Greetings cintanians? Cinctanonians? Tannins? It’s time for the if-I-do-an-update-I-don’t-feel-like-I’ve-been-neglecting-my-own-blog update. It’s been a busy couple of months on all fronts but pretty much all of my writing energy has been sapped by other commitments.
Here’s some of the stuff that I’ve been up to AROUND THE WEB, including some stuff you may have missed here, all handily packed into a blog post, for your viewing pleasure. Continue reading
Welcome to part two of the driest museum blog series ever, getting into the nitty gritty of how we ‘document’ natural history specimens from start to finish. Last time around we’d set up our spreadsheet and set off to the stores to start recording information and observations about specimens. Unlike works on paper, machinery or archival documents natural history specimens don’t readily come with information embedded, inscribed or machine stamped into them to aid with identifying the who, how, what, where and when associated with specimens. They’re also incredibly inconvenient in that many don’t even have an easy place to write information on so a lot of specimen information is written on labels, on, attached to or otherwise associated with specimens.
Label information is really key to the information management of natural history specimens and alongside other pieces of documentation, provide sometimes, primary, often times secondary information evidence pertaining to what the thing is, how old it is, when and where it was collected as well as the internal museum information such as publications on the specimen, questions over the identity, anatomical labels, marks, scribbles and scrawls. As a golden rule and one I impress upon visiting researchers using the Oxford University Museum of Natural History zoology collections is never trust a label. As we will see in this instalment they can be outdated, inaccurate or just plain wrong.
Interested in museum documentation? Having trouble sleeping? Then read on. Continue reading
Well, it started with a list actually, well before that it started with months of familiarisation with the collections at Oxford University Museum of Natural History.
For those of you who don’t know me, I’m the Collections Manager (Life Collections) at Oxford University Museum of Natural History and I manage the zoological collections (excepting the huge entomology sensu latu collections) and I’ve been in post for nearly two years now. My role at the museum as I see it is to facilitate access and use of the amazing collections at the museum but in order to do this, we need to get a handle on what material is in these collections.
This multi-part series will take you through the process from start to nearly finish, I suspect the pace of these blog posts will outstrip the pace of the work, in documenting the cephalopod collections at the museum. I have taught collections management in the past and (sadly) am very interested in how documentation works but in my work across the sector and wider, when discussing the problems with managing natural history collections, people not familiar with the work will ask “Why don’t you crowd source it” or “Just get volunteers to do it”. I’m afraid in many cases it isn’t that simple so these posts will take us through the whole process which is frustrating and laborious at times but ultimately satisfying when done right. It’ll be cathartic for me and scratch that teaching itch and who knows, it may be of some interest to others at the very least the nerdy museum documenters out there (shout outs to @RussellShepherd and @RegistrarTrek and the #MuseumDocumentation no offense intended).
Series introduced, let’s get on to documenting cephalopods. Continue reading
Can’t believe it’s been seven months since the last update! Goodbye 2017 you were pretty much as sucky as 2016 was but in a different way. It’s been a busy couple of months and unfortunately my writing juices have been sucked away by other endeavours, including an exciting book chapter which I’ve been very keen on writing for a while.
Here’s some of the more recent natural history and museum stuff I’ve been working on and contributed to from around the web, corralled into one place. Continue reading
So here we are, two months since the last entry cobbled together with clips from around the web with ANOTHER ONE. I guess I’m sticking to blogosphere too. As with the last update, I’ve been contributing a lot elsewhere, some of which you may have missed.I struggle with the fine balance between trying to share ideas, what I’ve written and what others have written, enough so that people see it but not too much to end up spamming content he says whilst spamming content.
December and January have been fairly busy but here’s what I managed to squeeze out of the old brain tubes. Continue reading
Last week, the Natural History Museum London was the latest institute to engage with the mega brand x mega brand love in that is Google Cultural Institute partnerships. Presumably, they’ve partnered with most of the major art museums so the attention has finally turned to natural history* (at the time of writing, Google Cultural Institute still haven’t announced the project on Google+, evidence perhaps that even Google doesn’t use Google+). Although these projects, where the Google Cultural Institute partners with a museum to present their collections through the Google Arts and Culture platform, aren’t exactly new, the addition of one of the UK’s big natural history museums is a chance to examine whether these are any good yet.
The tl:dr version of this blog post is no. No they aren’t. Continue reading
Spotlight Specimens by Mark Carnall From the comfort of our own homes, or even on a mobile device, we are accustomed to watching video footage from the most remote environments on Earth, and beyond. It is easy to take for granted this kind of visual access but we don’t have to go too far back in time to reach […]
via Art of glass — More Than A Dodo