Jessie Lymn | Charles Sturt University (original) (raw)
Papers by Jessie Lymn
This report provides a background to the development of a preservation and access strategy and re... more This report provides a background to the development of a preservation and access strategy and recommendations for the Octapod zine collection, one of Australia’s largest and most significant collections of zines.
This article will introduce zines-as-practice and discuss the roles they can and may play in the ... more This article will introduce zines-as-practice and discuss the roles they can and may play in the middle years classroom, synthesising a breadth of research in the emerging field of zine studies. Zines are a challenge to even define, so bringing them to a discussion of the context of formal learning environments reveals gaps, edges and spaces between that have the potential to enhance and push the boundaries of formal programs.
The material remains of subcultural communities – in this case, fanzines – often present challeng... more The material remains of subcultural communities – in this case, fanzines – often present challenges in definition, classification and materiality, and this makes them valuable primary texts and source material for new knowledges and teaching. In this article, I present an argument for the sustained collection of science fiction fanzines within a university Special Collection, drawing on examples from the Murdoch University Library’s significant twentieth-century science fiction fanzine collection. Highlights include consideration of the records of everyday life that feature in the fanzines and the networked communities science fiction fanzines created through postal systems and other exchanges. The article argues that it is the form, content and networks of fanzines – what I call their ‘practices’ – that make them a unique site of research and of national historical significance, and an important part of a university’s special collection.
Introduction. This paper addresses the question, What makes an object queer? through the context ... more Introduction. This paper addresses the question, What makes an object queer? through the context of a regional museum's current exhibition about the LGBT experience in the region. The research was a collaboration between the exhibition curator and a local researcher.
Method. The research was framed through a queer methodology, using scavenger techniques to draw on literature, exhibition material, ethnography, case studies and interviews to support the discussion.
Analysis. The paper synthesises interviews with donors and museum staff, observations of exhibition space and a consideration of best practice and theoretical literature in the museums and archives disciplines.
Results. The researchers have found that in a regional setting the curatorial process influences the collection and classification of LGBT material in collecting institutions. The challenges this poses raise new ways of thinking about collections practice for museums and archives.
Conclusion. This study contributes to a body of knowledge around LGBT collection practices in museums and archives, arguing for a consideration of specific regional issues within a wider practice. Recognising objects as having a queer potential does not change their role in the museum or archive; rather it enhances their classification.
Archives and Manuscripts, Mar 2013
Building on Eichhorn’s concept of ‘archival genres’, this article considers the recent spate of z... more Building on Eichhorn’s concept of ‘archival genres’, this article considers the recent spate of zine anthologies published in Australia and the United States as examples of these genres. It proposes that the anthologies are archives of content, form and practice, given that they commonly reproduce entire zines as visual material, not just text, and are produced by members of zine communities. This article argues that the anthologies’ narratives, presentation and distribution preserve ideologies of zine culture and that archival genres create spaces for the preservation of practices.
Journal of Library Innovation, Mar 2013
This article considers preliminary findings from ethnographic fieldwork undertaken in Australia a... more This article considers preliminary findings from ethnographic fieldwork undertaken in Australia and Canada in do-it-yourself (DIY) libraries and archives. These spaces are usually run on small or no budgets, often in squatted or donated spaces, with no paid staff. They are motivated by a DIY ethos, and often have a connection to so-called “underground” communities. In this article the author responds to Chris Atton’s model of librarian-as-ethnographer, which argues that information workers can draw on ethnographic methods to build cultural maps of grassroots and DIY communities. The author proposes that there are information professionals already in these communities, and their roles in both professional and DIY libraries enhances the librarian-as-ethnographer model by providing an insider perspective that may mediate tensions between the two collection spaces. The author draws on her fieldwork in zine libraries, infoshops, and social centers as example.
Conference Presentations by Jessie Lymn
This paper reports on an ongoing study of LGBITQ history collections and collecting practices in ... more This paper reports on an ongoing study of LGBITQ history collections and collecting practices in the Riverina, an inland region of NSW. The focus of the paper is two exhibitions held in Wagga Wagga in late 2016 and the subsequent collection activities by the Museum of the Riverina and the Charles Sturt University Regional Archives, and is motivated by the question ‘what makes an object queer?’.
The early twenty first century has seen an emerging body of knowledge looking at queer and LGBT memories as preserved in institutional and non-institutional collections (see for example Cvetkovich 2003; Kumbier 2014; Halberstam 2005). This project works alongside these theoretical approaches to build further understanding of the practices of collections that themselves often fall under the radar – regional libraries, museums and archives. Preserving LGBT memories and histories should be an important part of work done by collecting institutions at state and national levels, but as Andrew Flinn notes, these state institutions ‘overwhelmingly privilege the voices of those with power and influence in society’, and that ‘when these "others"do appear in the archives, they rarely speak with their own voice, but rather appear as the objects of official interest and concern’ (2010, n.p.).
The regional setting challenges the idea of ‘objects of official’ interest framing LGBT history; the geographic environment and populace enable other forms of social history and memory making, with the intimacies of regional and rural life creating different ways of knowing the queer experience and object. This paper presents a discussion of current research in the Riverina region of NSW; the authors are undertaking a series of interviews with collection managers, curators, donors and audience members to build an understanding of working with queer objects in collections. At the core of this project is the question ‘what makes an object queer?’. Recognising objects as having a queer potentiality doesn’t change their role in the museum, library or archive, rather it enhances their classification and gives depth to the social memory of the region.
In his 1995 paper Ray Edmondson noted that ‘what all audiovisual archivists have in common is tha... more In his 1995 paper Ray Edmondson noted that ‘what all audiovisual archivists have in common is that we learned AV archiving on the job. There was no other way. There still isn't’ (p. 252). Now, more than 20 years after Edmondson’s declaration there are offerings in audiovisual archival training through both vocational and higher education institutions across the globe. These education programs are core to ensuring a strong foundation for the future of the profession that Edmonson named in 1995.
This paper will present and evaluate the current state of Audio Visual Archives higher education programs in the Pacific and Southeast Asia with a view to future challenges for the sector highlighted in the Australian National Film and Sound Archive Deadline 2025 Collections at Risk report (NFSA, 2015). The need for higher education courses to be agile and respond to these challenges is discussed, and options for future curricula and collaborations are proposed.
Drawing on material from ‘the archive’ often requires some sort of reproduction – a photocopy, a ... more Drawing on material from ‘the archive’ often requires some sort of reproduction – a photocopy, a photo or perhaps a scan – and, like access to the material itself, this reproduction is usually regulated by the caretaker of the material (the archivist). There are strict regulations around the copying; the researcher asks for the copies to be made on their behalf, the material needs to be classified as ‘reproducible’ by the donor, and there are restrictions around use, further reproduction and circulation. The reproduction process both acknowledges the ‘originality’ and authenticity of the material, and also grants the researcher a position of privilege through their access to archival material.
Reflective of a broader societal interest in DIY culture, zines are being collected and preserved by archival and other preservation institutions, and an emerging body of literature analyses the presence of these ‘objects’ in the archive. Building on this literature, I argue that broader zine practices (such as photocopying) disrupt archival reproduction regualtions and challenge notions of the original and authentic. I propose that the photocopier, with its reproduction-ability, enables a queer temporality in the archive (Halberstam 2005). Situating the photocopier at the centre of my argument enables questions to be asked about the role of reproduction in both the creation of and disruption of memory. I draw on examples from various zine collections in North America and Australia to suggest that the reproduction of these materials (both before and whilst in the archive) challenges contemporary understandings of archives and their use in cultural studies research.
This paper reflects on the linear ‘career progression’ model of industry specific and organisatio... more This paper reflects on the linear ‘career progression’ model of industry specific and organisational continuing professional development (CPD) programs. We propose to extend and innovate current developments in Personal Learning Network (PLN) models through the consideration of non-traditional, informal professional development activities.
Formal professional development programs are endorsed by both institutional employers and professional organisations in the Library and Information (LIS) sector. Drawing on previous research into LIS PD programs (Brooker 2010, Dalby 2008) we argue that these programs are delivered top-down and reflect a linear based career progression model. More recently PLNs have been suggested as alternatives or enhancements to these formal PD programs (Howlett 2011, Bennett 2010). However, these alternative models are still focused on career progression and measuring ‘success’ in a professional context.
This paper reports on an experimental case study undertaken to interrogate the efficacy of a formal LIS industry PD program in addressing the CPD needs of university based information professionals. A modified PLN model was used to critically reflect on a series of examples (activism, community engagement and personal practice) which trouble the traditional scope of these formal programs. We argue that these examples, whilst not part of a formal (or informal) professional development program, reflect the passion and pleasure that information professionals develop through their study and work practices. These examples take place outside of the formal programs, without recognition, and enable a space for critical reflection and innovative application.
This paper considers preliminary findings from ethnographic fieldwork undertaken in Australia and... more This paper considers preliminary findings from ethnographic fieldwork undertaken in Australia and Canada in do-it-yourself (DIY) libraries and archives. These spaces are usually run on small or no budgets, often in squatted or donated spaces, with no paid staff. They are motivated by a DIY ethos, and often have a connection to so-called ‘underground’ communities or practices.
In this paper I respond to Chris Atton’s model of librarian-as-ethnographer, which argues that information workers can draw on ethnographic methods to build cultural maps of grassroots and DIY communities. I propose that there are information professionals already in these communities, and their roles in both professional and DIY libraries enhances the librarian-as-ethnographer model by providing an insider perspective, and may mediate tensions between the two collection spaces. I suggest that the insider-librarian-as-ethnographer is an innovative approach to library practice, recognizing the everyday communities and practices of library workers.
Grants & awards by Jessie Lymn
This project aims to build a profile of Murdoch University's unique collection of science fiction... more This project aims to build a profile of Murdoch University's unique collection of science fiction fanzines. The project supports the notion that zines are defined not just by their content, but by their materiality and their networks – that is, their practices. Contemporary research on zines often look to publications from the 1990s to the present, and this project will highlight the importance of considering zines from the 1930s onwards, as represented in the Murdoch collections. The project will also map the correspondence networks of the Leigh Edmonds Fanzine Collection, recognising the importance of networks to how we understand and work with fanzines. The project will result in a number of publications on the collection and a seminar and online publication for Murdoch University. The project aims to showcase the collection and highlight its importance to scholars of Australian literature and cultural studies. 3. Project Description We can look to the literature of sub-or counter-cultures such as (fan)zines as primary texts and source material for new knowledges and teaching, but by their nature (fan)zines are difficult to define. This challenge opens up new ways of thinking about genres of literature as entities that can be identified through their practices. I propose to survey the material elements of Murdoch University's fanzine collections, and map a series of correspondence networks that reflect fanzine
This report provides a background to the development of a preservation and access strategy and re... more This report provides a background to the development of a preservation and access strategy and recommendations for the Octapod zine collection, one of Australia’s largest and most significant collections of zines.
This article will introduce zines-as-practice and discuss the roles they can and may play in the ... more This article will introduce zines-as-practice and discuss the roles they can and may play in the middle years classroom, synthesising a breadth of research in the emerging field of zine studies. Zines are a challenge to even define, so bringing them to a discussion of the context of formal learning environments reveals gaps, edges and spaces between that have the potential to enhance and push the boundaries of formal programs.
The material remains of subcultural communities – in this case, fanzines – often present challeng... more The material remains of subcultural communities – in this case, fanzines – often present challenges in definition, classification and materiality, and this makes them valuable primary texts and source material for new knowledges and teaching. In this article, I present an argument for the sustained collection of science fiction fanzines within a university Special Collection, drawing on examples from the Murdoch University Library’s significant twentieth-century science fiction fanzine collection. Highlights include consideration of the records of everyday life that feature in the fanzines and the networked communities science fiction fanzines created through postal systems and other exchanges. The article argues that it is the form, content and networks of fanzines – what I call their ‘practices’ – that make them a unique site of research and of national historical significance, and an important part of a university’s special collection.
Introduction. This paper addresses the question, What makes an object queer? through the context ... more Introduction. This paper addresses the question, What makes an object queer? through the context of a regional museum's current exhibition about the LGBT experience in the region. The research was a collaboration between the exhibition curator and a local researcher.
Method. The research was framed through a queer methodology, using scavenger techniques to draw on literature, exhibition material, ethnography, case studies and interviews to support the discussion.
Analysis. The paper synthesises interviews with donors and museum staff, observations of exhibition space and a consideration of best practice and theoretical literature in the museums and archives disciplines.
Results. The researchers have found that in a regional setting the curatorial process influences the collection and classification of LGBT material in collecting institutions. The challenges this poses raise new ways of thinking about collections practice for museums and archives.
Conclusion. This study contributes to a body of knowledge around LGBT collection practices in museums and archives, arguing for a consideration of specific regional issues within a wider practice. Recognising objects as having a queer potential does not change their role in the museum or archive; rather it enhances their classification.
Archives and Manuscripts, Mar 2013
Building on Eichhorn’s concept of ‘archival genres’, this article considers the recent spate of z... more Building on Eichhorn’s concept of ‘archival genres’, this article considers the recent spate of zine anthologies published in Australia and the United States as examples of these genres. It proposes that the anthologies are archives of content, form and practice, given that they commonly reproduce entire zines as visual material, not just text, and are produced by members of zine communities. This article argues that the anthologies’ narratives, presentation and distribution preserve ideologies of zine culture and that archival genres create spaces for the preservation of practices.
Journal of Library Innovation, Mar 2013
This article considers preliminary findings from ethnographic fieldwork undertaken in Australia a... more This article considers preliminary findings from ethnographic fieldwork undertaken in Australia and Canada in do-it-yourself (DIY) libraries and archives. These spaces are usually run on small or no budgets, often in squatted or donated spaces, with no paid staff. They are motivated by a DIY ethos, and often have a connection to so-called “underground” communities. In this article the author responds to Chris Atton’s model of librarian-as-ethnographer, which argues that information workers can draw on ethnographic methods to build cultural maps of grassroots and DIY communities. The author proposes that there are information professionals already in these communities, and their roles in both professional and DIY libraries enhances the librarian-as-ethnographer model by providing an insider perspective that may mediate tensions between the two collection spaces. The author draws on her fieldwork in zine libraries, infoshops, and social centers as example.
This paper reports on an ongoing study of LGBITQ history collections and collecting practices in ... more This paper reports on an ongoing study of LGBITQ history collections and collecting practices in the Riverina, an inland region of NSW. The focus of the paper is two exhibitions held in Wagga Wagga in late 2016 and the subsequent collection activities by the Museum of the Riverina and the Charles Sturt University Regional Archives, and is motivated by the question ‘what makes an object queer?’.
The early twenty first century has seen an emerging body of knowledge looking at queer and LGBT memories as preserved in institutional and non-institutional collections (see for example Cvetkovich 2003; Kumbier 2014; Halberstam 2005). This project works alongside these theoretical approaches to build further understanding of the practices of collections that themselves often fall under the radar – regional libraries, museums and archives. Preserving LGBT memories and histories should be an important part of work done by collecting institutions at state and national levels, but as Andrew Flinn notes, these state institutions ‘overwhelmingly privilege the voices of those with power and influence in society’, and that ‘when these "others"do appear in the archives, they rarely speak with their own voice, but rather appear as the objects of official interest and concern’ (2010, n.p.).
The regional setting challenges the idea of ‘objects of official’ interest framing LGBT history; the geographic environment and populace enable other forms of social history and memory making, with the intimacies of regional and rural life creating different ways of knowing the queer experience and object. This paper presents a discussion of current research in the Riverina region of NSW; the authors are undertaking a series of interviews with collection managers, curators, donors and audience members to build an understanding of working with queer objects in collections. At the core of this project is the question ‘what makes an object queer?’. Recognising objects as having a queer potentiality doesn’t change their role in the museum, library or archive, rather it enhances their classification and gives depth to the social memory of the region.
In his 1995 paper Ray Edmondson noted that ‘what all audiovisual archivists have in common is tha... more In his 1995 paper Ray Edmondson noted that ‘what all audiovisual archivists have in common is that we learned AV archiving on the job. There was no other way. There still isn't’ (p. 252). Now, more than 20 years after Edmondson’s declaration there are offerings in audiovisual archival training through both vocational and higher education institutions across the globe. These education programs are core to ensuring a strong foundation for the future of the profession that Edmonson named in 1995.
This paper will present and evaluate the current state of Audio Visual Archives higher education programs in the Pacific and Southeast Asia with a view to future challenges for the sector highlighted in the Australian National Film and Sound Archive Deadline 2025 Collections at Risk report (NFSA, 2015). The need for higher education courses to be agile and respond to these challenges is discussed, and options for future curricula and collaborations are proposed.
Drawing on material from ‘the archive’ often requires some sort of reproduction – a photocopy, a ... more Drawing on material from ‘the archive’ often requires some sort of reproduction – a photocopy, a photo or perhaps a scan – and, like access to the material itself, this reproduction is usually regulated by the caretaker of the material (the archivist). There are strict regulations around the copying; the researcher asks for the copies to be made on their behalf, the material needs to be classified as ‘reproducible’ by the donor, and there are restrictions around use, further reproduction and circulation. The reproduction process both acknowledges the ‘originality’ and authenticity of the material, and also grants the researcher a position of privilege through their access to archival material.
Reflective of a broader societal interest in DIY culture, zines are being collected and preserved by archival and other preservation institutions, and an emerging body of literature analyses the presence of these ‘objects’ in the archive. Building on this literature, I argue that broader zine practices (such as photocopying) disrupt archival reproduction regualtions and challenge notions of the original and authentic. I propose that the photocopier, with its reproduction-ability, enables a queer temporality in the archive (Halberstam 2005). Situating the photocopier at the centre of my argument enables questions to be asked about the role of reproduction in both the creation of and disruption of memory. I draw on examples from various zine collections in North America and Australia to suggest that the reproduction of these materials (both before and whilst in the archive) challenges contemporary understandings of archives and their use in cultural studies research.
This paper reflects on the linear ‘career progression’ model of industry specific and organisatio... more This paper reflects on the linear ‘career progression’ model of industry specific and organisational continuing professional development (CPD) programs. We propose to extend and innovate current developments in Personal Learning Network (PLN) models through the consideration of non-traditional, informal professional development activities.
Formal professional development programs are endorsed by both institutional employers and professional organisations in the Library and Information (LIS) sector. Drawing on previous research into LIS PD programs (Brooker 2010, Dalby 2008) we argue that these programs are delivered top-down and reflect a linear based career progression model. More recently PLNs have been suggested as alternatives or enhancements to these formal PD programs (Howlett 2011, Bennett 2010). However, these alternative models are still focused on career progression and measuring ‘success’ in a professional context.
This paper reports on an experimental case study undertaken to interrogate the efficacy of a formal LIS industry PD program in addressing the CPD needs of university based information professionals. A modified PLN model was used to critically reflect on a series of examples (activism, community engagement and personal practice) which trouble the traditional scope of these formal programs. We argue that these examples, whilst not part of a formal (or informal) professional development program, reflect the passion and pleasure that information professionals develop through their study and work practices. These examples take place outside of the formal programs, without recognition, and enable a space for critical reflection and innovative application.
This paper considers preliminary findings from ethnographic fieldwork undertaken in Australia and... more This paper considers preliminary findings from ethnographic fieldwork undertaken in Australia and Canada in do-it-yourself (DIY) libraries and archives. These spaces are usually run on small or no budgets, often in squatted or donated spaces, with no paid staff. They are motivated by a DIY ethos, and often have a connection to so-called ‘underground’ communities or practices.
In this paper I respond to Chris Atton’s model of librarian-as-ethnographer, which argues that information workers can draw on ethnographic methods to build cultural maps of grassroots and DIY communities. I propose that there are information professionals already in these communities, and their roles in both professional and DIY libraries enhances the librarian-as-ethnographer model by providing an insider perspective, and may mediate tensions between the two collection spaces. I suggest that the insider-librarian-as-ethnographer is an innovative approach to library practice, recognizing the everyday communities and practices of library workers.
This project aims to build a profile of Murdoch University's unique collection of science fiction... more This project aims to build a profile of Murdoch University's unique collection of science fiction fanzines. The project supports the notion that zines are defined not just by their content, but by their materiality and their networks – that is, their practices. Contemporary research on zines often look to publications from the 1990s to the present, and this project will highlight the importance of considering zines from the 1930s onwards, as represented in the Murdoch collections. The project will also map the correspondence networks of the Leigh Edmonds Fanzine Collection, recognising the importance of networks to how we understand and work with fanzines. The project will result in a number of publications on the collection and a seminar and online publication for Murdoch University. The project aims to showcase the collection and highlight its importance to scholars of Australian literature and cultural studies. 3. Project Description We can look to the literature of sub-or counter-cultures such as (fan)zines as primary texts and source material for new knowledges and teaching, but by their nature (fan)zines are difficult to define. This challenge opens up new ways of thinking about genres of literature as entities that can be identified through their practices. I propose to survey the material elements of Murdoch University's fanzine collections, and map a series of correspondence networks that reflect fanzine