The records consist of material related to the production of the Dido Aeneas opera that was put on by the Centre for Communications and the Arts from June 8 to 10, 1973. Records include a scrapbook with photographs, drawings, sketches, programs, and newspaper clippings related to costume and production design (file 1). There are also four photographs that were found loose with the records (file 2); programs and press reviews (file 3); textual files on production and design (files 4, 5, 6); and a sketch and design template that were found loose with the records (file 7).

Original order was retained in the arrangement of the files.

Series consists of records relating to the establishment, administration and activities of the Great Canadian Beer Festival Society. Records include general administrative files (sub-series 1), annual festival planning and organization records (sub-series 2), festival posters (sub-series 3) and programs (sub-series 4), photographs (sub-series 5) and artefacts (sub-series 6. The series is a hybrid of paper files, born-digital records, and physical artefacts. Born-digital records are located in sub-series 2 (Festival planning files) and sub-series 5 (Photographs). For record types, see sub-series descriptions.

Series consists of records made or received by John Rowling in his capacity as a member and officer of CAMRA BC. Rowling served as President of the Victoria branch from 1990-1992 and 2000-2003. The records mainly reflect the workings of the Victoria branch, but up to 2010 the Executive of CAMRA Victoria acted for BC as a whole.

Activities and events documented include the establishment of CAMRA BC; meetings, administration and management of membership; CAMRA public campaigns; and the production of the What's Brewing newsletter. Series includes both paper and born-digital records. For record types, see sub-series descriptions.

The series is arranged into seven sub-series:

• CAMRA subject files (F-318-1-1) [paper]
• CAMRA meeting records (F-318-1-2) [paper and digital]
• CAMRA membership records (F-318-1-3) [digital]
• CAMRA branch files (F-318-1-4) [digital]
• CAMRA newsletters (F-318-1-5) [paper]
• CAMRA photographs (F-318-1-6) [analog and digital]
• CAMRA artefacts (F-318-1-7) [analog]

Series consists of Rowling's collection of artefacts and merchandise relating to BC breweries. Items include beer bottles, labels and glasses; posters, t-shirt, coasters, bottle openers, keychains, and business cards. Most of the materials relate to post-1980 craft breweries, but there are some beer bottles (sub-series 1), posters (sub-series 3) and artefacts (sub-series 6) for earlier historic BC breweries; see sub-series descriptions for details.

Series consists of Rowling's correspondence and subject files relating to beer and breweries in British Columbia. Records include correspondence; news articles, pamphlets, publications and other reference materials; a copy of Greg Evans' UVic Masters thesis, The Vancouver Island Brewing Industry: 1858-1917; event records for the opening of the Vancouver Island Brewery (1995) and programs for the Okanagan Fest-of-Ale (2000), Vancouver Brewmasters Festival (2000-2001), the Canadian Brewing Awards (2013) and the Island Beer Festival (2013); the Beautiful Brewers of BC 2014 calendar; a poster for the Beer Pioneers film (ca. 2017); copies of issues of Firehall Brewery's newsletter The Beer Department Periodic-ale (2016), the Brewery History Journal (no. 113, 2003), and the Victoria Beer Society's Good Beer Gazette (2022).

Series consists of records relating to Rowling's writings on beer and the BC craft beer scene for What's Brewing Magazine (sub-series 1), Celebrator Beer News Magazine (sub-series 2) and Eat Magazine (sub-series 3-3. Records include drafts, outlines, working notes, background documents, and texts of articles. There are a small number of paper files, but the bulk of the records were created and transferred to Archives in digital form. Microsoft Word file formats (doc, docx) are predominant, with some jpgs (images) and spreadsheets (xls, xlsx).

Series consists of record relating to Braid's work co-authoring (along with Al King) the book Red Bait: Struggles of a Mine Local. Series includes transcripts of interviews with Al and Lillian King, drafts, edits and comments to the manuscript by various reviewers, reviews, and Al King's obituary and associated notes.

Series consists of records relating to writing the poems about Glenn Gould and his music's affect on her, which occurred just as Braid found out she had gone deaf in one ear. Records include drafts, research on composers and composition, correspondence, book launch records, and reviews.

Series consists of records relating to Braid's writing Emily Carr: Rebel Artist, a book for young readers on the famous Canadian artist. Records include drafts, correspondence, and research.

Fonds consists of records relating to Braid's work writing poems written from the perspectives of Georgia Okeeffe and Emily Carr. Originally entitled The String Bean and the Pea as her thesis submission for a Master of Fine Arts at UBC, the work was later retitled Inward from the Bones. Records include notes, drafts, comments from Sandy Shreve, Sharon Fowler and George McWhirter.

Series consists of records relating to Braid's work on co-editing, along with Sandy Shreve, a publication on Canadian form poetry. Records include notes and contributions by form type, correspondence with writers, including PK Page, and drafts.

Series consists of the minutes of the Board of Directors for the JHSLM.

Series consists of photographs created by the staff photographers of LIDC and its predecessors. Negatives and contact sheets were systematically maintained, organized by year-based serial numbers (see sub-series 4 for description of the system). Two groups of subject-based files were also maintained, organized alphabetically: a set of slides (sub-series 2) and a set of unnumbered prints and negatives (sub-series 5. Subjects include SFU's architectural competition and design, interior and exterior architecture; opening ceremonies, presidential installations, Convocation and other special events; faculty portraits and images of students, faculty and staff in classroom and campus settings. Photographers whose works are represented in the series include Chris Hildred, Ron Long, Eddy Chan, Greg Ehlers, and Fred Kyba. Record types include negatives, contact sheets, slides and prints.

The series is arranged into three sub-series; note that there is no sub-series 1 or 3 (retired; see note on Arrangement).

• Slides, 1967-2003 (F-18-1-2).
• Numbered contact sheets, negatives and prints, 1963-2001 (F-18-1-4).
• Unnumbered prints and negatives, 1967-1999 (F-18-1-5).

Series consists of digital images and word document files documenting Tin Whistle Brewery's activities in various media publications. Records include final article drafts and scanned newspaper clippings.

Series contains scanned digital images of the Tin Whistle Brewery, it's owners, the brewing process, and attendance at brewery festivals. Photo subjects include Linda Grierson, Richard Grierson, Lawrie Lock, Lynda Lock, and Lorraine Nagy.

Series consists of awards granted to the Tin Whistle Brewing Company. Awards included within this series were issued by the Okanagan Fest-of-Ale in 1996 and in 2013.

Series consists of promotional materials and merchandise produced and distributed by Tin Whistle Brewing Company. Records include table cards, beer profiles, posters, signs, banners, pamphlets, temporary tattoos, drink cards, gift certificates, business cards, t-shirts, and beer glasses.

Series consists of beer tap handles and their labels, produced and/or used by Tin Whistle Brewing Company in their tasting room.

Series contains records and artifacts related to the bottling of craft beer at Tin Whistle Brewing Company. Records and artifacts include beer bottles, growlers, beer bottle labels, and beer bottle blueprints.

Series consists of analogue and born-digital records created by Adbusters Media Foundation while administering the Blackspot shoe campaign as well as designing, promoting, and distributing Blackspot sneakers and boots. The Blackspot shoe campaign was launched in 2002. For this campaign, Adbusters created and sold the Blackspot Sneaker (2002) and the Unswoosher (2006), shoes manufactured in a unionized workshop and created with vegan and recycled materials. The intent of Blackspot is to take market share from large shoe and athletic corporations through the creation of an environmentally responsible and fair trade alternative.

Paper and analogue records include income statements, correspondence (manufacturer, retailer, and customer), stock inventories, marketing plans, market analyses, newsletters, order processing guidelines, shareholder certificates, pamphlets, promotional photographs, and two pairs of blackspot shoes: v. 1 classic sneaker and v. 2 the Unswoosher.

Born-digital records include shoe design drawings, letterheads, internal manuals, advertisement graphics, promotional photographs, posters, coupons, stickers, gift cards, labels, shareholder certificates, T-shirt mockups, catalogues, promotional comics, and website mockups.

The series has been arranged by the archivist into separate sub-series based on the type of material:

• Administrative records (sub-series 1).
• Promotional materials (sub-series 2).
• Shoes (sub-series 3).

Files are arranged chronologically.

The series consists of paper and born-digital records documenting Adbusters Media Foundation's activities and the Occupy movement in various media publications. Records include interview transcriptions, newspaper clippings, magazine clippings, online news article printouts, letters to the editor, 2 published books, and 1 photocopied book excerpt.

Interview transcriptions were conducted for Kyoto Journal (2001), Eyeteeth (2003), Staya (2005), Guernica (2011), the White Review (2013), and Micah White (2013).

Print and online media publishers include Sun Magazine (2001), CBC (2004), Lürzer's Archive (2008), the Georgia Straight (2009), the Globe and Mail (2009, 2013), the Hook (2009), the Lawyer's Weekly (2009), the Vancouver Sun (2011, 2012), Advertising Age (2011), the New York Times (2011, 2012, 2015), the Vancouver Observer (2011), the Washington Post (2011), the New York Review (2011-2013), the Occupied Times of London (2011), the Epoch Times (2011), Der Spiegel (2011), Vanity Fair (2012), Harper's Magazine (2012), the Progressive (2012, 2015), Vancouver Magazine (2012), In These Times (2012), the Dance Current (2012), the Guardian (2012), the Walrus (2012), the Ubyssey (2013), the London Review of Books (2013), Sad Mag ( 2015), and the Ethical Consumer (2020).

Books include Alternative Media in Canada by Kirsten Kozolanka, Patricia Mazepa, and David Skinner (2012), Why We Occupy: Liberty Plaza 2011 by Olivia Schanzer (2012), and a photocopied excerpt of Why Dissent Matters, Chapter 7, by William Kaplan (2017).

Born-digital media coverage records include a scanned newspaper clipping advertising Blackspot sneakers (2004), a draft article written by Kalle Last and Micah White (2011), an interview with Greg McLaughlin for Contexts Magazine (2012), and two draft letters to the editor of the New York Times (2013, 2016).

Series consists of physical merchandise produced and distributed by Adbusters Media Foundation, as well as born-digital records related to the creation and design of the merchandise. Physical merchandise includes postcards, stickers, pin-back buttons, fridge magnets, flags, apparel, a coffee mug, a magnetized ceramic cookie, spoof parking tickets, and baseball cards. Born-digital records include photographs and digital graphic mockups of postcards, stickers, T-shirts, coffee mugs, baseball cards, flags, packaging, pin-back buttons, patches, and a spoof parking ticket. While there is some overlap, physical merchandise and born-digital records in this series do not necessarily correlate.

The series has been arranged by the archivist into two sub-series based on the record's format.

• Physical merchandise (sub-series 1).
• Born-digital records (sub-series 2).

Files are arrange chronologically.

Series consists of records created by Adbusters Media Foundation during the following campaigns: Buy Nothing Day, First Things First Project, Media Carta, Kick It Over, Occupy Wall Street, Mindbombs, Boycott Divest Sanctions, Occupy Silicon Valley, Black Remembrance Day, and the White House Seige. Records include paper and born-digital materials such as digital graphics, photographs, design submissions, memes, press releases, emails, and moving image and audio "subvertisements."

The series has been arranged by the archivist into separate sub-series according to which advocacy campaign they derive from:

• Buy Nothing Day campaign records (sub-series 1).
• First Things First project records (sub-series 2).
• Kick It Over campaign records (sub-series 3).
• Occupy Wall Street campaign records (sub-series 4).
• Occupy Silicon Valley campaign records (sub-series 5).
• General campaign records (sub-series 6).

Files are arranged chronologically.

Series consists of Adbusters Media Foundation publications and books authored by Kalle Lasn, as well as drafts and mockups associated with the creation of these publications. Records include copies of Adbusters magazine and its mockups, Big Noise magazine, Culture Jam, Design Anarchy, Meme Wars, the Adbusters Media Literacy Kit, calendars, pamphlets, posters, digital spoof ads, and digital listserv newsletters.

The series has been arranged by the archivist into ten sub-series based on the publication type:

• Adbusters magazine records (sub-series 1).
• Big Noise magazine records (sub-series 2).
• Magazine mockups and revisions (sub-series 3).
• Books and associated records (sub-series 4).
• Media literacy kits and associated records (sub-series 5).
• Calendars and associated records (sub-series 6).
• Pamphlets (sub-series 7).
• Posters and associated records (sub-series 8).
• Digital spoof ads and associated records (sub-series 9).
• Listserv newsletter (sub-series 10).

Files are arranged chronologically.

The series consists of paper and born-digital records arising from Kalle Lasn's participation in various conferences and public forums. Notable conferences documented are:

• Canadian Association for Media Education - Annual General Meeting, Vancouver, April 29, 1996
• The American Institute of Graphic Arts Conference, San Francisco Museum of Modern Art, October 17, 2002
• TYPO Berlin, May 2006

Paper records include talking notes, event flyers, correspondence, and planning materials. Born-digital records include a powerpoint presentation (in .PDF format).

Series contains paper and born-digital records related to two events which Adbusters Media Foundation participated in: the Seoul Mediacity Biennale Exhibition (2018) and the Vancouver Art Book Fair (2018).

Paper records include an exhibition catalogue, subscription cards, price lists, an internal manual on running an exhibition booth, and newsletter sign-up sheets. Born-digital records include press releases, emails, photographs, an internal manual on running an exhibition booth, a silent auction prize, digital posters, and a video of Adbusters' exhibit.

The series has been arranged by the archivist into separate sub-series based on the type of event:

• Seoul Mediacity Biennale Exhibition records (sub-series 1)
• Vancouver Art Book Fair records (sub-series 2)

Files are arranged chronologically.

Series consists of records relating to the promotion and marketing of the Purcell String Quartet. Include posters, brochures, press releases, flyers, branded stationary, and one promotional print.

Files are arranged chronologically.

Series consists of two moving images of live performances: a CBC TV feature (file 1), and a Vancouver Art Gallery concert series performance (file 2).

Files are arranged chronologically.

Series consists of sounds recordings of live performances and studio recordings. Includes appearances on CBC; the performance at Carnegie Hall; and a recording of the last official Purcell String Quartet concert in 1991.

The series has been arranged by the archivist into separate sub-series based on the group lead at the time of recording:

• Norman Nelson, Leader (sub-series 1)
• Sydney Humphreys, Leader (sub-series 2)
• Marc Destrube, Leader (sub-series 3)