design heritage to achieve an understanding of the past as a source and a means to feed future cultural development. By adapting visual methodologies and case-study methods to assess brand identity, the study presents a methodological approach for the rescuing, interpretative analysis, and exploration of historical memory in brand imagery. It applies ethnographic research methods for data collection and graphic design methods for recovering visual materials, combined with timelines and grids for contextual and visual analysis. A main case-study is presented to demonstrate how the methods originated, how they enable the observation of identity transformations over time, and of how visual identity dissolves with global influence. This case addresses the historical context and today’s cultural relevance of an archive of the Portuguese iconic Sanjo sports shoes brand, which emerged with the rise of the ‘Estado Novo’ authoritarian regime in Portugal (1933–1974). Through the interpretation of how brand designs evolved in relation to contextual history it is possible to see the various social, cultural, political and economical transformations that occurred in their life spans. The thesis presents parallel examples of brands that were heavily influenced or even controlled by government in the past and now operate independently. As with the case of Sanjo, the comparative study investigates, and further draws attention to the relationship between the loss of historical memory and the globalization of visual identity. By examining the relevance of archives for addressing identity issues, the thesis shows that current graphic design practices can avoid failing to address historical contextualisation and cultural relevance if, firstly, a great deal of historical and cultural memory is retrieved, secondly, if there is substantial visual and contextual analysis, and thirdly, if the visual elements and histories uncovered are put together in the right context. By considering the possibilities that brand archives present for exploring the symbolic values of objects and generating meaning, this study fills a gap between archival practices and the way many designers and companies are dealing with locally specific brands. It argues that brand archives are key instruments for designers to derive meaning and convey cultural memory into the future, and that visual identity is a channel through which these can be acknowledged, displayed and experienced. The study concludes by suggesting possible approaches graphic designers might pursue to address the issues identified, and it broadens the scope of the directions in which brand archives can be explored through the re-contextualisation of cultural objects.

This thesis seeks to under the relationship in architecture between the physical and the intellectual. Drawings and models are the primary mediums used in this project to bring forms in to a play of light and shadow. The building's program is dedicated to the preservation of black and white film: an expressive medium that exists, primarily, as a cultural artifact in the collective memory. / Master of Architecture

Indiana University-Purdue University Indianapolis (IUPUI) / The Center for Ray Bradbury Studies (cited also as the “Bradbury Center” or the “Center”) is a single author archive, museum, and outreach center housed in the Institute for American Thought, located in the School of Liberal Arts at IUPUI. This dissertation employs a case study methodology to explore the complex issue of single author archive management and sustainability as it applies to the Bradbury Center by extending the research process beyond working with primary sources and published materials. The applied research project unfolded in two phases. The first involved an intensive four-day on-site consultation in which five professional archivists and preservation experts from across the Midwest visited the Bradbury Center and examined its collections and policies. Following their visit, the consultants prepared recommendations concerning artifacts, manuscripts, correspondence, physical layout, access, operational procedures, processing priorities, and environmental/climate control for artifacts. The on-site consultation team also informed objectives, goals, and strategies for addressing the preservation needs of the Center’s vast and varied collections, aiding in systematically moving forward with curatorial initiatives, and planning for general organizational development. The second research phase involved site visits to five peer institutions to tour facilities, interview directors and archivists about best practices, and established a plan for adapting these practices to the Bradbury Center. Findings from both research phases inform the Bradbury Center’s immediate and long-term plans for center staff, fundraising, spatial expansion and renovation, and the Center’s strategy for identifying key constituencies as it endeavors to serve a broad spectrum of public and academic audiences through various outreach and programming initiatives. Upon completion of the case study field research, a formal report was prepared. That report serves as the cornerstone for this applied dissertation. Additional chapters cast a vision for the Bradbury Center and address potential opportunities to serve the Indianapolis region by tapping into tourism markets, conventions, and local cultural festivals and celebrations while also developing into an international research hub as the sole entity that preserves the material legacy of Ray Bradbury. The introductory chapter situates the Bradbury Center within the legacy of the central figure of the Center—Ray Bradbury.