Nana Robinette - Public History 2007/2008

Interactive Elements at the DIA

2008-03-24T11:24:00.011-04:00

Recently, I travelled to Detroit, Michigan to go to the Detroit Institute of Arts (DIA). There were specific parts of the gallery I was extremely excited to see, such as Julie Mehretu’s exhibit City Sitings and Whistler’s Nocturne in Black and Gold, the Falling Rocket. Although these elements were personally pleasing, I came away from the gallery more impressed with DIA’s interactive elements and the reaction they were getting from the numerous school children in the gallery that day.

One specific interactive element took 18^th century European porcelain and dinnerware (a boring subject for many school age children) and turned it into an 18^th century feast titled: The Art of Dining. The DIA used replica artefacts to create a virtual, and imaginatively realistic, dining experience. The children were able to sit around a black table and with the push of a button, a projector from above served them a multi-course meal. The children not only saw the dinnerware in use as it would have been in the 18^th century, but they also witnessed the types of food the European elite were eating at the time. In addition to the dinnerware and the food, the children were presented with the suggestion of butlers or servants, who waited on them throughout the meal. The experience left many responding to the dinner, some with disgust at the idea of eating rabbit, others mimicking a French accent, while others just silently watched, taking it all in. Overall, it took a static and potentially lacklustre environment and turned it into a positive and fun interactive experience.

Essentially, the DIA took this:

… and made it into this!

Throughout the gallery, I noticed that the DIA has incorporated numerous lively elements to appeal to a younger audience. Many of the exhibits have a ‘push button’ presentation such as The Art of Dining. Another example is the Antiquity Silhouette, which is projected on a wall in the Greek section of the gallery. The life-size silhouettes demonstrate a slave mixing and serving wine to a more prominent man. The movie displays artefacts similar to those in the surrounding gallery and introduces the viewer to some of the artefacts original uses. Again, this video takes a typical object, such as a Greek pot, and turns it into something unique and exciting.

Looking at our upcoming Digital History exhibit, The Sky, I see a lot of similarities between the DIA's interactive elements, and the digital elements imagined by each group. For us, it was essential to take traditional topics and display the history, while also trying to entertain and engage people. Whether it is an interactive model, a SmartBoard presentation or a digital timeline, each group has achieved several interactive elements for the viewer.

Blog Poll - Which Museum would you visit?

2008-02-19T08:31:00.007-05:00

Take the poll

Free Poll by Blog Flux

I am still not sure if this blog poll is going to work or not. I spent the morning trying different polling sites, all of which were easy, straightforward and provided the HTML code for my poll. Each time, I would transfer the HTML into my blog and, surprisingly, it worked... kind of! I am leaving this poll up to see what happens, but the poll (or blogger) seems to get confused once I actually enter my vote. The poll looks as if it will continue to show only my one vote, instead of returning to the list of choices. Now, I figure I will wait for others and see if they can vote - hopefully this blog poll will actually work.

On a side note, I tried the blogger poll option, available under 'Page Elements' and 'Add New Page Element', but I found that it was not what I had envisioned. The poll seemed to get lost on the page and the ballet box was not big enough to accommodate my five choices (although, I believe I could have changed this).

This specific poll is 'Blogflux'. I also tried 'Easy Poll' and 'Polldaddy'.

Comandancia de La Plata - Less is More

2008-02-18T16:17:00.007-05:00

In my museology class, we were asked to write about our most memorable or life changing museum experience. I chose to write about The Comandancia de La Plata, in Sierra Maestra, Cuba. The Comandancia de La Plata functioned as headquarters for Fidel Castro, Che Guevara and their guerrilla rebel army, while they planned and campaigned their fight against Batista. Visiting it today, the grounds are kept in their original, rustic style, with only one of the original cabins transformed into a small and equally rustic information centre.

The only way to access the museum is by foot or mule, and a park guide must direct you, as the hike is narrow and steep (not to mention full of wildlife such as snakes, lizards, birds, etc.). On your way up, you learn that Fidel and his comrades hiked a similar route to establish their hidden command centre. As you make your way through the dense vegetation, you pass look out points and thatched spy-huts, used by the rebel forces to guard the command centre. Once you reach the Comandancia de La Plata itself, you can enter Fidel’s cabin, which still houses his bed, beer fridge, desk and trap door (for a speedy escape). Also, the original broadcast hut for ‘Radio Rebelde’ still stands, as well as Che’s hut, the original stairs and trails, the kitchen and the medic hut.

Looking back on my experience now, with new ideas for digital and interactive museum elements, I believe that this is one museum experience that is better off without the new and experimental. It is raw and unrefined, and possesses a unique living history, that is essential to the atmosphere of the Comandancia de La Plata. Without computers, audio tours, televisions, Smartboards or audio-visual clips to alter the environment of the museum, you gain a greater understanding of how it was originally, when the rebels were developing tactics and strategies. With just the grounds, complemented by a collection of photographs, a large model and detailed oral histories, the experience certainly feels authentic and candid. For this site specifically, the motto, ‘less is more’ certainly reigns - the addition of digital elements would tarnish the overall appeal.

Photographs: 1) Our Guide showing us where we were on the model, 2) Fidel's hut with trap door and desk, 3) Fidel's hut (view from outside).

Surface Computing = Wicked.

2008-02-10T14:49:00.001-05:00

Check out this video on Surface Computing by Microsoft!

I came across this a few weeks ago and really want to share it. I figure a lot of people know about this technology already, but I thought I would post it anyway!

I am not sure how this could be used in the field of Public History, but really, the possibilities seem endless - from interactive museum maps, to photographs of artefacts being enlarge and manipulated, to uploading a virtual museum tour onto your cell phone, this new surface computing could add a lot of pizzazz to an exhibit, display, or meeting (and it only (!) costs $5,000-$10,000).

Can you get more out of a virtual museum tour?

2008-02-10T13:33:00.005-05:00

Recently, a fellow student in the M.A. program at UWO stated that a virtual museum tour can be more intimate and detailed, and that they preferred the virtual tour, over the hustled and detached tour they associated with museum visits. I was surprised to hear this, not in a judgemental or contradictory way, but in a, "Wow! I would have never thought of that," way. Personally, I only go to a museum's website for a few specific things, such as, directions, exhibit schedules, and possible internship opportunities.

I decided to look into the virtual museum to see if it was indeed a positive experience, and challenge my comprehension of what a museum visit should be (marble stairs, large groups of children, lines, tour guides, velvet ropes, gift shops, unique architecture, etc.). I decided to look at the virtual tour for the Rock and Roll Hall of Fame in Cleveland, Ohio. Having visited the museum this past summer, the image, atmosphere and tour is fresh in my memory.
I entered my virtual museum visit with an open-mind and I started out with four giant bonus points on the side of the virtual tour: 1) I was in my pyjamas 2) I was drinking coffee 3) I was alone 4) It was free! But my bubble soon burst when I recognized the painfully quiet sound of my own apartment. The onsite Rock and Roll Hall of Fame is full of games, audio clips and visual clips, which saturate the museum with the sound of music and musicians. The website was already falling short, with very little audio and visual interest. So, I thought I would visit one of my favourite exhibits, the ‘Revolution Rock: The Story of the Clash’ – as I remember it, it was loud, dark, full of onlookers and loaded with information, pictures and artefacts. What I found was this. White, clean, and quiet! I especially noticed that this virtual exhibit created a distinct absence of intimacy with the objects in the collection, displaying the showrooms from a distance and only narrowing in on one poster and one guitar. Throughout the tour I noticed that the Hall of Fame included 'Artefact Spotlights', which would change as you selected different topics. While this was an interested effect, it takes the artefact out of any collective storyline or context for the virtual viewer; instead, they just see Hank William’s White Wool Hat or Chuck Berry’s Gibson Guitar. In order to find out more about the artefact, the viewer must click on the picture and leave the exhibit they are visiting at that moment.

As I continued through the virtual tour, there were some advantages, such as a closer look at the Everly Brother’s Report Cards, which I remember not being able to make out too clearly at the museum. As well, little things such as Janis Joplin’s scarves, which were displayed at the museum among numerous other possessions, are photographed separately to provide a visible and clear look at the artefact. Also, the virtual tour allows the viewer to access things such as Past Exhibits and Travelling Exhibits, which you may miss with an onsite visit.

In some ways, the virtual tour did allow for a more intimate and somewhat detailed look at numerous artefacts. Overall, though, the virtual tour of the Rock and Roll Hall of Fame fell short for me. I preferred the onsite tour full of flying cars, loud concerts scenes, hyper children, numerous artefacts, games, video clips and old Rolling Stone Magazines. Maybe the Rock and Roll Hall of Fame wants the virtual experience to lack-lustre? Perhaps it is just a tease to get us down to Cleveland, to see the real thing? They make more money from onsite visitors anyway – I have an expensive ticket stub and overpriced magnet to prove it!

P.S. - I love cardigan sweaters!

2008-01-04T16:57:00.000-05:00

Over the holiday break, I had access to my family car, which resulted in numerous long trips to Toronto and unnecessary shopping. Fortunately, it also allowed me more time to listen to CBC radio. Although I often listen to CBC radio at home, it is never for a substantial length of time. This break, I was pleased to notice that the CBC was making great use of its archival holdings, often incorporating sound clips from the past into relevant and interesting topics for the present. From New Year’s Eve predictions since the late-50s, to the top Christmas toys from the mid-80s, CBC radio used sound clips to connect the audience to the past and harked back to different, rare moments in time.

Since returning from my break, one audio clip has remained on my mind from CBC's segment 'Flipback' on December 27^th. Unfortunately, when I went to find the clip at CBC Radio online, I was unable to locate it. Luckily, YouTube had the clip that I was so desperate to share: 'Mr. Rogers talks to US Senate'. When my sister and I first heard Fred Roger’s voice, it immediately gave us chills and we became reminiscent of our childhoods. It also happened to send us into a discussion about our generation’s supposed sense of entitlement and the lasting effects of songs such as, 'You are Special' and 'I'm Still Myself Inside'.

Now, listening to the clip again, it helps me comprehend how powerful and massive a collective childhood memory can be. Mister Rogers’ Neighborhood ran continuously from February 1968 to August 2001, daily entering homes and engaging children throughout North America. With his straightforward, thoughtful and calming style of entertainment, Mister Rogers was able to directly speak to several generations of youth. For thousands, possibly millions, Mister Rogers was a childhood staple and arguably an immensely influential figure for countless individuals. Thanks to CBC radio's 'Flipback' I was prompted to reflect on this important and strangely impressive childhood legend. Mr. Rogers’ Neighborhood takes me back in time and opens the flood gates on thoughts about the collective memory thousands share with me and Fred Rogers.

_________________________________________
" So, let's make the most of this beautiful day. Since we're together we might as well say: Would you be mine? Could you be mine? Won't you be my neighbor? Won't you please, Won't you please? Please won't you be my neighbor?" - Mister Rogers

Being An Outsider: A How To Guide

2007-12-11T12:58:00.001-05:00

Start out your journey by being a twenty-six year old, history student with a computer dating back to the mid-90s. Then add your gender as female and your hobbies as camping, reading, running and anything outside the realm of video games and computers. Then (and here’s where it gets tricky) decide to travel two hours to engage in a full-day Northern Digital Expo! This my peers, is how to feel like an outsider.

It is interesting to note that just days before the expo, I was comfortably engaged in my weekly digital history class, exploring ideas surrounding the digital world and discussing possible display technology. Reflecting on my day at the expo, I started to think: what were the major differences between class and the expo? Why did I feel so comfy/cozy in my digital history class, but not in the digital expo world?

It turned out to be pretty easy to spot the differences. For starters, my digital history class does not have dancing, Old Spice, ‘cyber girls’, which, I am guessing were aimed at the majority of expo goers – male, 15 to 25 years old. Secondly, my digital class does not have a deafening loud heavy metal(-ish) band playing while we are computing. And lastly, our classroom, for the most part, does not smell like a mixture of energy drinks and Doritos, which were handed out in large quantity, for gamers to smear all over the latest controllers, keyboards and virtual reality simulators.

Now, the Digital Expo had some interesting and more positive elements: guitar hero wars, large gaming arenas, massage tables (mostly unvisited), and the latest in Mac computers - but for the most part, it felt more like a toned down frat party than a digital expo.

‘Playing Indian’ at Ontario Summer Camps: Has anything really changed?

2007-11-13T21:18:00.001-05:00

With days becoming shorter and cooler, I yearn for my summer in Algonquin Park, where I would lounge on the deck, paddle around the lake, chat with campers and head out to Native Council. Wait a second…? Did I say Native Council? That’s right, as late as 2004 (my last summer in the park) my summer camp sustained the contested tradition of “playing Indian”.

In the early to mid 20th century, summer camps in northern Ontario boosted their traditional, back-to-nature approach advertising Native councils, war canoes, smoke signals and long-established Native dances. Flashy camp brochures were adorned with pictures of campers wearing feathered headdresses, applying war paint and taking part in chanting circles. Although I would like to believe that the ideas of cultural appropriation and constructed stereotypes of Native Americans are far behind us, the days of ‘playing Indian’ are still surprisingly present.

While the camps are more discreet in their inclusion of ‘playing Indian’ (less advertising, less war paint) many still adhere to the socially unacceptable act of ‘playing Indian’. I think this tactic is a form of appropriation that is unnecessary, insensitive and misleading, leaving campers with an artificial impression of traditional Native culture. If the camps would include an educational aspect to these “Native” experiences, a more holistic and historically engaging experience can be created for the participants. Historical recreations can be positive and campers can learn about Native culture without playing on offensive stereotypes.

(Written upon reflection of Sharon Wall’s “Totem Poles, Teepees, and Token Traditions: ‘Playing Indian’ at Ontario Summer Camps, 1920-1955,” Canadian Historical Review.)

Exhibit Review

2007-11-06T23:13:00.000-05:00

“The Charm of Rococo: Femininity and Footwear in the 18th Century.” The Bata Shoe Museum, 327 Bloor St. West, Toronto, Ontario. Temporary exhibit: June 2006 to February 2008. Square footage unavailable. Elizabeth Semmelhack, Curator. Date Visited: October 22, 2007.

“The Charm of Rocco” is a temporary, yet surprisingly long-standing exhibit located at, and funded by, the Bata Shoe Museum in Toronto, Ontario. This comparatively small exhibit was created by the Bata Shoe Museum’s head Curator, Elizabeth Semmelhack, and was designed by multiple in-house staff. The museum also brought in Tom McAneny, a guest artist, who, with direction from Semmelhack, created an extravagant exhibition space. This elegant and visually opulent display captures the eye and imagination of those visiting the museum, taking them back into the luxurious era of the Rococo period. The goal of the exhibit is not only to be visually appealing, but aims to demonstrate the shifting styles in footwear during 18th century France and the connection between femininity and footwear. By maintaining the artefacts in pristine condition, the museum seeks to display and celebrate some of their most beautiful possessions, and accompany them with a brief history of the Rococo period.

The presentation of history throughout the exhibit, although accurate, is understated. The exhibit focuses on femininity and footwear during the Rococo period in France, stating, “emanating from the French court, the Rococo aesthetic infused a sensuous charm and delicate grace into 18th century fashion, it also defined femininity in new ways.”[1] The exhibit, although successful in its display of femininity and footwear, gives very little insight into the art-historiography of the period or fashions prior to or post Rococo. Separated into eleven different sub-groups, the exhibit displays about four to five pairs of shoes under each sub-title, yet the historic description associated with each grouping, is usually only a few sentences long, giving a very general overview of the artefacts. Often, the shoes are left unaccompanied, without any artefact-specific description, such as the exact date, the material used, the original creator or the succession of ownership. The shoes are classified under sub-titles, such as ‘Baroque Brilliance’, ‘Pretty Maids,’ ‘Frills’ and ‘Off with Their Heels’, and although the panels accompanying the shoes are well written, on average they lack the essential descriptive notes required to gain a greater historical context. For example, under the description ‘Off with Their Heels,’ the exhibit states, “the loss of the high heel signalled as a change in idealized femininity,”[2] however it does not examine or compare the four sets of shoes accompanying the text, leaving the visitor with an general impression, but not a highly detailed understanding of the footwear, fashion and changing standards of femininity.

Although the presentation of history is simplified, the overall affect and lasting impression of the exhibit design is noteworthy. The general themes of femininity are conveyed and the design of the exhibit highlights the importance of extravagance and elegance during the period. The room that houses the exhibit is extremely lavish, painted with gold sunburst and white walls, three gold chandeliers with flickering ‘candles’, and eight large mirrors lining the walls. The mirrors not only create a sense of space, but also reflect the flicking light of the chandeliers creating a sensuous mood. The exhibit creators, although focusing on mood lighting, use track lighting as well, to bring attention to the objects displayed. The visual tactics used by the creators of the exhibit are indeed one of the most significant and influential parts of the display, as it reinforces the extravagant spirit of the Rococo period. “The Charm of Rococo” is successful in the sense that it creates an awe-inspiring environment, for the remarkably beautiful artefacts. The artefacts presented are the exhibits’ chief focus, since historical description, original artwork or other media outlets do not accompany them on average. The display houses forty-three pairs of shoes, and fourteen single shoes, which alone creates an abundance of visual substance.

Although light-hearted and engaging, “The Charm of Rococo” is designed with a specific audience in mind: the school group. The exhibit is frequented by high schools, which incorporate the field trip into their Visual Arts programs and touch on the art history associated with the period. Fine art students and art history students from the University of Toronto, Ryerson University and the Ontario College of Art and Design, also frequent the exhibit. Major themes run through the exhibit, that can be manipulated to address the history of the French Court, the art of the Rococo period or the history of fashion in general. To get the most out of the exhibit, the audience is best equipped if they have an understanding and interest in art history. For example, one-panel states, “silverlace decoration and high ‘Van Dyck’ tongue is a fine example of early Rococo style.” For the audience, this statement is only significant to those who can identify Van Dyck as a popular portrait artist from the 17th century. Although the intended audience are students, the exhibit does cater to a wider audience in the sense that the artefacts are visually stimulating and the content is linear and quick to explore. The Bata Shoe Museum is a top tourist attraction in Toronto, but for the general public, the larger exhibits focusing on Native Footwear, Pop-Icon Footwear and Chronicles of Riches, generate a wider audience. Artefacts such as Terry Fox’s running shoes, Elvis Presley’s white penny loafers and Princess Diana’s baby blue pumps, in general, generate a larger audience. “The Charm of Rococo” is tucked away on the second floor, often only visited by guided tour.

Overall, the exhibit has both positives and negatives aspects. The drawback of the Rococo exhibit is the lack of detail and over simplified panels. Also, the location and rectangular set-up of the room is a visual weakness, as it is designed to cater to walking tour groups, such as school field trips. Another drawback is the cost to enter the museum, which remains quite expensive for the size and scope of the museum. The cost ranges from four dollars for children under five, six dollars for students and twelve dollars for adults. “The Charm of Rococo” exhibit falls under these general admission costs, as well as several other larger exhibits. A new positive feature is that the museum is now free on Thursday night from 5:00 to 8:00 pm, opening up a wider, potential audience for the Rococo exhibit. Primarily though, the positives lie in the exhibits use of the artefacts and the elaborate decoration of the space. Bringing in guest artist Tom McAneny to recreate the emphasis the style of the Rococo period was a major plus for the exhibit, as it reinforced the beauty of the artefacts themselves. “The Charm of Rococo” is a clear representation of the type of history the Bata Shoe Museum wants presented, which focuses more energy on the displaying of artefacts, than on the detailed history behind them. In this case, the splendour and grace of the artefacts, and the elegant and rich atmosphere in which the exhibit is shown, make up for the contextual shortcomings. The artefacts and the design carried an otherwise average exhibit to the next level, making it a memorable and positive experience.

Notes:
[1] Elizabeth Semmelhack, Introductory Panel, “The Charm of Rococo: Femininity and Footwear in the 18th Century.” The Bata Shoe Museum.
[2] Semmelhack, Off with Their Heels, “The Charm of Rococo.”

Collective Memory

2007-10-30T22:59:00.000-04:00

For our Digital History class, we were asked to look at several collective memory projects, such as the Memory Archive, 9/11 and the Hurricane Katrina collective. We were also invited to think about a memory bank or collective experiences, that we would like to turn into a website. For me, this proved to be very difficult, as I wanted to think of something all encompassing and nation bonding as the Memory Archive or the Hurricane Katrina website. I soon found out, that I really don’t have a large, shared memory outside of those presented. Perhaps I am too young, or perhaps Canada has been fortunate enough not to have such horrible, nation-unifying events like 9/11. I started to think about my strongest and most powerful memories, such as: the death of Princess Diana, my love for Jordan Catalano, the death of Kurt Cobain, the chills of Twin Peaks, my first real kiss, the Brit battle over Blur and Oasis, my first 'grown-up' job, etc…. All of these memories would create interesting and gripping memory banks, but instead, I decided to pick a topic that tormented me for years, I call it…

....Kilts, Clashes and Capital!

I would like to start a collective memory project recalling the horrors and nuisances of all-girls private school. Now, the school I attended will remain nameless (who knows what future employer has an extremely fond memory of this institution), but it would be interesting to see if other women look back on their single-sex education as unfavourably as I do. Such topics spring to mind: etiquette classes, bomb threats, forced synchronized swimming, unexpected bloomer checks, pageants, flashers, white ‘purity’ gowns for Graduation, extreme awkwardness with the opposite sex, vicious dodgeball games, cliques, super cliques, loners, mean girls, that one male math teacher, the 'cool way' to wear knee socks, penny loavers, doc martins, itchy tights and obsessive Diet Coke consumption! There are a lot of memories to share, and maybe some group therapy to be had.

“Freaky-deakies need love too!”

2007-10-26T10:32:00.000-04:00

For those who do not watch 30 Rock, the above title is not as humour as it could be; for those of you who do watch the hilarity of Liz Lemon and her horde of co-workers, congratulations, you are currently viewing one of the most entertaining and witty comedies on television!

Okay… now on to what I’m really here to talk about! Freak-deakies, or rather, the London Dungeon.

Over the past few weeks, our Public History course has examined the role of the museum, looking at the history of museums, as well as exploring contemporary examples. In Tony Bennett’s The Birth of the Museum, he discusses the changing role of the museum from a carnival-like, freak show to the organized, sterile environment associated with some museum’s today. While I truly enjoy visiting a more conservative style of museum, such as the ROM or Museum London, the idea of a carnival-like, freak show is starting to appeal to me (perhaps it is the time of year, when papers, test and presentations are all piling up, revealing my inner freak!).

The London Dungeon (London, England) advertises: “transport yourself back to the darkest moments in the capital’s history within the deep depths of the London Dungeon. Live actors, shows, two rides and interactive special effect ensure that you face your fears head on.” For some, this sends off alarm bells since it sounds more like Fear Factor than a museum. Personally, I would agree, the London Dungeon does have Fear Factor or Magic Mountain type elements to it. For those who visit the London Dungeon (instead of visiting the Victoria & Albert Museum, the Tate Modern, The National Gallery, etc.) they are looking for something different - they are looking for something where they can take their thirteen year old, who is too cool for school, as well as their eleven year old, who could not be more disinterested in history or family gatherings as a whole.

People are going to the bloody, gory, thrill-driven London Dungeon to fulfill a different desire. Yet, in spite of this, the outcome is very different from what one might think. Having been to the London Dungeon, I believe it is impossible to leave, without some senses of ‘a’ history. Not only can you seek thrilling rides, but you can also go to numerous exhibits on torture, which is a very true and gruesome part of British history. You can also learn about the losses of the Great Fire of London, the horrors of the Great Plague and the malicious killings of Jack the Ripper. While you are there, a ‘reaper’ like guide, who informs you about such things as torture devices and historic diseases, can escort you around the site. They explain the who's, the how’s and the when’s of a lot of the exhibits. For me, this is all history, even if it is served with a side of shock value and a handful of pyrotechnics.

The way we present history is changing! Museums like the London Dungeon are challenging the way we currently view a museum, and just like all good and bad things in life, there has to be a happy medium between conflicting sides or ideas. The London Dungeon is a balancing act within itself, presenting gruesome history, to the widest audience, in a thrill driven atmosphere – and by widest audience, I mean huge! The London Dungeon brings in thousands of visitors a year and has even recently been awarded London’s Visitor Attraction of the Year and the Best Tourism Experience. With this, many people are experiencing the doom and gloom of historic London and I would be surprised if several did not go away with a greater desire to learn more about the history of torture. Taking this further, I would argue that many leave with a keener interest in history itself. The London Dungeon has taken an exciting, historic truth and turned it into a great attraction - and what a great city to be left in, when your new found spark for history sets in. Leaving the depths and shadows of the London Dungeon, you can be inside the Museum of Technology, the Saachi Gallery or the Tower of London in minutes!

Overall, I feel that museums such as the London Dungeon have an important role to play, as do more conservative ones. Even if the London Dungeon only transforms a few sceptical teenagers, children or adults, into future history enthusiasts, the goal (for me, as a Public Historian) has been achieved.

HEARTH - Website Review

2007-10-17T08:29:00.000-04:00

HEARTH: Home Economics Archive: Research, Tradition, History <http://hearth.library.cornell.edu/> Reviewed: September 28, 2007 to October 7, 2007. This site is created and maintained by the Albert R. Mann Library of Cornell University.

HEARTH: Home Economics Archive: Research, Tradition, History, presented by the Mann Library at Cornell University, examines the field of Home Economics in America between 1850 and 1950. Created by a team of twenty-three scholars, ranging in background and speciality, the website provides an easily accessible database of primary and secondary sources for those researching the field of Home Economics. The goal is to present the history of Home Economics while outlining the triumphs, technologies and fundamental developments during the selected period. The site also seeks to credit the forgotten stories of women and path-makers in the field Home Economics. By maintaining the records and materials available, the HEARTH website not only preserves digital evidence, but also organizes it into a user-friendly, comprehensive online archive.

The presentation of history throughout HEARTH is straightforward, engaging the reader in short essays, while providing access to copious amounts of primary and secondary sources for additional research. The ‘About’ section gives a detailed introduction, outlining and defining Home Economics, while also offering a concise historiography surrounding the subject. The written content of the site offers a revisionist history of Home Economics, challenging traditional stereotypes, such as the belief that Home Economics was a lacklustre field, which was restrictive to women. The HEARTH site views the growth of Home Economics as a positive and progressive development in America society, which opened up opportunities for women. Such opportunities or themes are outlined in the ‘Subject’ link where you can search topics such as Applied Arts, Child Care, Home Management, Home Equipment, Etiquette and Hygiene. Each theme provides a short history, highlighting important people, emphasizing significant political developments, and displaying numerous photographs or images. Each history provides a detailed bibliography for those seeking future research. The subject list makes the search for major historic themes within the database clear and accessible.

HEARTH has many positive features that make it a valuable and effective resource. The websites most notable strength is that it is a gateway to numerous academic sources that are not easily accessed by the public. The website includes more than nine hundred on-line books ranging in date from the early 1850s to the mid 1900s. It also allows free access to nine uncommon academic journals, such as The Home Economist, Journal of Social Hygiene and The Journal of Home Economics. With so much content, HEARTH is surprisingly easy to navigate, separated into six available sub-groups: About, Subjects, Search, Browse, Contact and Help. The ‘Search’ and ‘Browse’ links offer different ways to navigate the resources depending on how specific your research is. ‘Browse’ offers a more whimsical approach searching by lists of time periods, authors, or journal titles. The ‘Search’ link provides a useful key word or title search. Once you have located a valuable resource, you can add it to your ‘Bookbag’ which will record and organize your favourite sources. This is an extremely useful asset, as on-line research can often become mismanaged. Aesthetically, the site is tasteful, disregarding elaborate and unnecessary graphics to entice viewers. The site has a consistent L-shaped, graphic border, which frames the content of the site throughout your exploration. The boarder also provides the sub-groups, which remain on the left-hand side while you navigate the site. HEARTH displays numerous images that relate to the subject matter on the page and provide additional visual interest.

The positives outweigh the negatives with regards to the HEARTH website, however the site is not without flaws. The essay titled, ‘Teaching and Communication’ is currently not available and directs the reader back to the ‘About’ section of the website. Another major drawback is that some digital books are excessively large and take a long time to load, if they load at all. The website is best viewed with high-speed Internet access and a capable computer. While searching the website it is also helpful to note that the sources cited in bibliographies do not act as direct links, which leads to extra research for those seeking the additional sources. Furthermore, although the website caters to both casual browsing and research, the best results are found when you have a strict focus, submitting a specific name or title. Without a narrow focal point, searches can become endless. Lastly, the website did have a minor spelling error which was reported to the site via the ‘Contact’ section on September 30, 2007; it remains unchanged.

Overall, the website is designed to cater to a large and diverse audience. The website is easily accessible through a general Google search or as a link through Cornell’s Mann Library website. More specifically though, the site is geared towards individuals doing research; HEARTH provides extensive bibliographies, copious amounts of research material and reputable information backed by scholarly research and peer evaluation. The primary intended audience are Undergraduate and Graduate students specializing in History, Women’s Studies and Home Economics. Although it is geared towards a more academic audience, the site offers straightforward and approachable information for any high school student or history hobbyist.

Writing with Edit HTML

2007-10-08T13:09:00.000-04:00

This is my first time using HTML to write my blog. I thought I would experiment and see what I could do with my very basic knowledge of HTML (and a little help from our course readings).

This text is bold.

This text is pink.

This text is Dark Orchid 2 in bold italics!

This text is Royal Blue 1, underlined, bold and in italics!

This text is LARGE!

This text is small.

This is green Times New Roman underlined.

While this is orange Veranda underlined.

As I experimented with HTML on my blog, I noticed that the site would adapt what I was writing to code it preferred. I would enter a colour code and then preview it. When I returned to edit my HTML, the code had changed to the specific colour title (eg. purple, pink). Moving forward, I understood what Blogger preferred, and would write my HTML to fit the language used by Blogger, instead of the language I had previously used.

This may seem really simple (or perplexing?) to anyone with a background in HTML, but for me, with limited experience (by limited I mean none until now) it was a challenge. Surprisingly, once I got 'into the groove' I found that it was straightforward and actually, kind of fun. I did make numerous errors, some of which Blogger fixed for me, but for the most part, I was able to look at my 'Edit HTML' and identify the problem. For example, I was having problems with my first task - making something bold - but I had simply forgotten the '/' when ending the command. This took me about ten minutes to spot, but in the end it acted as a great reminder to close all future commands. I discussed my error with my friend Mike, who has a background in Computer Science from the University of Guelph. He said, "It's usually something small and annoying that messes everything up. Then you've wasted hours on it and consumed enough caffeine to kill a small child" ... encouraging!

For me, HTML is like learning a different language (and a different way of forming sentences and instructions). Right now I am embarking on my second attempt to learn French - so, perhaps by Spring 2008 I will be on my way to becoming trilingual. Down the road, I believe we have to make a website for HIS 513 - this is a daunting challenge that I (now, somewhat, kind of, reluctantly, yet happily) welcome with open arms!

Lifelogging! Who knew?

2007-09-19T09:16:00.000-04:00

After completing this weeks reading, I was reminded of my lack of tech/web/cyber-world knowledge (heck, I don’t even know what to call ‘it’, the ‘it’ that I lack!). I selected my University major at a very young age, probably around grade six or seven, when I decided I wanted to work in a Museum and therefore should take History and Art. I carried this academic and career choice forward through high school, where I quickly abandoned classes I saw as ‘unnecessary’. I turned my back on classes like Computer Science, Finite Mathematics, Physics and Chemistry, without much care, knowing, contrary to what my guidance counsellor told me, I did not need Grade 12 Physics to get into a History program! Looking back, I probably should have stuck it out with Computer Science - but really, who knew computers would become so indispensable? (… evidently, only me).

With my lack of computer knowledge I geared up for my second week of Digital History readings (which I printed out and highlighted the 'old' way). My conclusion after these readings - I am: annoyed with my lack of proficiency, gasping at other’s extreme expertise, left wanting to know more, and yet, craving my previous ignorance! The one reading that struck me as most noteworthy was Alec Wilkinson’s article, Remember This? A Project of Recording Everything we do in Life. Wilkinson explores Gordon Bell’s pioneering act of ‘lifelogging’. Gordon Bell, who works at Microsoft and is described by Wilkinson as “the Frank Lloyd Wright of Computers” (finally, a description I can relate to), is literally digitizing everything from his birth certificate, to random business cards, to personal family photos - all making up an extensive and massive personal archive (or a “raw archive” as Daniel Cohen would suggest in his article, Raw Archives and Hurricane Katrina). The main thought running through my head as I read more and more about this extensive archive, an archive that will live on for others to explore, was - what if they can’t access it? What is the purpose of a lifelog if it will be lost in the technological changes of the next five/ten/twenty years? This was explored in Wilkinson's article by Bell, who addressed his fears and anxieties over the loss of his lifelog. He questioned, “Will jpeg format still be in existence? Will Word 6 be readable?”

Well, will they? …

I thought about my own experiences with record keeping and archival sources, and initially thought – paper (!), it stands the test of time! I thought about my Grandma, who kept extensive diaries throughout her childhood, up into her late seventies. These acted as fascination primary documents for me in my childhood (before I even knew what a primary document was) and I often read them or had them read aloud to me. I had to hand it to my Grandma, her diaries - bound in leather, written in ink – were standing the test of time… well... except for the one box of diaries that had extensive water damage from the time the basement flooded at 21 Cluny, and (eek!) those few pages that I ripped out of one diary because I liked the drawings! As I started to think about the longevity of these diaries, I started to question: Is there anyway to really secure our artifacts? (A question perhaps I can explore in my Archiving course?) Maybe my Grandma’s diaries are as sensitive to time as Bell’s lifeblog?

Indeed, I am now left wondering - “what’s the point?” - a feeling I have had a few times this week (previously after reading Keith Jenkin’s What is history?). For me, I am still questioning, and although I haven’t come up with a ‘big picture’ answer, for now I will settle with this: The ‘point’ is to preserve information for the future and acknowledge that the more that is left about the past, to those in the future, the more they will be able to piece together different theories and ideas about life in 2007. If we can keep both digital and printed artifacts, certainly the people ‘of the future’ will find our articles, diaries, lifelogs, pictures, books, digital libraries, etc… The argument for information overload will creep up now (like David Talbot's argument about selection), but for me, isn't it better to have too much and avoid the fear of having too little? For Bell, without doubt, there will be someone as dedicated to computing in the future, as he is now, who will uncover ways to keep his lifelogging alive. For my Grandma’s diaries, well, they are out of the basement and have a new, dry home in Massachusetts!

(On a sidenote: According to my Grandma, WWII was a fantastic, never-ending party! She often talked of non-stop dancing, oodles of dates and lots of ice-skating! As a child, her diaries, mixed with my attachment to Kit Pearson novels (The Sky is Falling, Looking at the Moon, The Lights Go On Again), left me with a romanticized view of Canada during the World Wars. Today, this memory acts as a gentle reminder that I should always back up my personal knowledge and research with multiple accounts and interpretations of an event or time).

In the Shadows of Casa Loma: My Newest Weakness

2007-09-12T20:41:00.000-04:00

Spadina House, located at 285 Spadina Road, has an uphill battle (yes, it’s located on a steep and eroding hill, but that’s not what I’m talking about). Spadina House is situated beside Casa Loma, one of Toronto’s most frequented tourists destinations, and while Casa Loma does mention Spadina House to its visitors, it often gets the cold shoulder from drive-by-tourists, adhering to a strict tour bus schedule.

Growing up in downtown Toronto, I probably visited Casa Loma approximately five times before the age of sixteen. From school trips, to winter galas, to weddings - it was a popular destination. Unfortunately, I did not discover Spadina House until my early twenties and even then, it took me months to enter. While training for the Toronto Marathon, I would run up and down the steps that led to Spadina House multiple times a week. One afternoon I finally decided, sweaty and out of breathe, to check the place out. To be completely and grossly unoriginal, ‘it was love at first sight’. My first trip through Spadina House uncovered a new, exciting and nerdy weakness for me: the Historic Home.

Spadina House energized me and gave me the surprising rush of being able to snoop through a neighbours’ private residence, while taking a trip back to the late 1800s and early 1900s! (I know I’m not alone with this 'snooping' excitement, as a fellow Public History student touched on this idea earlier in the week). On my first tour, I felt as if I had literally stepped inside a restricted household, where at any moment I would run into a family member and have to explain who I was and how I got in. This often led to a detailed inner-monologue and meticulous mental role-playing on my behalf, as I toured through the house. Maybe I could be Nana, the children’s playful nanny who flirts excessively with the chauffeur, but dates the butler? Or Nana, the severe and irritated cook who fumbles around in the root cellar only to find out that we are out of turnips and guests are arriving in two hours? Or Nana, the dependable gardener who tends to the Austin’s Palm Room and Orchard, but who occasionally takes samplings home to her personal garden? …

… but I digress …

My point was (I believe), visit the little museums, the ones lurking in the shadows and hiding behind stonewalls. For me, my first visit to Spadina led to a growing respect for historic homes and a volunteer opportunity with the Children’s Program at Spadina House. Eventually, it opened doors for me to become a Docent, teaching and exploring the house with other curious and excited guests, who were often surprised by what they found in the house beside Casa Loma!