Wednesday, May 11, 2011

Postmodern Polar Bears and Paper Bags

The postmodern turn. Who would have expected to find that discussion buried in the evaluation and analysis of a digital finding aid?  “Postmodern archival theorists point to inadequacies in archival description…call[ing] for the researcher input and assert[ing] that the record is not a static artifact, but rather a ‘mediated and ever-changing construction’ affected by its use.” (Krause & Yakel, 288).  Let’s start with some definitions and then examine how postmodernism might fit with the digital archive.

Finding Aid:  Narrowing the scope of this definition for this brief reaction paper, “finding aid” will mean a search tool for digitized materials made available to (re)searchers online. Whether available online via the rather vague cloud (out there somewhere) or on a locked down on a local area network, finding aids assist in site and archival access, linking, understanding, participation, browsing and searching activities.

Positivism:  The scientific method which values empiricism; an analytic movement basing knowledge on quantitative results.

Postmodern:  Made famous by Jacques Derrida in 1966, “postmodern” has shifted the arts and social sciences. It approaches truth as an objective, qualitative experience, difficult to pin down, suspect if a claim is made that it has indeed been pinned down, and with an emphasis on the meta-narrative, a master (universal) narrative. Which brings us to a phrase for digital archivists: meta-data, “data about data” or “content about content.


Finding Aid + Positivism + Postmodern = Archival Revolution?

The Polar Bear Expedition Digital Collections developed a “next generation” finding aid which invites user contribution to the archival content.  Believing that the prejudices of the archivists’ interpretations create a condition of subjugated knowledge, the Polar Bear team has an open and participatory format, which collects macro-appraisals from the population of visitors in the belief that collections of artifacts take on meaning in a societal context.

Aldred S. Buckler in a multiple image taken in Murmansk, Russia.  Buckler served with the U.S. 339th Infantry during the American intervention in North Russia, 1918-1919.  http://polarbears.si.umich.edu/index.pl?node=Aldred%20S.%20Buckler%20photograph%20collection&lastnode_id=356

Beyond Brown Paper, a collaborative effort at Plymouth State University, invited participation from an interested public at their 2008 exhibition around the closing of the pulp mill in Berlin, New Hampshire.  A transcript and interview from the Brown Paper team is available in the New Hampshire public radio archives.  Public participation at the physical and online exhibits places the objects in a social context that would have been lost if only the archivists meta-tags had been attached to the digitized images.

Archived Image and the online public comment: "The Cole Primary School was built in 1895, which replaced the first Cole School that was moved almost across the street. In the late 1920’s it became Berlin’s police station, which before was in the basement of the City Hall. They remained there until going into the present building in the late 1960’s. It was on the corner of Cole Street and Mason Street. It is now a parking lot." http://beyondbrownpaper.plymouth.edu/item/40854#comment-20181

The physical sciences have been slower to pick up the linguistic turn, and archivists, members of this group, have a particular attachment to the physical object within the laboratory backdrop.  The postmodern archivist distrusts the positivist process as incomplete and tries to incorporate cumulative evidence of the populace in the broader understanding of archival collections and materials.  It is a contemporary tool of the digital archivists skill set.

Wednesday, May 4, 2011

Week 5 Reaction - Copyright

What’s the difference?
  
Copyright protects expression
Copyright:  Copyright is a form of intellectual property protected under Constitutional law covering both published and unpublished “original works of authorship,” including scholarly, literary, and artistic works including stage and theater, musical scores, soundtracks and songs, poetry, novels, movies, and computer software. The copyright protects the form of authorship but does not protect the actual facts, ideas, or systems being represented. Essentially, copyright covers the way subject matter is expressed. A photo or a soundtrack are also methods of describing a location or an emotion.  The location cannot be copyrighted, nor the emotion, but the expression of each can be. If you understand the operation or usefulness of a safety pin in a uniquely different way, and describe in original language your conceptualization of it, then only your description is protected under copyright.  Copyrights are registered by the Copyright Office of the Library of Congress.  

Trademarks protect branding
Trademark:  Trademarks protects words, phrases, designs, symbols, or devices used in trade which identify the source of good and distinguishes them from goods of others. A trademark prevents others from using similar and misleading marks, but does not prevent others from manufacturing or selling the same goods under a distinctly different mark. Controversies about the use of trademarks in the branding of geographic areas (“The Branding of America”) have created civic debates and litigation when popular regional vernacular, part of the public domain, is trademarked by a corporation.  In Montana, the Paws Up luxury resort in the verdant Blackfoot Valley (owned by an out–of–state Las Vegas businessman) tried to trademark the shared, common use, and locally beloved phrase, “Last Best Place.”  A statewide uprising ended with Federally sponsored legislation to prevent that particular trademarking. Trademarks are registered with the Patent and Trademark Office.  

Servicemark:  A servicemark is the same as a trademark except that it identifies, distinguishes, and protects the source of a service rather than an actual and tangible product. The terms "trademark" and "mark" are commonly used to refer to both trademarks and servicemarks.
The safety pin, patented in 1849

Patent:  Patents are issued for inventions and grant property rights to the inventor. Those property rights conferred by the patent are "the right to exclude others from making, using, offering for sale, or selling" the invention in the United States or "importing" the invention into the United States.  
Essentially, a patent excludes others from making, using, offering for sale, selling or importing the invention.  Back to that safety pin.  Let’s say that rather than having an artistic epiphany about the use of the safety pin, you actually invent a completely different (and hopefully better) safety pin.  Here is where you protect the actual object from re-creation.  The idea is not new (the safety pin was first patented in 1849).  The scientific description of the safety pin is factual, so not protected. Only the object itself, an original invention, is protected from replication.

How this translates: An example. The “Omeka” name is trademarked, as is the logo, which prevents others from marketing products under similar branding. The Omeka website is copyrighted, and the original form of authorship cannot be copied.  The software application behind Omeka, GNU operating system and web-publishing platform, are both open source, which means the software is freely available and may be redistributed with or without modification.