As archives increasingly move into the digital realm, ensuring online accessibility has become a fundamental responsibility. For users who are blind, have low vision, or experience cognitive or motor disabilities, screen readers serve as a vital gateway to digital content. These tools translate onscreen text and interface elements into synthesized speech or Braille, allowing users to navigate websites, databases, and catalogs without relying on visual cues. However, for screen readers to function effectively, digital environments must be designed with intentionality and care. In archival settings, this may be overlooked.
Archives embody the principles of access, stewardship, and service. However, for some users, physical and digital archives remain challenging to navigate, use, or even enter. Barriers to archival access are often unintentional, stemming from outdated facilities, inaccessible technologies, or limited awareness of diverse user needs.
Reference services play a pivotal role in the archival field, acting as a bridge between users and the wealth of information in archival collections.
Ensuring user access to archival materials is essential for fostering research, education, and community engagement. By adopting inclusive practices and innovative strategies, archivists can significantly enhance access to their collections. Improving user access in archives involves creating user-friendly finding aids, digitization, and addressing physical barriers.
Disasters can strike unexpectedly, causing significant damage to archival collections and facilities. Whether it is a flood, fire, or another catastrophic event, the aftermath of a disaster requires a strategic response to assess the damage and initiate recovery efforts.
Staffing needs for digital projects depend on the project’s size and complexity. Training existing staff members to work on digitization projects is a critical component of change management within the institution because digital projects require new skills. The digital age is moving memory institutions into new paradigms of delivering both services and content, and this alteration brings with it a need for training in managing information in a hybrid environment.
I was once the director of an archival collection related to historical buildings around the world. From Babylon to Bauhaus, the collection held just about every amazing world monument you could think of and documented state-of-the-art historic preservation techniques. Here was my challenge: the archives was institutional with no public access, and I was a “lone arranger” in charge of all aspects of archival management at the organization. How could I share these treasures?
In this essay, I provide a new critical consideration of the works of the semiologist Roland Barthes and the artist Victor Burgin. The influence of Barthes on Burgin’s work is well documented. Equally, Burgin’s prominence as a theorist concerned with text and image offers a productive dialogue with Barthes’ work. The interaction between the two is most apparent in my mind when they discuss the limitless possibilities of the panorama and panoramic vision.
The great part of getting your personal and family archives organized is that you can immediately access and use your materials to learn about your own history. Once I was able to organize my materials, using techniques discussed Creating Family Archives: How to Preserve Your Papers and Photographs, I could research my relatives much easier.
I'm continuing my series of scanning, transcribing, and annotating my grandfather's love letters to my grandmother leading up to their marriage in June 1940. The letters are chronologically organized and preserved, using the methods I discuss in detail in my book, Creating Family Archives: How to Preserve Your Papers and Photographs.
In the final letter of the Grandpa's Love Letters series, Grandpa describes some last minute details before the wedding. Like the letter before, I'm shocked at the prices: $125 for most of the wedding. I compared the results of several historical inflation calculators, and that amount is equivalent to about $2,200 currently.
I'm continuing my series of scanning, transcribing, and annotating my grandfather's love letters to my grandmother leading up to their marriage in June 1940. The letters are chronologically organized and preserved, using the methods I discuss in detail in my book, Creating Family Archives: How to Preserve Your Papers and Photographs.
In the 30th letter of Grandpa's Love Letters series, Grandpa is making plans for their new apartment. There seems to be a lot of logistical details to take care of before their nuptials.
The line that stuck out to me was: "The more I think of it I become surer that we will at least have our floor coverings, curtains, kitchen set and either a studio couch or a bed room set in our home by Saturday June 29th and then we can start living." "Living" is underlined twice.
I'm continuing my series of scanning, transcribing, and annotating my grandfather's love letters to my grandmother leading up to their marriage in June 1940. The letters are chronologically organized and preserved, using the methods I discuss in detail in my book, Creating Family Archives: How to Preserve Your Papers and Photographs.
The latest entries for the Grandpa's Love Letters series are double letters. One was written in the afternoon, while the other was written that night. Grandpa is looking for a new place to move into once they get married. The options are interesting--an apartment with a shared bathroom for $23 rent or one in an attic for $25. Is the rent weekly? Monthly?
