MetaSource_DATE_DataPoints for genealogy & other microhistory projects, a pathway, directory/folder and file naming system

2017/03/11 § 2 Comments

I am of an age to begin genealogical projects. While younger the interest was the same as it is now, but not to begin, even if then there was more time, or because there was more time.

Of course, in the course of time people die, data disppears. And contra, in modern times technology progresses, access to archives of data get easier. Swings and roundabouts.

About seven years ago I started with some genealogy software and learnt about GEDCOM files. Played around a bit with various applications. Looked at some inherited documents. Scanned them. Saved them. Went online, search some strings from 1980s typewritten family trees, and discovered ancestors on Monaropioneers.com. Learned some ancestors were actually born in New Zealand.

kaiapoi firestation earthquake

And then it was seven years later. Somehow.

At some time in those seven years I had discovered GRAMPS, opensource genealogy software, but had never actually used it. So a month ago I started using GRAMPS and looked at my mess of digital files, scans of old letters and documents, and downloads. Where to begin?

But I did begin.

Apparently some of my decisions were the usual ones for beginners. By family, by person, by official docs, by correspondence, by photo. Not mistakes but on going onto the GRAMPS email group and sharing my directory/folder structure, someone went yeahbut.

They mentioned the French way of archiving. And so I went off learned about Respect des fonds, Original orderProvenienzprinzip and so on.  Now I already knew about Provenance and how to cite so my file naming was okay, I thought, so that didn’t change much, what did change was my folder structure, and the big picture.

And how file name and their directory/folder structure could contain implicate order.

In citing it doesn’t matter which copy of the book you actually used. Most citation systems assume that there are libraries you can go to and find some copy or other of a book or article to check out. (There are many styles of citation. I’ll just note Harvard.)

In archiving however, which actual physical copy becomes more important. History works with source material and so this information is vital to the work, not just what book, but which book where and when. And whose.

Genealogy is a microhistory, so we should learn its lessons. The history of the source material needs to be tracked and made available. I have family trees from the 1980s but some I do not know who made them, and none have supporting material.

The folder structure I had originally designed was organised according to how I was researching, not how the information might be useful later to someone else. I was focussing on my own methods of hunting down the next link in the chain, the next clue, completeing the picture in my head, and not how that picture would appear to someone else. So at this point the question became, as my project was relying on the work of others in creating the chain in the first place —was my work going to help that chain go on? And if so, could it be done better?

These days a lot of genealogy is online. There are the commercial suppliers, which now include DNA matching. As well there are the digitised and more recently computerised actual sources of information i.e. NSW Registry of Birth Deaths & Marriages.

I was looking at how to make my file names and directory/folder names be more helpful to someone else looking at the data. This is important because while GRAMPS has a excellent support for citation, source through to repository for events and places in a lifespan, it only links to what you put on the harddrive. You have to think about how to organise it.

This is a good thing.

And even if there were no GRAMPS, (software disappears over time, orphaned, abandoned, scrapped, turned into useless subscription models which dumbdown the use through time [yes I mean you Adobe]) the question would become would that bunch of files and pathway names be good enough for someone else to work out what was going on?

Well?

What is interesting at this point in writing this very blog post is that the time taken so far to write it is a gazillion times longer than the time it took to work out the following:

MetaSource_DATE_DataPoints

It is important to point out here that a moment before I decided on this structure for the entire pathway (directory structure & file name) I decided against an abbreviation system, i.e. coding.  E.G. “B” for birth certificate– B1980-ClaudeManning.pdf or something. I’d try to be as obvious as possible and use the word Birth not “B”. Abbreviations are not banned, but their dismissal lead to a eureka moment. Yes, I was in the bath.

(Abbreviations which have a recognised life out in the real world are admitted e.g. NSW for ‘New South Wales’ and BDM for ‘Births, Death and Marriages’ (Registry).

My pathways were going to include as much non-abbreviated infomation as possible, but be as succint as possible. I also decided that it did not matter where the info was placed, in a many layer pathway system with many folders, or a flatter system with fewer folders. Or more likely, both, so they could integrate depending on load.

Constraints on this are operating systems abilities with respect to pathway and file name length, as well as forbidden characters. This is a big issue as I want my system to be useful to other people across time and space and strange operating systems— across which information might be conveyed (without being looked at). But I’ll describe that detail at the end.

I’ll now breakdown the three elements of MetaSource_DATE_DataPoints.

MetaSource

This is all the Respect des fonds, Provenienzprinzip and Provenance stuff, as informed by Original order. The MetaSource is comprised of the elements:

① Repository (where the information/ material is located)
② Source (a registry, a letter, a book)
③ Authority (author)

Some MetaSources are the one and the same, for example the NSW Registry of Birth, Deaths, and Marriage (NSWBDM) is ① ② and ③ all rolled into one. Clarifying bits may go in the pathway/filename structure after the…

DATE

This is the pivot where we move from the big world to the micro details. It uses the ISO 8601 standard, e.g. 2017-02-14.

Having the ③ Authority immediately before the DATE  acknowledges the Harvard AUTHOR-DATE citation style often used in the humanities.

DataPoints

This gets the item level stuff. The DataPoints is a an arrangment of:

④Subject:

ⓐevent: birth, death, marriage, occupation, etc
ⓑperson/s
ⓒplace
ⓓtitle

ⓔsource pointer (page number, record ID)

⑤Type: map, photo, scan, downloaded, screenshot, can include secondary DATE
⑥MISC: original file name, original URI

Number ④ Subjects — one can list all or none.

Number ⑤ Type — one can list all or none possible types… for a photo of a scan or a printed screenshot.

Substitution gives:

①②③DATE④ⓐⓑⓒⓓⓔ⑤⑥

Repository_Source_Authority_DATE_event_person_place_title_sourcepointer_type_Misc

If an element can appear twice it may do so, but usually just use the earlier placement.

 

Examples

Imagine a hard drive or some memory device or even somewhere in the cloud where there is an archive of digital and digitized documents. Here is the MetaSource_DATE_DataPoints schema to a birth certificate. The datapoint order need not be consistent, but it would help to do so when one eyes scan down a directory’s listing.

SomeArchive/ 
NSWBDM/
NSWBDM_1980-06-22_Birth_ManningClaudeRobert_Sydney_1234-1980_scan.jpg

“_” underscore separates elements

“-” appends or supplements an element with some qualification or further detail and resolution, as what it does in a DATE 2017-02-14.

One could introduce subfolders under NSWBDM each for Birth, Deaths and Marriages, but keep the file name as is, and don’t drop birth from the filename.  Now just looking at the one example it looks very ugly, but with a dozen on screen in one repository folder an order does become apparent.

Also, I’ll admit that with digitisation and online resources the lines between a fonds and a provenance or even authority get real blurry, but the whole thing is in my metaFonds now so that’s the way I do it.

SomeArchive/ 
ManningFonds/
ManningFonds_LetterFrom_DaviesM_1963-08-25_toManningClaudeRobert
_12AliceSt_scan_2017-03-01.pdf

 

SomeArchive/ 
Googlemaps/
Googlemaps_2017-02-14_1PoolSt-Otley_map_satellite_screenshot.jpg



SomeArchive/
ArchiwumMapZachodniejPolski/
ArchiwumMapZachodniejPolski_Messtischblatt_1940_Ostrowo-map_download_2017-02-21.jpg

 

 

A PROTIP or two

Anything you wanted to do by naming or organising directories according to Family Branch, Family, Person, types of documents, photos (as I did start) with the above MetaSource_DATE_DataPoint system in place — can be done with virtual folders (or saved searches or what Apple Mac OS calls smart folders) because all those datapoints are in the filename. Nothing is lost, a lot is gained.

Keep datapoint elements in the same order, this will help pseudo-folderise files on screen.

Thus, LastnameFirstname for organizing families.

Separate files of scan of the same document? Number the type element with a padded suffix:

…photo_scan01-front.png
…photo_scan02-rear.png

(Scan the backs of your photos, they can contain more information than you realise.)

I will also add GRAMPS ID numbers to various elements, particularly for clarity and consistency.

ManningClaudeRobert-I0123
Googlemaps-R0123

Devil in the Detail : Characters

Remove characters which some computer operating systems find difficult or special:

/ \ . 

& Windows in particular: from Naming Files, Paths, and Namespaces (Windows)

< (less than)

> (greater than)

: (colon)

” (double quote)

/ (forward slash)

\ (backslash)

| (vertical bar or pipe)

? (question mark)

* (asterisk)

Why?

Imagine you grab a USB drive and copy stuff to it and not look at it and then copy it elsewhere and realise data is lost because it was some old FAT formatted thing, and you don’t even have Windows in the house!

Windows also finds long file pathways (this includes both file name & nested folder/directory structure) very difficult, as these are going to be long file names, keep the folder nesting structure as simple as possible. (If burning to an optical disc DVD or CDROM it would be best to compressed the entire structure first to .zip or similar, and burn that file. Optical disks do not support very deep pathways and lengthy filenames.)

Also remove spaces or hyphens from surnames or phrases and CamelCase them. And use CamelCase when removing spaces generally.

I use “~” the tilde to indicate the orginal (format). For example

…PicassoP_1948-02-14_ManningClare_inLondon~drawing-portrait_photo_scan-2005-10-11.png

I’ve also reserved ‘ ` ‘ or tick to indicate primary date.

Maybe keep white space for original file names, but you will have to remove the dots from any original file names or URIs and leave only the one dot to separate the file extension.

nla.12345.D23-123.pdf
to
…_download_nla-12345-D23-123.pdf

NOTE: File type extensions (i.e. .txt .jpg .odt) may not be included in the above descriptions. Obviously they are another type of DataPoint.

Thus we have all the:-

MetaSource_DATE_DataPoints

What are the rules for art?

2017/02/14 § Leave a comment

 

When I walk into a gallery, and I look at an artwork, I wonder, how was it made?

This is always my first question.

Sometimes this is too obvious particularly in the case of flat art like oil painting and we drift immediately into curatorial and collectimaniacal discussions, perhaps of style, technique and brushstroke.

Other times the types of process is more technological than the personality in practice, technique and presentation —and I get caught up in lost wax, sprues and welding.

Interesting. I pace hither and thither, lost in thought and admiration. And so more questions, all sorts of questions.

I may venture into what the maker intended, but in any case, the last question I ask is —how was it marketed?

It is the last thing I ask not because of its import but because as soon as it floats into the periphery of notice — I walk away from the art and into the light.

Any other questions that might arise (subject matter, historical significance, the artist’s early death, the skill, the late success, the naive approach) all of them are subsumed by marketing, by the market, by the marketeers, the curators, the auctioneers, the gallerists and #bignames curating their own careers.

And my first question, in context of the marketplace, means nothing at all.

So I walk away.

Marketing stops my curiosity, marketing is a mind killer. It is the magic that must hide its power even as it consumes everything.

I try to walk away.

My first question makes me lonesome, and perhaps proud. The other questions make me a member of the market, an atom of nothing in a sea of commodities, a see of POVs of likes and dislikes, of subjective demographics. And I cannot walk away even when I think I have.

And the last question reminds me the rules for art are the rules of the marketplace. There is no alternative.

I crawl in circles.

their gaze alights before mine looks away and we both watch our corner views til a worry, a stare caught falling on our own concerns no loud mouth would know

2016/01/08 § Leave a comment

or?

 

their gaze alights

 

Locked-in Syndrome of Age & Experience

2016/01/06 § 1 Comment

Effort of my attempt effects no outcome —
tryness of triedness makes nothing —
tired of my tears I rip the connoted stretch marks of my mind.

I had to study Les Murray at matriculation for English HSC (the grading names have all been change to protect the past), via  The Vernacular Republic, only a couple of years after it was published. I didn’t have to fail it, but I am glad I did (probably due to my handwriting speed in essaywriting). #themoth


 

LES MURRAY: I’m a subhuman redneck, of course I am.

MARK COLVIN: Is that because of the bullying?

LES MURRAY: There I suppose probably, yeah. You know that deep down the university, university English departments are never going to take me seriously because they are in the business of training kids to be members of the middle class.

I was sent to university to become part of the middle class, I did not do it, I did something else, I became a poet and I’ve never been forgiven for it.

MARK COLVIN: But that sounds extraordinarily resentful given than that people like the great writer Joseph Brodsky says, “He is quite simply the one by whom the language lives,” and then somebody, John Timpany, in the Philadelphia Inquirer says, “Would somebody please, please give this guy the Nobel prize?”

LES MURRAY: Yeah I don’t believe any of it. I know where people, people know where they fit in society and you can’t move out of it.

You can play games with it, which is what I do but, you can’t overcome it or dismiss it. You are assigned that part of society and the fires of hell will not move you.

On death and poetry: Les Murray speaks to Mark Colvin from his Bunyah home

 

Consciousness forming conscience categories real life out of the voidly self

2016/01/06 § Leave a comment

Moving along, that bubbly blonde with some dead man’s hat on the hair above her head, strays moving in the air like the laugh of the cut man’s son in, with — I know her style but I am not sure of her type — within the kind of fun loving slink and jig in the corner of her wants. Yes, she needs no introduction, you know. There are twenty more upstairs in the store looking for someone special. You don’t know who she is.

Watching & writing in the void at MONA 8th Oct 2015

I’ve decided to deaccession my ideas rather than hoard them, via ebay

2015/04/10 § Leave a comment

I have too many ideas and I need to get rid of them somehow. They are crippling my life. I hope by monetizing them here in an auction they will be of some use to the community and not just lie rotting away in my brain. Or simply rotting my brain for that matter.
SO OUT THEY GO! CHEAP! STARTING AT $0.99!.

 

light-bulb-with-plant1

While reading a biography of Wittgenstein, I come to define pornography

2015/03/26 § Leave a comment

I have been re-reading Ray Monk’s Wittgenstein The Duty of Genius after a fifteen year gap. It was a hard copy, I gave it away to an Ethiopian. I have an electronic copy now. I read it in yellow on a black screen.

wittNZ

Thus it came to pass as I was standing in the dark I while reading on the phone I wonder about the “I know it when I see it.” phrase some US judge said after refraining from defining hard core porn.

So…

I’d define hard core as a more extenuated version of the base definition, to wit, “Porn is defined by its main uniting fantasy, that it is not fantasy.”

I don’t think it needs to be linked to sexuality at all.

This way it can include the formats like car porn or earth porn. Might need to stick ‘visual’ in the definition though.

Also: The “show versus tell” stuff is all about the redundancy of Russell’s “theory of types.”

Thus a definition of porn is also redundant, as I have shown.

See.