Archive development proposal for Belfast Exposed.  Report 1. 15.10.2013

[tabs tab1=”Proposal” tab2=”Networks” tab3=”Creative” tab4=”Interface” tab5=”Approach” tab6=”Identities” tab7=”1st phase”] [tab]

[divider]Formal  and informal culture[/divider]

To design collaborative networking platform for photography professionals and amateurs who reside in Belfast and Northern Ireland.


It would aim to shift the identities of the residents and the archive from the political and religious aspects to positive shared everyday experiences of life in Belfast which are universal to human nature and the hidden beauty of the environment in which they live.

Therefore aiming to generate a more critically reflective language that will help bridge the divide between communities and increase awareness about shared background and lives of the residents of the city.

The foundation of this platform would be the Belfast Exposed archive constituting principles, thus Belfast Exposed will take curatorial responsibility.


Deliver platform for photographers to experience professional growth, which will therefore influence positively on the creative industries in the city, being an ever-growing collection about the city and its many aspects. Giving professional photographers more exposure, thus elevating both their image and image of the city.

On its own will be a visual collection of life in Belfast to which both professional and amateur photographers have contributed. Belfast City Museum.

Lack of community/resident involvement and exposure: takes engagement and outreach to the different level making community photography more visible by showing the results of their teachings and workshops.


[divider]Past Present Future[/divider]


Building on extensive networks of communities and artists, we hope to discover new ways of working based on common values, which join up the rich diversity of our interests.

Staying true to our founding mission, we continue to value photography as a way of challenging clichéd and reductive representation, so that people might better understand and be understood in the world.

Belfast Exposed website


The capability or self-organised approach provides an alternative method of recording human development… it is about people’s capability to do and to be the things they themselves have reason to value….

It enables us to design projects as opportunities for people to build their capability thus helping people help themselves.

David Richmond. Our Museum. Paul Hamlyn Foundation website


[divider]Inspirations [/divider]

Excerpts from “Belfast  Exposed” article from Source Photographic Review

The origin of Belfast Exposed dates back to 1983 when a group of local photographers came up with the idea for an exhibition to which people from across Belfast were invited to bring their photographs, to provide an ‘amateurs insight into the varying images of Belfast’ (Brendan O’Reilly 1984)

The gallery space provided exhibition space both for local community groups and established photographers from within and outside of Belfast.

…Like similar groups the activities of Belfast Exposed are diverse, encapsulating a variety of emphases that reflect the personal interests of the people involved, the needs of the local communities with which they work and the practical restrains of financial prudence.

…The initial idea, to provide an alternative and ‘amateur view’ of life in Belfast, was not merely an attempt to provide a forum for ‘ordinary’ people, whose access to means of visual expression would have been severely limited. 

The aim of Belfast Exposed was therefore twofold: on the one hand, it wanted to show the full extent of life taking place beyond the images provided by the mainstream media and on the other to document the Troubles themselves to a fuller extent…

Today Belfast Exposed’s object, the city itself, is no longer dominated by an exclusively bipartisan Troubles narrative. Finally the staffing of Belfast Exposed has changed allowing a reorientation of the organisation’s objectives and a reappraisal of its motives. The combination of these factors places a strong Belfast Exposed in the enviable position of being able to create an even more diverse stylistic and thematic portrait of Belfast and discover a future role for community photography in the city.

By Martin Bruhns. Issue 33,  2002. Read the full article here.

Excerpts from The  Visual Artists Ireland Critique Supplement review on exhibition “Northern  Ireland: 30 Years of Photography” at  The MAC & Belfast Exposed, Belfast.

…As Karen Downey, the exhibition curator, is quick to point out in the accompanying brochure, it is better understood as a showing of “new art-documentary practices, more often produced for the gallery space and the photo-book than for press and media”. In fact, this specific focus offers much to facilitate re-readings of Northern Irish photography, which has suffered from limited classifications as a trope of photojournalism associated with ‘the troubles’ of fraught media imagery.

…The works at the MAC explore the cacophony of conflict and  trauma in a more muted, yet equally potent way. Here, a generation of photographers examines the attendant detrius as a kind of  ‘material culture’ of war. Nearly all of the images on show are unpopulated by human beings;  the focus instead is on objects, places and spaces that have arisen because of the conflict.

…It’s images like these, given space and breadth in The MAC, that perfectly illustrate what Fionna Barber has called the  evolution of a particularly nuanced and reflective “conflict aesthetic” in Northern Irish art. Such images provide respite from the kind of  traumatic and sensationalist media images traditionally associated with conflict. That these hushed reflections can be as equally as disquieting as their more graphic predecessors owes much to the recognition that menace that can exist outside of the battle zone as well as within it.

Undeniably, the exhibition’s overall thrust is that conflict and the culture of conflict have proven dominant issues in art-documentary focused photographic practices associated with Northern Ireland.

…”Northern Irish photography, subconscious or otherwise, exists in a state of trauma

By Anne Mullee, Edition 12 July/August 2013

Curated by the Crowd: collections, data, and platforms for participation in museums and other institutions

Hosted by metaLAB’s Jeffrey Schnapp, Matthew Battles and Pablo Barría Urenda. Curarium is a collection of collections, an “animated archive,” designed to serve as a model for crowd-sourcing annotation, curation, and augmentation of works within and beyond their respective collections.


[divider]Active archiving approach [/divider]


[divider]Passive  archiving approach [/divider]

Fish Nets

[/tab] [tab] [divider]Intermeshing local and global networks [/divider]

Major hub/ interface for photography in Northern Ireland.  
Consolidate local and regional archives networks.
Discover possibility of sharing common archival software, saving costs and minimising efforts.
Innovative for the government.


[divider]Local [/divider] [one_half]

Northern Visions

CAINConflict and Politics in Northern Ireland  

INCORE (International Conflict Research Institute)


Belfast Family and Community History

Ulster Folk & Transport Museum

Ulster Museum

Lagan Legacy

Glenravel Local History Project

Northern Ireland Museums Council


Lecale Historical Society

The Riverside Theatre

The Glens of Antrim Historical Society

The Ulster History Circle

Prison Memories Archive

Glenravel Local History Project

Source Photographic Review

University of Ulster

Queen’s University Belfast

City Matters

[/one_half_last] [divider]Regional [/divider] [one_half]


The Northern Ireland Community Archive

Project has been part-financed by the European Regional Development Fund under the European Sustainable Competitiveness Programme for Northern Ireland and administered by the Northern Ireland Tourist Board.

/// no relational links to archives



Community Archiving Network Northern Ireland

The Project will give an opportunity for communities in Northern Ireland to present and raise awareness of their work at a local level and to share experiences, knowledge and connect with others within Northern Ireland and further afield. The term archiving, in this context, means a treasury of information embracing the past, present and the future.

We hope the outcome will be a community focused network of internet sites that will be a treasury of information about communities involved in learning, community development, local history, the arts, health and well-being, sports etc.

/// Provided platform and education for community archives´ websites/ obsolete

[/one_half_last] [divider]National [/divider] [one_half]


BBC Archive

Community Archives and Heritage Group

Archives and Records Association

Collections Trust – Collections Link

Collection Trust is an independent Charity with an international profile whose mission is to be the leading organisation in the management and use of collections and technology in museums, libraries and archives by 2015. Our success is built on nearly 40 years of experience working with the professional community, a commitment to excellence, and an unparalleled track-record of innovation.


Culture Grid

Its a unique online service from Collections Trust: joining and opening up UK collections for more use by more people in more ways.

Culture Grid fits with UK open data initiatives for the public and higher education sectors and funder strategies and programmes from Arts Council England, Heritage Lottery Fund and others.

Contains collections information and makes this easily accessible through:  Mobile and Social Media applications e.g. Find a Library;   International services e.g. Europeana; Open Government services e.g.,Search engines e.g. Google; Broadcasters e.g. BBC, C4

[/one_half_last] [one_half]


[/one_half_last] [divider]International [/divider]




[/tab] [tab] [divider]Strategic Partner [/divider] [one_half]


Aetopia provides a range of Digital Asset Management products for organisations (including large scale publishers, archivists, marketing and communication departments, universities and photographers) allowing them to more effectively manage and utilise their valuable digital assets.  Aetopia customers.

Recent projects:

PRONI ( Victorian Street Directories online)

The Abbey Theatre Archive

Lee Miller Archives

BT Portrait of the City



[/one_half_last] [divider]Competitor [/divider] [two_third]

Creating a digital legacy

BT Portrait of the City is a project that we are inviting every citizen to get involved in, as we draw upon the power of the image to reflect the changes over time that have shaped our city, to convey the social experiences of communities, to unlock memories and reveal the moments in our lives that define who we.

Thousands of such images exist in family albums, in the archives of newspapers, libraries, museums and television companies, and in the personal collections of the amateur photographers and home movie-makers who have recorded the intimate lives of their communities over many decades. Behind every image is a story waiting to be told.

BT Portrait of a City aims to bring these images together into a single online platform that will act as a digital memory bank for the entire city.

We want every community and individual to be part of this memory bank – to leave a unique footprint that will be seen for generations to come. BT Portrait of a City will support communities to take an active role in recording their own histories, creating their own films, photographic exhibitions, e-books and apps that can be shared by everyone in the city and beyond.

This is a journey into the future as well as the past. Along the way there are new skills to be learned, new technologies to be acquired and a new generation to be inspired by the rich history all around them. Although we are only at the beginning of this journey, we are already grateful to the many organisations and individuals who have agreed to share their archives and personal collections and to work in partnership with us to tell the story of this city in all its myriad shades.

The online digital archive will leave an invaluable legacy for future generations.


BT Portrait of a City wins prestigious DANI award
One of the flagship projects in the UK City of Culture year, BT Portrait of a City, has won a prestigious DANI award. The project was voted Digital Culture Project of the Year at the 2103 Digital Advertising NI awards at a special ceremony in Derry-Londonderry.

“Connecting communities is at the heart of everything we do and that’s what made BT Portrait of a City a natural project for us, as principal partner, to get behind. The whole community can be proud of what they have achieved this year and this award is recognition of the worth and importance of the project to the city as a whole.”

Peter Morris, Director of Corporate Services, BT

[/one_third_last] [/tab] [tab]

Living archive prototype.


[divider]Channels [/divider]


[divider] Content and activities[/divider]

Online magazine observing the fields of photography/  Proposing expertise

Insights for target audiences (gathering relevant; monitor and evaluate – archive)

Creating own context, providing a single place to bring audiences from dispersed, peripheral and social networks

Educational, research exchange space /  Re-evaluate importance for different academic, social and cultural institutions/ Contextualise collection for the schools´ curriculum/ ”Knowledge production” – promoting the use and re-use of collections and knowledge.

Hub for professional photography/ Production and distribution of artistic and community photography

Collections/ Artistic creations/ Community archives, workshop’s documentations blogs

Collaborative projects with strategic partners/ Finding new collaborators and refreshing existing partnerships/ More cross – marketing opportunities with partners/ Aggregated feeds from partners

Allowing a large number of people to contribute to and share, reducing repetitive duplicate input

Commissioning/ Calls for proposals/  Awards  etc

Goal: Provide appropriate access; develop new grants opportunities and secure funding.

[divider] Functionalities[/divider]

On-demand digital archive
Users can search, call up and/or order cultural heritage sources using various search functions.

Collaborative storytelling
Users can  tell their own personal stories. Heritage institutions provide specific archive material that users can then integrate into their narrative.

Distributed online research
Technical platforms, tools and social networks where users can jointly conduct and present research. This guarantees a certain degree of reliability with regard to the information, the relationship between the sources and the members of the community. An example of this is

Social tagging
Users are given the facility of tagging digitised cultural heritage sources. The tags can contain a description or can express some appreciation, and they make the collection easier to search through.

Enhancing the offline experience
Users can take advantage of new media, either prior to and during their visits to the museums and  cultural institutions. Using applications on smart phones in particular can make the museum visit more interactive and personal.

Online marketplace
This offers users the chance to bid online for cultural heritage objects and works of art.

[divider]Structure [/divider]


[/tab] [tab] [divider]Chaotic approach vs providing directories[/divider]

Research, manage, stimulate content flow.


Paul Hamlyn Foundation Our Museum
Communities and Museums as Active Partners
What we are trying to achieve the Four Outcomes:


Rooted in local needs

Museums and galleries understand their role within their localities; they are effectively informed of and respond to, the range of their communities’ needs and values and are aware of and initiate opportunities for partnerships with communities and other sectors to meet local needs.

Community Agency

Communities are sustainably at the core of all the values, strategies, structures and work of museums and galleries: actively and regularly participating and collaborating in dialogue and decision-making about the work of the museum/gallery.


Capability building

Museums and galleries play an effective role in developing community skills, capabilities and creativity: preparing and helping people to be engaged in their communities, to articulate their voices, to find employment or volunteering opportunities in the heritage sector and elsewhere; and supporting staff to learn how to work with communities.


Museums and galleries embed reflective practice into their work: internally, with community partners and across the sector, to ensure on-going reflection, dialogue and openness to challenge, alternative values and working methods.



[/tab] [tab] [divider]Vocabulary [/divider]

Preserving identities





The PMA shares ownership of the recordings with the participants. This means that participants are involved at all stages of production and exhibition: they ultimately have the power of veto over material. This co-ownership approach generally contrasts with mainstream models of documentary filmmaking where the subjects relinquish ownership of recorded material to the production company or broadcaster. This ethical protocol is primarily intended to establish trust between participants and the PMA in a society emerging from violence where political and personal sensitivities remain tender.



Where contestation over narratives from the past remains, it is important to hear and see the story from many perspectives. The PMA includes stories from as wide a range of constituencies as was possible during filming: prison staff, prisoners, visitors, educators and chaplains. This encourages viewers to regard others as ‘ourselves in other circumstances’ and to witness not only contrasts, but also parallels, in the participants’ experiences. While the material offers validation of each story and participant, at the same time it also challenges our assumptions about the past.

[/one_half_last] [divider] Democracy[/divider]

Important to understand that all players needs  different communication, vocabulary, copyright and other requirements.



[/tab] [tab] [divider]Archive development report. 1st phase[/divider]

Set of questions and issues:
1. Where Belfast Exposed find itself in 1o years time?
2. Connection with creative industries. Grants opportunities.
3. Belfast City Museum.
4. Digitalisation of archive.
5. Archival development, policies, personal, funding.
6. Outreach projects.

Study on actual approaches in archival development. Case studies of similar archives.
Propose a model.
Propose selection of relevant archival and web publishing software.

1. Consolidating local and regional archives network. Long-term goal.
Discover possibility of sharing common archival software, saving costs and minimising efforts.
BE representing the major hub/ interface for photography in Northern Ireland.

2. Realise the significance for the national and international archival institutions.
Apply for memberships. Get accreditations. Research topical or institutional funding trends.
Goal: Be compliant to the current standards.

Examples: Community Archives and Heritage Group, Collections Trust, Culture Grid, Archives and Records Association, Digital Preservation Coalition, Europeana

3. Re-evaluating  importance for different academic, social and cultural institutions,
finding new collaborators and refresh existing partnerships.

Goal: Provide appropriate access, develop new grants opportunities and secure funding.
Contextualise collection for the schools´ curriculum. Strategic partnerships.

4. SPECTRUM – standard defining best practice in management and use of collections.

5. Living archive. Propose a prototype.

Acquisition of new works and contributions of related content.
Archiving BE activities, collateral events, feedbacks and cross references between network sources.

Archive: Physical Collections / Digital Assets / Narrative Information / Collections-based knowledge/ Administrative information
Relational scheme, naming conventions, lexicon/vocabulary, annotation.

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