I'm Talking about MagPod and Archives Again
I know that those of us in the middle of the Venn diagram of “Magnus fans” and “People who actually know how archives work” have really given Jonny a hard time about the way that the Magnus Institute archives and artefact storage are shown as working (or, I mean, not working) in the podcast. Not just in terms of best practices (where) but also like… archives can be spooky, it can be a spooky job, but not really for those reasons, you know? Anyway, I think that Protocols Episode 9 actually engages with the archives’ role as an archives in a way that’s really, really interesting. Qualifications: I’m almost done with my master’s in Library and Information Science/Archives Management and have been working in actual archives of various types for a year and a half.
Specifically, I’m really interested in how Dice Guy engages with the horror within the context of the donation process. We hear a lot about the horror that objects in this universe cause while they’re still in the possession of their pre-Institute owners-slash-avatars, and a lot about the horror that these objects cause when they’re mishandled (looking at you, Jon “It is Remarkably Easy to Buy An Axe in Central London” Sims) while being stored at the Institute, and every now and again we get to see Jon or Gertrude accept or turn down an offered object (the teeth apple, Eric Delano’s page, etc) in TMA. But this is one of the only places in the podcast(s) where the process of donation and acquisition registers as a part of the horror story for the people giving or receiving the object. I’m thinking specifically about the beginning of the “statement proper,” where the statement giver says:
“So yeah, I tell you all about them, how I got them, all that crap and you just… You take them away, right? You accept them. Good. I think. I’m pretty sure that’s how it works. It’s how it worked for me, at least. Put them in whatever vault you like, bury them, drop them in the ocean for all I care. All that matters is that they’re yours now.”
At surface level, this disclaimer seems pretty similar to some of the other things that statement givers say in TMA: I just need to tell someone, I just need somebody else to know, You have the power to do something about this and I don’t, etc. But this statement differs from the ones we saw in TMA because it’s not just about catharsis or reaction to a terrible thing happening; it’s the actual change of ownership of the dice that gives this moment meaning within the horror story for Dice Guy. And this hinges on the fact that Dice Guy, like a lot of real-life people, sees the purpose of an archives as being locked vaults designed to keep non-expert people away from things they don’t know how to handle, rather than their actual purpose, which is to preserve things for the express purpose of making them accessible to the public. I imagine that the Magnus Institute, if it were real, would have some pretty strict access policies due to, you know, special circumstances– the stuff it holds generally having the ability to kill or maim or otherwise make people’s lives miserable– but it’s fun to think about. If Dice Guy had understood the fact that archivists and staff and conservationists and sometimes researchers interact* with the materials in their care, would he have still donated the dice? Was he at the point where it didn’t matter who got the bad luck, as long as it wasn’t him, or was he leaning on the stereotype of archives being locked vaults as a way to absolve himself of the guilt of giving the dice away to a person, because people use the things they're given and he thinks archives don't?
It also raises some interesting questions about ownership. Real archivists think about the ethics of donation, acquisition, and ownership a lot. What does it mean for somebody to give something to an archive? What does it mean to accept it, therefore a) accepting responsibility for the preservation of the object and b) assigning cultural/historical/ideological value to it? This is where TMAGP comes pretty close to real archival theory: Dice Guy thinks that he’s nullifying the dice’s power by giving them to the Institute, but isn’t it true that to accept an object into an archive assigns it a level of power? The notes at the beginning of the statement seem to suggest that the dice coming under the Institute’s ownership lends them power beyond what they had originally, as well: “Viability as Subject,” “Viability as agent,” “Viability as catalyst,” “Recommend referral to Catalytics for Enrichment Applicability Assessment.” To me, this says that maybe the dice were in the running to potentially be chosen for the role that the tape recorders fill in TMA– to facilitate, or serve as a catalyst for, the narrative/the fears’ growing power by being passed to the “agent” (Jon or Jon-equivalent) through the Magnus Institute. We, the audience, know that, if the dice had been selected to fill the tape recorder role, that would give them the potential not just to make one individual’s life more miserable, but to fundamentally change the entire world a la TMA 160 and 200.
*In TMA canon, the Web uses the Magnus Institute as a site for agents and catalysts to interact, just as much as the Eye does if not more. The fact that the archives is a site of interaction between people and particular objects is critical to the narrative as told by the Web, even if it seems incidental to Jon–and even if Jon doesn’t understand the archives that way. It’s an interesting way to look at the Magnus Institute and archives as functioning in a similar way to actual archives, which serve as sites of interaction between people and historical objects (in spite of Jon’s complete lack of ability to function as a regular archivist.)
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6, 10 & 29? :)
HELLOOO
6 - 3 nice things about myself, non-physical and physical. i'll do three each! since i'm trying to be nicer to myself!
physical:
- i got glasses the other day and i think they look adorable, i love how they look on me
- i think my eyes are my prettiest facial feature, they're blue and quite round and i like how i do my eye makeup too (rose pink eyeshadow + small black eyeliner makes them stand out nicely and that's usually what people compliment :])
- i generally like my body shape. i'm working out more too and seeing myself become more flexible and toned is actually really satisfying
non-physical:
- i always try and include everyone in conversation or ask them what they were going to say if they were cut off since i know what it feels like to be excluded/feel like youre the tag-along in a friend group, or be nervous to join in
- i'm good at a range of subjects and tasks and i'm good at picking new things up quickly: new hobby every week core
- i'm a pessimist at heart but i try and make light of situations, since i know that also picks other people up (my mum always makes the worst out of things and it drags my mood down a lot so i try and be as forgiving and optimistic as possible - honestly, a lot of bad situations can be made funny with the right people and mindset. obviously sometimes frustration is warranted and unavoidable, but there's almost always a way out! having it start raining and immediately hear someone complaining for 10 minutes is kinda unecessary imo. enjoy yourself!! its fine!!)
10 - something i'm excited for
well, my friend and i are planning to go on a road trip up to scotland or somewhere similar once we get our drivers licenses and go sight-seeing! we were thinking february next year but we're still deciding
im also gonna try and bake some bread, so im happy for that :] i already bake a lot so i figured id try. also watching stuff rise is fun
29 - morning, afternoon or night
this depends heavily, but for me i stay up at night cause i want to avoid the next day and its the one of the only times its quiet, and the afternoon is a weird spot for me. i'm not really a morning person but i appreciate the morning? the sun's rising and there's still time and everything's peaceful for a little while. so i think morning.
thank you for the ask!! <33
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