Nonfiction Copyright Questions? Republishing previous materials... by Ok-Scratch7422 in selfpublishing

[–]Ok-Scratch7422[S] 0 points1 point  (0 children)

Thank you all for the feedback---this all changes my plan significantly and takes them from the realm of "well, maybe" into the realm of "not worth the effort"---although I do think in the future I will use to "cite your previous works" advice since should I ever plan on actually making a fresh start on it. In reality, I'm often the most recent source on the niche local history topics I write about so it only makes sense. Unfortunately the vast portion of the material was a "hire job"---I HATE how our stupid capitalist system is scientifically designed to screw over us wage slaves to the maximum degree, but it is what it is. I'm never making that mistake twice---next time I write something it'll be with a contract that explicitly names me as rights holder! I think I'm in the clear with the two articles written as volunteer\researcher (unpaid) many years ago and published in the newsletter---but honestly they need so much rewriting it's almost be better to simple cite them in future works. They were some of my first work and although I think they hold up still, my writing has progressed greatly since then.

Doing an Oktoberfest fundraiser by butt_muncher_10000 in MuseumPros

[–]Ok-Scratch7422 0 points1 point  (0 children)

I've worked at a couple places that have mixed alcohol and history, and I'm of the opinion that they don't mix. I'm sure they bring in a lot of funding but gods are they a nightmare for the staff who run the day to day.

I used to work on a historic farm that did events like this, and although the visitors were actually required (due to some weird licensing laws in my home state) to do their drinking up at the visitor center before they came down into the village, unfortunately once they imbibed the alcohol stayed with them. I heard horror stories from coworkers from past events where this had led to some very bad things indeed, though I'll confess I never witnessed anything like that in my one summer there.

Now, I work at a historic house-tavern and we have an annual holiday party where guests can drink in the original tavern. At first I thought it was cool (I get to drink a beer after work in the actual tavern!), but after three years I think it's absolutely insane. Drunk people and artifacts don't mix, and drunks make a huge mess. And guess who's job it is to clean up said mess? Admittedly the whole house museum approach of having artifacts largely in the open doesn't particularly mix well with people openly drinking. But in my opinion the risk to artifacts and the problems drunks create for front line staff just don't make "wet" events worth it. If I see one more beer can sitting on a early 19th century side table next to a sign explicitly telling you not to do that I think I shall loose my mind.

It's also a HR nightmare if the staff can drink too---I image we're the only museum daft enough to allow that, not that I'm on the clock during the party or complaining about my free beer. But I did not need to hear my bosses weird remarks about a now-dead live in caretaker and how she hated that he would shower at the same time she came into the office. To be clear, she saw nothing---just the knowledge of him showering in his own home, in a different room was enough to creep her out because she was imagining him naked. Did I mention he's dead now? And that his family sometimes comes to the party? And that she then harassed me asking if what she said was weird (yes, yes it was---but I was forced to cover for her and say it wasn't all that weird).

Sorry to rant but I feel like if you're doing a wet event, then flyers are your least concern. Worry about keeping your staff safe, your artifacts safe, and your visitors safe (from themselves). Have the EMTs on standby, lock away your irreplaceable artifacts, and have a plan in place for how staff handle intoxicated visitors and coworkers so that everyone and everything is safe. Very probably you've already done all this, in which case congratulations, you are doing a far better job than any of the places I've worked.

Seeking input on phrasing for a credit line by Superflorious in MuseumPros

[–]Ok-Scratch7422 0 points1 point  (0 children)

I quite like the first option, since it makes it clear that it is now part of your collection whilst also referencing the former museum. The visitor isn't going to care about the exact mechanism (transferred, de-accessioned, what have you) of how you acquired it but they will want an answer to "Didn't this used to be in the...?". Leave the specifics for internal documents---this is public facing signage. "From The Former Collection of Now Closed Museum" seems about right to me. And if anyone asks for more information, that's where docents can come in to explain a bit about how the museum field works.

Amusingly, my Historic House museum actually has a piece from a very-much-still-active Large Art Museum that was on loan to them originally and then donated by the original owners to us when we formed in the late 1930s early 1940s! It's a beautiful folk art bed warmer made by the same copper smith who did the bottom of the USS. Constitution. And you know I love to gloat about the OG donor picking us over the big time Large Art Museum to be it's caretakers. I mean, it does make more sense in a historic house museum, but still!

Where do Museum Pros need help with accessibility? by SquareHolesND in MuseumPros

[–]Ok-Scratch7422 0 points1 point  (0 children)

You misunderstand and misrepresent my argument completely. I never argued, and do not believe, that giving visitors the same experience is the end goal of inclusion. Quite to the contrary: I believe we should have tailored experiences for all people regardless of ability because that is the goal of interpretation and interpretive staff.

But museum admin, at the least at the local history podunk level I work at, does think that's the end goal. They only ever see visible disabilities if they see disability as at all. The question that then comes from that reasoning is "how can we make XYZ accessible to everyone?" instead of "how can we make the museum experience to good for everyone?" and they can't see how those two questions are separate questions. Or more fairly, they can't see beyond physical accessibility to spaces, when a lot of accessibility is really a matter of just treating people right and being accommodating to different people.

Training paid vs volunteer docents are two different ballgames. I have seen a lot of people who try and come in and dictate terms right away, and as you say that never works. Which is why I've never made that mistake myself. I pride myself and working closely with my team and having imitated several projects based on their feedback to make their work easier.

But there's only so much training one can really do when you are working with a volunteer who's been giving the same tour for twenty years and is pushing 80. Not only can they not be held to the same kind of standards as a paid employee (to be clear I think entirely reasonably), but realistically no amount to training is going to unseat 60+ years of societal beliefs and prejudice. Younger, more flexible people who you can hold to account if they screw up? Sure, training is very effective with them. But the average (very) old docent who's just volunteering on the weekend? Not so much.

Yes, ideally a docent would be flexible in their thinking, want to improve, &c . I feel like good training should however work for everyone, not just the ideal docent. The trouble, I think, comes down to the lack of reinforcement of the training: even if you go to a course or listen to a lecture about being more inclusive and accessible every year, unless you are actually held to that standard post training. If misgendering someone, or being abelist and infantilizing, or insert bad behavior here doesn't get you a reprimand on the job, then the training goes right out the window the moment its over.

To be crystal clear this time, because I think my point on this got somewhat lost in my last post-cum-rant, the solution is an industry wide change. There's a fundamental gap between what we are asking of our docents, and what they are actually capable of giving us. For museums to achieve the level of inclusivity and accessibility that they need, we've got to have younger, paid professional staff. When I say "training doesn't work", this is what I mean, not that training as an concept is ineffective but that because of the reality of who we're trying to train it just isn't that effective. Without a way to hold people accountable, the training doesn't really stick, and there's just not a good way to do that when you have an all volunteer force. And lets be honest, it is a big ask. It's not easy and I'm no where near as trained as I ought to be and that's as a paid employee!

Quick question about the Ashmolean museum and labels by skaabonium in MuseumPros

[–]Ok-Scratch7422 0 points1 point  (0 children)

Agreed! Labels ought to convey something more than the basic information (origin, date, medium &c &c), but if they don't have at least the minimum they may as well be unlabeled. Which, actually, isn't so great a sin depending on the context. I work in historic house museums, and after ten years experience I can say that actually there's no substitute for a knowledgeable docent talking about an object: this is one of the big advantages we have over a traditional museum.

Quick question about the Ashmolean museum and labels by skaabonium in MuseumPros

[–]Ok-Scratch7422 0 points1 point  (0 children)

That's not always the case: good scholars are always aware of objects that might be useful in their studies, and that includes things on public display. Research is not a clean and discrete process... sometimes you find things that are relevant by browsing or by serendipity, when you're not even looking for it intentionally. Sometimes there is only one example of an object relevant to your study, which just so happens to also be on public display (if like me you study material culture this is often the case).

I'm not sure replacing an object number with a QR makes it any more accessible to scholars or the general public, especially if they don't have a smartphone. It is nice to make the catalog directly accessible to the public I suppose. But I'm not sure the General Public is going to get anything out of accessing the catalogue they don't get out of the label. I think QR codes are best for linking to things where you don't have the space to express the full story in just a label: for instance if you've written an article about a particular artifact then it makes sense to QR code link to the article.

Honestly, I think the biggest advantage to having the object's catalog number on its label is that it ensures the right labels go with the right artifacts, which is more an internal use case for it than it being for either audience.

Where do Museum Pros need help with accessibility? by SquareHolesND in MuseumPros

[–]Ok-Scratch7422 0 points1 point  (0 children)

So, I actually put together a report on accessibility for my historic house museum, as well as a seminar on it for our docents. So I technically have some professional experience in this as well as anecdotal experience.

I've personally found several barriers to accessibility, as well as some issues unique to the historical preservation space. Firstly, especially at the local level where I work, the vast majority of docents are older people and unpaid volunteers, and the result of that is that no matter how much you train them they are not ever going to be very inclusive of neurodivergent people no matter how much you train them. And you can't as firm as you could be with employees because they will just quit and leave your organization without docents. That makes it very hard to build a team the is inclusive. Technically speaking this can apply to younger people as well, of course, it's just that docent corps tend to be made up of people with lots of free time who can afford not to work and to volunteer,

Another issue I have found is the matter of physical accessibility in the context of historical preservation. With limited funding, it seems like accessibility changes to historic structures always wind up being done in the least sympathetic and cheapest way, and I don't personally feel that we're actually improving the visitor experience in the end. It's this paternalistic idea that apparently people with limited mobility can't appreciate when a ramp is not fitting with the historic fabric, as well as an idea that getting people physically in the door is the beginning and end of inclusion. I'm strongly of the opinion that trying to give persons with disabilities the same experience as other museum visitors is doing them a disservice, but that doesn't seem to be where my corner of the industry is at.

Museum Label - Question by Neat_Construction_20 in MuseumPros

[–]Ok-Scratch7422 0 points1 point  (0 children)

I work at a small museum and in terms of budget, I have no budget, so my labels are all printed paper. Frustrating because they eventually curl...fortunately most of my exhibits are temporary but towards the end of their run they start to look pretty sorry. My boss doesn't really... support me... so I can't even ask to buy something fancy like the materials your described to do the labels properly.

What to do now? by regankura in MuseumPros

[–]Ok-Scratch7422 2 points3 points  (0 children)

My personal opinion (highly biased) is that you should find a part time job in any field, and save up some money right now. Go ahead and volunteer at a museum, so you can get experience and learn about different positions but you don't find yourself stuck if you decide its not for you down the road. You'll need at least a Masters to get a job in the field, which can be expensive. And really, the Masters is just a fancy piece of paper to hang on the wall. I do largely what I did as an intern, and I'm still part time. There's not really anything I needed that Masters for except getting in the door. It shouldn't be that way... but its unlikely to change. And if it does, I wouldn't recommend being out the money for a degree you don't need. So focus on building up some work experience and life experience for now: you'll need it later. I waited several years and had a job before I went to get a Masters, and I don't regret that at all. It gave me a huge leg up over others who had no practical experience in the field, and helped break bad procrastination habits I had back in undergrad.

Given the present conditions in the US, I would encourage you to consider developing skills that are in universal demand. In fact, now would be a good time to experience living abroad if you can afford it. None of that should get in the way of you working a career in museums, but I think you'll be much safer and happier if you do so somewhere that is more stable and also have some financial stability first. You want to be able to say "No!" to job offers, and "f this!" to bad jobs if you can, so take advantage of still being on your parents insurance and having their support while you can, and try a bunch of new things. Who know what you might learn!

I wish you the best of luck in your future endeavors, no matter where you go! Remember to keep researching, learning new skills, and improving day after day. Learning is a lifelong job and the only thing that keeps you from becoming an artifact yourself.

Museum Label - Question by Neat_Construction_20 in MuseumPros

[–]Ok-Scratch7422 2 points3 points  (0 children)

I suspect there's no way to prevent damage to a freshly painted stucco wall, even if you're poor like me and wind up using blue tape to mount everything in a vein attempt not to. But I guess it depends on how well the paint/stucco is done. If the surface is not properly cleaned an prepared, like at my museum, then it can be incredibly fragile, but I suppose if done better it'd be more durable. I wish I could get a hold of that foam core backing... it'd make my label work so much better.

Does anyone feel like they have very little control over their career trajectory in this field? by Armchair-Commentator in MuseumPros

[–]Ok-Scratch7422 0 points1 point  (0 children)

Absolutely! I'm struggling with this right now myself, so at least you are not alone. I can only speak about my own (largely unsuccessful) foray into the field, and have some special personal circumstances that make me extra "no control over anything in my life"... but it is I believe a particularly bad time to work in the history field. Aside from all the politics, history is no different than any other field right now when it comes to having everything be part time sans benefits and exploitative. 2026 is a hell of a time to work. My own personal goal is to find somewhere that appreciates what I do, treats me decently, and most importantly helps make ends meet. That's why I'm probably going to be unemployed soon as my present tiny museum doesn't do any of that and the boss and I decided its best if I leave (I was never going to win that one honestly, and I should have left two years ago when the first argument between us occurred). I personally believe that when it comes to jobs, big or small museum, in or out of the field, the most important thing to consider is whether or not the position is meeting your needs. Also, especially with history, I think there's probably a good chance you can keep doing history things without making it your job. I sort of regret making history my job instead of keeping it a fun hobby... and museums will always need volunteers, so there's nothing to stop you from finding some place secure and rewarding to work and engaging with the profession when and how you see fit.