"The archive is a site of ambiguity. It is best understood as a contested terrain for memory construction that in turn shapes contemporary understanding of society." — Report, Nelson Mandela Foundation, 2005
"people’s relationship to objects are ultimately social ones."
– Christina Kreps, <em>Curatorship as Social Practice</em>
animation of archives
* user-centered approach to the construction of archives that builds a multiplicity of use-scenarios into the very architecture of the archive
engages real or potential user communities from the outset (in processing, tagging, and metadata development);
* integrates curatorial and content-production tools into access portals.
– Digital_Humanities – p. 48,
interface is 'more than a theory of interactivity' and is should instead be seen as a ‘site of contestation’. Its something I think about in regards to the presentation methods of research. In that it should be argumentative, essayistic, and discursive, and, often times, juggling contractions.
– Branden Hookway, <em>Interface</em>
my archive, your archive, our archive. . . . archives of ownership, of reclamation, of record, of discovery, of yourself in a strange land by the still or turmoil waters where you lay down weep, where you lay down and dream, where you become free.
to overcome imposter syndrome, have confidence in your depth of curiosity rather than your expertise.
As with earlier interfaces, the value Cooper saw in intelligent graphics was the possibility for the computer to become a medium flexible enough to match a designer’s intuition, fast enough to provide immediate visual display, and respon-sive enough to engender a feedback loop between the graphic designer and her tool.