2. Value and memories

Archival literature frequently refers to the concepts of memory and identity but often without examining fully what these terms mean or the nature of their relationship to archives. the role of archives and archivists in the creation and evolution of memory and identity is fundamental. The notions of archives, history, memory, identity and power are interlinked, with archives taking a prominent role controlling and directing how we remember and how we, and others, see ourselves. Many experts believe that the key to achieving the goal is break free from concept of neutrality and impartiality and to introduce the archivists to a world where themselves, through such actions as appraisal and personal judgment "continually reshape, reinterpret and reinvent the archive".

Using case studies from the museum world, she demonstrates that what is collected and how it is described and interpreted is dependent on the approach and attitude of curators and that this in turn impacts on how the history of people and objects is viewed and remembered. It is necessary, for this to happen, that the archivists are aware of self-awareness and contemplation of their moral and ethical responsibilities. Of course, Internet changes not only what we remember or forget but how we remember. Discussions about the relationship between media and memory are not new. Photographs and films are credited with forming more vivid and lasting memories but also, through manipulation, with creating false memories and forgetfulness unlike archives, heirs of an immutable and true memory.

 The starting point is to be very clear about who you are, what makes your work special and for who you want to make a difference. You can avoid many problems that might arise later if you enter into the developmental work with a clear idea about your objectives, about audiences needs and your own.

During this process your institutional identity can be challenged, you should understand what are you willing to change. Are you willing to adapt programming for a cultural offer more appealing to target audiences? Are you willing to adapt programming for a cultural offer more appealing to target a complete non-public audience? Are you ready to empowering users and visitors to interpret contents in their own ways? Once you have understood your priorities you should structure your staff.

You need to estimate the engagement of audiences, therefore you need to target them, this means recognising different needs.

As said the Audience Development is a complex system, with policymakers and professionals sharing responsibility and resources. The art is always a mix of different cultural aspects but the audience has its own cultural background, through which it reads it. Well is very important to create a link of shared knowledge between documents, memories and citizens.