Archivist_아키비스트

CURATOR_JOB DESCRIPTION

(archivist) — Wed, 02 Sep 2009 17:37:46 +0900

Tricycle Theatre Co Limited

trading as

The Tricycle

Mission Statement:

To present accessible work of the highest standard in theatre, cinema and visual arts, with a distinct voice responding to the local diverse community as well as maintaining a national and international profile.

Educational work has the highest priority.

Theatre: Seats 235, presenting both Tricycle and visiting productions for runs usually four to six weeks and children’s shows on Saturdays from September to June, plus schools performances and Sunday Comedy Events. There is also a Rehearsal Room for in-house productions and outside hire.

Cinema: Seats 290, showing independent first run European and American films, changeover each Friday, plus a Saturday Family film slot, Thursday & Friday Matinees, Weekend World films, student films, specialised film & “shorts” festivals, Charity Premieres & fundraising Q & A’s.

Art Gallery: In the Gallery exhibitions by artists who are either recent graduates of a recognised art school, or an emerging artist, or an artist of national or international stature, or representative of the diverse cultural nature of the community of Brent, are shown for five to six weeks. To see photographs of the Gallery go to www.tricycle.co.uk/aboutus/mediacentre

The Paint Box is run by the Artist in Residence offering tuition in painting and drawing, mainly for young people, in formal classes and as a drop-in facility.

Education Programme: Linking all three art forms in a programme of workshops, outreach and training projects taking place in the James Baldwin Studio, The Paint Box and The August Wilson Creative Space, working with children and young people aged 18 months to 26 years.

The attractive, welcoming and accessible building also offers a Bar & Café, and is open 52 weeks a year, 7 days a week.

JOB DESCRIPTION

CURATOR

The Tricycle Board of Directors has recently reviewed the Tricycle Visual Arts Policy & as a result created the new two days a week position of Curator.

The Curator will take responsibility for running the Gallery and will be given the autonomy to select and mount exhibitions, under the direction of the Artistic Director and General Manager, and in consultation with The Gallery Committee (meets quarterly). The Curator will demonstrate a clear vision and ambition for the development of the Gallery, tempered by an understanding of the location and ethos of the Tricycle.

All exhibitions will be selected on a basis of excellence and one of the following criteria will apply:

· An artist who has recently graduated from a recognised art school or is an emerging artist.

· An artist who represents the diverse cultural nature of the community of Brent.

· An artist of national or international stature.

· An artist nominated by the Artistic Director, in consultation with the Curator (once a year) or work that the Artistic Director occasionally schedules to coincide with festival or particular production.

· Work from local schools or special needs school as part of the education programme.

· Young artists with disabilities (biennially).

The Curator will be at liberty to design his/her method of selection, in discussion with the Art Committee, the Artistic Director & the General Manager.

While unwilling to censor the exhibitions in any way, the Curator will need to be aware that the Gallery is used as a seating area for the Bar/Café & therefore three dimensional work or installations are always considered unsuitable. Also note that young children use the Gallery constantly.

In addition to selecting artists, the Curator will raise the profile of the Gallery through his/her skills, vision and contacts. This will include

· increase press coverage of the Gallery & general marketing of the exhibitions

· issue invitations to Private Views to the appropriate standing database & to newly created lists

· arrange events such as Artists Talks

· work with the Artist in Residence &/or Education Department on educational projects

From 1^st April 2010 there will be a small annual budget for advertising the Gallery & any other Gallery–related expenses. Prior to this date & continuously thereafter, the Curator will be expected to supplement the Gallery sales income by fundraising through events, business sponsorship & applications to funding bodies & charitable trusts. A quarterly fundraising plan should be submitted to the General Manager & Development Director in order to coordinate with existing & ongoing fundraising. Any surplus income which is generated will be ring-fenced for the development of the Gallery.

The Curator will be responsible for promoting & administrating all Gallery sales, in liaison with Front of House Managers, the Box Office & the Finance Department. Artists are currently charged 20% commission + VAT. This low rate of commission reflects the limited financial support given to the Artist currently. The newly appointed Curator may wish to review this rate in consultation with the management.

In addition the Curator will deal with general administrative matters eg:

· co-ordinate the Gallery diary with other Tricycle events scheduled

· issue contracts to the artists

· type up press releases, catalogues & display material

· book the freelance Gallery technician

· ensure that the exhibition is properly displayed & advertised in the building, & that catalogues are always available

· liaise with FOH regarding Private View arrangements

· sign off invoices, payments to artists etc

· manage the limited budget effectively & accurately

· establish the value of the exhibited work for insurance purposes

· liaise with customers regarding collection of bought work

The Curator will share an office & computer with others & be expected to be proficient in the use of Word, Excel, database management & any other required software.

In addition the Curator may be expected to:

· receive and entertain VIPs

· attend external meetings, conferences, events as required

· occasionally attend weekly staff meetings and quarterly Board meetings.

· occasionally work with short-term work experience students or interns.

· any other duties as agreed.

Terms & conditions:

Contract: The initial contract offered will be for a fixed term of one year.

Hours: Two days a week – days will need to be flexible to account for

Sunday changeovers & flexible Private View days (usually

Mondays).

Salary: £10,000

Holiday: Four weeks per year, plus Bank Holidays.

Sick Pay: Four weeks on full pay, and a further four weeks on half pay per

year, after three months continuous service.

Trial Period: Three months, during which the notice period will be four

weeks.

Notice period thereafter: Two months

Pension: The Tricycle’s Stakeholder Pension Scheme Provider is

Norwich Union.

Expected Start Date: Autumn 2009

Subject to minor alteration

Date: 24.8.09

작가선정 항목

(archivist) — Sat, 22 Aug 2009 17:36:21 +0900

작가 선정을 위한 평가항목

예술성 ?, 전시 충실성, 적합성, 회화적 진보, 완성도, 충실도 ?

- 사실 공간의 정체성 문제도 있다.
과연 대안을 갖추고 있나?
쉬운 문제가 아니다.

[극장]자연과 역사, 사람이 공존하는 예술공간

(archivist) — Sun, 02 Aug 2009 13:56:24 +0900

자연과 역사, 사람이 공존하는 예술공간

[극장이변한다] 잉글랜드 스네이프 몰팅 콘서트홀

주미영 _ 제3회 제주세계델픽대회 대회지원부장

사람의 발길이 닿지 않는 고즈넉한 바닷가, 드넓은 갈대 숲, 야생생물이 풍부한 늪지대가 많은 잉글랜드 동부 서포크의 작은 해변 마을 스네이프(Snape)는 매해 6월이면 이웃 마을에서부터 멀리 유럽 대륙에서 온 음악인과 음악 애호가들로 활기가 넘친다. 스네이프의 가장 중요한 행사 중 하나인 알드버러페스티벌(Aldeburgh Festival)이 열리기 때문이다.

잉글랜드의 작은 어촌으로 축제를 즐기러 온 사람들은 현대적 시설을 갖춘 웅장한 아트센터가 아닌 갈대숲 한 가운데 있는 낡은 건물들이 운집한 스네이프 몰팅(Snape Maltings) 지대로 모여든다. 이곳에는 세계적 명성을 지닌 클래식 음악 전문 공연장 스네이프 몰팅 콘서트홀이 자리 잡고 있다.

맥아 제조 공장이 창의캠퍼스로

19세기 말 맥주 주원료인 맥아 발효를 위해 만들어진 이 건물들은 영국 내 관계 산업의 쇠퇴로 폐쇄되었다. 그러던 것이 1948년 영국 작곡자 벤자민 브리튼과 성악가 피터 피어즈에 의해 시작된 알드버러페스티벌이 점점 성장하면서 새로운 공간이 필요하게 되고 폐쇄되었던 맥아 제조 공장이 새로운 예술 공간으로 탈바꿈하기 시작했다. 그 첫 번째 예술 공간이 1967년 개관한 스네이프 몰팅 콘서트홀이다.

스네이프 몰팅 콘서트홀은 배의 위와 아래를 거꾸로 한 모양의 웅장한 천장 구조, 시야를 가리지 않는 좌석 배치, 뛰어난 음향 시설, 나무와 벽돌을 사용한 세련된 실내 분위기로 콘서트 홀을 찾는 사람들에게 강한 인상을 심어 준다. 당시 재건축 자문위원을 맡았던 예술가들과 담당 건축가 하이워드 톰킨스(Haworth Tompkins)은 건물의 콘셉트를 21세기 예술가들이 마음속에 그리는 예술에 대한 갈망을 담아내면서 빅토리안 시대 산업용 건물의 순박하고 검소한 외관은 보존할 것으로 결정한다. 이러한 콘셉트는 고스란히 스네이프 몰팅 콘서트홀에 묻어나 있고, 이후 스네이프 몰팅에 지어지는 다른 공연장에도 나타난다.

스네이프 몰팅 콘서트홀 건설 이후 40여 년 만인 지난 2009년 5월 9일에 스네이프 몰팅 지역에 새 건물 호프만빌딩(Hoffmann Building)이 문을 열었다. 콘서트홀의 활용이 많아짐에 따라, 벤자민과 피어즈는 스네이프 몰팅이 좀 더 대중적인 예술센터가 되길 바랐다. 더불어 음악과 오페라뿐만 아니라 춤, 연극과 같은 공연예술, 음악이론 강습과 시각예술 분야를 위한 워크숍까지 가능한 공간으로 확대하고자 하였다. 리허설 룸, 음악전문 도서관, 전시장, 스튜디오, 워크숍 공간이 더 필요했다. 호프만빌딩의 개관으로 스네이프의 맥아 제조 공간을 음악과 예술을 위한 국제적인 ‘창의캠퍼스’로 변환시키고자 했던 브리튼과 피어즈의 바람이 현실이 되었다. 총 1600만 파운드(한화 280여억 원)의 자본이 투자된 호프만 빌딩에는 340석의 브리튼 스튜디오, 75석의 저우드 키린 스튜디오, 리허설 룸, 예술가 워크숍 공간, 만남의 장소, 부대시설 등 주로 작은 행사를 위한 다양한 공간이 자리 잡고 있다.

전문 예술인과 아마추어를 위한 다양한 교육프로그램

스네이프 몰팅은 알드버러 뮤직(Aldeburgh Music)이라는 예술 전문 단체에서 소유하고 운영한다. 알드버러 뮤직은 스네이프 몰팅이 아름다운 자연과 건물과 사람(예술가, 관계자, 관람객)이 어우러진 예술적 공간이 되는 것을 지향하고, 이를 현실화하기 위해 몇 가지 방안을 모색해 왔다.

우선, 스네이프 몰팅이 음악과 예술가들에게 활력과 영감을 주는 공간이 되도록 노력했다. 영감을 불러일으키는 자연, 풍부한 음악 유산, 음악인들과 관객들 모두에게 휴식과 재충전할 공간을 제공해 왔다. 그리고 세계적으로 잘 알려진 스타와 젊은 예술가들에게 각자의 음악세계를 생각하고, 작곡하고, 연습하고 공연할 수 있는 공간을 제공하고 서로 교류할 수 있는 공간을 마련하는 데 중점을 두고 있다. 또한 영국 내 젊고 세계적인 프로페셔널 음악가들에게 공연을 통해 훈련을 하고 관객들과 직접 만날 수 있는 기회를 주고자 한다.

스네이프 몰팅 콘서트홀은 1년 내내 수준 높은 프로그램으로 구성되어 있다. 6월에는 세계적으로 명성이 높은 작품으로 구성된 알드버러페스티벌이 펼쳐지고, 8월에는 스네이프 프롬(Snape Proms)이 진행된다. 또한 연중 내내, 다양한 장르의 공연과 주변에 쉽게 접할 수 있는 예술 작품 제작, 마스터 클래스와 초청 강연 등이 이루어진다. 콘서트홀 개관 당시 알드버러페스티벌의 행사 장소로만 사용되던 것과는 큰 차이가 있다.

특히, 알드버러 뮤직의 중요 사업이자 좋은 평가를 받고 있는 것이 음악교육 프로그램이다.
벤 자민 브리튼과 피터 피어즈는 축제를 처음 개최했을 때부터 스네이프 몰팅이 실력이 있는 예술가들이 차세대 음악인들과 함께 일을 할 수 있는 유럽의 ‘창의캠퍼스’로 발전하기를 꿈꾸었다. 1967년 콘서트홀 개관 때부터, 음악교육 프로그램을 준비했고, 5년 후인 1972년 9월, 피어즈와 루씨 매넌에 의해 현장에서 뛰고 있는 젊은 성악가들 대상으로 첫 마스터클래스가 열렸다. 이후 현악기 코스, 오케스트라를 위한 스네이프 몰팅 연수 코스를 열었다. 1979년, 이전의 마스터 클래스 코스와 트레이닝 코스를 좀 더 체계화 하고 심화과정으로 발전시켜 ‘브리튼-피어즈 고급 음악학교(Britten-Pears School of Advanced Musical Studies)’를 열었다.

1998년 조나단 리키가 알드버러 뮤직의 예술총감독으로 부임한 이후부터, 일 년 내내 콘서트 개최와 신규 작업 의뢰가 가능하도록 하고 기존의 콘셉트를 발전시켜 전문 음악인들을 위한 ‘알드버러 레지던시’와 전문가들을 위한 발전 구상 프로그램을 구성하였다. 또한 예전의 ‘브리튼-피어즈 고급 음악학교’를 ‘브리튼-피어즈 영 아티스트 프로그램’(이하 ‘영 아티스트 프로그램’)으로 변경하였다. 또한 전문 예술인뿐만 아니라 일반인도 참여를 유도하도록 아마추어를 위한 다양한 음악교육 프로그램을 제공하여 왔다.

신작, 새로운 해석 그리고 재발견
음악인들이 사랑하는 알드버러페스티벌

알드버러페스티벌은 현재의 스네이프 몰팅이 예술 공간으로 발전할 수 있는 계기가 된 축제이다. 이 축제는 한국에는 알려져 있지 않지만 전 세계적으로 유명한 클래식 음악 축제이다. 알드버러페스티벌은 지속적인 신작 발표, 기존 작품들의 새로운 해석, 잊혔던 음악의 재발견 등 프로그램의 독특한 콘셉트와 전문성으로 영국 내에서도 BBC 프롬(Prome) 축제 못지않게 음악인들에게 사랑을 받고 있다.

2009 년도 알드버러페스티벌은 6월 12일부터 6월 28일까지 개최되었다. 62회를 맞는 올 축제는, 2007년 말에 임용된 프랑스 피아니스트 출신의 새 예술총감독 피에르 로렌 에이마드(Pierre-Laurent Aimard) 체제 하에 처음으로 치러지는 페스티벌이었고, 호프만빌딩이 새로 개관하면서 그 어느 때보다 이목이 집중된 행사였다.

2009년 프로그램은 이전 프로그램보다 창의적이면서 알드버러에 친근했던 음악, 공연자들과 친근하지 않았던 음악, 공연자들을 잘 배합하였다는 평가를 받았다. 축제 개막 및 호프만빌딩 완공을 축하하는 공연으로 영국의 대표 작곡가 버트위슬(Harrison Birtwistle)의 갈라 작품 ‘Semper Dowland, Simper Dolens: theatre of melancholy & The Corridor’가 런던심포니에타의 연주로 공연되었다.

평소 한 팀 정도 참석하였던 오케스트라단이 올해는 블라디미르 유로브스키 지휘의 런던 필하모닉, BBC 심포니 오케스트라, BCMG 3개 단체가 참석하여 내적으로나 외형적으로 이전 축제보다 규모가 커졌음을 보여 주었다. 이외에도 벤자민 브리튼의 작품을 ‘영 아티스트 프로그램’에 참석했던 성악가들이 선보였다. 또한 새롭게 문을 연 여러 개의 작은 공간에서 정원 콘서트들이 진행되었다.

잉글랜드 동부의 가장 활성화된 예술 공간

스네이프 몰팅의 공연장과 각종 프로그램은 교육, 경제, 사회 전반적으로 지역에 큰 영향을 끼치고 있다. 스네이프 지역으로 이주하는 학생들의 증가, 페스티벌 참석과 공연 관람을 위한 외부인들의 방문, 일자리 창출은 지역 경제 활성화에 도움을 주고 있고, 이 점은 문화를 지역 경제 재개발의 원동력으로 삼으려는 영국 문화정책의 좋은 모범 사례로 꼽힌다. 그리고 알드버러 음악발전계획이 2003년 잉글랜드문화예술진흥위원회(Arts Council England)의 3대 예술 투자 사업으로 선정되어 스네이프 몰팅 지역에 대규모 자본이 투자되는 등, 지역 경제에 미치는 영향은 더욱 커지고 있다.

그 러나 무엇보다 중요한 것은 스네이프 몰팅이 지역민과 지역 사회를 연결해 주는 매개자로 활동한다는 점이다. 알드버러 뮤직은 각종 프로그램과 제반 시설을 지역 학교, 주민들과 함께 나누고 있다. 예를 들면, 매해, 수천 명의 나이 어린 아마추어들과 일반 지역민들은 오케스트라, 합창, 각종 음악 그룹 활동을 통해 스네이프에서 공연을 한다. 또한, 공연장 주변에 이웃 농가에서 만든 각종 기념품, 야채와 과일, 골동품 판매를 허가하는 등 지역주민과 시설을 공유한다. 이는 지역민과 함께 하고 지역민의 생활공간 안으로 들어가려고 노력했기 때문에 가능하다. 이런 노력들은 스네이프 몰팅 콘서트홀이 잉글랜드 동부 지역에서 가장 활발히 운영되는 지역 예술 공간으로 평가 받는 결과를 낳았다.

스네이프 몰팅의 초기 비전은 이 지역의 자연, 공간의 역사적 배경, 이 공간을 사용할 사람들인 예술가와 관객을 중심에 두고 세워졌다. 그리고 지금까지 아름다운 자연환경, 보존된 건물, 사람의 조화라는 비전을 60여 년간 함께 나누었다. 초기의 방향성을 현실화하기 위해 운영 프로그램을 발전시키고 공간을 만들기 위해 40여 년을 기다렸다. 이 과정 자체가 스네이프 몰팅의 역사이고 문화이자 가장 큰 자산이다.

필자소개
주 미영은 서울예술단 프로듀서를 거쳐 한국문화예술진흥원(현 한국문화예술위원회) 신진예술가 해외연수프로그램에 선정되어 영국 ITC(International Theatre Council)에서 예술마케팅 코스 연수, 영국 워릭대학교(Warwick University) 유럽 문화정책 및 문화경영학과에서 석사학위를 취득하였다. 현재 제3회 제주세계델픽대회 대회지원부 부장으로 일하고 있다.

아키비스트(Archivist)

(archivist) — Fri, 31 Jul 2009 20:39:11 +0900

Archivist

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For other uses, see Archivist (disambiguation).

An Archivist surveying an unprocessed collection of materials. Surveying is commonly done to determine priorities for preservation and/or conservation of materials before an archivist begins arrangement and description.

An archivist is a professional who assesses, collects, organizes, preserves, maintains control over, and provides access to information determined to have long-term value. The information maintained by an archivist can be any form of media (photographs, video or sound recordings, letters, documents, electronic records, etc.). As Richard Pearce-Moses wrote, "Archivists keep records that have enduring value as reliable memories of the past, and they help people find and understand the information they need in those records." ^[1]

Determining what records have enduring value can be challenging. Archivists must also select records valuable enough to justify the costs of storage and preservation, plus the labor intensive expenses of arrangement, description, and reference service. ^[2] The theory and scholarly work underpinning archives practices is called archival science.

[hide]

[edit] Duties and work environment

Archivists' duties include acquiring and appraising new collections, arranging and describing records, providing reference service, and preserving materials. In arranging records, archivists apply two important principles: provenance and original order, sometimes referred to as respect des fonds. Provenance refers to the origin of records, essentially who created them. The idea of respect des fonds is applied by keeping records in their original order as established and maintained by the creator(s). This also means that records from one corporate body should not be mixed with records from another. Original order is not always the best way to maintain some collections though, and archivists must use their own experience and current best practices to determine the correct way to keep collections of mixed media or those lacking a clear original arrangement. ^[3]

American archivists are also guided in their work by a code of ethics. ^[4] Alongside their work behind the scenes arranging and caring for collections, archivists assist users in interpreting collections and answering inquiries. This reference work can be just part of an archivist's job in a smaller organization, or consist of most of their occupation in a larger archive where specific roles (such as processing archivist and reference archivist) may be delineated. ^[5]

Archivists work for a variety of organizations, including government agencies, local authorities, museums, hospitals, historical societies, businesses, charities, corporations, colleges and universities, and any institution whose records may potentially be valuable to researchers, exhibitors, genealogists, or others. Alternatively, they could also work on the collections of a large family or even of an individual. Applicants for archives jobs usually outnumber positions available.^[6]

Archivists are often educators as well; it is not unusual for an archivist employed at a university or college to lecture in a subject related to their collection. Archivists employed at cultural institutions or for local government frequently design educational or outreach programs to further the ability of archive users to understand and access information in their collections. This might include such varied activities as exhibitions, promotional events or even media coverage.^[7]

The advent of Encoded Archival Description, along with increasing demand for materials to be made available online, has required archivists to become more tech-savvy in the past decade. Many archivists are now acquiring basic XML skills in order to make their finding aids available to researchers online.^[8]

[edit] Skills

Because of the varied nature of the job and organisations and work environment, archivists need to have a wide range of skills:

Those who work in reference and access-oriented positions need to be good with people, so that they are able to help them with their research.
An ability to apply some basic knowledge of conservation is needed to help extend the useful life of cultural artifacts. Many different types of media (such as photographs, acidic papers, and unstable copy processes) can deteriorate if not stored and maintained properly. ^[9]
Although many archival collections consist solely of paper records, increasingly archivists must confront the new challenges posed by the preservation of electronic records, so they need to be forward-looking and technologically proficient.^[10]
Because of the amount of sorting and listing, they need to be very logical and organised and be able to pay attention to detail.
When cataloging records, or when assisting users, archivists need to have some research skills.
Archivists are occasionally called upon to comment or provide some context for the records in their collection and so should know as much about their collection as possible.

[edit] Educational preparation

The educational preparation for archivists varies from country to country.

[edit] Colombia

In Colombia, the Universidad de La Salle offers the degree of Professional in Information Systems, Library and Archival Sciences. It is a vocational training program, within existing legal standards aimed at providing knowledge, skills and abilities required for the design and management of information systems and documentation of various sorts. Its projection for the future is based on the application of new information technologies and communications for the management of information services economically viable. The program was created in 1971.

Other institutions that offers a degree in Archival Science are:

Universidad del Quindío - Professional degree: Professional in Information and Documentation, Library and Archival Sciences.
Escuela Interamericana de Bibliotecología - Technological degree: Technologist in Archival Science.
Universidad Católica de Manizales - Technological degree: Technologist in Documentation and Archival Science.
Servicio Nacional de Aprendizaje - SENA - in chain training with the //plataforma.unipamplona.edu.co/tda Tecnológico de Antioquia - Technical degree: Professional Technical in Archives.

[edit] France

In France the oldest Archivist School is the École des chartes, founded in 1821. This prestigious grande école offers a diploma of "Archivist-Paleograph" after a three-year curriculum. A part of its alumni pursue to a State archivist career after a 18 month formation at the Institut national du patrimoine.

Some universities offer Master's degree in Archival Science : Angers, Caen, Dijon, Lille III, Lyon III, Mulhouse, Versailles Saint-Quentin,

[edit] Republic of Ireland

In Ireland, the University College Dublin School of History and Archives offers a Masters of Arts degree in Archival Studies, recognised by the Society of Archivists.

[edit] United Kingdom

In the United Kingdom, there are currently five full- or part-time postgraduate courses in archives administration or management which are recognised by the Society of Archivists. Students are expected to have relevant paid or voluntary work experience before obtaining a place on the UK courses; many undertake a year's traineeship. Also, professional certification (after qualifying) can be pursued via the Registration Scheme offered by the Society of Archivists.

[edit] United States

According to the most recent professional census of American Archivists published, most of those in the United States have earned a Masters degree.^[11] However, the exact type of degree can vary; the most common sorts of advanced degrees held by archivists are in archival science, history, library science, or library and information science. It is also possible for archivists to earn a doctorate in library, or library and information, science. Archivists with a Ph. D. often work as teaching faculty or deans and directors of archival programs.^[12] In 2002, the Society of American Archivists published Guidelines for a Graduate Program in Archival Studies.^[13]

Also in the United States, the Academy of Certified Archivists offers supplemental archival training by means of a certification program. Critics of ACA certification object to its yearly membership fees, the theoretical versus practical nature of its tests, and the need for members to re-certify every five years. Many positions in government archives require certification from the ACA, but due to its controversial nature, the ACA is not required by all employers in the United States.

[edit] Professional organizations and continuing education

Many archivists belong to a professional organization, such as the Society of American Archivists, the Association of Canadian Archivists, the Society of Archivists (UK/Ireland), the Colombian College of Archivists - CCA and the Australian Society of Archivists, as well as any number of local or regional associations. These organizations often provide ongoing educational opportunities to their members and other interested practitioners. In addition to formal degrees and or apprenticeships, many archivists take part in continuing education opportunities as available through professional associations and library school programs. New discoveries in the fields of media preservation and emerging technologies require continuing education as part of an archivist's job in order to stay current in the profession.^[14]

[edit] History of the profession

In 1898 three Dutch archivists, Samuel Muller, Johan Feith, and Robert Fruin, published the first Western text on archival theory entitled "Manual for the Arrangement and Description of Archives". Produced for the Dutch Association of Archivists, it set out one hundred rules for archivists to base their work around. Notably within these rules the principle of preserving provenance and original order was first argued for as an essential trait of archival arrangement and description.^[15]

The next major text was written in 1922 by Sir Hilary Jenkinson, the then Deputy Keeper of the British Public Records Office, entitled "Manual of Archive Administration". In this work Jenkinson states that archives are evidence and that the moral and physical defence of this evidential value is the central tenet of archival work. He further outlines his ideas of what an Archive should be and how it should operate.

In 1956, T. R. Schellenberg, who is known as the "Father of American Archival Appraisal",^[16] published "Modern Archives". Schellenberg's work was intended to be an academic textbook defining archival methodology and giving archivists specific technical instruction on workflow and arrangement. Moving away from Jenkinson's organic and passive approach to archival acquisition, where the administrator decided what was kept and what was destroyed, Schellenberg argued for a more active approach by archivists to appraisal. His primary (administrative) and secondary (research) value model for the management and appraisal of records and archives allowed government archivists greater control over the influx of material that they faced after the Second World War. As a result of the widespread adoption of Schellenberg's methods, especially in the United States of America, modern Records Management as a separate but related discipline was born.^[17]

In 1972, Ernst Posner published "Archives in the Ancient World". Posner's work emphasized that archives were not new inventions, but had existed in many different societies throughout recorded history.

In 1975, essays by Margaret Cross Norton were collected under the title of "Norton on Archives: The Writings of Margaret Cross Norton on Archival and Records Management". Norton was one of the founders of the Society of American Archivists, and wrote essays based on her decades of experience working in the Illinois State Archives.

[edit] Archives 2.0

Archivists, like librarians, are taking advantage of Web 2.0 technologies such as blogs,^[18] wikis ^[19], and virtual environments^[20] as well as open access and open source philosophies.

[edit] References

^ Pearce-Moses, Richard. "Identity and Diversity: What Is an Archivist?" Archival Outlook, March/April 2006.
^ Hunter, Gregory (2003). Developing and Maintaining Practical Archives. New York: Neal-Schuman Publishers, Inc.. http://www.neal-schuman.com/db/3/353.html.
^ O'Toole, James M. and Richard J. Cox (2006). Understanding Archives and Manuscripts. Chicago: Society of American Archivists. http://www.archivists.org/catalog/pubDetail.asp?objectID=1997.
^ "SAA Code of Ethics". Society of American Archivists. http://www.archivists.org/governance/handbook/app_ethics.asp. Retrieved on 2007-03-30.
^ O'Donnell, F. (2000). "Reference Service in an Academic Archives". The Journal of Academic Librarianship vol. 26 (no. 2): pp. 110–118. doi:10.1016/S0099-1333(99)00147-0. http://cat.inist.fr/?aModele=afficheN&cpsidt=1408503. Retrieved on 2007-04-20.
^ "Archivists, Curators, and Museum Technicians". U.S. Department of Labor, Bureau of Labor Statistics. http://www.bls.gov/oco/ocos065.htm#outlook. Retrieved on 2007-04-20.
^ "Guidelines for College and University Archives, Section IV. Core Archival Functions, Subsection D. Service". Society of American Archivists. http://www.archivists.org/governance/guidelines/cu_guidelines4.asp. Retrieved on 2007-04-23.
^ "Encoded Archival Description". Archives Hub. http://www.archiveshub.ac.uk/arch/ead.shtml. Retrieved on 2007-04-23.
^ Ritzenthaler, Mary Lynn (1993). Preserving Archives and Manuscripts. Chicago: Society of American Archivists.
^ "The Archival Paradigm—The Genesis and Rationales of Archival Principles and Practices". Council on Library and Information Resources [1]. http://www.clir.org/pubs/reports/pub89/archival.html. Retrieved on 2007-04-03.
^ "Archival Census and Education Needs: Survey in the United States". Society of American Archivists. http://www.archivists.org/a-census/. Retrieved on 2007-04-04.
^ Yakel and Bastian, Elizabeth and Jeannette (Fall/Winter 2007). "A*Census: Report on Archival Graduate Education". American Archivist 69 (2): 349–366. http://www.archivists.org/a-census/reports/YakelBastian-ACENSUS.pdf. Retrieved on 2007-04-04.
^ "Guidelines for a Graduate Program in Archival Studies". Society of American Archivists. http://www.archivists.org/prof-education/ed_guidelines.asp#_ftn1. Retrieved on 2007-03-30.
^ Zimmelman, Nancy (Fall/Winter 2007). "A*Census: Report on Continuing Education". American Archivist 69 (2): 367–395. http://www.archivists.org/a-census/reports/Zimmelman-ACENSUS.pdf. Retrieved on 2007-04-04.
^ Cook, Terry (1997). What is Past is Prologue: A History of Archival Ideas Since 1898, and the Future Paradigm Shift. Canada: Archivaria Vol.43, Association of Canadian Archivists. http://www.mybestdocs.com/cookt-pastprologue-ar43fnl.htm.
^ Schellenberg, T. R. (Theodore R.), 1903-1970 - Archivopedia
^ Schellenberg, Theodore R. (1956). Modern Archives: Principles and Techniques. Chicago: University of Chicago Press.
^ Archivopedia list of blogs by archivists
^ Archivopedia wiki search
^ Virtual Campus

[edit] External links

Society of American Archivists website

Retrieved from "http://en.wikipedia.org/wiki/Archivist"

Archivists, Curators, and Museum Technicians

(archivist) — Wed, 29 Jul 2009 00:22:30 +0900

http://www.bls.gov/oco/ocos065.htm

Occupational Outlook Handbook, 2008-09 Edition

Archivist_아키비스트

CURATOR_JOB DESCRIPTION

Tricycle Theatre Co Limited

trading as

The Tricycle

작가선정 항목

[극장]자연과 역사, 사람이 공존하는 예술공간

아키비스트(Archivist)

Archivist

From Wikipedia, the free encyclopedia

Contents

[edit] Duties and work environment

[edit] Skills

[edit] Educational preparation

[edit] Colombia

[edit] France

[edit] Republic of Ireland

[edit] United Kingdom

[edit] United States

[edit] Professional organizations and continuing education

[edit] History of the profession

[edit] Archives 2.0

[edit] References

[edit] External links

Archivists, Curators, and Museum Technicians

Archivists, Curators, and Museum Technicians