I recently had an opportunity to view an exhibit of Ansel Adams photographs at the North Carolina Museum of Art.  Although I’ve been a fan of his work for some time, I appreciated learning more about his notion of visualization.  In an interview he explained that “the creative work is the internal event that happens inside your mind when you see the photograph.”  He credited Alfred Stieglitz as a model for the idea of seeing in the mind’s eye:

“I come across something that excites me, I see the picture in my mind’s eye, and I make a photograph, and then I give it to you as the equivalent of what I saw and felt.”

Adams did a lot of his work under the auspices of the National Park Service, so many of his photographs are available at the National Archives.

I believe the process that Adams followed could be useful archival work.  Too often it seems we dive into projects and hope for the best without having any notion of what we hope to see as the culmination.  While we can’t mandate what records cross our thresholds, we can try to be more proactive about how we handle the records we’ve already received and how we perceive our responsibilities to gather and preserve the stories of today for tomorrow’s users.  Although this would undoubtedly be seen as too interventionist by many, in keeping with concepts such as the documentation strategy, I think archivists should think carefully about how we reach out to people who are currently creating records and provide more guidance about how best to create and maintain records of events occurring today.  If we choose to avoid this role, I see two things happening — either the records are lost from history and/or archivists lose our voice as others step in to provide advice on managing the predominately digital records that are currently being created.