Ideally, my research would be
executed within a cultural institution such as the AGO or National Gallery of
Canada. Since my purpose is to aid in the development of Knowledge Management
protocols for capturing and preserving tacit knowledge of art librarians and
archivists using the methods of oral history, I would assume that whatever
documents and interview recordings I create will housed and maintained by that
institution. This subject is slightly more complex since KM practices for knowledge
retention, talent acquisition and succession planning typically falls under the
responsibility of Human Resources. So establishing a partnership with HR for
producing, using, and maintaining the results of my research would be beneficial.
With regards to the types of
records my project will generate, these would namely be in the form of a
variety of documents and recordings: my prior research, observation notes,
interview transcripts, interview voice/video recordings, data analysis
documents and final protocols/procedures developed from the research. This is a
lot of information to organize and preserve. Of course, the Library and
Archives might only want the interview-related materials while HR might wish to
keep only information pertinent to policy development. Regardless, the data I
collect would be stored both digitally and physically. Data can begin to be
coded and categorized from the point of the literature search even prior to
conducting any interviews (Knight, 2002, p. 189). Using software such as
f4/f5transkript or NVivo would also be valuable for the analysis and storage
aspects of the project.
In North America, there is not
one particular prescribed Best Practice for conducting, representing and
preserving oral histories online, since there are currently many varying approaches
to these practices within the field. For the interview process, the Oral
History Association (OHA) outlines post-interview Best Practices for
archivists. One stipulation is that any information deemed relevant for use by
future users including photographs, documents and other records, should be
collected. The relationship of these supplementary materials to the existing
interviews should be clearly stated and made available (“Principles for Oral
History and Best Practices for Oral History”). In this case then, I would
ensure that all of the materials gathered for my research would be available
within the institution.
With regards to the digital media
component of oral history recordings, the Oral History Association stresses the
importance of storing, processing, refreshing and accessing the media according
to the archival standards of the chosen format. Where possible, media formats
should be cross platform and non-proprietary (“Principles for Oral History”).
Obsolescence must also be a considered factor when storing and preserving the
chosen media. Simply because a format is popular on the market does not mean it
is immune to the challenges of obsolescence and modification. We know this all
too well. In addition, institutions should continue to monitor these best
practices for future migration and preservation procedures. By placing large
amounts of data on hard drives or in a networked environment, users will be
able to batch convert media formats. Alternatively, automated format migration
is also becoming increasingly more affordable when dealing with large
quantities of data (Boyd, 2010). The Collaborative Digitization Program Digital
Audio Working Group (CDP) highly recommends that organizations maintain
multiple copies in separate locations as a fail-safe strategy for the failure
or destruction of the digital media. This may include hard drives, optical
disk, magnetic data tapes or cloud computing. Proactive migration to new media
as it becomes available is essential for sustainability purposes. It is suggested
that this migration take place at a minimum of five-year intervals (Digital
Audio Best Practices: Version 2.1).
While it is great that there are
endless resources on best practices for preserving, migrating, storing and
hosting oral history projects, the act of preservation largely depends upon
those responsible for this. A possible option might be make these oral
histories available online by creating a website to host the content such as
the Toronto-based projects including Harbord Village Oral History Project,
General Eclectic, and [murmur] Toronto. This would involve an entirely separate
preservation plan, but would be in keeping with the best practices referred to
above. In my case, I might not be in a position to control the preservation of
my materials within the institution, digital or otherwise. Eventually, my
methods and the information I collected might also become obsolete as the
knowledge ecology of the library changes. Though I do believe it would be
representative of a library’s history, regardless of its initial intent for
knowledge capture and succession planning.
References:
Boyd,
Douglas. “Achieving The Promise Of Oral History In A Digital Age.” In The Oxford
Handbook Of Oral History, n.p. Donald A. Ritchie. Oxford: Oxford University
Press, 2010. http://www.oxfordhandbooks.com.myaccess.library.utoronto.ca/view/10.1093/oxfordhb/9780195339550.001.0001/oxfordhb-9780195339550-e-21.
Collaborative
Digitization Program Digital Audio Working Group. Digital Audio Best Practices:
Version 2.1. Minneapolis: Collaborative Digitization Program, 2006. http://sustainableheritagenetwork.org/content/digital-audio-best-practices-version- 21.
Knight,
P.T. (2002). Small Scale Research: Pragmatic Inquiry in Social Science and the
Caring Professions. Thousand Oaks, CA: Sage.
Oral
History Association. “Principles
for Oral History and Best Practices for Oral History,” 2009.
http://www.oralhistory.org/about/principles-and-practices/#best.