And here I was for the past 10 weeks feeling all smug that I was learning the ins and outs (a small, tiny, minuscule amount of the ins and outs mind you) about archiving when all along, Bam! You, I, and millions of other people are already pro archivists. What the heck am I going on about now? This week we researched and analyzed the digital archive, the one’s most familiar to us such as Facebook, MySpace, Twitter, Pinterest, and so on. In her article MyMemories? Joanne Garde-Hansen asks “what is at stake when memories and identities are practised on Facebook?” In a theoretical framework and referencing to Jacques Derrida (yay – see blog post #3 for some more Derridean concepts) she analyzes how “Facebook may not be a liberating personal memory at all but enslaving it within a corporate collective in order to shore up abiding ideologies through its public sphere and commercial activities.” Scary right? Yes. It is scary. I really enjoyed the article and have included a link at the end of this post because I am not able to discuss 97% of it on here but would encourage anyone to take a read through it (it’s short don’t worry).

Joanne Garde-Hansen looks at how the SNS creates a representation of one’s life, an identity if you will. She notes Danah Boyd’s and claims, “through the act of articulation and writing oneself into being, all participants are engaged in performance intended to be interpreted and convey particular impressions.” Now, personally, this is the exact reason I do not have Instagram. I spent one year with an Instagram account. When I looked back at my profile I saw a collection of images that were supposed to represent me, Schyler Faye Edmundson, in a light accessible to anyone else on Instagram – or the Internet for that matter. So what was the issue? Well, I guess three things, firstly I didn’t like the idea of being judged from complete third parties who likely knew nothing about me based on a collection of images I thought were cool. Secondly, I guess I didn’t like the images that much. I mean, some people have amazing accounts that look like they are curated by professional photographers and designers and it made me feel insecure in comparison. That brings me to the third point, not only did Instagram make me feel insecure because of my mediocre photography abilities, but the astonishing level of “skinny babes,” “cosmetic junky,” and “gym buff” profiles were nearly impossible to escape which I also don’t think is healthy to be surrounded by. Overall, I thought the website was unabashedly narcissistic and inauthentic. Here I am again picking at the idea of the “authentic archive” again but think about it. Back in weeks 1 and 3 of this blog I questioned the idea of an archive that was created and sold to an institution on behalf of the person who the archive was about. What does this mean in terms of “true” materials and representation? What did the author intentionally omit, or include, portraying them in a certain manner? And, how does this affect the archive? I came to the conclusion that the idea of creating your own archive for profit rubbed me the wrong way, although I can’t knock it completely because we have, from this process, been given some incredible archival collections. I suppose it makes sense then that social media also rubs me the wrong way. For the most part, I don’t appreciate the idea of creating a self-identity online that the world gets to judge you on. We have enough judgement in our non-cyber lives. But again, like my experience with the tangible archives, there are some cases where the final result is glorious, just like some Facebook pages and Instagram accounts are epic and beautiful.

Secondly, social media and the Internet, in general, can be detrimental and dangerous. Not only does it leave you exposed, but also it exposes you to an endless sea of information with an almost impossible way to tell what information is truth or fictional. Not too mention the reality hunting that “Nothing is forgotten” once it reaches the Internet. As mentioned by Joanne Garde-Hansen, once you create a Facebook page, you have zero rights to any of your images ever again:

“Anyone in any doubt, as to Facebook’s hermeneutic rights need only read its ‘Proprietary Rights in Site Content’ which disallows ‘site content’ to be ‘modified, copied, distributed, framed, reproduced, republished, downloaded, scraped, displayed, posted, transmitted, or sold in any form by any means’ without written permission” (Facebook, 2008).

This is terrifying because anyone can take your pictures and post them anywhere else on the internet using your face, your name, and your “identity” however they like. The article also touches on how “[Facebook] designers and serious users are not to suffer the same fate as Friendster when it found itself submerged in a war with Fakesters, Fraudsters and Pretenders who challenged the rules of authenticity, identity and copyright.” – Well, not necessarily. Firstly, anyone with an email address can create a Facebook page – that email address can be fake, of course – and then they can post any images they like – again, these can be anyone’s images – and Bam! You have a fake Facebook profile. Well, what’s the point of this fake profile? Like most things in disguise, I would suggest that a fake Facebook profile is most commonly used to spy on other people, or “communities” to borrow Joanne Garde-Hansen’s term. The actual reason for creating a false profile is impossible to know, however, it does illuminate the idea of an unauthentic archive once again.

So “what is at stake when memories and identities are practised on Facebook?” Well, to start our privacy, our true identity, and our control over this newly created identity are all in the hands of whoever decides to pick them up. Unlike the academic archive, social media based archives are unstable in that they are far more susceptible to manipulation and so often blur the line between authenticity and forgery.

Until next time,

Best.

Recommended Source Link:

Garde-Hansen, Joanne. “MyMemories? Personal Digital Archival Fever and Facebook.” Save As…Digital Memories. Ed. Joanne Garde-Hansen, Andrew Hoskins, and Anna Reading. London: Palgrave MacMillan, 2009. 135-50.

http://ds.haverford.edu/fortherecord/wp-content/uploads/2012/06/Garde-Hansen.pdf

HELLO, what a week it was in the archive world for me. Rather than spending time in RBSC, I instead looked through fonds in the UBC Museum of Anthropology. The MOA states their commitment to respecting the values and spiritual beliefs of the cultures represented in its collection, however, the reading this week by Laszlo remained at the forefront of my mind while looking through the files from the Beverly Brown fond. Laszlo takes up a controversy aspect regarding museum collections – the concept of Cultural Property in direct relation with First Nations content. Laszlo covers how there is a distinction between Property and Cultural Property:

“In a Western Tradition, property is something that is owned or belongs to some person or persons, Legal definitions include rights that attach to those who are owners and determine what uses one can make of one’s property. Cultural property is defined as the material manifestations that relate to a civilization, especially that of a particular country at a particular period.”

Unfortunately, these do not apply to the First Nations content because of their inability to encompass the entirety of heritage. First Nations culture was based sturdily on orature, spirituality, and soul. Secondly, (and more obviously) complications arise when you have collections created by people, not within the realm of whom they represent. Now I think these two points are vastly important when looking at First Nations archives. We have to remember that these archives were preserved in the first place because there was “concern” that these cultures would become extinct in a short time. The paradox of this mentality is that, of course, this fear was derived as a direct result of the Colonization and Western body that came to BC and overtook the First Nations lifestyle, forbidding their expressions of culture and heritage. To now look back and realize the wrongdoing is, at least, responsible but where I was being rubbed the wrong way and where Laszlo also draws attention to is that idea that the First Nations hold moral ownership over the archives, and as Deborah Doxtator mentions, “you must always ask someone else to see what is ‘morally’ yours.” Now we are opening another realm of complications – one that tends to turn up often in academia – the issue with accessibility. As noted, these archives were not originally compiled to benefit the First Nations communities, but preserve their essence in an archive. I feel this translates negatively when now viewing them today. If the archive wasn’t created for those who “morally” own them, and they also weren’t created by those who “morally” own them, then there is a clear disconnect from the culture they supposedly represent and the archive itself. Doesn’t seem to be very moral at all does it?

The Truth and Reconciliation Commission has been facing many questions pertaining to this very concern. The lack of Truth in the archives and lack of Reconciliation on behalf of the museums seems to be clear and while there are steps being taken to correct these concerns, the final outcome is yet to be seen. As mentioned in the Laszlo article, we need to “establish guidelines to handle ethnographic records that are currently in our archives and to understand the moral and ethical responsibilities of archivists who care for these types of materials” (Laszlo, 307). The following images were taken from the Beverly Brown fonds and show students of the St. Michael’s and Bella Bella Residential Schools. I feel they clearly show the concerns mentioned in this post, the lack of authentic First Nation culture and heritage and a dominating colonial influence. While the residential schools are a dark seed in BC’s history, one forever embedded in First Nations history, I am saddened that it dominates the First Nations archives. Due to the unique nature of oral history, dance, language, and spirituality, and the neglect and misunderstanding from those who composed these archives, we loose so much of a culture’s heritage and continue to misrepresent it with fonds such as this one. In terms of Cultural Property, we need to query what culture this fond truly represents and whose property it actually is.

St. Michael’s Residential School Photographs (Files 1) and Bella Bella Photographs (File 2) of the Beverly Brown Fonds at the Museum of Anthropology.

Article Source:

Laszlo, Krisztina. “Ethnographic Archival Records and Cultural Property.” Archivaria 61 (2001): 299 – 307.

Websites:

http://www.trc.ca/websites/trcinstitution/index.php?p=3

http://moa.ubc.ca

RADICAL: (Especially of change or action) relating to or affecting the fundamental nature of something; far-reaching or thorough
-Oxford English Dictionary

HELLO. In the past two weeks, I came to an obvious yet important realization through my archival research. The realization was simple; the archives were teaching me about history I would otherwise have little to no exposure to. Not just the personal history of the person whom’s archive I was looking through, but a history of British Columbia that I feel should be more exposed than it currently is. Now, like I said, off the top this seems like an obvious point to be made, however, up until this point I have been focusing more on what the archive tells me about the individual in which the archive was created from, rather than what the archive discloses about history itself. For this reason, I’d like to discuss the collections from this week a bit differently than I have been and switch my focus to the history and knowledge held within the archive.

Two collections I found correlated in an especially interesting way were the Jackie Maniago and the Vancouver Status of Women fonds. Specifically, the treatment of mentally disabled individuals within BC addressed in the Maniago fonds and the later inept amounts of child care and the population of individuals addicted to drugs and alcohol within Vancouver. While I feel these collections relate on many levels in terms of socio-economic responsibility and neglect on behalf of the Canadian government, I also feel they both demonstrate well what Lisa Darms and Kate Eichhorn’s describes as the Radical Archive.

“Archives are, by their nature, conservative. Archives are about looking back, and they attempt to preserve a record of the past. The word “radical” derives from the Latin, radix, or root. In an etymological sense, then, archives could be said to be radical in that they support and enable those who are searching for the roots of today’s realities. More commonly, however, radical is thought of as the expression of extreme ideas through words or actions, a challenging of the status quo, and the opposite of conservative. Archives are rarely seen as radical in this sense. The reality is that all archives function within resource-constrained environments. When resources are constrained, decisions must be made about what can be collected, how those materials support other areas of the organization, what can be properly preserved, what can be made available, under what conditions, and to whom. Most typically, these decisions reflect the prevailing power structures in society.”

2016 Archive Journal
http://www.archivejournal.net/issue/5/three-sixty/devor-wilson-question-1/

As I flipped through the files in the Jackie Maniago fonds I realized I was learning about a dark seed within British Columbia’s history. This collection had folders marked “private” in which RBSC had to first remove specific documents before giving us access to. Of course, given the private nature of this fond, it’s understandable the privacy act stepped in to remove certain files. Despite this, the files in this fond were especially personal, in a different manner than I have seen before. They were personal in a dark, sad, and frustrating way. Almost all the files were stamped “Confidential” and were likely not intended to be seen publically. This notion of the private versus the public was discussed in Post #2 of this blog. I feel in this situation, making the private public, aided in the closing of the Woodlands, playing a large role in the Radical aspect of the archive.The Woodlands was a hospital in New Westminster, serving as an institution for children with developmental disorders. This psychiatric hospital became a center of confusion and pain for both the children kept there and the families kept out. Maniago was a member of the Woodland’s Parents’ Group: a group of parents whose children resided in Woodlands. This group was successful in its efforts to have the hospital closed down. Her fonds provide insight into the reasons why parents were so concerned about their children’s health. As noted in correspondence between group members, Life within the institution constituted:

Deterioration of sons and daughters
Abnormal environment. Abnormal behaviors learned
Children unrecognizable
Traumatized
No growth of sons and daughters
Individually not taken into account
System could not deal with individual needs and strengths of sons and daughters
Parental involvement was denied
Parents feeling isolated, powerless, lacking confidence
Children are more angry, frustrated, and depressed
Parents are told “we’ll take care of him for you”

As a response to this situation, parents gathered and became a resistance to the hospital. This resistance was not contained within BC only but was influential throughout Canada.

Fonds RBSC-ARC-1725 – Jackie Maniago fonds, Box 1 File 1

A letter, written from Paulette Berthiaume in Quebec, was addressed to Mrs. Mildred D’Haan in Burnaby in January 1982 covering how parents in Quebec were facing the same frustrations and fears. She asked Mrs. D’Haan for advice and help on how to achieve what they did in Vancouver. What I found interesting about this document specifically was how it demonstrates the Radical Archive.  The members of The Woodlands Parents’ Group challenged the hospital, carefully going through their vision statement and letters of intent. Below is one example of how the group took up questions on reliability and ethics. The mentality of opposition and action against one system is motivated and created by the actions of Maniago, and then preserved here in this archival collection.

Fonds RBSC-ARC-1725 – Jackie Maniago Box 1 File 2

Similarly, the Vancouver Status of Women fonds holds a fascinating amount of information on shortcomings of the Provincial Government.

Contained in a newspaper clipping was the following quote regarding the requirements to join a raising-consciousness session: “The goal is consciousness – raising: consciousness of common goals, and insecurities, and strengths. The only requirement for joining a group is that each participant respects each other and be serious in her attempt to effect life change.” Box 16 File 1

These women considered and challenged many complicated issues within the city. Box 16, file 2 focused directly on Drug Abuse and Vancouver’s way of handling and treating the drug abuse issues within the city. I came across information on how the heroin treatment program was continuously pushed back due to lack of employee training. Shortly after I came across a clipping with the title “Heroin treatment plan being scaled down” which stated the “plan” will not be able to handle as many addicted persons as originally estimated for its initial year. BC Drug and Alcohol Commission member John Russell said that after reviewing procedures under the Heroin Treatment Act will be able to treat 600 – 1000 addicts rather than the 2,500 originally estimated. Similar to the groups Maniago involved herself in, The Vancouver Status of Women also took action against governing bodies, leaving behind a Radical Archive filled with dismal and unexposed information regarding BC’s history.

Fonds RBSC-ARC-1582 – Vancouver Status of Women fonds. File ” Education – Children Handicapped” Box 16 File 14

I would love to talk more about these fonds, but alas, I’m already double my required word count….

Until next time,

Best

HELLO, This week I had the absolute  “pleasure”  of investing my blood, sweat, and tears into Derrida’s Archive Fever. I must say, that although very challenging (I am not well versed in the psychoanalytical concepts presented by Derrida) I enjoyed the task of finding connections to the archives, specifically the Jack Shadbolt collection. I am going to spend this blog discussing a subject that we did not have the time to cover in our presentation on Derrida last week, which is, the idea that there is no true archival memory.

Firstly I’d like to look at how Jack represents both himself, and his community in his archives. We have been entertaining the thematic idea of how an artist represents themselves in their archive. What I have noticed especially interesting with the Shadbolt’s collections is his interest in how society is represented. His fonds, when are about him, typically reflect a more public view of him.

Box 32, ARC 1493. Scrapbooks.

Box 32, ARC 1493. Scrapbooks. “But above all, over and over again, I find my full satisfaction as an artist in the streets about me: in the strange façade of a modern city block built up of all the historic hangovers of old architectural styles . . . It is not just an accumulation of detail interesting in itself but a complete reflection of our society.” World Affairs Page 18

Jack seems captivative in capturing The Society rather than just himself. His collection consists of army images,  native reserves, shipping docks, the aftermath of the war, and landscapes which all encompass something bigger than him.

A distinction should be made, between the violence, as we know it, and the violence that Derrida describes. For the purpose of this presentation we will refer to the violence, as we know it as the “literal violence.” He illuminates that there is a violence of the archive and it repeats in a distorted way. This violence is at the very root of the archive, which both informs and originates the archive. Firstly, the archive is an act of repetition and secondly, the repetition is distorted; it is unfaithful. That is to say, the archive is repeated in a distorted form; therefore it is deferred action and repetition compulsion.

In a repressed way the violence (repression and distortion) of the literal violence we know occurred repeats through the Shadbolt paintings. Shadbolt was an official War Artist in the Canadian Army during World War II. Because we can’t look at an archive and physically point out the violence, the other is a correlation between Derrida’s notion of violence and the archives we are viewing but it is not the equivalent. To say the archive deals with violence in one way would be doing violence with, or to, violence.

Additionally to the already considered violence within the army paintings, there is a demonstration of how the archive, acting as both a concept and place in an institution, repeats this violence of the physis and nomos because it is being collected as a one. For this reason, we can present the idea that we are repeating this violence in our act of archiving these things, which brings us nicely to support Derrida’s idea of the death drive.

Looking at some of the images from Shadbolt’s collection we see War paintings intertwined with creative distortions (ideals, stigmas, beliefs, paradoxes, political insights, etc.) The remainder of the war has to be distorted because it is a repressed trauma. The death drive wants to destroy memory because through repeating that repressed memory. The hypomnēma is repeated memory, it’s external memory, which is the archive (prosthetic memory) and in this repetition Derrida sees this death drive similar to Freud. Where Derrida turns this notion around is when he says the death drive is not simply the compulsion to create that external memory, it’s also trying to erase that memory, unless, if it can be distorted, then that memory can survive.

From this we can derive that there is no true archival memory; the distortion is just a representation of the idol of the truth. The memory can survive so the death drive is compelling us to repeat the repetition while also persuading us to destroy it because it’s horrific connotations. Again, it is this distortion which leaves an imprint (repression) that can be brought back to the arkhe and the concept of the archive sheltering in itself two irreconcilable concepts: the thesis and the nomos.

This leaves me to ponder on the idea of the fallacy of the archival memory. I’ve already toyed with the notion of how representation of oneself comes into account as we see artists selling their archives to institutions whilst, of course, still living. This now also questions the authenticity of the archive, even from those who have passed. That fact they, because of repression, have only preserved a distortion of the true memory. I don’t expect anyone to provide an answer to this, I surely cannot, but I am interested to hear what you think about the idea that there is no true archival memory.

Until Next Time,

Best.

Works Cited

Derrida, Jacques. “Archive Fever: A Freudian Impression.” Diacritics 25.2 (1995): 9-63. JSTOR. Web. 21 Jan. 2016.

 AGORAPHOBIA – Fear of open spaces or of being in crowded, public places like markets. Fear of leaving a safe place. . .

. . .Fear of being alone or of oneself – AUTOPHOBIA

HELLO again. I had the opportunity this week to look at a number of different archives from a selection of artists including Jim Wong-Chu, Ethel Wilson, Blanche Howard, Douglas Coupland, and Joy Kogawa. I spent the majority of my time trickling through the Kogawa fonds which were both confusing and intriguing. I would first like to say that I admire Joy’s writing. She has been a source I look to when trying to express myself through my writing and inspires me to embrace a creatively emotional component within my work.

Quote found in Joy Kogawa Found, Box 19, 19 – 5. Itsuka: Draft, Oct. – Dec. 1986. Chapter 6. Cover Image from Itsuka.

I really enjoyed how dispersed sporadically throughout the drafts for her books were little notes with ideas on them – thoughts she wanted to include and not forget so she jotted them down on the nearest piece of paper whether that was a post-it note, movie stub, grocery receipt or scrap paper. The majority of what she decided to write on contained files, lists, and information on the reverse sides such as an SDI Associates Limites Statement of Operations from May 1971. But more importantly, these pages she wrote on ended up preserving lists of names, or letters from random people that for some reason at the time had been involved in her life, either in large ways or almost minuscule manners. That we will never be sure of unless speaking with Joy personally, which I may add would be a delight. This brings me to question the notion of the Public versus the Private. When looking at Joy’s fonds, I feel they, like many collections, are a combination of both. I also feel this is overall quite complicated, especially now that archives are sold to museums and special collections whilst the author is still alive. I noticed this also when peering into the Douglas Coupland archives and specifically a box that contained fan mail. I kept thinking to myself how many of the people who wrote to him wouldn’t have guessed their letters would be preserved in his personal archives.In Coupland’s archives, there is a compilation of works intended for the public and items clearly meant for personal use. Below are examples of this:

Generation-X Manifesto, Box 10, File 07

Caption of a page from a Personal Journal, Box 10, File 07

There is a financial, literary and cultural value to archives which may influence or even determine why something gets archived. I feel this is an important consideration when examining archives, and doubting their neutral arbitrary reputation. Similarly, in Joy’s fonds you see personal letters on the backs of her drafts that may not have been written with the intention that we, as archivists, would have one day read them. But again, she chose to first use them to write on, and secondly, sell them to be archived. Like I said, it’s all very complex and I cannot determine how it makes me feel in terms of archive-authenticity.

Her fonds also allowed me to find cultural connections to Canada. For example, In Box 19, file 5 there is a publishing offer presented to her from Louise Dennys dated October 30, 1986. I loved this letter for two reasons. The letter was so sincere and praised Joy for her emotional captivation but also, because it was a clue into the history of Canadian publishing houses. After researching further into Louise Dennys, I discovered she was a major contributor to the publishing industry in Canada. In her mid-twenties, she began Lester & Orpen Dennys (which this offer to Kogawa was from). This firm eventually became an internationally renowned Canadian publishing house and lead to Dennys transition to Executive Vice-President of Random House of Canada. It’s from these publishing houses that we owe credits to for some of our best-selling authors including Kogawa, Ondaatje, Atwood and many more. More captivating than this even is the idea Jim-Wong Chu discusses in a podcast he participated in at the University of British Columbia (video below). The topic of publishing came forward with a distinction to the importance of Vancouver and Toronto’s publishing houses for the development of Chinese-Canadian cultural status. When something is rejected for publication, as it often is, there is a high chance we may never get to see that work. This is detrimental to the voices that are not being granted a position on the canonical podium. This also connects back to the questions I raised in my last blog post pertaining to the silenced voices of our communities and what impact that silencing has on our wealth of knowledge. Additionally, it draws attention to the power behind the public. To answer, or at least entertain, my question from the last posting, who determines what is in our canon, in a way, can be answered by looking at the publication houses. I intend to explore this concept in the upcoming weeks and hope to uncover some ideas of the impact that publication houses have on the cultural status of many Canadian collectives.

McLennan Family Fonds. (RBSC-ARC 1709 / Box 6)

HELLO, my favourite box I came across yesterday in UBC’s RBSC was the McLennan Family’s Letters and wax seal stamps.

The McLennan family immigrated to Canada in 1802. They came via the “Neptune” from Scottland and settled in Ontario. Their family branched into some of Canada’s most noteworthy companies, reaching myriad industries such as coal, transportation, shipping, newsprint and banking. The fonds I had the pleasure of spending time with yesterday included family crests, letters, and even a beautiful little travel sketch book filled with watercolors. If you would like more information on the biography of the McLennan family, you can find it on UBC RBSC website through this link.

http://webcat1.library.ubc.ca/vwebv/search?searchArg=McLennan+Family&searchCode=GKEY%5E*&setLimit=19&recCount=10&searchType=1&page.search.search.button=Search

-BIBLIOSMIA-

the act of smelling books, especially as a way of getting a ‘fix’ from the aroma of old tomes.

HELLO, fellow archivists. My name is Schyler  [shy–lur]. Fun right? I would love to tell you an interesting fact about the origins of my name and its connection to a unique history; however, it is simply the result of an artistic and creative mother. I am 5^th generation Canadian, having grown up in Squamish [Sḵwx̱wú7mesh]  and now living in Vancouver to peruse my Undergraduate in Honours English Literature at the University of British Columbia. Future educational ambitions include masters in either Archeology or in a field related to Government Communications and Peace Keeping. English Honours thus far has been awesome. By awesome I mean I really love my degree and the materials I have been fortunate enough to be exposed to thus far. My favorite class was a 491 Theory Seminar with Professor Chris Lee last semester. I am also thoroughly enjoying Dr. Potter’s take on eighteenth-century Libertinism (I’m always down for a bit of smut and decadence).

This class was on my hit list for a while for two main reasons:

1. I find there something romantic about being lost in a pile of dusty papers, intimately searching through each one to find an introspective hint into the past. I love the familiar aromatic of old books and a class that allows me to embrace that nerdy enjoyment was a no brainer. As the title of this blog suggests I am passionately interested in Nautical themed encounters, especially those regarding Piracy, adventure, and combat and hope to incorporate that in my blog posts and term projects where possible.
2. The course description explicitly mentions an aim to question what our canon is comprised of, who chose the now treasures in our archives, and why these items had been deemed to hold a certain level importance. Relating back to the aforementioned Theory Seminar, I wrote a manifesto on what it meant to ethically “Read in the Here and Now” which acknowledged the need for such questioning of our canon, especially being British Columbians whose history is primarily based on Colonial influence and seeded with an often understated and dark history. More than a simple polemic tendency, I genuinely find importance in questioning the material we have access to today and consider whose influence has affected and aided in shaping our pools of knowledge.

I have attempted to dip my fingers into the messy world of archives throughout Vancouver’s quaint museum scene. The Vancouver Police Museum was my first experience to which I  was involved in general research and archival in-house research in preparation for their newest exhibit – Bridging the Gap: Vancouver’s Youth and the Law. 

My second encounter was with the Vancouver Maritime Museum. I volunteered this past summer to help with the installation of their newest exhibition called “Across the Top of the World: the Quest for the Northwest Passage.”

Here are the links to both their websites. If you haven’t been before I highly encourage you to visit.

http://vancouverpolicemuseum.ca

http://www.vancouvermaritimemuseum.com/exhibit/across-top-world

Until next time,

Schyler F. Edmundson