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The Australian Archives A.C.T. Conservation Laboratory performs various tasks relating to the preservation program. The two streams of work - Treatment of Materials and Laboratory Services are considered to be of equal importance. The first deals with the actual treatment of items in the collection while the latter concerns preventive conservation, During the period of my internship I have carried out most of the Laboratory Services which I will discuss in this dissertation with the exception of Disaster Planning. I was also involved in the treatment of various objects from the Australian Archives collection as well as from other government agencies, completed with written and photographic documentation. One of the projects, taking several months of treatment, was a series of old letter books containing letters from the Administrator in Sydney to the Chief Magistrate of Norfolk Island. This project, along with the conservation of some other government records, demonstrates the difference between archival conservation and conservation of other art and cultural objects. Attendances at technical seminars and conferences are also discussed.

Le sujet principal de ce travail est l'étude de l'auto-archivage des publications par les chercheurs.<br />Nous voulons comprendre comment les pratiques des chercheurs évoluent et en quoi elles sont affectées dans le nouveau paysage de la publication scientifique :<br />- comprendre la position des chercheurs relative aux archives ouvertes,<br />- repérer et analyser les pratiques déclarées par les chercheurs,<br />- faire apparaître leurs besoins et leurs positions sur les modalités de dépôt d'articles dans les archives ouvertes.<br />La période sur laquelle s'est déroulée cette analyse : 2004-2007 correspond à la phase du développement des archives ouvertes en France.<br />2 enquêtes (2005 et 2007) ont visé les pratiques de l'auto-archivage des articles d'une partie de la communauté mathématique et informatique en France liée aux bibliothèques du Réseau National des Bibliothèques en Mathématiques. L'analyse comparative des résultats permet de démontrer une amélioration assez significative de ces pratiques.

Abstract This research is for the purpose of designing a teaching plan on integrating the digital archives of the NPM into elementary visual arts appreciation classrooms. Coordinate art and humanities domain textbook content, and cites the teaching pedagogy of critical thinking. Respectively take " Gradation " and " Contrast " as the core concept. Actual conducts motion research two circulation teaching. The first circulation teaching take "the form", "the succession", "thetechnology", "the style" advances gradually as the unit design center of gravity, after procedure and so on back coupling, introspection,revision teaching process, finally, implements take "the space", "theideal condition", "the life", "the skill" the contrast as the unit design center of gravity second circulation curriculum. In the curriculum melts into the digital archives of the NPM,Proceeds in an orderly way guides the student to carry on arts appreciation teaching. This research take "the study list" as formative assessment, records the student to study the course. Using "The Art Appreciation Ability Test" is summative assessment. Inspect student after teaching implementation art appreciation ability whether does promote. And uses "the study feeling to ask the volume" understands the student to the digital archives of the NPM and the art appreciation study feeling. The findings in this study were as follows: ¢¹. The Art Appreciation Ability 1. Looked from formative assessment. Take the question guidance as the principle of design, may stimulate the student ponder and be dialectical. The penetration guidance type question, the increase art glossary refers for the student, can effectively promote arts appreciation integrity. 2. Looked from summative assessment. The teaching can improve student¡¦ ability of " content description ability "," formal analysis ability "," meaning interpretation ability " , " value evaluation ability " effectively. ¢º. The digital archives of the NPM 1. On first circulation resources type, most can initiate student's interest is " 3D Virtual Artworks Display System" and " The Fashionable vs. The Antiquarian Teaching disc ". " Surprise Below:Ode to the Red Cliff " and "Componentsthe" function in 3D Virtual Artworks Display System , " 360¢XView " function in The Fashionable vs. The Antiquarian Teaching disc help study effect is best. 2. On second circulation resources function, The student thought "the animation character illustrated" the study feeling is most profound. Also may arouse a higher interest, also can effectively help the study. The demonstration in the teaching, the author or the historical personage offers one's experiences as an example, is helpful to the student in the arts appreciation study. Finally,the researchers provided a motion research teaching result,limitation,and suggestions for the further research in the field of art appreciation teaching at the elementary school. Key word¡Gdigital archives,the teaching of art appreciation,the ability of visual art appreciation.

This dissertation is an exploratory case study of the archives of Canadian artist Vera Frenkel and their acquisition by Queen’s University Archives in Kingston, Ontario. The research seeks to understand, through empirical investigation, the many factors that shape the artist’s recordkeeping and archives in the personal sphere and contribute to the nature of the eventual archival fonds in the institution. The foundation for the research includes the literatures of archival studies, life narrative, and art. Vera Frenkel’s interdisciplinary art work reflects a deep engagement with questions of truth and fiction. As an aspect of this theme, records and archives play a role in several of her works, often being revealed as problematic sources of evidence. Fundamental to the artist’s approach to interdisciplinarity is a complex layering of elements that builds uncertainty in the viewer. Given these aspects of Frenkel’s work, research that elicits the artist’s testimony about her archives must be able to accommodate a degree of ambiguity in the construction of that testimony. In a series of in situ interviews with the artist in her studio, the author investigated Frenkel’s recordkeeping habits and their relationship to her creative practice. As a data source, these interviews were supplemented by the artist’s photographs and hand-drawn maps of the studio. The author also investigated the processes entailed by archival transfer, examining the extant Vera Frenkel fonds at Queen’s University Archives and interviewing Heather Home, the archivist responsible for the acquisition. Both the personal and institutional spheres were taken into consideration as essential contributors to the nature of Frenkel’s archives as a complex cultural artifact. The research argues for the central role of archives in the acquisition and preservation of contemporary art. It contributes a foundation for understanding the nature of visual artists’ archives.

This dissertation is an exploratory case study of the archives of Canadian artist Vera Frenkel and their acquisition by Queen’s University Archives in Kingston, Ontario. The research seeks to understand, through empirical investigation, the many factors that shape the artist’s recordkeeping and archives in the personal sphere and contribute to the nature of the eventual archival fonds in the institution. The foundation for the research includes the literatures of archival studies, life narrative, and art. Vera Frenkel’s interdisciplinary art work reflects a deep engagement with questions of truth and fiction. As an aspect of this theme, records and archives play a role in several of her works, often being revealed as problematic sources of evidence. Fundamental to the artist’s approach to interdisciplinarity is a complex layering of elements that builds uncertainty in the viewer. Given these aspects of Frenkel’s work, research that elicits the artist’s testimony about her archives must be able to accommodate a degree of ambiguity in the construction of that testimony. In a series of in situ interviews with the artist in her studio, the author investigated Frenkel’s recordkeeping habits and their relationship to her creative practice. As a data source, these interviews were supplemented by the artist’s photographs and hand-drawn maps of the studio. The author also investigated the processes entailed by archival transfer, examining the extant Vera Frenkel fonds at Queen’s University Archives and interviewing Heather Home, the archivist responsible for the acquisition. Both the personal and institutional spheres were taken into consideration as essential contributors to the nature of Frenkel’s archives as a complex cultural artifact. The research argues for the central role of archives in the acquisition and preservation of contemporary art. It contributes a foundation for understanding the nature of visual artists’ archives.

Dans notre mémoire Approches cinématographiques et récit documentaire. Manières d'être et manières de voir, nous étudions les procédés de transformation, de passage et d'altération de la forme cinématographique documentaire. Par la description et l'analyse des oeuvres contemporaines Dammi i colori de l'artiste albanais Anri Sala et Imitations of life du cinéaste torontois Mike Hoolboom, nous tentons d'exposer les codes et les rouages de ce langage cinématographique, puis d'identifier les stratégies mises de l'avant par ces artistes pour s'approprier et reformuler les modalités narratives et temporelles du récit documentaire. Que l'oeuvre documentaire transmet-elle en termes de témoignage et que transmet-elle en termes d'interprétation? Comment déjouer et renouveler les codes du cinéma documentaire et du reportage? Comment éveiller l'imaginaire du spectateur, combattre les standards réducteurs, éprouver nos visions du monde et en proposer de nouvelles? Ces questionnements sont au coeur de toutes les recherches théoriques que nous avons effectuées. Ils ont déterminé le contenu argumentatif de notre mémoire, puis ils ont orienté les choix conceptuels, narratifs et formels de notre travail d'expérimentation Doucement... repartir. Le film fictif et documentaire se présente généralement comme un espace temporel et discursif où des associations de mobiles et de pensées donnent sens aux personnages et aux événements. Aussi, bien que le récit filmique repose sur une pléiade de conventions narratives orchestrant les émotions du spectateur et favorisant son avancée dans cet espace-temps « autre » circonscrit par le film, plusieurs cinéastes et artistes plasticiens cherchent aujourd'hui à démanteler les modèles narratifs préfabriqués au profit d'une forme de narrativité ouverte, erratique et lacunaire, laissant aux images et aux voix une part d'indétermination et une échappée vers d'autres dimensions possibles. De telles propositions artistiques ont particulièrement retenu notre attention. Nous nous sommes donc penché, tout au long de cette étude, sur ces oeuvres témoignant d'une rupture avec le récit auto-explicatif et directionnel, et privilégiant de nouvelles procédures narratives non-fictionnelles ou documentaires, voire historiographiques. Notre travail de production se présente quant à lui sous la forme d'un court métrage qui s'inspire des contingences narratives et thématiques du récit de voyage tout en explorant des espaces-temps discontinus via le travail des archives. A l'instar des deux oeuvres constitutives de notre corpus, Doucement... repartir s'inspire tantôt des procédés discursifs du témoignage, tantôt des mécanismes de l'imaginaire et de la mémoire. Il se veut constitué d'extraits de films de famille et de films documentaires trouvés dans divers centres nationaux d'archives, ainsi que d'images vidéos recueillies un peu partout au Québec au cours des sept dernières années. Notre geste artistique vise à enrichir les images préexistantes de nouvelles couches narratives, et ainsi à désarchiver les échantillons cinématographiques sélectionnés, à les arracher au contexte de l'histoire, puis à les réactualiser dans leur fonction de mémoire. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Cinéma, Documentaire, Récit, Archive, Mémoire.

In the 1990s, the MLA sector – archives, libraries, museums – was defined as a comprehensive sector. One of the reasons for this was the belief that the digitizing of institutional collections and catalogues would provide a seamless access to the cultural heritage for the general public. No one would any longer need to know in which institution a certain object was kept; everything would be available on the Internet. The questions in this dissertation depart from the expectations in the late 1900s aimed at the available systems in the MLA sector for the management and storage of information and at knowledge maintained in such systems. My point of departure is the idea that access to collections in the MLA sector – real or digital – is made possible through the catalogues. It is in the catalogues that the sector orders data and preserves knowledge collected about the objects. My most important conclusions deal with the management and production of knowledge in the sector. The data systems generally used in the MLA sector lack the indulgence needed to accommodate inherent variability of information. Systems must be based on exact sorting, uniform terminology and classification without deviations in spelling or interpretation. Furthermore, international projects and systems presuppose distinct translations between national terminologies and international classification systems to work for information retrievals. This is not the case with the museum systems here investigated, in opposition to, primarily, the libraries. The museum systems are characterised as distinctive instead of following uniformity principles and national or international taxonomies. An important conclusion about knowledge processing and knowledge production in the MLA sector is that the value of compiling digitalised data from many museums is limited. It is not possible to realize the political goal other than at a superficial level. The conclusions in a comparison between the three professional groups are that in the beginning of the 21th century an extensive part of the antiquarians confirm a thought style, according to Ludwik Fleck, which has another direction than that of archivists and librarians. Throughout the 20th century or in the last decades of the 20th century the two latter groups professionalised their roles both through changes in education and through new professional requirements which led to positions and attitudes in their work other than what happened in the museum sector. Museums are mainly research institutions with members of staff who in many respects lack a focus on increased accessibility of collections. Challenges formulated for museums of cultural history by the cultural politics of the 1970s have not been answered with great flexibility. The investigation in this dissertation demonstrates that archives, libraries and museums in many respects continue to pursue activities according to a thought style which was formed during the first half of the 20th century. Their positions in society, their administrational practice and expectations from the general public constitute stabilising and preserving factors. The MLA sector is not as comprehensive as the policy makers want to believe.

This essay has its background in the work I’ve been conducting organizing and cataloging two personal archives concerning the life and work of two vicars, Johan Axel Björkman and P.A. Björkman. The time span of the papers stretches from 1823 to 1982. The main problems I’ve been confronted with during this work have to do with respecting provenance and original order. I discuss these principles in relation to the experiences I’ve had with the vicar archives as well as to the special character of personal archives in general. I also discuss the use of Martin Grass’ scheme for personal archives. The essay constitutes my one year master’s thesis in archival science.

This thesis explores why the Public Archives of Canada, which was established in 1872, did not have the full authority or capability to collect the government records of Canada until 1966. The Archives started as an institution focused on collecting historical records, and for decades was largely indifferent to protecting government records. Royal Commissions, particularly those that reported in 1914 and 1962 played a central role in identifying the problems of records management within the growing Canadian civil service. Changing notions of archival theory were also important, as was the influence of professional academics, particularly those historians mandated to write official wartime histories of various federal departments. This thesis argues that the Second World War and the Cold War finally motivated politicians and bureaucrats to address records concerns that senior government officials had first identified during the time of Sir Wilfrid Laurier.