METADATA, ARSIP, DAN INFORMASI: SUMBANGAN STANDAR- STANDAR KEARSIPAN TERHADAP KERANGKA DAN MODEL KERJASAMA KEILMUAN BIDANG-BIDANG SERUMPUN

Since the end of XIX century when for the very first time the archival principles of arrangement and description were outlined until ICA have published their first international standard commonly known as ISAD-G which defines its 26 elements of archival description and followed afterwards by series of archival standards (ISAAR- CPF, ISDIAH, and ISDF) in 1990’s and 2000’s. These elements of description are similar to metadata elements. As the metadata elements of Dublin Core, for example, that have been released in the mid of 1990’s and then later on was adopted by ISO 15836-1:2017 and ISO 15836-2:2019. This article describes the similarities among both elements, the elements of description and the elements of metadata, including the ICA’s latest archival standard (RiC) and by using paradigm of integration-interconnection and three model of discplinary cooperation (multidisciplinary, interdisciplinary, and transdisciplinary) according to Amin Abdullah. Besides reading closely towards the literary sources including the published standards released by ICA and ISO, the writer also does the same things towards various archival standards published by several national archives. These are some of the contribution of archival science and archival standards in order to open the chance of having equal cooperation and seeing the possibilities of having cooperation among its three stages.

La configuración archivística en el cine de no ficción contemporáneo

This article deals with the works of filmmakers and artists who self-impose certain protocols linked to archival configuration to structure and make sense of their films or videos. In this way, collecting, classifying, making lists, series or catalogues will be common practices in this type of work, thus following some of the steps of the art-archive binomial that starts at the beginning of the 20th century with photographic archives such as Augène’s Atget or August Sander and that expands and develops through various artistic practices to this day. Radical documentary pieces with a clear allusion to photography - showing special attention in the portrait and landscape - and where repetitive structures, fixed planes and, in general, a slow rhythm that invites contemplation proliferate. Countenance (2002) by Fiona Tan, Twenty Cigarettes (2011) by James Benning, Ruinas (2009) by Manuel Mozos or Equí y n’otru tiempu (2014) by Ramón Lluís Bande are some of the examples of this cinema that appropriates archival principles, not only to question the very idea of archive, but also as a non-narrative strategy that probes the possibilities of what cinema is and can be.

Whose Truth Is True?

African societies use memory to store valuable historical information. This memory is passed from generation to generation through oral history. This method uses oral testimony, oral tradition, and, to some extent, archival sources for evidence. This memory is in danger of being obliterated as the historical truth is not directly accessible, or, in some instances, the truth can be distorted to suit the griot. While traditional archival principles such as archival diplomatics are used to authenticate records, oral history is often characterised by deliberate distortion of facts. This chapter explores the use of archival principles to authenticate oral history. It was established that some elements of archival principles can be used to authenticate oral history. Written records and oral history can complement each other to provide the ‘whole truth'. It is concluded that oral history fits the description of a record. The griot is no different from any medium of a record and is as reliable as any other medium.

Borderland, from Archive to Gallery: Working on James Cowan's Papers

In 2012 the Alexander Turnbull Library purchased a large collection of writer/historian James Cowan’s (1870-1943) working papers, adding to an already substantial holding. This descriptive article focuses on the arrangement and description of these papers, and the subsequent curation of the exhibition Borderland: The World of James Cowan, curated by Ariana Tikao. The article discusses the archival principles of provenance and original order in relation to these papers, and also issues surrounding the physical arrangement and the creation of the records. It goes on to delineate the structure of the exhibition, describing key themes of Borderland such as the Ōrākau battle, Cowan’s involvement with film, Pākehā Māori, and Cowan’s connections with Tikao’s own whānau, of Banks Peninsula.

Canadian Architectural Archives at the University of Calgary Libraries

The Canadian Architectural Archives at the University of Calgary Libraries were established in 1974; first major collections were donated in 1975 and, by 1983, the Archives has grown significantly. Collections consist mostly of drawings, file material and photographs, with some models. The purpose of the Archives is support of study and research and preservation of documents. Major collections include those of John B. Parkin Associates, Arthur Erickson, and Ron Thorn, as well as other large collections from the Toronto, Calgary and Vancouver area. Organization of collections is based on archival principles of original order and provenance, and access to individual building projects is facilitated through various indices and inventories. An Oral History programme provides some additional biographical background. With a few exceptions, all materials are accessible for research in the Archives reader area; limited research assistance can be given to persons from out of town or out of province. Copies of individual items can be provided for research, exhibition or publication under strict copyright regulations.