Placing records continuum theory and practice

McKemmish, Sue

doi:10.1007/bf02438901

Cited by 137 publications

(83 citation statements)

References 2 publications

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“…The continuum framework helps archivists and other information professionals to recognise and parse out these contextual layers in a critical way, applying this, for instance, to inform descriptive practices and generate metadata that represents the complexity of the object (McKemmish, 2001, p. 353). Art historians, examining net-based artworks that exist in and through web archives, can also apply the continuum theory to understand these as works "always in a process of becoming" (McKemmish, 1994). If source code analysis offers art historians an approach to dig into the granular particularities of a digital artwork (Engel and Wharton, 2010), continuum theory complements this, providing a broad lens to conceptualise the artwork as it has moved across and developed over spacetime.…”

Section: Archives Emulators and The Continuummentioning

confidence: 99%

The unending lives of net-based artworks: web archives, browser emulations, and new conceptual frameworks

Post¹

2017

Researchers, Practitioners and Their Use of the Archived Web

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The Unending lives of net-based artworks: Web archives, browser emulations, and new conceptual frameworks AbstractResearch into net-based artworks is an undertaking divergent from much prior art historical scholarship. While most objects of art history are stable analog works, largely in museum collections, net-based artworks are vital and complex entities, existing on artists' websites alongside older versions captured in web archives. Scholars can profitably use web archives, browser emulators, and other digital methods to study the history of these works, but these new methods raise critical methodological issues. Art historians must contend with how the artwork changes over time, as well as the ever-evolving environment of the web itself. Probing the piece Homework by Alexei Shulgin as a test case, I investigate the methodological issues that arise when conducting art history research using web archives. In applying these methods, scholars must also attend to the evolving and multiple nature of these artworks. Drawing on the archival theory of Wolfgang Ernst and the records continuum model developed by Frank Upward and SueMcKemmish, I present a framework for conceptualising net-based artworks as plural and heterogeneous archives. This framework is generative of new readings of net-based artworks, accommodates new methods, and can also usefully equip scholars approaching dynamic cultural heritage objects in web archives more broadly.

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Section: Archives Emulators and The Continuummentioning

confidence: 99%

The unending lives of net-based artworks: web archives, browser emulations, and new conceptual frameworks

Post¹

2017

Researchers, Practitioners and Their Use of the Archived Web

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“…A second aspect is that preservation is non-custodial, that is we do not aim to remove entities from their environment, both physical and organisational and place them in the custody of a third party . Such approaches have been described in Lagos et al (2015) and McKemmish (2001).…”

Section: Model-driven Continuum Approach To Preservationmentioning

confidence: 99%

Dependency modelling for inconsistency management in Digital Preservation – The PERICLES approach

et al. 2016

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Abstract. The rise of the Semantic Web has provided cultural heritage researchers and practitioners with several tools for ensuring semantically rich representations and interoperability of cultural heritage collections. Although indeed offering a lot of advantages, these tools, which come mostly in the form of ontologies and related vocabularies, do not provide a conceptual model for capturing contextual and environmental dependencies, contributing to long-term digital preservation. This paper presents one of the key outcomes of the PERICLES FP7 project, the Linked Resource Model, for modelling dependencies as a set of evolving linked resources. The adoption of the proposed model and the consistency of its representation is evaluated via a specific instantiation involving the domain of digital video art.

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“…Digital mediation, in particular the combination of relational database recording with hypertext linking of diverse documents and media, moves the interpretation process, to some extent, from the intrinsic rhetorical form of a single text to the connections made between diverse morselized information objects. A process of pluralizing [131] is exemplified both in the production and juxtaposition of multiple (textual, diagrammatic, simulated 3D, mapping), overlapping, and cross-referenced representations of what was found, and in the multiple voices of members of the excavation team as they engage on record in conjecture, critique, dialogue, reflexive introspection, and interpretation.…”

Section: Archaeological Fieldwork As Pervasive Curation: a Case Studymentioning

confidence: 99%

Curating Archaeological Knowledge in the Digital Continuum: from Practice to Infrastructure

Dallas

2015

Open Archaeology

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As a "grand challenge" for digital archaeology, I propose the adoption of programmatic research to meet the challenges of archaeological curation in the digital continuum, contingent on curation-enabled global digital infrastructures, and on contested regimes of archaeological knowledge production and meaning making. My motivation stems from an interest in the sociotechnical practices of archaeology, viewed as purposeful activities centred on material traces of past human presence. This is exemplified in contemporary practices of interpretation "at the trowel's edge", in epistemological reflexivity and in pluralization of archaeological knowledge. Adopting a practice-centred approach, I examine how the archaeological record is constructed and curated through archaeological activity "from the field to the screen" in a variety of archaeological situations. I call attention to Çatalhöyük as a salient case study illustrating the ubiquity of digital curation practices in experimental, well-resourced and purposefully theorized archaeological fieldwork, and I propose a conceptualization of digital curation as a pervasive, epistemic-pragmatic activity extending across the lifecycle of archaeological work. To address these challenges, I introduce a medium-term research agenda that speaks both to epistemic questions of theory in archaeology and information science, and to pragmatic concerns of digital curation, its methods, and application in archaeology. The agenda I propose calls for multidisciplinary, multi-team, multiyear research of a programmatic nature, aiming to re-examine archaeological ontology, to conduct focused research on pervasive archaeological research practices and methods, and to design and develop curation functionalities coupled with existing pervasive digital infrastructures used by archaeologists. It has a potential value in helping to establish an epistemologically coherent framework for the interdisciplinary field of archaeological curation, in aligning archaeological ontologies work with practice-based, agencyoriented and participatory theorizations of material culture, and in matching the specification and design of archaeological digital infrastructures with the increasingly globalized, ubiquitous and pervasive digital information environment and the multiple contexts of contemporary meaning-making in archaeology.

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Placing records continuum theory and practice

Cited by 137 publications

References 2 publications

The unending lives of net-based artworks: web archives, browser emulations, and new conceptual frameworks

The unending lives of net-based artworks: web archives, browser emulations, and new conceptual frameworks

Dependency modelling for inconsistency management in Digital Preservation – The PERICLES approach

Curating Archaeological Knowledge in the Digital Continuum: from Practice to Infrastructure

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