Documenting Cephalopods Part 1 It Started With A Spreadsheet

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

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Elsewhere in the blogosphere update August

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

Elsewhere in the blogosphere update January

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

Google Cultural Institute and The Natural History Museum

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

Art of glass — More Than A Dodo

https://videopress.com/embed/p1V9gvnP?hd=0&autoPlay=0&permalink=0&loop=0

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

Digital, huh, what is it good for?

I maintain what I hope is a healthy scepticism towards the use of ‘digital’ when it comes to museums and heritage which mostly involves being a snarky bastard on the Internet and probing platitudes about digitisation in museums. This has led some to believe that I’m some sort of Luddite or just anti technology because it takes us away from the 300 year old unique selling point of museums which is people come to look at and experience things and only use the Internet for shopping and boobies.

Which couldn’t be further from the truth (ish)! I’ve been a keen gamer my whole life and a denizen of the Internet for a little less than that, cutting my digital teeth trolling the witchcraft forums, surviving the great LiveJournal wars of the early 2000s and arguing the finer points of the Colony Wars lore. I’ve written book chapters and lectured on the virtual museum, colour laser scanning, museum websites and the use of technology in museum spaces.

I’m not against ‘the digital’ in general, I’m more for a holistic view and use of digital technologies in resource poor museums and as a user as well as a creator, against implementing  costly projects because of the ‘machine that goes bing factor‘ or without evidence of need, use or longevity that continues to plague many museum digital projects. Continue reading

How and why to cite museum specimens in research

About once a year, I take the time to comb through the Internet for references in books and journal articles to museum specimens in the collections I manage. Despite the fact that I give all the researchers who visit the collections instructions for keeping the museum informed if/when their research gets published, sometimes it doesn’t happen. Sometimes it’s an innocent mistake: it can be a decade between data collection from specimens and publication and in the tweaking of manuscripts remembering to let the museum know about publications citing their specimens can drop off the priority list. Sometimes however, it seems like researchers failed to listen to what those annoying museum people said and just ‘forget’ or just make it up entirely.

Recently the researchers and collections managers at the Oxford University Museum of Natural History have undertaken a big drive to try to find orphaned citations of our collections going back to 2010 for our reporting cycles and with dogged determination to leave no stone unturned, we’ve managed to find an order of magnitude more citations that weren’t previously linked to the collections.

It’s really fundamental to the scientific process, the future or museums and the legacy of biological sciences that hypotheses and research can be repeated and that we can trace the theory back to the evidence that leads to new conclusions being made. It’s really important to properly cite specimens and here’s why and how. Continue reading