Research Resilience reflection 1: Distributing the archive

This post by Alexandra Leigh (City University) is the first in a series of reflections linked to the Research Resilience event organised by History UK and The National Archives’ Higher Education Archive Programme (HEAP). You can find out more about the panel discussion and networking event here.


Picture the archive – what do you see? For me, a physical location often comes to mind when I think about the archive, whether somewhere I have visited, worked or studied. However, this is no longer the reality of a great deal of archival work.

Drawing showing a laptop, smartphone, camera, and The National Archives
How might we – as users – transmit and store the ‘distributed’ archive? © Author’s own

Archival research, in particular, is increasingly moving away from the physical location, forcing a reconsideration of what we consider to be the boundaries of the archive. Several user studies have suggested that many researchers now treat the archival research as a data gathering exercise, copying large amounts of archival material in order to work on them elsewhere [e.g. 2, 3]. Some have suggested this represents a new mode of ‘ex situ’ research [3]; and this is without considering researchers who may never even set foot in the archive.

As a PhD researcher based at The National Archives and City, University of London, my own research focuses on these changes to archival research and how to design digital systems to support new ways of interacting with the archive. From October to December 2019, I carried out a series of combined interviews and observations with 11 archival researchers at The National Archives. This study highlighted how key information activities that comprise research practice are being shaped by the researcher’s increasing need to work at a distance from the archive. Here, I present a brief overview of these findings and suggest ways in which the archive can support these changes to research.

The study identified three information activities – reading, collecting, organising – and how these have been shaped by the researcher’s desire to work with archival material elsewhere. When reading records, researchers mostly scanned records quickly, engaging in a lightweight form of interaction to identify material of relevance and collect it, usually through photography. Aware that they would be working with materials without reference to the archival context, most researchers sought to capture the broader context of the information they were interested in, and photographed the whole record wherever possible. Several researchers went further still, maintaining the association of records with file and series either through their notes or by organising materials into a similar filing structure on their personal devices.

Such findings could be taken as supportive of a new model of ‘ex situ’ archival research as identified by Trace and Karadkar [3]. However, rather than reflecting in situ and ex situ as two distinct approaches to research, the findings of this study emphasised the connection between the two and the continuities present in archival research across the notional boundary of the physical archive.

What I found striking about researchers’ activities in the archive was how they sought to preserve the potential to generate meaning from the archival context. Archivists will be well aware of how the meaning of the file can ultimately be more than sum of its parts [1]. This was reflected in the findings of this study, with comments such as, “a lot of times it’s easier to read things, how they’ve been categorised because they also tell you […] a larger story” (p.11) confirming the thought processes behind the researcher’s preservation of the archival arrangement and the significance of this to generating meaning. If researchers are seeking to preserve an archival meaning through their collecting activities, by retaining both provenance and original order, can it be argued that – conceptually – researchers haven’t left the archive at all?

Nonetheless, the researcher’s actions to remove information from the archive will always introduce some level of transformation. Though some elements of the archive are replicated and enacted through the researcher’s information activities, the decisions made as to what to take and what to leave behind also shape how they experience the archive through their assembled research materials. Researchers sought to preserve archival connections when reading, collecting, and organising materials to work on later. Yet they also worked selectively, taking only records of interest from the file. This selection disrupts the ‘archival’ meaning of the record and subtly reshapes the context to merge with the researcher’s own interests. Thus, the active decisions the researcher makes within the archive shape its recreation elsewhere, resulting in a unique and highly personalised enactment of the archive.

These findings invite reflection on the interaction between the archive and the researcher that shapes the meaning we make from records. While the shift away from the physical archive began long before the coronavirus pandemic, the upheaval of the last year has encouraged a reconsideration of many of the ways in which we work. As researchers increasingly work beyond the physical archive, we should reflect on the ways in which current systems or processes enable or constrain the researcher when drawing on the conceptual space of the archive. Further support should be inbuilt to afford interactions with the archive across multiple spaces, whether in the archive, home, office, or anywhere else the future archival researcher might wish to work.

To further these findings, a second study will take place later this year that will examine how working in different physical spaces affects the ways in which researchers engage with the archive. If you would be interested in learning more about this project and would like to be notified when recruitment for this next study begins, please contact me at alexandra.leigh@city.ac.uk.

References

  1. Duff, W.M. and Johnson, C.A. (2002) ‘Accidentally found on purpose: Information-seeking behavior of historians in archives’, The Library Quarterly, 72(4), pp. 472-496.
  2. Rutner, J. and Schonfeld, R.C. (2012) Supporting the Changing Research Practices of Historians, New York: Ithaka S+R. Available at: https://sr.ithaka.org/publications/supporting-the-changing-research-practices-of-historians/. (Accessed 08/01/21).
  3. Trace, C.B. and Karadkar, U.P. (2017) ‘Information management in the humanities: Scholarly processes, tools, and the construction of personal collections’, Journal of the Association for Information Science and Technology, 68(2), pp. 491-507.

Pandemic Pedagogy 2.0: A summary

As we bring our series of blog posts following up on the Pandemic Pedagogy initiative to a close, we thought it would be useful to summarise the interesting contributions that we’ve received. Looking back through them, we thought that they fell into three broad categories. First, there were several posts that addressed the issue of accessibility and building a sense of community among the student (and staff) body:

Second, several contributors reflected in a broader sense on the staff and student experience of teaching and learning during the pandemic:

Finally, we had three posts that explored innovative approaches to teaching and learning, from fieldtrips to assessment via the role of paper (remember that?) in the digital classroom:

To these we can add the posts that were published last year as part of the original Pandemic Pedagogy initiative, which you can find by looking back through the blog.

We hope that you have found these posts to be useful in thinking about your own teaching and learning experiences during the pandemic.

Many thanks to everyone who has contributed to this series of blog posts. We hope that you have found them useful. If you would like to contribute another short blog post or podcast/video that addresses how the pandemic has changed or affected history teaching and learning in higher education then please email Dr Sarah Holland (sarah.holland@nottingham.ac.uk), History UK’s Education Officer. We’d also love to hear your views on the Pandemic Pedagogy initiative and on these blog posts via our Twitter account.

Pandemic Pedagogy 2.0: Lucinda Matthews-Jones – The Paper-Based Digital Classroom

The second blog post following on from our Pandemic Pedagogy initiative is by Lucinda Matthews-Jones, a lecturer at Liverpool John Moores University. She teaches nineteenth-century gender and urban history modules. Her dynamic and innovative teaching approaches were recognised in 2018 when she awarded a Vice-Chancellor’s Individual Teaching Award. Beyond the classroom, she researches ideas of home and urban domesticities in the British Settlement Movement, 1880-1920. Lucinda tweets @luciejones83.


I am a paper-based lecturer and teacher. Before COVID-19, you would have found me moving around my university building with large rolls of paper and a tote bag filled with coloured pens, glue sticks, post notes, and scissors. For me, asking students to work on paper in groups or as individuals enabled them to break down and cement their ideas through a visual format. It helped me to see what they had picked up and to expand these points in classroom discussions.

But how could I replicate this in the digital classroom? There has been a tendency to think that this needs to be done through digital tools. But if the non-digital class can be based on mixed media then why not the digital, too? Why must the digital classroom be paperless? It felt like digital fatigue had hit both me and the students in the second half of the semester in Autumn 2020. Discussions with personal tutees and other students had made me increasingly aware that recorded lectures were taking a lot of time and energy both to produce and consume. As History UK’s Pandemic Pedagogy Handbook observed ‘screen-time and remote interaction have a cumulative effect; the result is mentally and physically draining’.

My first-year students had a ‘how to respond to your feedback’ seminar coming up for their academic skills module and I wanted to think more creatively about how to get them to engage with the department’s writing guide. I decided that breaking it down and asking students to create a zine relating to the section that they had been assigned would help them to process the complex information written down in the guide and get them to think about how to communicate this in a creative manner. Students were sent class instructions through our VLE (see below).

Here is a picture of one zine and the page from LJMU’s History Guide it refers to.

Here is a picture of one zine and the page from LJMU’s History Guide it refers to.

Students reported that the exercise encouraged them to read the material differently by emphasising the need to break it down and to think about how to display the guide’s information. They enjoyed the idea that the exercise was for a wider audience and not just them reading through the guide on their own. At the end of the session, contributions were sent to me and put into a PDF.

Handwriting and hand drawing can improve people’s ability to remember. Hetty Roessingh, for instance, has noted that handwriting notes and sketching has enhanced her students ‘understanding and remembering’ by encouraging them to make ‘personal connection’ through ‘creative thought’.  Roessingh continues that ‘hand-written notes matter and endure over time.’ Asking students to do paper-based creative exercise also changes the embodied experiences of digital learning. It encourages the eyes to look down and focus on the task, minimising screen time during a seminar.

The picture above shows a mind map illustrating one approach taken by students.

The picture above shows a mind map illustrating one approach taken by students.

This session was intended to be light-hearted and a bit different from previous weeks. What I found was that I really enjoyed it. The conversations were dynamic and interesting as I moved around the breakout rooms. I felt more like me as a lecturer, having neither the know-how nor confidence around some digital technologies that others have used to transition their teaching online. Paper based activities will now be the focus of my teaching in semester 2.

What paper-based activities have you been using in your teaching? I would love to hear!

Class instructions

To help you prepare for the next assessment we will be digging into the LJMU Writing Guide. Together we will create a zine of top tips from this based on your feedback and what surprises you from the guide and feel your peers would benefit from.

Before class: 

  • Please make sure you have downloaded: LJMU_Writing_History_v1.pdf
  • Have some paper and any coloured pens to hand. You can also bring newspaper, magazines, glue, and scissors if you want to do something more multimedia. But you do not have too. You can do this exercise on a class.

In class: 

  • You will be spilt into groups and given a section
  • Be able to take an image of your hand out and email to  Lucie for her to collate.
  • Be prepared to summarise and explain your zine page.

Want to know more about Zines? Read here: How to Make a Zine: Guide to Making Your Own Zine During Quarantine – Thrillist (Links to an external site.).


If you would like to contribute a short blog post or podcast/video that addresses how the pandemic has changed or affected history teaching and learning in Higher Education then please email Dr Sarah Holland (sarah.holland@nottingham.ac.uk), History UK’s Education Officer.

Pandemic Pedagogy – your chance to contribute

History UK is looking to build on the Pandemic Pedagogy project by exploring the continuing impact of Covid-19 on teaching history in higher education. We are inviting short blog posts (300-500 words long) and/or podcasts/videos (c. 3-5 minutes long) that address how the pandemic has change or affected subject specific teaching practice in History and cognate disciplines.
Such contributions could include but is not limited to:
  • learning and teaching environments: the socially distanced classroom, online, hybrid and hy-flex
  • diversity and inclusivity
  • technology and software or high tech versus low tech
  • assessment methods
  • activities beyond the classroom (e.g. field trips)
  • student engagement
  • health and wellbeing – staff and students
  • student communities
  • collaborative learning
  • the ways in which students have perceived, understood, and responded to the changes and challenges
If you would like to contribute to the next phase of pandemic pedagogy, please email Dr Sarah Holland (sarah.holland@nottingham.ac.uk), History UK’s Education Officer.
We are hoping to begin to release the blog posts/podcasts/videos from mid-January 2021.

History UK student video competition – What’s it like to be a history student in this new digital world?

The move to online and blended learning has had a big impact on university staff and students alike. At the same time, COVID-19 and related restrictions have highlighted the important role the arts and humanities can have in times of crisis.

History UK invites video submissions from current undergraduates and taught postgraduate students that offer creative and imaginative insights into what it’s like to be a history student in this new digital world. You might reflect on the different ways you or other students have navigated the shift to online or blended learning, or you might want to explore the ways the pandemic and related restrictions have made you think differently about history and the relevance of your degree. Submissions can be made individually or as a team.

The entries will be used by History UK as part of its mission to support historians in higher education in the UK. Through its Pandemic Pedagogy project, History UK has gathered a lot of feedback from staff and provided them with guidance on online learning. We’re now keen to gather some student perspectives to complement these resources.

 

Deadline: Wednesday 28 October, 5pm.

 

Eligibility: undergraduate (i.e. BA) and taught postgraduate students (i.e. MA/MSc) of History currently registered at UK higher education providers.

 

Prizes:

1st: £250

2nd: £100

3rd: £50

 

Submission requirements: 

Submissions should be made by emailing historyuk2020@gmail.com by 5pm on Wednesday 28 October with a link to a downloadable version of your video file (e.g. Google Drive, Dropbox, MS OneDrive, WeTransfer).

  • The video should be in a YouTube acceptable format (.MOV .MPEG4, .MP4, .AVI).
  • It should be a maximum of 120 seconds long (excluding credits).
  • You must include credits citing all the materials used.
  • Music, sound effects, and stock footage should have a Creative Commons license attached (from CC-BY-NC-SA up to Public Domain) and be cited in the credits.
  • Audio quotes can be used but comply with the concept of fair dealingand fair use. This typically means editing down to the length of time needed to make the point clear (typically less than 20 seconds).
  • You must get written permission from all people in the video.
  • Along with your video submission, please provide your name(s), your course(s) of study, institution, and the contact details of a tutor who will be able to verify your identity.
  • Entrants will retain ownership over their entries. By submitting an entry, entrants grant History UK a non-exclusive, royalty-free, right and licence to display, publish, transmit, copy, edit, and use the entry in any media, to promote History UK or for educational purposes.

Download a pdf of this call here.