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                  <text>Formed in the early 70s by ex-tutors and students from several London Art Colleges, the Poster Film Collective produced a series of hand-printed posters in support of political campaigns and a comprehensive series of educational posters that challenged hegemonic views of history. MayDay Rooms is pleased to be hosting a part of Andrew Darley’s collection which comprises of a set of posters titled “Between Future and Past” (aka ‘the feminist series’) and its attendant teaching handbook. Other material deposited by ex-participant Andy includes correspondence and documentation relating to many areas of the Poster Film Collective’s practice.</text>
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                <text>Unknown</text>
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                <text>Poster Film Collective</text>
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            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
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                <text>Book</text>
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            <name>Source</name>
            <description>A related resource from which the described resource is derived</description>
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                <text>Archive Storage Room|Andrew Darley</text>
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            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Telford Community Arts Annual Report &amp; attendant material</text>
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  <item itemId="7075" public="1" featured="0">
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            <element elementId="50">
              <name>Title</name>
              <description>A name given to the resource</description>
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                  <text>Inventory</text>
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                  <text>This journal for fierce sociology, for finding, losing and collecting, first appeared in the mid ‘90s and continued in various forms for a decade. The journal was the spine of Inventory, a thread enabling it to shapeshift into posters, stickers, radio broadcasts, films and installations. At the outset they declared an independence from categorical norming and hierarchical dogma: “Our material has been collected from the four corners of the floating city, and no object, text, picture has been held in higher esteem than the other.” This lack of restriction gave room for its writers to wriggle free from disciplines and invent true stories from material found lodged in the cracks of the tarmac and in the pot holes of the set text. Inventory recently resurfaced in the Fleet Street Area and left us copies of their journal (1995-2005) as well as a box of ephemera that has been dubbed the Inventory ‘Time Box’.</text>
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      <name>Physical Object</name>
      <description>An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types.</description>
    </itemType>
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        <elementContainer>
          <element elementId="39">
            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
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                <text>Unknown</text>
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            <name>Description</name>
            <description>An account of the resource</description>
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                <text>Inventory</text>
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            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="74040">
                <text>Photographs</text>
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            <name>Source</name>
            <description>A related resource from which the described resource is derived</description>
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              <elementText elementTextId="74041">
                <text>Archive Storage Room|Adam Scrivener', u'Paul Claydon</text>
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          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>[photographs]</text>
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  </item>
  <item itemId="7078" public="1" featured="0">
    <collection collectionId="20">
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        <elementSet elementSetId="1">
          <name>Dublin Core</name>
          <description>The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.</description>
          <elementContainer>
            <element elementId="50">
              <name>Title</name>
              <description>A name given to the resource</description>
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                  <text>Underground Techno Scene 1992-1996</text>
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              <name>Description</name>
              <description>An account of the resource</description>
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                  <text>As a mass popular movement involving and uniting many subcultures the rave scene soon gained self confidence as a counter-culture and became subject to Governmental attack via the Criminal Justice Act (CJA). The ephemera deposited at MayDay rooms by William Shankly focuses on a period from 1993 and the Dead By Dawn/TechNet/Alien Undergound/Datacide assemblage centred on Brixton’s 121 Centre. Amongst the papers are zines from the period, flyers, news cuttings, correspondence and typescripts and drafts of TechNet writings. Some of these materials, especially those generated at the time of resistance to the CJA, were activated in October 2014 in association with History Is Made At Night at an event called ‘The Revolt of the Ravers’.</text>
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    </collection>
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      <name>Physical Object</name>
      <description>An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types.</description>
    </itemType>
    <elementSetContainer>
      <elementSet elementSetId="1">
        <name>Dublin Core</name>
        <description>The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.</description>
        <elementContainer>
          <element elementId="39">
            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
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                <text>Unknown</text>
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            <name>Description</name>
            <description>An account of the resource</description>
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                <text>Underground Techno Scene 1992-1996</text>
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            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="74055">
                <text>Miscellaneous</text>
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            <name>Source</name>
            <description>A related resource from which the described resource is derived</description>
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              <elementText elementTextId="74056">
                <text>Archive Storage Room|Howard Slater</text>
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            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Box 1</text>
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            </elementTextContainer>
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  <item itemId="7086" public="1" featured="0">
    <collection collectionId="21">
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          <name>Dublin Core</name>
          <description>The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.</description>
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            <element elementId="50">
              <name>Title</name>
              <description>A name given to the resource</description>
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                  <text>Psychogeography</text>
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              <name>Description</name>
              <description>An account of the resource</description>
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                  <text>Our Psychogeography Collection is primarily composed of materials produced by the London Psychogeographical Association, which was first mooted in 1957 by the British artist Ralph Rumney, who was amicably expelled from the Situationist International for his failure to deliver a psychogeographical report on Venice. Just as the report eventually surfaced in accordance with its own timescale, this psychogeographic project was reinvoked in the early 1990s as the LPA East London Section by Fabian Tompsett. After 35 years of non-existence, a series of newsletters and pamphlets began to be issued to report on the persistences of ruling class power and on free associational drifts through history. With an open non-sectarian context and contributions from writers associated with the Luther Blissett multiple name, the LPA newsletters regularly displayed a humour reminiscent of Class War and added to this a parodic erudition to some degree aimed at exposing the pretensions and callousness of a western enlightenment tradition and how this persistently feeds into blunting the left opposition. LPA activities included trips to destinations of psychogeographic interest (including an American Civil War battlefield in London’s Globe Town), the organisation of three-sided football matches and the inauguration of bus stop competitions. Open Up The South East Passage!&#13;
&#13;
The collection also includes newsletters, leaflets and posters created by other groups from around the country, including the Poetry Field Club, Equi-Phallic Alliance, Manchester Area Psychogeographic and the Nottingham Psychogeographical Unit.&#13;
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      <name>Physical Object</name>
      <description>An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types.</description>
    </itemType>
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            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
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                <text>Unknown</text>
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            <name>Description</name>
            <description>An account of the resource</description>
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                <text>London Psychogeographical Association</text>
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            </elementTextContainer>
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          <element elementId="42">
            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="74095">
                <text>Box</text>
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            </elementTextContainer>
          </element>
          <element elementId="48">
            <name>Source</name>
            <description>A related resource from which the described resource is derived</description>
            <elementTextContainer>
              <elementText elementTextId="74096">
                <text>Archive Storage Room|Fabian Tompsett</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
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              <elementText elementTextId="74097">
                <text>Box 1</text>
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            </elementTextContainer>
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  <item itemId="7158" public="1" featured="0">
    <collection collectionId="24">
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        <elementSet elementSetId="1">
          <name>Dublin Core</name>
          <description>The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.</description>
          <elementContainer>
            <element elementId="50">
              <name>Title</name>
              <description>A name given to the resource</description>
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                  <text>Resistance Comix &amp; Associated</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="41">
              <name>Description</name>
              <description>An account of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="2110">
                  <text>Resistance Comics hailed from Belfast and according to the Irish Comics Wiki the ten issues that appeared between 1975 and 1978 were the work of political cartoonist Brian Moore (aka Cormac). Characters that Moore invented include Paddy O’Looney and Red Biddy and there was a regular comic strip entitled ‘Revolution by Proxy’. These comics, along with several editions of Street Comix of Birmingham, found their way to MayDay rooms via Paul Westlake and Statewatch.</text>
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              </elementTextContainer>
            </element>
          </elementContainer>
        </elementSet>
      </elementSetContainer>
    </collection>
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      <name>Physical Object</name>
      <description>An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types.</description>
    </itemType>
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      <elementSet elementSetId="1">
        <name>Dublin Core</name>
        <description>The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.</description>
        <elementContainer>
          <element elementId="39">
            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
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              <elementText elementTextId="74453">
                <text>Unknown</text>
              </elementText>
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            <name>Description</name>
            <description>An account of the resource</description>
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              <elementText elementTextId="74454">
                <text>Resistance Comix &amp; Associated</text>
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            </elementTextContainer>
          </element>
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            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
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              <elementText elementTextId="74455">
                <text>[]</text>
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            <name>Source</name>
            <description>A related resource from which the described resource is derived</description>
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              <elementText elementTextId="74456">
                <text>Archive Storage Room|Statewatch (Paul Westlake)</text>
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          </element>
          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
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              <elementText elementTextId="74457">
                <text>Box 1</text>
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          </element>
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  </item>
  <item itemId="7185" public="1" featured="0">
    <collection collectionId="26">
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        <elementSet elementSetId="1">
          <name>Dublin Core</name>
          <description>The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.</description>
          <elementContainer>
            <element elementId="50">
              <name>Title</name>
              <description>A name given to the resource</description>
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                  <text>Queeruption &amp; Associated</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="41">
              <name>Description</name>
              <description>An account of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="2105">
                  <text>Queeruption was a rolling international DIY festival that took place eight times between 1998 and 2000. The intention behind these ad hoc festivals, often based in squats, was the intention to create an ‘opportunity for Queers of all genders and sexualities to gather, celebrate [their] queerness and diversity… and learn from each other’. This collection, coming to MayDay Rooms thanks to John Levin, includes ephemera from the first Queeruption festivals and is supplemented by a selection of queer zines from the 1990s.</text>
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              </elementTextContainer>
            </element>
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      </elementSetContainer>
    </collection>
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      <name>Physical Object</name>
      <description>An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types.</description>
    </itemType>
    <elementSetContainer>
      <elementSet elementSetId="1">
        <name>Dublin Core</name>
        <description>The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.</description>
        <elementContainer>
          <element elementId="39">
            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
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                <text>Unknown</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
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                <text>Queeruption &amp; Associated</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="42">
            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="74590">
                <text>Box</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="48">
            <name>Source</name>
            <description>A related resource from which the described resource is derived</description>
            <elementTextContainer>
              <elementText elementTextId="74591">
                <text>Archive Storage Room|John Levin</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="74592">
                <text>Box 1</text>
              </elementText>
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          </element>
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    </elementSetContainer>
  </item>
  <item itemId="7232" public="1" featured="0">
    <collection collectionId="30">
      <elementSetContainer>
        <elementSet elementSetId="1">
          <name>Dublin Core</name>
          <description>The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.</description>
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            <element elementId="50">
              <name>Title</name>
              <description>A name given to the resource</description>
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                <elementText elementTextId="30">
                  <text>Scratch Orchestra</text>
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            <element elementId="41">
              <name>Description</name>
              <description>An account of the resource</description>
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                  <text>The Scratch Orchestra grew out of a series of music composition classes held at London’s Morley College. The classes were instigated by Cornelius Cardew, Michael Parsons and Howard Skempton and were attended by avant-garde musicians and artists interested in exploring sound. From this, in July 1969, the Scratch Orchestra was formed; it was described, in its draft constitution, as “a large number of enthusiasts pooling their resources (not primarily material resources) and assembling for action (music making, performance, edification.)” The Scratch Orchestra, which drew together varying levels of musical ‘expertise’, performed its ‘music-from-scratch’, often based on written-instruction and graphic scores, in Town Halls, Village Halls, Universities, Youth Cubs, Parks and Theatres. The regularity of performance over its short life-span may well figure the Scratch Orchestra as a musical community; an intense experience of playing, travelling and living together. MayDay Rooms are grateful to Stefan Szczcelkun for depositing his Scratch Orchestra papers which includes documentation of the Richmond Journey and The Scratch Cottage as well as ephemera relating to the Slippery Merchants, a performance subgroup of the Scratch Orchestra that carried out “uninvited performative intrusions”. Stefan’s papers also provide materials relating to ongoing Scratch Orchestra gatherings, commemorations and concerts that have kept Scratch Music in the public eye.</text>
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    </collection>
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      <name>Physical Object</name>
      <description>An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types.</description>
    </itemType>
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            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
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                <text>Unknown</text>
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          </element>
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            <name>Description</name>
            <description>An account of the resource</description>
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              <elementText elementTextId="74824">
                <text>Scratch Orchestra</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="42">
            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="74825">
                <text>Box</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="48">
            <name>Source</name>
            <description>A related resource from which the described resource is derived</description>
            <elementTextContainer>
              <elementText elementTextId="74826">
                <text>Archive Storage Room|Stefan Szczelkun</text>
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          </element>
          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="74827">
                <text>Box 1</text>
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          </element>
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          <elementContainer>
            <element elementId="50">
              <name>Title</name>
              <description>A name given to the resource</description>
              <elementTextContainer>
                <elementText elementTextId="30">
                  <text>Scratch Orchestra</text>
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              </elementTextContainer>
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                  <text>The Scratch Orchestra grew out of a series of music composition classes held at London’s Morley College. The classes were instigated by Cornelius Cardew, Michael Parsons and Howard Skempton and were attended by avant-garde musicians and artists interested in exploring sound. From this, in July 1969, the Scratch Orchestra was formed; it was described, in its draft constitution, as “a large number of enthusiasts pooling their resources (not primarily material resources) and assembling for action (music making, performance, edification.)” The Scratch Orchestra, which drew together varying levels of musical ‘expertise’, performed its ‘music-from-scratch’, often based on written-instruction and graphic scores, in Town Halls, Village Halls, Universities, Youth Cubs, Parks and Theatres. The regularity of performance over its short life-span may well figure the Scratch Orchestra as a musical community; an intense experience of playing, travelling and living together. MayDay Rooms are grateful to Stefan Szczcelkun for depositing his Scratch Orchestra papers which includes documentation of the Richmond Journey and The Scratch Cottage as well as ephemera relating to the Slippery Merchants, a performance subgroup of the Scratch Orchestra that carried out “uninvited performative intrusions”. Stefan’s papers also provide materials relating to ongoing Scratch Orchestra gatherings, commemorations and concerts that have kept Scratch Music in the public eye.</text>
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                  <text>The Scratch Orchestra grew out of a series of music composition classes held at London’s Morley College. The classes were instigated by Cornelius Cardew, Michael Parsons and Howard Skempton and were attended by avant-garde musicians and artists interested in exploring sound. From this, in July 1969, the Scratch Orchestra was formed; it was described, in its draft constitution, as “a large number of enthusiasts pooling their resources (not primarily material resources) and assembling for action (music making, performance, edification.)” The Scratch Orchestra, which drew together varying levels of musical ‘expertise’, performed its ‘music-from-scratch’, often based on written-instruction and graphic scores, in Town Halls, Village Halls, Universities, Youth Cubs, Parks and Theatres. The regularity of performance over its short life-span may well figure the Scratch Orchestra as a musical community; an intense experience of playing, travelling and living together. MayDay Rooms are grateful to Stefan Szczcelkun for depositing his Scratch Orchestra papers which includes documentation of the Richmond Journey and The Scratch Cottage as well as ephemera relating to the Slippery Merchants, a performance subgroup of the Scratch Orchestra that carried out “uninvited performative intrusions”. Stefan’s papers also provide materials relating to ongoing Scratch Orchestra gatherings, commemorations and concerts that have kept Scratch Music in the public eye.</text>
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                  <text>MayDay Rooms collection of materials related to the Committee for Academic Freedom in Africa and the group that has gathered around it has led to a deposit of activist materials based around de-coloniality, reparations campaigns and debt cancellation. Many of those UK-based activists involved with Jubilee 2000 gathered at MayDay Rooms in November 2015 for a consultative dialogue entitled ‘Afrika in Debt Bondage.’ Thanks to Kofi Klu for this assortment of flyers, posters, magazine and texts.</text>
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                <text>Archive Storage Room|Terry Dennett</text>
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                <text>[Loose handwritten notes]</text>
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                <text>The Worker Photographer</text>
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                  <text>Inspired by the fruitful of exchange of Big Flame, Midnight Notes &amp; Zeroworks with Italian political and theoretical developments, MayDay rooms has begun a small collection of Italian language materials and associated translations. These cover the Red Notes project and the early translations of Sergio Bologna and Mario Tronti in Telos Journal. We are grateful to Neinsager for dropping off some Italian language journals including an anthology of autonomist texts from 1974 and to Steve Wright for copies of America Owl and documents pertaining to the Committee Against Repression in Italy. A visit from Giovanni Rubino and Aria Spinelli in March 2015 saw the activation of this collection in the form of a group discussion with Giovanni about some facets of his solidarity-driven artistic work as a muralist at the Alfa Romeo factory and as the instigator of a collective performance at the Edison Factory in Mortedison.</text>
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                  <text>Following a week long activation in July 2015 of the Schooling &amp; Culture Archive that included visits from schools and youth groups a collection of materials was assembled for the MayDay Rooms Archive. These materials include large format diagrams documenting the visits and debates, magazines, newspapers, notes, postcards, questionnaires and other materials that will feed into the process of producing a new issue of Schooling &amp; Culture.</text>
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                  <text>Between 1975 and 1985, The Leveller, an editor-less magazine, managed to sustain an independent left journalism that drew together professional and non-professionally identified writers into a collective. MayDay Rooms are grateful to Statewatch for depositing a near-to complete run of Levellers and to Tim Gospill, a former member of the magazine, for adding a short overview to the collection: “The Leveller – whose name came from an egalitarian 17th century Civil War group that agitated Cromwell’s republic from the ‘left’ – was firmly rooted in the British left and involved in all kinds of socialist, feminist, anarchist and anti-racist activity”. Tim’s assertions are well reflected in the eclectic and wide ranging pages of the magazine.</text>
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              <elementTextContainer>
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                  <text>Between 1975 and 1985, The Leveller, an editor-less magazine, managed to sustain an independent left journalism that drew together professional and non-professionally identified writers into a collective. MayDay Rooms are grateful to Statewatch for depositing a near-to complete run of Levellers and to Tim Gospill, a former member of the magazine, for adding a short overview to the collection: “The Leveller – whose name came from an egalitarian 17th century Civil War group that agitated Cromwell’s republic from the ‘left’ – was firmly rooted in the British left and involved in all kinds of socialist, feminist, anarchist and anti-racist activity”. Tim’s assertions are well reflected in the eclectic and wide ranging pages of the magazine.</text>
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                  <text>Reclaim the Streets (RTS) began in London during the 1990s, both as a playful form of protest in the guise of a street party, which was soon replicated across the globe and as a local hub of social and ecological direct action. London RTS published the Financial Crimes for the mobilisation against the International Monetary Fund and World Bank’s Prague Summit in September 2000. The situationist practice of détournement (diversion, hijacking or misappropriation) informed the production of this and other spoof papers, such as the Evading Standards (also issued by RTS for the previous year’s ‘June the 18th’ Carnival against Capital in the City of London). This practice entailed abandoning cultural production itself and instead plundering and closely mimicking existing cultural forms to subvert their original intent for propaganda purposes. MayDay Rooms holds a collection of materials relating to Reclaim the Streets and associated networks.</text>
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      <elementContainer>
        <element elementId="92">
          <name>UID</name>
          <description>Unique ID</description>
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            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
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            <description>A language of the resource</description>
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            <description>Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal).</description>
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                <text>28.11.2025</text>
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        <name>Anti/Alter-Globalisation</name>
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        <name>Direct Action</name>
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              <description>A name given to the resource</description>
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              <description>An account of the resource</description>
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                  <text>Seven boxes of materials including zines, magazines, newspapers, leaflets, pamphlets and ephemera donated by one of the editors of the journal 'Do or Die'. The collection is largely from from the mid-1990s to the early 2000s, representing the ecological direct action movement of the time, including movements like the campaign against the Criminal Justice Act, Earth First!, Reclaim The Streets, the anti-roads struggle, the beginnings of the anti-globalisation movement, animal liberation actions, and the campaign against genetic engineering. The collection also covers the ecological, primitivist and anti-civilization tendencies within anarchism that became prominent at the time. Although the primary focus is British, there is a significant amount of material from related American movements and publications. The collection includes internal discussion documents, gathering programmes and agendas as well as substantial runs of journals and newspapers from US and UK Earth First!</text>
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      <description>An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types.</description>
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            <description>A name given to the resource</description>
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              <description>A name given to the resource</description>
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                  <text>Red Notes 1973 &amp; Associated</text>
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              <description>An account of the resource</description>
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                  <text>Publications produced by Red Notes, including activist pamphlets, histories, and translations. These include Ed Emery’s extensive translations of Antonio Negri, and the plays of Dario Fo and Franca Rame. Also included are materials around. This collection of materials produced under the Red Notes name sits alongside a box of mixed 1970s dissenting ephemera, which includes materials relating to Portuguese solidarity at the time of the Carnation Revolution.</text>
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      <name>Physical Object</name>
      <description>An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types.</description>
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        <name>Dublin Core</name>
        <description>The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.</description>
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            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
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                <text>Varioius</text>
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            <description>An account of the resource</description>
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                <text>Red Notes 1973 &amp; Associated</text>
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          <element elementId="42">
            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
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              <elementText elementTextId="72620">
                <text>Poster</text>
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            <name>Source</name>
            <description>A related resource from which the described resource is derived</description>
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                <text>Archive Storage Room|John Barker</text>
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            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>No War But Class War</text>
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