The Lerner Vinyl Collection
Currently, my husband and I have close to 600 album sets, many with multiple discs, in three formats: 45rpm, 33⅓rpm, and 78rpm. The collection is spread across two pieces of furniture that have two rows of four cubbyholes each. There are three main genres: classical, world music, and everything else. “Everything else” is spread across the top cubbyholes, only includes 33⅓rpm records, and is alphabetized first by artist last name or band, and then by album name. World music begins the bottom row, and also only includes 33⅓rpm records. Again, they are first alphabetized by artist and then album. Next are the classical records, which are arranged alphabetically by composer. Those records with more than one composer (many classical records are compilations, or have two related pieces by different composers) are taken on a case-by-case basis and put under the composer whose piece on the record we listen to more. 78rpm records (all classical) followed by 45rpm records are the final components; they are arranged in the same alphabetical sequence as the other records.
Why is the Collection Organized This Way?
While I appreciate personal organization, when categorizing music one can get caught in minutia and soon the system can only be interpreted by the creator. Because vinyl is a physical manifestation of music in that the actual vinyl cannot be searched electronically, the system needed to be simple enough for friends to use, but detailed enough so that we didn’t need to hunt every time we wanted to listen to something new. Part of the joy of the collection is watching other people pick what to listen to, and serendipitous discovery is an important aspect of that process. Due to this, I made the organization specific enough to guide whoever is looking to the general area, but broad enough to allow the searcher to discover other items of interest. Simple genre categories allow the searcher to eliminate certain types of music, while separation of format allows one to immediately discount certain records. Beyond these broad separations, alphabetical ordering seemed most logical for our needs. As I know my own collection fairly well, this system allows me to pinpoint a record’s location surprisingly quickly. Upon reflection, I realize that I created this system more for our friends’ benefit than for my own – in this instance of my personal information management, I was far more concerned with how other people would access the materials than I was with my own access needs. Perhaps this speaks to the social nature of the materials in question. Either way, my audience and their discovery is by far the most significant reason my collection is organized in this fashion.
Are There Certain Aspects that are Successful for the Material?
In particular, I think that subdividing the collection into three loose genres is extremely useful for the materials. As I stated earlier, I did not want to micro-divide the collection, but I think that the three genres really lend themselves to three different listening experiences. No one, in my experience, has had difficulty choosing between those three options at any one particular moment. If a goal for my organization scheme was to be able to roughly find records, but also allow people to discover things they might not have found otherwise, this subdivision points them in the right direction without leading them straight to one record. The divisions also reflect the three main areas that we collect: classical, world music, and a little bit of everything else.
Improvements?
Thinking back to the Weinberger piece, “The New Order of Order,” the collection is rooted in the first order of order, the physical location of actual objects. While this works quite well for most of the collection, it is the cause of much consternation in the classical sections because classical records often have more than one composer, artist, or piece on a recording. There is more than one logical place for many of the items. Finding particular pieces of music is more difficult here than in other sections of the collection because not only does one need to remember the name of the piece, but one also needs to remember the composer and whether or not it was on a record with another piece by a different composer, which composer it was filed under, and who is performing the piece. There are so many variables in each aspect that finding any common thread by which to organize has been unsuccessful to date. Perhaps I need to enact Weinberger’s second order of order, and create cross references so that all pieces and composers are fairly represented and accessible.
One Final Observation:
I find it interesting that this scheme incorporates almost all of the PIM behaviors discussed by Barreau in “The Persistence of Behavior and Form in the Organization of Personal Information”: filing, piling, and spring cleaning. Obviously, the records are all filed in particular locations; however, I am often lackadaisical about actually filing records where they belong immediately after listening. As a result, there are piles of records all over the living room, each one the evidence of a particular listening session. Finally, about twice a year, we spring clean, re-ordering everything, weeding, and marking items for sale as we go. Though I think that Barreau described these behaviors as being more intentional than described here (besides the spring cleaning), I would guess that most people employ all three behaviors in different areas of their personal information management.
Works Referenced:
Barreau, D. (2008) The Persistence of Behavior in the Organization of Personal Information. Journal of the American Society for Information Science and Technology. 59(2) p 307-317.
Weinberger. (2007). Everything is Miscellaneous. New York: Times Books. Chapter 1: The New Order of Order.